Agents In A Digital World

Literary Agents fulfil many valuable roles. There will always be those that are deemed better than others and those who specialise or excel in certain areas. Some are expert ‘match makers’ and have the right contacts, in the right places, to ensure that ‘perfect’ match. Some are legal eagles and have the ability to pick through the finest of legal jargon, to ensure the interests of their clients are best served. Some are like PR Managers, who know how to exploit the author’s brand and extend the profile and earnings past the book. Some are ‘shapers’ and help hone the work and its position for the market. Some are all-rounders.

Whatever the strengths and weaknesses, agents fulfil a pivotal role and like many agents in other walks of life they are now built into the publishing system.

Today, we read about the agents becoming digital publishers and publishers circumventing agents on digital in the UK and US and we have to ask what the role of the agent is in a digital world and whether it has changed? Is the role one we have constructed and built out of genuine need, or is it one that that has creep up on us and is now merely been woven into the fabric of publishing?

Regular readers will know that we have just returned from an enlightening trip to Norway, where as well as speaking, we also listened to the industry and gained some understanding of how they did some things somewhat differently.

Norway doesn’t have literary agents sitting between the author and the publisher like we do in the UK and US. They do use agents but mainly for foreign rights sales and it appears to be somewhat of an ‘agent free’ zone. This may be based on the size of the market, the fact that it is indigenous, the size of the writing pool and manuscript pile, or just be down to evolving to a different way of doing things.

The vast majority of contracts in Norway are to a standard industry boilerplate contract. Yes in the main the construct of the contract is the same for all. Now that is novel and offers so much opportunity with respect to recording, managing and searching for rights.

If we step back and ask what the role of the agent should be in a digital world some would argue that by becoming a publisher agents loose their independence to represent authors and have a conflict of interest. Others would argue, that by grasping the digital backlist nettle they are in fact waking up publishers to the heritage they have all too often ignored and treated as ‘having had its day’.

An agent approached a friend only a few days ago asking about a digital deal on some print back list titles that had been reverted. They had a ‘great deal’ on the table and offered the author the industry ‘standard’ 25%. Was it such a good deal and were they merely looking at the opportunity to collect 20% on what was a dead title? Many questions ensued. Was this a fixed term licence or perpetual? How much marketing and sales promotion was to be done, or was it to merely be thrown onto a digital shelf? What were the sales expectations and pricing model to be applied? The questions went on and the answers became somewhat muffled.

Its ironic that in an on line world of instant sales, cash transfers, real time information and where digital sales are sold effectively on consignment, it still take months for an author to be paid their digital royalty and they can’t they see their digital sales in real time? Its as if everyone has forgotten about real time sales and still want to force digital sales through old print royalty systems.

Is it any surprise that many authors and agents are now taking their digital opportunities more seriously than some would suggest their publishers are?

There is no right or wrong answer to the question of whether agents are essential and what they role should be on digital. However, one has to respect those who have at least seen that merely throwing digital titles onto a digital shelf in order to just to tick a box and one that that was all too often missing in the contract is maybe not always the answer.

Norwegian Wood

Norway is different but similar to many countries as it grapples with the challenges of a changing book market. It is assumed by many that they are inside the European Union but they are in fact like Switzerland and Iceland outside of the Union and voted by referendums in 1972 and 1994not to join. However, they are within other European entities and often have to follow the path set by Europe without the power of a vote. Obviously they have their own currency.

They operate a fixed book market which controls the price of a title for up to 15 months. Any title bublished with a calendar year can not be discounted until after April 30th the next year. So a title published say in October only has a fix price life of some few months. There is also a National Book Sale at the beginning of each year when unfixed priced books can also be sold in a similar way that the old National Book Sale took place in the UK under the Net Book Agreement.



Print books incur no sales tax whilst all ebooks have a 25% sales tax. This is currently under a lot of pressure from within Norway as well as from the VAT changes and current harmonisation activity within Europe.

A further consideration in Norway is the vertical nature of much of their market. The major chains are owned by the major distributors who are owned by the major publishers. For example the large Scandanvian publishers Bonnier and Egmont own Norwegian publisher Cappelen Damm who owns distributor Central Distribution and bookchain Tanum. This market contruct works both ways but is seen by many outside of the verticals as unhealthy and by many within them as healthy. The one thing that is clear just walking around Oslo is that Norwegians love books and there are bookstores around every corner. There are some 650 store in the country and these are dominated by the chains Ask, Libris, Tanum and Norli.



There are also no prices on the book jackets.



Digitally the publishers and booksellers have got together to create The National Bookdatabase which aims to accommodated all the Norwegian digital books and distribute these through the bookstores. This interesting initiative is to be applauded and if they keep control of their own indigenous literature and heritage then perhaps they are showing a way in which smaller countries should approach digital.