Bestselling author Daniel Silva has left his longtime reps at ICM to sign with Robert Barnett, the D.C-based attorney at Williams & Connolly. The word in publishing circles is that this is a first step toward Silva shopping for a new publishing deal, one that might lead to his exit from Putnam.
Silva had been with ICM since he transitioned from journalism to spy thrillers with the 1997 debut The Unlikely Spy. He is best known for the series he writes on art restorer/Israeli secret agent Gabriel Allon. Silva routinely lands on the bestseller lists, most recently for The Rembrandt Affair, which Putnam published last month.
I’m told that Barnett is shopping to publishers and that Silva’s wife, NBC Today Show correspondent Jamie Gangel, will play a large role in making his next deal. ICM’s Sloan Harris and Esther Newberg had repped Silva. While he’s not on the sales level of Janet Evanovich, Siva’s situation sounds somewhat familiar. Evanovich’s son, Peter, took over as her agent after she left Trident Media. After St. Martin’s Press declined an offer to renew her deal at $50 million for 4 books earlier this summer, Evanovich made a deal at Random House’s Ballantine Bantam Dell imprint. Price was never disclosed, but sources tell me it was for far less than the original ask.
What’s driving all of this is the growing realization by authors that their next deal probably won’t be as good as their last. Dealmakers say publishers aren’t stepping up for auctions the way they once did, and nobody wants to overpay. Silva’s exit from ICM to Barnett is an interesting development that is creating a lot of discussion in publishing circles. Barnett charges by the hour—estimates are that clients in the range of $975 per—instead of the standard 15% that most major agencies and management firms charge. He’s a less expensive option: if Silva is getting $3 million per book, an agency would commission $450,000; Barnett’s hourly bill might be half that.
Charging hourly, Barnett has built a stellar client list comprised mostly of politicians that range from President Barack Obama to ex-President George W. Bush, Sarah Palin, Tony Blair, Bill and Hillary Clinton and Bob Woodward. Fiction hasn’t been a big part of his business, but he did sign James Patterson after he left WME, and last fall Barnett negotiated a 17-book deal with Hachette Book Group that covers the prolific author through 2012—six books per year. The commission on such a deal would have been enormous, and it’s likely that Patterson saved a lot of money.
Dealmakers said that Barnett’s hourly fee formula has a downside. He usually makes one deal for world rights, I’m told. When the deal’s done, he’s done. Agents said that if an author has a following in countries outside the U.S., it’s often more lucrative to make separate deals for each territories. If an author gets a $3 million advance for world rights, subsequent territorial sales made by that publisher are applied against that advance. Agents making separate deals come away with advances that go right to the author, less 20% commission, half of which goes to a foreign co-rep. Agents also pester publishers about the fine details from cover design to publicity and distribution, and there is also a psychological aspect. A $3 million deal is divided in 25% payments that come upon signing, acceptance of manuscript, publication of hardcover and then paperback. Commissioning agents wait for those payments before subtracting commissions. Barnett sends a bill when he makes the deal. Some authors find it easier to look at a check that has been lightened by commission fees, rather than having to write a big check themselves before they’ve received their full advances.
But Barnett actually gets very involved in the roll out of big books, which in the next few weeks will include titles from Bush, Blair, Palin and Woodward. The attorney coordinates the serialization deals and TV interviews, still charging by the hour. He also brings in a foreign rights agent named Linda Michaels for clients like Patterson, I’m told.
I reached out to Barnett, who responded by e-mail: “I am pleased to be representing Daniel Silva. We don’t have anything to announce about his future plans at this time.”





“Some authors find it easier to look at a check that has been lightened by commission fees, rather than having to write a big check themselves before they’ve received their full advances.”
Uh, so it’s better to have an extra few hundred thousand dollars of commission deducted so that you don’t have to write a check to a lawyer? Face it, when you’re a known commodity and publishers bid against each other for your book, it’s hard to justify paying six or even seven figures to an agent. But that misses the point: The vast majority of published writers don’t get 7-figure deals and they do need their agents. The commissions they generate are often bubkes, but that’s okay for an agency that can feast on the big scores. It may be the rational move for the individual big-time writer to defect from agency representation, but it’s not necessarily what’s best for the literary/publishing community.
What’s good for Barnett might be bad for Washington. His thing was politicians and “inside the beltway.” He’ll be distracted. He also infects his own integrity in that he had always maintained an arm’s length comportment between publishing glitz and push; and the politicians and the broadcasters who have more than enough conflicts of interest to negotiate as is. Will a Barack Obama wish to be represented by the agent of an auteur of Israeli thrillers? Does it matter? In political life and in statecraft I think it can. Completely subverts the man’s unique niche in book publishing if the trend continues. Political liabilities for both parties could theoretically abound. AND – it’s pretty obvious that he only wants the deals that could make themselves. The clients know it. Hence the commission break. Additionally he only wants the “authors” whose name value will therefore get – the eternal struggle – profuse editorial guidance lavished upon them; or authors who won’t permit their manuscripts touched at all therefore what’s to bill after the deal is done anyway? Looks like he’s looking to cash in some “power and proximity” chips, like he’ll be trying to scoop up “last gasp” big author multibook contracts before the inevitable book industry, uh, “correction,” symbolized by what’s happening with Barnes and Noble. Look for the big authors starting to pressure their agents to give them a price break and agents confidentially accommodating them.
You get what you pay for : Is it a good idea for an author to think twice about contacting his rep because he’s gonna get billed?
Are you gonna get billed because you ran into your rep at an event and sought out his advice while there? If not, are you gonna make a B-line to the man because you want to AVOID being billed?
Smaller deals get short shrift there. Good books disappear or people have no knowledge of them because the deal up front is the bulk of the billables.
AND a lot of it is crap.
His big books are driven by name recognition throughout the world. That’s all he’s looking for.
Plus more returns than at which you can shake a stick.
In the long run, if you don’t have a decent shot at royalties, or because of the cost analysis some of your best work doesn’t necessarily stay in print…for estate purposes the savings is where exactly?
Exactly how do you charge by the hour in this type of situation? Timecard? Clock in by calling him? Honor system? Laura’s right, all you agents out there…Take a deep breath and prepare to reduce fees/rates. 10% is plenty.
In the publishing jungle you get what you pay for. If ICM can’t deliver the answer is not a lawyer working out of D.C. who handles the Clinton’s. Putnman’s has the back list so all the risk will be on the new book(s) for a new publishing house to consider.
Three observations:
Shrinking advances and less auction drama aren’t news in most genre-fiction circles. Mystery, SF/fantasy, and romance authors — including a lot of fairly well known and popular sellers — have been watching the numbers diminish for at least the last five or ten years now. Notice, too, that the way most genre novelists find steady work nowadays is to change their names every three or five books, and/or to write in several genres at once using a different name for each genre.
As for hiring a by-the-hour attorney to replace a commission-based agent — that trick will only work for the tiny percentage of authors who are not just best-sellers, but consistent mega-best-sellers who produce quickly and reliably (often with the help of collaborators and/or ghostwriters). Barnett’s clients are self-marketing, and he’s certainly not reading slush or looking for clients who are just breaking into print. He’s not a full-service literary agent in the proper sense of the job, and most writers need services from their agents that Barnett is probably not well-equipped to provide even if his rates were affordable.
He fired them years ago and his deal finally came up. Unless you find out why he fired them, this is old news. His wife has been running the day to day for a couple years now, so why should he pay an agent when he’s living with one?
CORRECTED COPY
To Nostoryhere,
Because a top agent can do a much better job all around from money to getting a publisher to put up more substantial marketing and promotion monies. Because when you use sub-agents you get bundled aboard and lose BIG MONEY as a result. Because you get cherry picked by MP agents in L.A. instead of having someone who has connections. Because you are being handled by an agent with no clout in an industry that is dominated by large media concerns. And finally because your agent has no idea what other houses are giving so she/he doesn’t have any idea what is available to get for a top ranked author or any author for that matter.
Here is a real life example… Does the author’s wife know what the high end range of the export royalty in an U.K. deal is and why it is important verses the standard export royalty? If an author is published in the U.K. and is successful this means real money.
Here is another… Does she/he know what a flow-through clause in a publishing agreement means and why is means real money?