In today’s market, probably 80 percent of books published by New York houses get sold by literary agents. Agents are experts in the publishing industry and represent the interests of their author-clients. They have inside contacts with specific publishers and know which editors are most likely to buy a particular work. Perhaps most important, agents can secure the best possible book deal for you, negotiate a fair contract, protect your rights, ensure you are paid accurately and fairly, and run interference when necessary between you and the publisher.
The best agents are career advisors and managers.
You are reading: Agents for publishing books
Traditionally, agents are paid only when they sell their work and receive a 15 percent commission on everything they are paid (your retainer and royalties). it’s best to avoid agents who charge fees other than the standard 15 percent.
do you need a literary agent?
It depends on what you sell. if you want to be published by one of the major new york publishing houses (eg, penguin random house, harpercollins, simon & schuster, macmillan), then you more or less need to have one and want one on your side.
If you’re writing for a niche market (eg vintage cars) or wrote an academic or literary work, you may not need an agent. Agents are motivated to take clients based on the size of the advance they think they can get. If your project doesn’t make decent progress, it may not be worth an agent’s time and you’ll have to sell the project on your own.
There are different levels of commercial viability: some books are “big” books, suitable for the traditional big five publishers (eg, penguin random house, harpercollins), while others are books “quiet”, suitable for medium and small presses. The most important thing to remember is that not all books are made to be published by a New York house, or even represented by an agent; Most writers have a hard time being honest with themselves about the potential of their work. Here are some general rules about what types of books are suitable for a traditional Big Five publisher:
- barnes & ; noble or independent bookstore, which requires a strong hook or platform of concept and author. Typically, a New York publisher will not sign a nonfiction book unless they anticipate selling at least 10,000 to 20,000 copies.
To better understand what you’re selling, purchase a one-month subscription to publishersmarketplace.com and study the deals advertised. it’s a quick education on what business publishing looks like.
You can also check out the twitter hashtag #mswl, where agents/publishers explain specifically what they’re looking for. (Here is the official site for the manuscript wish list. There is also an unofficial tweet aggregator #mswl.)
If your job doesn’t sound like a good fit for a New York home, don’t despair. there are plenty of mid-sized publishers, independent publishers, small publishers, university presses, regional publishers, and digital-only publishers that might love your work. you just need to find them.
how to find literary agents
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when writers ask me “can you find me a literary agent?” they don’t realize that it’s like asking me “can you find me the right spouse?” this is an investigative process and a decision that is best for you to make. I think you will understand why by the end of this post.
publishersmarketplace.com is the best place to look for literary agents; Not only do many agents have member pages there, but you can also search the editorial deals database by genre, category, and/or keyword to identify the best agents for your job. Some other resources to consider include QueryTracker (free and paid versions) and Duotrope.
what you should present to a literary agent
if you write fiction, the agent will want to see the full manuscript (assuming you are an unpublished or unverified fiction writer). If you write nonfiction, the marketability of your idea and your platform often matter as much as the writing, if not more. You should prepare a book proposal that is essentially a business plan that makes the case for why your book will sell in today’s market.
You must finish (and polish) your manuscript or book proposal before submitting it. I know a lot of writers who are so excited to have a story idea, but unless you find yourself in a situation where timing is absolutely critical, get the job done first and rest assured you’re submitting your best work. One of the biggest mistakes new writers make is rushing to post when there’s no reason to rush. don’t expect the agent to help you get to the finish line of your manuscript. While some agents may be open to this kind of editorial work, you’ll get a much better response if you submit a manuscript or proposal that you can’t see any other way to improve.
okay, let’s assume you’re ready. each agent has unique requirements for shipping your materials. the most common materials you will be asked for:
- letter of inquiry. This is a one-page cover letter that provides a brief description of your work. Here’s how to write a query for a novel. here’s another post on how to write a query for a nonfiction book.
- novel synopsis. this is a short summary (usually no more than a page or two) of its history, from the beginning to the end. must reveal the ending. here’s how to write one.
- non-fiction book proposal. these are complex documents, usually twenty to thirty pages (minimum). for more explanation see my full post.
- novel proposal. this usually refers to your query letter, a synopsis, and perhaps the first chapter. there is no industry standard definition of what a novel proposal is.
- sample chapters. When submitting sample chapters of your novel or memoir, start from the beginning of the manuscript. (don’t select a middle chapter, even if you think it’s the best). for nonfiction, usually any chapter is acceptable.
Important: Almost no agent accepts full manuscripts on first contact. this is what “no unsolicited materials” means when you read the submission guidelines. however, almost all agents will accept a one-page letter of inquiry unless their guidelines state otherwise. (If they don’t accept inquiries, it means it’s a completely closed market).
after submitting queries, you’ll get a mix of responses, including:
- no response, which means it is a rejection. don’t worry, this is normal. go ahead.
- a request for a partial manuscript and possibly a synopsis.
- a request for the full manuscript.
If you are not receiving requests for your manuscript or book proposal, there may be something wrong with your inquiry. If you get your material requested, but then turned down, there may be a weakness in the manuscript or proposal.
how to choose the best literary agent for you
1. what is their sales history? This is often the number one sign of whether you have a good agent. Assess your client list and the publishers you’ve recently sold to. Are the publishers that you sell the type of publishers that you consider appropriate for your work? Are the advances your clients ask for in the “good” range for you? Please note that these factors can be somewhat subjective and are also based on your genre/category and your own sense of author identity.
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In short, make sure your agent is experienced and successful in representing the type of work you’re trying to sell. Most agents will display a list of current clients on their site, or you can find informed publisher and agent deals on publishersmarketplace (subscription required).
A note about new agents: Sometimes it’s easier to be represented by a new agent who is trying to build a client list. if you’re a new author with a potentially small deal that an established agent wouldn’t be interested in, then a “hungry” new agent can work just as well. Even if an agent’s track record is still developing, take a look at their previous posting experience. For example, were you previously an editor? o Consider the experience and reputation of the agency she is associated with. If you are working with a solid agency with a track record and/or have a long history of working with New York houses, these are good signs. just make sure you haven’t been trying to build your list for a long time.
2. Does their communication inspire trust? If an agent treats you professionally, that’s a good sign. timeless signs of professionalism in agents: they communicate with you in a timely manner, they communicate clearly and respectfully, their business operations are not hidden secret, they treat you as a business partner.
Sadly, the biggest complaint I hear from agent-but-unpublished writers is that they can no longer get a response from their agent, or that there is little communication about the status of the project. A good agent doesn’t leave their clients in the dark for long periods of time and will provide clarity on every stage of the process, with no loose ends or inaccurate reporting.
That being said, I have seen some unpublished writers who seem to be very picky and have out of the ordinary expectations. how demanding does it look? expecting to call your agent at any time and have a conversation, expecting a daily contact or expecting a near instant response. remember: agents work for free until your book is sold. your most immediate responses go to your established customers, the ones who generate the revenue.
3. What is your level of enthusiasm? Do you feel that the agent really believes in you and your work? While agents are certainly interested in a sale, they’re also interested in projects they’re excited about and clients whose long-term careers they’re proud to represent and help manage.
While it’s not possible to measure enthusiasm quantitatively, think of it this way: Your agent will handle publisher contracts, negotiations, and other financial matters (including paying you) for the life of your job. . you need to trust her and respect her. she pleads her cause with the publisher throughout the life of the book’s publication and resolves conflicts. you’re entering a significant business partnership, and fitting in is important.
what to expect from a good literary agent
- A good agent will discuss with you any rejections they receive from publishers. If your agent has a good relationship with the publishers/publishers they consult, then you will be receiving meaningful feedback. that can share with you. then you can discuss how your book or pitch could be repositioned for sale. however, your time or energy could be drained if you think the project will require a lot more work and reorganization to make a sale that isn’t worth it. or they might think you’re not willing to reposition the book.
- don’t assume your agent isn’t good enough if your book didn’t sell. but agents should have a discussion open and frank with you about the rejections received. you also have the right to know which editors were consulted, especially after a long period of time has passed. You can also request rejection letters, although your agent is not required to provide you with specific contact information for editors and publishers.
- Did the agent help you improve your query, presentation, and/or proposal? a good agent will improve the consultation/proposal package. there may be a handful of authors who can put together a great proposal, but they are few. An agent needs to make sure the pitch or proposal is set up for success, and this almost always requires at least one round of feedback and review.
- Your agent needs to know how to handle a book deal . A good agent knows where to ask for more money or rights, and knows if a client is getting the best possible deal. (If an agent hands her a boilerplate deal from a publisher to sign with no changes, she might be in big trouble.) many authors like to have an agent who is an “attack dog”, but primarily an agent needs to know how to protect your rights (by changing or inserting the correct contract language) and prevent you from signing an unfair or substandard deal. Agents know the industry standards, when those standards are changing, and when to push for more. however, they also understand that it’s not all about money; sometimes it’s better to partner with a publisher that offers a smaller advance. a great agent advises you on the pros and cons of the deals they offer you.
- a great agent is an author’s business manager, mentor, and cheerleader. agents too they are there to hold your hand when things go wrong with the publisher or editor. They support you when you’re down, celebrate your successes publicly, pursue opportunities you may not see, and serve your best financial interests as well as your overall career growth.
- People in the industry should Recognize your agent’s name. If you can’t find any mention or reference to your agent online, and he’s not a member of the Association of Authors’ Representatives (AAR), that’s a red flag. carefully check his history. see who it was sold to and how long ago. One thing you shouldn’t worry too much about is the size of the agency; this does not necessarily correlate to the quality of the agent or the size of the deal you can expect.
Are all agents created equal?
yes and no. As industry consultant Mike Shatzkin points out, there are potentially hundreds of agents capable of selling any particular book. what tends to be more important is the chemistry between the agent and the author, and the agent becomes involved in the author and her work. shatzkin says:
The same agent is not equally good for all the books he might represent. enthusiasm matters. have strong connections with three publishers who would love this particular book. having the belief that [you] can become a prolific author over time would be important. In other words, the agent who did the most deals for the most dollars last year might not make a better deal for [you] and this book than someone who did half as well.
For more great information on how to tell a good agent from a not-so-good one, check out the Beware of Literary Agents article (or skip straight to the section on amateur agents).
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for further guidance
- If you want a detailed guide on how to build an authoring career, consider my book, The Business of Being a Writer.
- I offer a query letter masterclass if you plan to consult agents in the near future.