In this episode, we discuss how to get a literary agent.
While most Novel Marketing listeners are indie authors, about 1% of our audience is interested in finding an agent. Even if you’re an indie author, you may have considered traditional publishing at some point. Perhaps you’re a seasoned indie author exploring traditional publishing or a traditionally published author contemplating going indie. A good agent can help you navigate both worlds, whether you’re hybrid, fully indie, or traditionally published. A great agent can significantly enhance your career.
Thomas: They say the primary reason to pursue traditional publishing is the capital, which funds professional editing, high-quality covers, and credibility. But an agent brings contacts and contract expertise.
Agents have first-name relationships with decision-makers at publishing houses. A reputable agent can negotiate contracts effectively. I know authors who were taken advantage of by major publishers because they lacked an agent. In some cases, companies walked all over them, derailing careers and, in one instance, ruining an author’s national reputation. An agent could have prevented that.
Jim: Even James Scott Bell, an attorney by background, used an agent for his contracts when he was traditionally published. He no longer handles contracts himself since he’s gone fully indie. But back when he was traditionally published, he relied on an agent to negotiate despite his legal expertise.
Thomas: One key benefit is collective bargaining. Agents represent multiple authors, giving them more negotiating leverage with publishers than an individual author would have. This leads to better deals and treatment for authors. Your agent acts as your advocate. If you’re not getting what you need, you can keep asking, but an agent’s requests carry more weight because of the other authors they represent.
Who needs an agent?
Jim: If you’re successfully indie publishing and want to continue that path, you might not need an agent. In that case, a career counselor could be more useful than a literary agent, as agents earn from traditional deals and may not be motivated to assist. You also don’t need an agent if you’re pursuing traditional publishing, but your writing isn’t ready. I’ve admitted on this show before that I thought my writing was ready when it wasn’t. You’re wasting your time and a potential agent’s time if you’re writing isn’t where it needs to be.
Thomas: If you want to be traditionally published, getting an agent is a no-brainer. They secure better deals, and they don’t charge upfront fees. Some authors balk at the 15% commission, but that’s 15% of what they negotiate for you. They typically increase your advance, and 85% of a watermelon is far more than 100% of a grape.
Agents also act as career counselors, negotiate contracts, and guide project selection. Many of you likely have multiple book ideas. An agent can help prioritize which book to write first based on market potential or ease of selling to a publisher.
Jim: Sometimes, agents pitch opportunities you wouldn’t otherwise hear about. They might say, “I’ve got this project from an editor. Do you want to take it on?” Those connections are invaluable.
## Who does the agent work for?
Thomas: Reputable agents only get paid when you do, and that’s a good thing. It aligns their financial incentives with yours. They want your advance and royalties to be as high as possible because their income depends on yours. If an agent seems to represent the publisher’s interests, you need a different agent.
Jim: This mindset is critical. Some authors are so desperate for an agent that they feel beholden, thinking, “They did me a huge favor by signing me.” I have a friend who’s afraid to challenge their agent because they might not like it. No. You’re the boss, paying their salary. That’s the attitude you need.
Thomas: Not every agent is the right fit for you or your book. When I started in the industry, agents were scarce, and everyone knew who they were. Now, with publishing companies consolidating and laying off editors and marketers, many have become agents. You can’t attend a conference without meeting dozens. Some have long track records, while others are new and eager to sign authors to build their roster. However, a new agent may not have the connections to secure the deal you need.
Jim: Fit matters. Years ago, I attended a conference panel with seven agents. As they spoke, I realized I’d only work well with two of them. The rest weren’t a good match, personality-wise. Think of an agent like a marriage partner. You won’t connect with everyone, just like in real life.
Thomas: Most agents specialize in specific genres. Publishers know which agents to call for certain books. Some focus on fiction, others on nonfiction. Long-established agents may handle both, but they excel in one area.
Your best fit is an agent whose strength aligns with your writing. If you’re their one novel among 99 nonfiction books, you’re at a disadvantage. However, if you have a strong relationship with an agent who represents your nonfiction and then you write a novel, they might take it on. For a debut novel, choose an agent who specializes in your genre, like romance, children’s, YA, or science fiction.
Jim: When interviewing agents, remember that they’re assessing you, and you’re assessing them. Pay attention to who talks more. Are they asking about your work and goals or boasting about themselves?
A few years ago, I spoke with an agent who talked for an hour and 45 minutes during a two-hour conversation. I realized I needed someone who was focused on my career, not theirs.
Thomas: You can research agents at websites like AgentQuery.com.
Jim: AgentQuery.com lists about 1,000 agents and is a growing resource for writers querying agents. It’s a community where you can find advice and support. Beyond online research, ask for recommendations. Talk to an agent’s authors or editors at publishing houses. I’ve asked editor friends, “Who’s a good agent for me?” Personal connections matter.
Thomas: Other useful sites include QueryTracker.net and WritersMarket.com, but the best way to get an agent is through a recommendation from one of their authors. Most agent contracts come from referrals, not blind queries. Authors act as an agent’s scouting team. Conferences are key for building these relationships. Meeting authors, agents, and editors in person is the most effective way to get an agent.
Jim: Don’t just chase agent or editor appointments when you’re at a conference. Connect with authors who could introduce you to their agents.
Thomas: Agents look for three things: a great idea, a great platform, and great writing.
Jim: Agents tell us that if you have two of those three, they’ll sign you.
Thomas: Many successful books have two of the three. Three is ideal, but by applying Novel Marketing’s branding and email strategies, you can build a platform that attracts agents. A platform shows your message resonates and you have a community.
Jim: Learn to write a killer bio, query letter, and logline. You spend time honing your craft to write a novel. Invest time learning how to write the pieces that will help you sell your book.
- How to Write a Crazy Cool Author Bio
- How to Write a Query Letter with Mary DeMuth
- How to Develop an Author Tagline
Thomas: Another tip is to engage on an agent’s blog. It helps you understand the industry, sound like an insider, and build a relationship. Agents notice active commenters, which shows you’re informed. Agents read their blog comments and value engaged writers.
Jim: You’re marketing yourself, not just your writing. Your persona, reputation, and interactions matter. They’re always watching.
Thomas: To get an agent, first, build relationships with authors. Be friendly and likable. An author will introduce you to their agent, who may request a query letter, which is a few paragraphs about your book. If they like it, they’ll ask for a proposal, which is like a business plan for your book plus three chapters or the full manuscript. If they like the proposal, they’ll offer a contract, usually taking 15%, which is the industry standard. You pay nothing to them upfront; they earn money only when a publisher buys your book. They negotiate the best deal, you both get paid, and you write the book, ideally building a long-term relationship.
Jim: It’s a win-win. You avoid self-publishing costs like typesetting. Still, traditional publishing has its challenges. It’s a different path, not necessarily an easier one. Some of us went traditional, others indie. Choose what suits your book and story.
Related Episodes
- How to Write a Query Letter with Mary DeMuth
- How to Get an Agent With Rachelle Gardner
- How to Get Published with a Traditional Publishing House
- How to Create an Elevator Pitch So Good That People will Stop the Elevator to Hear More
- Book Proposals 101 with Steve Laube
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