In our previous episode, we discussed How to Get an Agent from our point of view. To get another angle, we spoke with literary agent Rachelle Gardner. She’s an amazing agent, one of the top bloggers on publishing, and the leader of a faithful tribe of followers.
Jim: I first met Rachelle at a writing conference in Denver, around 2009. At the time, she invited me to write a guest post for her blog. That post ended up catching the attention of Chuck from Writer’s Digest. He reached out and asked if I was really a debut author. When I confirmed that I was, he featured me in Writer’s Digest‘s “Breaking In” column.
Rachelle: Wow, I had no idea! That’s an amazing story. I do remember meeting you in Denver. It feels like such a long time ago.
Jim: It really does. But even back then, I was immediately impressed with your sharp wit, industry knowledge, and great sense of humor. It was one of those moments where I thought, “I need to be friends with this person.”
Rachelle: I met Thomas when I wanted to switch my website from blogger to WordPress, and I needed a new design. I hired Thomas’s company to build it, and his company is still managing the back end of my website. We’ve had many other associations since then, but that’s how it started.
What matters most to you when evaluating a potential client?
Thomas: Jim and I often discuss the key factors in getting an agent including writing quality, platform, and idea. Which of these matters most to you when evaluating a potential client?
Rachelle: Great writing, a strong platform, and a compelling idea are the big three. While all those elements are important, for fiction, writing is by far the top priority. Since I’m mostly speaking to novelists today, I want to stress that the writing must be stellar.
A novel’s idea might not seem groundbreaking at first, but if the writing is strong, readers will keep turning the pages and fall in love with the story. That’s why the idea is secondary. Platform is also secondary for novelists, as it can be built over time, especially after the book is published. In the end, great fiction starts with great writing. It has to be a page-turner.
What other qualities do you look for in a writer?
Jim: If writing, platform, and idea are the big three, what would be next on your list? What other qualities do you look for in a writer?
Rachelle: While those are by far and away the most important considerations, a writer’s personality is also a factor. I ask myself:
- Are they a good fit for me?
- Do we connect on a personal level?
- Do I genuinely enjoy talking with them?
Personal connection matters.
Another key factor is originality. Truly fresh, new ideas are rarer than you’d think, so when I come across one, it stands out.
Jim: What do you do when you hear a great, original idea but the writing quality isn’t there?
Rachelle: It’s such a disappointment because you want to love the story, especially if the idea is good. Not everyone is as skilled as they need to be when they get started. It’s disappointing, but I move on.
Why do agents seem so intimidating?
Jim: Many writers see agents as almost untouchable, but in reality, you’re actively searching for the next great author. It’s not that you don’t want to find them; it’s just that certain qualifications need to be met before you’re ready to sign them. Could you expand on that?
Rachelle: Because there are so many writers and so few agents, it can feel like there are big barriers to getting an agent or getting published. Agents are often seen as gatekeepers, and writers sometimes create mental obstacles, thinking, “I can’t talk to them” or “they’re not even real people.” It can feel like we exist to keep writers out, but the truth is the opposite. We’re actively searching for great writers. We want to find talent we can help get published. We want to love the work of every writer.
Do poor book sales kill an author’s career?
Thomas: What if I’ve published a couple of books that have not sold well. What advice do you have for an author who wants to relaunch their career?
Rachelle: It’s definitely difficult. But if that author were already my client and their books weren’t selling well, we’d sit down and strategize. The approach might differ for fiction versus nonfiction, but we’d need to figure out the root cause. Is it the writing, the topic, the publisher, the title, or the cover?
Once we identify the issue, we’d look for alternative paths. Maybe we-d look for a smaller publisher interested in their work or pair them with a bestselling author for a collaboration. Sometimes, self-publishing is a good option to boost sales and demonstrate audience demand. If they can successfully market and sell their books on their own, we can go back to publishers and say, “Look, this author has built their platform and proven their marketability.”
So it really does take some strategizing.
Jim: Would you ever champion an author who is not your client just because you see the potential?
Rachelle: That would likely be too big of a project to take on, but as with everything, it depends. It’s more feasible in nonfiction since it’s easier to shift direction. In fiction, it’s possible but more challenging. An author might choose to write under a pseudonym or switch genres, essentially reintroducing themselves as a new writer. If something impresses me enough, it’s not out of the question that I’d consider it.
Do I need an agent if I plan to indie publish?
Rachelle: If you have no desire to be traditionally published, you don’t need an agent. Many authors thrive in indie publishing and make great money doing it, which is fantastic. However, not everyone is suited for that path. Indie publishing requires an entrepreneurial mindset because you’re responsible for every aspect of your writing career.
Some writers prefer to focus primarily on writing. While they understand the need for marketing, promotion, and editing, they don’t want to run an entire business; they want a partnership with an agent and a publisher.
For many, traditional publishing is a lifelong dream. Until they receive a “yes” from an established agent and publisher, they don’t feel that dream is fulfilled. It’s a personal choice. If you want to be part of a traditional publishing team, then seeking an agent and publisher is the right path. But if indie publishing suits you, that’s great too. It’s not about one being better than the other. They’re simply different paths.
Even authors who are partnered with an agent and a publisher are much better off if they have a business mindset, but they are still a bit more free to focus on the writing without worrying about the business aspects.
If you’re not sure which path to choose, my book How Do I Decide? will help you determine which path is best for you and your goals.
What are some unusual things authors have done to pitch you?
Rachelle: Being an agent is funny in a way because so many people either want to write a book or have already written one and are eager to get published. From experience, I’ve learned not to volunteer that I’m an agent because it often leads to unexpected pitches.
I’ve had plenty of surprising encounters. Once, I was at a volleyball game watching my daughter play when another mom sat next to me and asked, “Are you Rachelle Gardner?” I said yes, and as I was trying to focus on the game, she said, “I have a query in your inbox right now,” and launched into a pitch about her project. It was so out of context for me, and I was just trying to watch my daughter play. Ultimately, it didn’t work out for her.
More recently, I visited a new dentist. As he made small talk, he asked what I did for work. I hesitated and vaguely said I worked in publishing. He kept pressing and finally said, “Oh, are you an agent?” When I admitted I was, he immediately started telling me about his wife’s sci-fi/fantasy novel. A few minutes later, his wife walked in, handed me her card, and started pitching her book while I was sitting there with my mouth open in the dentist’s chair.
I completely understand and even admire people for being bold enough to put themselves out there. But when you’re in a vulnerable position like the dentist’s chair, it can feel really strange. So yes, all those stories about writers pitching agents in the most random places? They’re definitely true.
How can I submit a proposal or query letter that gives me the best chance at representation?
Rachelle: The best way to increase your chances is to research and target the right agents. Use resources like The Writer’s Digest Guide to Literary Agents or reputable websites to find agents who represent the type of books you write. Some agents don’t take fantasy or sci-fi, while others specialize in those genres, so proper targeting is key.
Above all, be professional. Your query letter should be concise, clearly stating what your book is about and its genre. Include a brief bio in a sentence or two. Mention any notable credentials like an MFA, writing awards, or relevant experience. For nonfiction, platform and expertise matter more, but if you have credentials that make you qualified to write a certain type of fiction, you should mention it.
Ultimately, I need to quickly understand your book’s premise and decide whether to request more. You’d be surprised how many queries we receive that are highly unprofessional, so keeping it polished and respectful makes a big difference.
What are some things writers rarely (but should) do when querying?
Rachelle: Many writers struggle to concisely summarize their projects. Crafting a clear, brief pitch takes more effort than most realize, but it is essential.
Another crucial factor is shifting your mindset. Once you decide to pursue publication, you’re no longer just writing for yourself. You need to think like a business professional. Approach publishing as if you’re pitching a business plan to investors. Research the industry, read books on publishing, follow industry blogs, and learn from agents’ websites.
I know your listeners are already on the right track by tuning into this podcast, which shows they understand there’s a lot to learn. But being informed about how publishing works is key. I often receive emails from writers saying, “I’d like to hire you as my agent,” as if I were a lawyer or accountant.
Writers need to understand the industry before approaching agents.
How is publishing like the show Shark Tank?
Rachelle: On Shark Tank, entrepreneurs present their products to venture capitalists, hoping for an investment. Writers need to understand that a book proposal to a publisher works the same way. You must be professional, highlight the book’s strengths, and demonstrate why it will be profitable. You won’t say those exact words, but just like those business owners seeking funding, you’re asking a publisher or agent to invest in you.
Agents commit countless hours to a project without knowing if they’ll ever get paid. We take a risk, assuming we’ll sell the book, and everyone will earn an income. You need to show me why it’s worth that risk. More importantly, you must convince a publisher that your book is a sound investment because it could cost them tens of thousands of dollars or more to publish.
What books do you recommend to help authors learn about proposals, querying, and publishing?
Rachelle: Here are some great resources to help writers understand marketing, book proposals, and the publishing industry. (All of the following book links are affiliate links.)
Marketing & Platform Building
- Platformby Michael Hyatt – A solid starting point for understanding author platforms.
- Sell Your Book Like Wildfire by Rob Eagar – A great resource on book marketing strategies.
Book Proposals
- How to Write a Book Proposal– A must-read for crafting strong proposals.
- Jeff Herman’s Guide to Book Proposals – Another excellent resource for learning how to pitch your book effectively.
Publishing Industry Insight
- Writer’s Market Guide – Includes helpful articles on publishing and an extensive directory of publishers and agents, categorized by genre (e.g., children’s publishing, Christian publishing).
- How Do I Decide?– by Rachelle Gardner explores the choice between self-publishing and traditional publishing. It doesn’t pit them against each other but instead helps writers determine which path is right for them. The book outlines key criteria to consider and expands on the factors that might make one option a better fit than the other.
Check out Rachelle Gardner’s extensive blog articles and find her submission guidelines at RachelleGardner.com.
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