Bottom Line About Agents

Author: Kelly James Enger

When I speak at writer’s conference, I’m asked more questions about agents than anything else. “Do I need an agent?” “Can you recommend an agent?” “How do I get an agent?” “How much do you pay an agent?” “Is it worth it to have an agent?” To the uninitiated, agents seem like magical beings blessed with the power to make deals, sell books, and command big advances. And that’s true—some are. Some are not. But not every writer needs an agent at every stage of his or her career.

Magazine journalists and business writers—those who do the majority of their work for corporations—usually don’t need to worry about getting an agent. On the other hand, if you write books—or want to—an agent may be worthwhile. Some freelancers prefer to sell their books on their own, figuring they’d rather keep the 15% commission most agents charge. But like me, other writers prefer to let their agents handle the task of selling books to publishers.

Here’s how I see it. First of all, a good agent is likely to know more—much more—about the publishing biz than I do. She knows editors at different houses, their individual quirks, likes and dislikes. She’s familiar with their lists, and is up on new imprints and new lines being introduced. She knows what’s selling now, what’s not—and what’s likely to sell in the future. She’s more connected to the publishing industry as a whole than I am.

In addition to this market knowledge, a good agent also has experience negotiating and working with editors, and she can almost certainly get a better deal than I can on my own. I was a lawyer in my former life, and I can read and understand what the language in a book contract means from a legal standpoint. But that doesn’t mean I understand the significance or impact of that language—like if the publisher is requesting a certain type of foreign language rights. What are those rights usually worth? Is the contract reasonable for the industry or should it be changed? Is the royalty percentage offered standard? Is it better to be paid a smaller percentage on gross sales or a larger percentage on net sales? I don’t know the answers to these kinds of questions, and I want to agent to represent me in this all-important negotiation to make sure I get the best deal possible.

When seeking an agent, I suggest starting with a general guide like Jeff Herman's Guide To Book Publishers, Editors & Literary Agents, 2006 (The Writer Books, 2003) which is updated annually. Make a master list of possibilities, keeping factors like the following in mind:

Does the agent represent your type of book?
How long has the agent been in business?
Is the agent located in New York? No, an agent doesn’t have to live in NYC, but it’s a plus when it comes to face-to-face meetings and keeping tabs on the publishing industry.
Is the agent a member of AAR, Association of Author’s Representatives? Members of AAR are expected to adhere to its Canon of Ethics, which provides, among other things, that agents will not charge reading fees for potential clients. (Many writers have been duped by less than reputable “agents” who agree to evaluate and/or market a manuscript—for a fee of hundreds, even thousands of dollars.)
How many clients does the agent represent?
What’s the agent’s philosophy toward his or her business? Does he or she sound like someone you’d like to work with?
Had you heard anything else about this agent?

After making this list, check out the bookstore for books like your own. Check the “Acknowledgements” section of books similar in topic or genre—authors almost always thank their agents, and book editors, by name. Then send query letters out to the top picks on your list, asking if they’d be interested in seeing your proposal (for nonfiction) or manuscript (for fiction.) It’s quicker—and cheaper—to send letters rather than complete manuscripts or proposals; if the agent wants to see your work, then you can send it to them.

Once you have an agent who’s interested in you, ask how he plans to sell your book. Why is he interested in representing you? How much contact does he like to have with clients? Ask him to send you a copy of his agency agreement so you can review it before you sign with him.

Freelancer Leah Ingram, author of six books on wedding and gift-giving, has worked with three agents throughout the course of her career. “When you’re looking for an agent, one of the things I’ve learned is to ask, ‘how are you going to sell my book?’” says Ingram, who’s based in New Hope, Pennsylvania. “The most important thing is how is the agent going to sell the book, and does it jibe with the way you do business.”

Ingram saw her current agent speak at a conference, and thought they’d work well together after she heard the woman describe some of techniques she uses to sell a manuscript. For example, her agent calls editors to determine their level of interest in a project before sending on a book proposal rather than blindly mailing out proposals. Ingram was impressed with that approach, and decided to hire her. That’s why attending writer’s conferences where you can hear agents speak—or even meet with them in person—can be a wise investment when you’re looking for an agent.

Once you have a book deal, your agent functions as your intermediary between you and the publisher. He or she will negotiate the contract, taking a hard line when necessary, and you can focus on writing the book—and maintaining a friendly relationship with your editor. With my first book, a small publisher was already interested in the idea, so I didn’t have to formally pitch a proposal through my agent. I sold my first novel on my own as well, but I still had my agent negotiate those contracts. She got me better terms, and in one case, a 50% larger advance, which more than made up for her 15% commission.

An agent who believes in your work and has contacts and experience can make an enormous difference in your writing career, and your bottom line. It’s worth it to invest some time and effort to make sure you find the agent who’s perfect for you.