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A Is for Agent: A Primer for Writers Seeking Representation
Part 1
Copyright 2000 by Patricia Anderson
Your book. You can see it now--the shiny jacket, your picture
on the back, and signature on the flyleaf--not to mention all the
favourable reviews it will be bound to attract.
At present it's an unpublished manuscript, but you've edited
and proofread the final draft and feel confident it's ready to
submit. The trouble is, acquiring editors are unlikely to read,
let alone accept, manuscripts submitted "over the transom." No
doubt about it, to escape the indignity of the "slush pile,"
receive fair payment, and achieve due recognition, you need an
agent.
Or do you?
The idea that literary representation is the best or only
way to get published is a common misconception among new authors.
Many also make crucial mistakes in their initial approach to
agents, with rejection the inevitable result. Others end up
locked into unfavourable contracts and ineffectual
representation.
Successful writers, on the other hand, understand what a
competent agent can, and cannot, do for their careers. They
consult reliable sources of information, submit their work
appropriately, and maintain professionalism at all stages of the
author-agent relationship. My experience as an agented author and
consultant to other writers has shown that by following a few
basic guidelines you avoid unnecessary frustration and increase
your chances of publication--whether on your own or represented
by the right agent.
A Is for Agent--Do You Really Need One?
"You need an agent to get a book published, but you also need to
have a book published to get an agent." Fortunately for new
writers, the first part of publishing's purported catch-22 is
largely untrue. While some authors make their first sale with the
help of an agent, many others succeed on their own.
Before you start approaching agents, consider whether or not
your particular book will substantially benefit from their
services. For example, serious nonfiction aimed at university or
commercial scholarly presses does not generally require
representation. Similarly, books with a strong regional focus or
appeal to an identifiable niche market--collectors, hobbyists,
owners of small business, and so on--are routinely published
without agent intervention. Many children's book presses also
accept manuscripts from unrepresented authors, as do some
publishers of genre fiction.
If, however, your book has potentially wide national or
international interest, you may be well advised to seek
representation. Should your efforts fail, you can always approach
publishers directly at a later date.
Before you commit yourself to a long and possibly
disappointing search for an agent, be sure that representation is
in fact suited to your individual needs. An agent can be an
invaluable asset for the fulltime professional, an optional
luxury for the occasional writer. Your personality is also a
factor. Some people want complete control over their careers,
while others are happy to be free of the business side of
writing.
Whatever your situation, there are both advantages and
drawbacks to literary representation. On the one hand, effective
agents have market knowledge, contacts, and the ability to secure
bigger advances than many writers could obtain for themselves.
They can also give you more time to write because they submit
your work, negotiate contracts, and manage subsequent royalty
accounting. On the down side, you pay a 15-20 percent commission
on your earnings, however small they might be, and most agents
also charge for office expenses incurred on your behalf--typically postage, photocopying, and long distance calls. You may
also lose some control over where and when your work is submitted
and be unable to establish as close a relationship with your
editor as you might have done without a third party involved.
If you decide that on balance you would be better off with
an agent, your next step is to target some likely possibilities.
Unless you already have suitable contacts, perhaps through other
writers, you will have to consult the agent listings in
directories such as Book Trade in Canada and Writer's
Market. Click here for other
resources.
The agent you really need is among those who require only
their commission and reimbursement for routine office expenses.
Avoid those who charge editing fees or have kickback arrangements
with book doctors and insist that your work be passed on to them
for revision at your expense. Agents who ask for a moderate
onetime reading fee, say $100-$300, are not necessarily
disreputable, but be aware that the Canon of Ethics of the
Association of Authors' Representatives (AAR) stipulates that
member agents "may not charge clients for reading and evaluating
literary works." Click here for
further information about the AAR and its members.
It's a matter of common sense to select an agent who is not
only ethical but also prepared to handle the kind of material you
write. If you work in more than one fictional genre or write both
novels and nonfiction, target those who represent a range of
fiction and nonfiction. When a listing specifies adult fiction
only, for instance, don't delude yourself that the agent will
make an exception for your nonfiction book for preteens. As
obvious as it sounds, aspiring authors commonly make this kind of
mistake.
As you prepare to contact your selected agents, be
realistic and remember that the second part of publishing's
catch-22 is not completely unfounded. Without a publication track
record, finding competent representation is a challenge. But with
a quality project and professional approach, it remains possible.
Click here for Part 2
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