The Agent Search - How to Decide
In my last entry I discussed how to gather a list of agents you would like to submit to. In this entry, I want to talk a little bit about choosing WHO you submit to first.
Honestly, that was the hardest part for me. I'd had two recommendations from a fellow WPFer, and those were a very easy decision to make. Beyond that, though, I had all these questions swirling in my head. Sure, I have a list of "dream agents"--every author should, IMO--but I also have a strong dosage of "business sense," and that part of my brain kept telling me to try a different route.
One of the hard things about being a new author is that some of the bigger, well-established agents aren't necessarily as willing to take us on. It isn't because they don't support new authors, but rather because they already have big name clients who garner a huge chunk of their attention. But at the same time, those agents have a proven track record. The agents who represent well-known, best-selling authors like Susan Elizabeth Phillips, Jennifer Crusie and Nora Roberts obviously know their stuff. So on one hand, it's hard NOT to query those agents. And I'm not saying you shouldn't.
BUT there are also newer agents, agents who may not have the superstar authors but who are building their client list and are hungry for fresh voices. Those agents may not have the clout of a Steve Axelrod, they may not have the huge client list with the superstar writer(s), but they're hungry. A lot of knew agents (from what I've heard), will go to bat for their authors, will push and try their hardest to get the best deals possible for their writers. Plus, a smaller client list means more attention per writer. For a new author who's trying to start her career, this could be a very good thing.
So which do you choose? The titans of the agent world or the newer agents who want to eventually be one of the titans?
I say go for a little bit of both.
It doesn't hurt to query a big name agent--you never know what could come of it. And Lord knows fear will get you nowhere in this business.
At the same time, it doesn't hurt to query those newer agents, too. A newer agent might be more willing to take on something that a more established agent wouldn't be. Plus, there's that whole smaller client list, ambition thing they have going on. Both of those could be an advantage--for both you and the agent.
For my first round of queries, I split it evenly--half of that first batch went to established, big name agents (aka "dream agents") and half went to newer agents who seem promising and like they could be a good fit.
From talking to other writers--especially new, unpublished (or barely published) writers--it seems there's sometimes a fear of going with someone who isn't "established." I say, we all have to start somewhere. Just like we as writers have to start our careers somewhere, agents do too.
In the end, though, you have to do what's right for YOU as a writer, and what you feel comfortable doing.
Next up: Requests and Rejections
Honestly, that was the hardest part for me. I'd had two recommendations from a fellow WPFer, and those were a very easy decision to make. Beyond that, though, I had all these questions swirling in my head. Sure, I have a list of "dream agents"--every author should, IMO--but I also have a strong dosage of "business sense," and that part of my brain kept telling me to try a different route.
One of the hard things about being a new author is that some of the bigger, well-established agents aren't necessarily as willing to take us on. It isn't because they don't support new authors, but rather because they already have big name clients who garner a huge chunk of their attention. But at the same time, those agents have a proven track record. The agents who represent well-known, best-selling authors like Susan Elizabeth Phillips, Jennifer Crusie and Nora Roberts obviously know their stuff. So on one hand, it's hard NOT to query those agents. And I'm not saying you shouldn't.
BUT there are also newer agents, agents who may not have the superstar authors but who are building their client list and are hungry for fresh voices. Those agents may not have the clout of a Steve Axelrod, they may not have the huge client list with the superstar writer(s), but they're hungry. A lot of knew agents (from what I've heard), will go to bat for their authors, will push and try their hardest to get the best deals possible for their writers. Plus, a smaller client list means more attention per writer. For a new author who's trying to start her career, this could be a very good thing.
So which do you choose? The titans of the agent world or the newer agents who want to eventually be one of the titans?
I say go for a little bit of both.
It doesn't hurt to query a big name agent--you never know what could come of it. And Lord knows fear will get you nowhere in this business.
At the same time, it doesn't hurt to query those newer agents, too. A newer agent might be more willing to take on something that a more established agent wouldn't be. Plus, there's that whole smaller client list, ambition thing they have going on. Both of those could be an advantage--for both you and the agent.
For my first round of queries, I split it evenly--half of that first batch went to established, big name agents (aka "dream agents") and half went to newer agents who seem promising and like they could be a good fit.
From talking to other writers--especially new, unpublished (or barely published) writers--it seems there's sometimes a fear of going with someone who isn't "established." I say, we all have to start somewhere. Just like we as writers have to start our careers somewhere, agents do too.
In the end, though, you have to do what's right for YOU as a writer, and what you feel comfortable doing.
Next up: Requests and Rejections
You make some great points Aubrey! I'm not quite ready to submit to agents yet, but it can be an overwhelming process to figure out who to submit to. I found one agent last year who was practically begging for Women's Fiction (he'd successfully agented in the non-fiction market), but then I found out he had some shady history when I searched further.
At this point, my plan is to submit to the junior agent at a big firm who represents one of my favorite Big Name authors, and then to also find some agents who are looking for what I write.
Then there is also the whole question, should you have an agent at all? I don't want to have to decipher all the legal stuff, but keep hearing it's better to submit straight to the publishing houses. I think I'll probably try the agent route first though.
~Stephanie
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Honestly, I think it depends upon the author, what you're writing and which publishers you want to submit to.
For e-publishing, you don't really need an agent. The contracts are very straightforward, and you don't get into anywhere near as many complications as with traditional print contracts (from what I understand, since I've never seen a print contract).
Harlequin will accept unagented submissions, but a lot of other publishing houses won't. Considering you write women's fiction, I think most of those houses want agented submissions.
The thing is, I don't want to deal with all of the legalities, either. It isn't that I can't handle them (I'm the rare writer with business sense--thank you North Texas business school *g*), but rather that I would prefer to spend my time writing than deciphering legal jargon. Plus, an agent's going to make sure you get the best deal possible, and fight for your rights. She'll make sure there aren't any clauses in your contract that will hurt your career or cause problems down the road (especially if you write under a pen name, too). If you're writing under more than one name an agent can handle contracts for both, and make sure things don't start conflicting.
Plus, agents have their fingertips on the pulse of publishing, since they work in it day in and day out. Let's face it, by the time we writers hear some news it's days or weeks or even years old. A good agent has an eye for what will sell, knows what editors are looking for, and can help guide your career in the right direction.
Do you necessarily have to have an agent? No. But I think having one makes life a lot easier, and I'm all about anything that makes my life easier so that I have more time to write.
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