The Job of a Literary Agent and How to Know if They're Good at It

Contracting with a literary agent and getting a traditional publishing contract remains the holy grail of many authors and aspiring authors, but getting the attention of agents and publishers is becoming increasingly difficult.

Most advice out there, including what I offer, is geared toward making you more appealing to agents. But there's something that isn't being talked about enough and that I cannot in good conscience ignore because I see authors waste a tremendous amount of time and money pitching to agents who are, in my opinion, bad at their jobs.

This post is designed to help you think strategically and make informed decisions about the people you do business with. What I'm about to recommend is exactly what I do on behalf of my clients and myself when deciding who to engage with and who to avoid.

It starts with thinking deeply about the system, the players, and how they relate to and can benefit or harm one another.

What Is a Literary Agent's Job?

A literary agent's job is to sell their clients' manuscripts to publishing houses and negotiate the best deal possible on behalf of their client. Put another way, a literary agent's job--how they make money--is to make money for their clients by selling intellectual property right to publishers.

To be good at their job, they must recognize talent and have the professional network and business skills necessary to consistently negotiate good deals on behalf of their clients.

Recognizing talent and selling are two different skill sets.

Many literary agents are good at recognizing talent but lack other things necessary to do excellent work on their clients' behalf.

Many Literary Agents Aren't Doing Their Job

Part of what I do (one of my favorite thing to do, in fact) is to develop relationships with literary agents and serve as a literary matchmaker. When I find excellent writers and projects, I like to pitch them to agents I trust and who I believe would be a good fit for my client.

This means that the author must be prepared and proactive (i.e. strong writing skill, solid platform, strategic marketing plan--all the things), and the agent must be professional and productive (i.e. reasonably responsive and consistently making deals).

What I've run into lately when reaching out to agents is a trend for new agents to be highly involved in the editing process. Several have told me that they don't recommend that authors engage with freelance developmental editors because they consider editing part of their job.

This sounds great. No need to pay for freelance editing or writing classes. Just show up with enthusiasm and a great concept, and your agent will "free of charge" help you craft a manuscript that appeals to acquisition editors at publishing houses.

The Problem with Editorially Focused Agents:

  • The more time a literary agent spends doing non-sales tasks such as reviewing manuscripts and offering editorial feedback and author coaching the less selling they can do.
  • The less selling they do the slower their reputation, network, and sales skills grow.
  • And the less selling they do, the less income they make.
  • The less income they make the less sustainable they are.
  • The less sustainable they are the faster they're likely to burn out and go bust.
  • When they burn out and go bust, existing clients get shuffled to another agent in the agency or--if the agent is a sole proprietor--are orphaned.

Successful agents are intelligent, tenacious, and highly focused individuals who know which tasks to say "yes" to and which tasks to say "no" to. If they're saying "yes" to everything but actually pitching to acquisition editors, following up on pitches, and confidently negotiating contracts, they're saying "no" to making money for their clients.

Do not Trust that the Agents at Writers Conferences Are good at Their Jobs

I would love to tell you that all writers conference organizers have your back and that if you're going to pitch in person (and pay extra to do so) that you can trust that the agents on their lists are good at what they do.

Unfortunately, experience tells me otherwise.

It may be true that you have a better chance of getting the attention of an agent and even getting signed if you go to a conference and pitch in person, but the uncomfortable question is Why?

To be clear, I love writers conferences and recommend that you pay the money to go to them. I also recommend that you pay the extra money to pitch to agents while there, but understand a few things before you do:

  • Not all writers conferences are of equal quality.
  • Pitch-for-fee sessions support the cost of putting on writers conferences, so the more agents and slots available the more money the conference can bring in.
  • Signing with an agent doesn't mean you'll get a publishing deal.
  • Signing with the wrong agent will cost you time and money.

Before I move on, I want to speak directly to ranty, anti-traditional publishing people. Do not use this to support your claims that traditional publishing is bad and the system corrupt. Do not use the word "scam." I haven't and won't. That's an oversimplification and demonstrates a lack of understanding on your part of how the industry works and what motivates different types of authors to choose different publishing paths.

As with any industry, there are good and bad players. We must take responsibility for educating ourselves about how the system works and do our due diligence. I have a very low tolerance for authors whose whining and almost complete lack of platform and discernable branding and marketing strategy shows that they haven't bothered to spend a few hours doing internet research about an industry they expect to succeed in. (Related: A Freelancer's Take on Gatekeepers, Literary Snobs, and Naysayers)

Now back to our regularly scheduled program: So, how do you go beyond the glossy headshots, well-crafted bios, and writers conference guest status to vet the agents you think would be a good fit for your work?

How to Know if a Literary Agent is good at Their Job

Subscribe to Publishers Marketplace and verify the credentials of every agent you're interested in pitching to.

  • Click the "dealmakers" tab on the homepage menu.
  • Select "Agent" from the Dealmaker Type dropdown menu.
  • Enter the agent's name in the Keyword box.
  • Click "Search."

You will then be able to view all the deals they've entered under their account. You can look at their 6 months, 12 months, 1 year, and lifetime lists. There's even a section for the number of six-figure deals they've made.

Consider how long they've been an agent and how many deals they've made.

Pretend you own your own business and need to hire a salesperson. Ask yourself if you'd keep a salesperson with that agent's track record around in your company. Actually, there's no pretending necessary. That's exactly what you are and exactly what you're doing.

The definition of "good at their job" is subjective. Only you can decide if an agent qualifies.

I can only tell you with certainty that the longer I'm in this industry and the more experiences I have with authors and agents the more selective I am and the more I see areas in my own business where I need to step up my game.

I wish I'd had this information upfront and want you to have it now because when everyone is operating in their strengths and holding themselves to the highest professional standards more excellent books will get published and more people will want to read and be willing to spend money on books as a form of education and entertainment.

And the more people buy and read books, the easier it will be for all of us to make a living doing what we love.

Do you want to talk before you pitch to a literary agent?

If you're considering pitching your fiction or nonfiction book to a literary agent at a conference and don't have access to Publishers Marketplace, contact me to schedule a free, 20-minute appointment to discuss your project, goals, and expectations, and vet up to three agents on your list.

Related: Quick-Reference Publishing Stats You Need to Know!

Addendum: As a Freelance Editor and Author Coach, Do I Have a Conflict of Interest?

You might be saying, "Oh sure. Of course, you'd say that agents should focus on selling and leave the editing to freelance editors because you are one, and agents who also offer developmental editing notes to clients threaten your livelihood."

That's a perfectly reasonable assumption. I can only hope that all the free speaking events and workshops I teach, no-strings-attached resources I share, and behind the scenes details I offer speak to my motivations. I believe in generalized reciprocity. That is, if I give what I can when I can to those who need it, I'll be just fine. So far, I've been right.

Some of my business does come from literary agent referrals (although not the biggest portion), and obviously not ones who do their own editing work with clients, so I suppose that could be considered a conflict of interest. But I've removed from my list all the agents who don't have what I consider to be a solid track record of success because I'm results-oriented, and what's the point of me doing my job if the book never gets published?

I'm also well aware that the authors I refer to agents must be of the highest quality or my agent connections will cut me from their lists of trustworthy strategic partners.

I'm selective because I'm playing the long game, and I hold myself to the same standards I hold others to.

I keep my circle small but high-impact, so my clients have the best chance of success that I can offer. When my clients succeed, my business grows organically.

So, do I have a conflict of interest? I trust you to make that decision for yourself.

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