Choosing an Agent

You choose an agent.  An agent doesn't choose you.  Now, if you have a manuscript that has done the submission rounds to agents you may be rolling your eyes and thinking, yeah right, but it's TRUE!  You, the writer, choose the agent.

You choose who to submit to.  They then choose whether to represent you, but the first choice is yours. So, before you plough through the lists in the Writers and Artists Yearbook alphabetically, have a think about what you want from an agent and at least start with your first choices.

Things to think about...

1.  Size

A small agency (ie an agency with one or two agents, and therefore with proportionally fewer clients) is directly linked with the success of your career.  You earn, they earn, simple as that. Your agent is more likely to be at the end of the phone for you or return messages quickly.  A bigger agency may have so many clients (and probably administer the estates of dead authors) that the link is not as direct.  This is good when it means they can afford to carry you for a number of years before you start earning for them (for example, if you're writing quirky or very literary work, something that may be harder to place than work that fits a commercial genre). It's also good because lots of big name clients means the agency has clout and publishers will avoid offending them.  It's bad when it means you are the teeniest tiddler in their large and well stocked pond and have to struggle to get any attention from your agent because they're too busy dealing with their big fish clients.  A big agency will also have in-house departments which cover areas such as television and film and foreign rights, although smaller agencies will have deals with other specialist agencies so that shouldn't be a major issue.

2. History

Agents have usually worked in publishing or bookselling before they become agents.  In publishing they may have been in editorial or sales, marketing or rights.  Those who are former editors usually have a particular interest in, surprise surprise, editing and may want to work on your book before sending it out to publishers.  Agents from marketing/selling/rights backgrounds are less likely to want to edit but will be experts in their area.  You may like the idea of editorial support, or you may not.  It's a personal choice, but it's one you should think about.  

3.  Age

A new agent will have lots of energy, but may not have either contacts or experience.  They are more likely to be looking for clients.  An older agent should have the contacts and experience, but might not be as enthusiastic about their 100th client as their first one.  They will be looking to add to an existing client list so you have to fit into that list.

4.  Personality

Always meet an agent before you sign with them.  I've heard of agents offering representation without actually meeting their potential client and that worries me.  It's supposed to be a business partnership. They're not going to be your bestest friend ever or your therapist but you have to get on with them and trust and respect them.  Editors move around frequently so the relationship with an agent is likely to be the longest relationship in a writer's career.

Think about what you'd like ideally.  You may be wrong or your ideal agent may, sadly, not be interested in you.  But don't get into the position of writing to an agent asking for representation and then, when it's offered, getting cold feet.  Think first, then jump.

3 Ways to Find an Agent who is Actively Looking for New Clients

There is a certain attrition rate among an agent's authors. Some die or give up writing, others get dropped by their publishers, some take themselves off to other agents. I think it would be fair to say that all agents take on new clients, but usually only one or two a year. They're usually supplied with enough potential clients not to have to actively hunt them out, but for some that's not the case.

However, a new agent will need to build up their own client list. They may be new because they've set up their own business having worked for another agency, or new because they've changed direction from being an editor or rights manager to agenting. They may have been working as an assistant at a big agency, and have been promoted so they have their own list.

1. Read The Bookseller. You can subscribe to an email news digest, or read it at your local library. It reports new appointments and moves to new agencies.

2. Look at writing conference programmes. You may not be able to make it to the conference itself but any agent who is there is likely to be actively looking for clients. The same may also be true of literary festivals, although it is equally likely that the agent is speaking at the festival as a favour to a friend or family member.

3. Get a short story published in an anthology, and make sure it's widely advertised/sent out to agencies. Agents looking for new clients know that short story anthologies are showcases for unpublished writers, especially if the anthology is published by a known source such as a MA Creative Writing course or a short story competition.

Take Six Agents

When I'd nearly finished re-writing my manuscript I sent out the usual package - first three chapters, synopsis and covering letter - to six agents one Monday afternoon. I had a connection with all of them: three I had met at a Romantic Novelists Association party the previous week (which is why I sent out before having fully completed the ms), one had been there but I hadn't met them, the other two I knew were attending the Winchester Writers Conference. This is what happened...

Agent No 1 rang me on Wednesday morning and asked to see the rest. Yippee!

Agent No 2 sent a letter on Thursday saying the novel wasn't for her, but added that she thought someone would take it on.

Agent No 3 sent a letter on Friday asking to see the rest.

Agent No 4 also sent a letter on Friday saying no one would want to read such depressing material, I was wasting my time and I'd just wasted hers. Yes, really.

Agent No 5 sent a letter on Monday saying she'd got two clients who were writing similar work to mine and she was having difficulty placing them, so she couldn't take me on.

Agent No 6 - well, I'm still waiting to hear from Agent No 6, but it's too late as I went with the fabulous Agent No 1.

It's one person's opinion after all, but if I'd only had Agent No 4's letter I might never have sent out again. It was bad enough reading it after I'd had a phone call from an agent saying they wanted to read the rest, I dread to think how I would have felt if it had been the only response. So, that's why I believe in multiple submissions.

PS I have since met Agent No 4 at a party. I didn't spit in her drink, kick her shins or say 'Yah boo sucks! That book you said was a waste of time sold to ten countries, you know nothing.' I just smiled sweetly and moved on. Which shows I'm either a nice person full of forgiveness or a coward.

How to choose an agent

How to choose an agent is the sort of statement that would have had me rolling my eyes in disgust before I acquired one because there's definitely a point when a would be writer feels that ANY agent will do. But any agent won't do, it's got to be the right one for you. Some things to think about...

1 Do you want an agent who does a lot of editing on your work before sending it out to publishers? Most agents will have worked at publishing companies before going over to the dark side. A former editor may be unable to resist the urge to edit your work which, depending on your point of view, may be a good thing. On the other hand, you might prefer the sort of agent who settles down happily with a stack of miniscule-print contracts and enjoys quibbling over percentage points, in which case a background in rights would be good.

2 Do you want to be a big fish in a little pond? In which case you want a small agency. Your agent's income will be directly linked to yours, so they've got extra reason to sell your books (and generally be nice to you!). A big agency may make you feel they're too busy dealing with their star authors to have time for you. The number of authors each agent represents is also relevant - see also 6.

3 But a small agency may not have as much clout as a large agency, nor are they likely to have the same range of experience ie they tend to specialise in one kind of writing. A larger agency however will have specialist departments in children's writing, television/film etc and may have offices around the world. (Smaller agencies will have agreements with other agencies to bring in the expertise when needed, so this shouldn't be a dealbreaker.)

4 Personality. Top of my wish list was the desire not to be frightened by my agent and some literary agents I have met are terrifying. But I'm easily scared. Some writer friends relish the formidable qualities of their agent. Others couldn't care less so long as the agent does their job.

5 Age. Young agents are enthusiastic and keen to make their mark, but they may not have either the contacts in publishing or the experience. On the other hand, they may be actively looking for clients. Older agents have shedloads of experience and contacts - and existing clients.

6 Money. No reputable agent should ask you for money up front. Full stop. As to the percentage, I'd prefer they took 15% and represented fewer authors. But you might be happier with 10%.

Think about what's going to suit you. Go to talks at literary festivals and conferences, ask other writers, join writing societies and groups and generally get out there and do some research before drawing up your 'hit list'. Only an idiot would go to all the expense and effort of getting a positive response from an agent and then go all wobbly at the thought of being represented by them. Don't be that idiot.