- Dishonest Agents
- Amateur, Marginal, and Incompetent Agents
- Telling Questionable From Reputable
- Agents Who Are Also Publishers
- Additional Cautions
- One Last, Very Important Thing
There are many views on the question of whether a writer needs a literary agent to make a first sale. Some people think a new writer’s energy is best spent on submitting directly to publishers. Others feel that, with the bigger publishers largely closed to unagented submissions, a new writer stands little chance without an agent. (For the record, I think that if you want to sell fiction to any large publisher, including the bigger independents, you’re best off looking for an agent. Here’s why.)
But there’s no disagreement on the fact that after that first sale is made, a good agent is a tremendous boon to a writer’s career. Agents have industry contacts and inside knowledge that most writers don’t possess. They keep current with editors’ tastes and needs, know when new imprints are starting up and when established ones are downsizing, stay abreast of changing corporate policies, keep track of who’s newly hired and who just got fired or laid off. They negotiate advances and publishing contracts to their clients’ advantage, and are experienced in marketing subsidiary rights. Just as important, agents serve as writers’ advocates in the increasingly complex and competitive world of publishing.
There are many successful literary agents who provide excellent representation to their clients. Unfortunately, there are also many dishonest and incompetent ones, who relieve writers of money and waste their time–and sometimes damage careers in the process.
Dishonest agents prey on writers by charging fees, promoting their own paid services, engaging in kickback schemes, and misrepresenting their knowledge and expertise. These agents don’t earn their income by selling manuscripts to publishers, but by extracting money from their clients.
Dishonest agents may “represent” hundreds of writers, turning them over twice a year with a six-month contract that requires an upfront fee (reputable agents work on commission–they get paid only if you do). They may be fronts for editing services, charging inflated prices for substandard work and never attempting to sell the “edited” manuscripts. They may run fee-charging publishers (possibly under a different name, to conceal the connection), into which clients are funneled once they’ve racked up enough rejections to become desperate. They may refer writers to crooked critique services or dishonest pay-to-play publishers, receiving a kickback for their trouble.
Some examples of dishonest agenting practice, drawn from Writer Beware’s files:
- Requiring a reading fee with a submission. In the past, some reputable agents did charge reading fees–but this practice was so extensively abused that most professional agents’ trade groups prohibit it for members. (For more on reading fees and their abuse, see The Case Against Reading Fees, from Writer Beware’s blog.) Reading fees are relatively uncommon these days.
- Requiring a “marketing” or “submission” or other fee on contract signing. The most common kind of upfront fee. Reputable agents do not charge such fees.
- Requiring writers to buy a critique or manuscript assessment. Reputable agents don’t make the purchase of services a condition of either submission or representation.
- Referrals to an editing service owned by the agency, without disclosing the connection. Not only is this deceptive, it’s a conflict of interest–if the agent can make money by recommending that you get editing, how can you trust that the recommendation is being made for your benefit?
- Requiring that clients use the agent’s own paid editing services. Again, a conflict of interest. Some agencies are no more than fronts for editing schemes.
- Running a contest that’s a scheme for funneling writers into a paid editing service or vanity publisher.
- Pressuring clients to buy “adjunct” services–website design, catalog space, book cover mockups (publishers create their own book covers), illustrations for children’s books (publishers prefer to match writers and illustrators themselves), space in the agency’s both at book fairs…the list goes on. The more money an agent makes this way, the less important it becomes for him or her to earn a commission by selling your book.
- Placing clients with fee-charging publishers. A kickback may be involved–some fee-based publishers pay finders’ fees–or the agent himself may own the publisher. Good agents only deal with publishers that pay their writers.
There are no licensing requirements or competency standards for literary agents. Anyone who feels like it can set themselves up as an agent, whether or not they’re qualified to do so. The result is a large number of amateur, incompetent, and marginal agents.
Amateur agents are often motivated by odd and unrealistic assumptions, such as the notion that publishing is lucrative or that agenting is an easy home business. Some believe they can transfer skills from a career in advertising, sales, or academia. Many are frustrated writers who think they can do a better job than all the heartless people who sent them form rejection letters.
But agenting is not an entry-level position. It requires a wide range of specialized expertise–such as the ability to judge marketable manuscripts (not as easy as you might think) and a knowledge of publishing contract terminology (much of which is unlike other contract terminology)–as well as contacts within the publishing industry (publishing is still very much a back-room, schmooze-over-lunch business). Nor are skills acquired in other professions necessarily helpful. Agenting does involve selling, for instance, but it’s a very different sort of selling, and done in a very different context, from corporate or commercial sales.
Agents are most likely to become successful if they’ve actually worked in publishing, or trained at a reputable literary agency. People who come to agenting without this kind of professional background are at a significant disadvantage.
Amateur agents may be genuinely well-intentioned. Many make a good-faith effort to place their clients’ work. However, their low skill level makes it unlikely that they’ll sell anything–or if they do, that they’ll ever manage to move beyond marginal status. Their poor sales records are a major incentive to charge fees in order to keep their businesses afloat, and they may have peculiar or nonstandard business practices (for instance, using clients’ own query letters). Amateur agents are also likely to place their clients with questionable publishers–not just because they don’t know better, but because these are often the only publishers that are willing to deal with them.
Given commercial publishers’ increasing refusal to consider unagented manuscripts, many writers feel it’s acceptable to settle for a less-than-qualified agent, on the theory that any agent is better than none. This is a mistake. Editors and their assistants are well aware of how many bad agents there are; it’s one reason they prefer to work with agents they know, either personally or by reputation. The word “Agent” on a letterhead guarantees no special attention if the editor doesn’t recognize the agent’s name. And if the agent is obviously unprofessional, as inexperienced agents often are–submitting inappropriate work, for instance, or bundling several queries in a single envelope–it’s likely they will simply be ignored.
More on bad agents, and the damage they can do to your career, from Jessica Faust (an excellent agent).
And for comic relief: Bad Agent Sydney T. Cat explores the world of really bad agenting.
Overwhelmed? I don’t blame you. But in reality, it’s quite easy to tell a good agent from a bad one. The tips below will help. Also see my post on this subject from Writer Beware’s blog: It’s NOT a Jungle Out There.
Standard agenting practice is pretty much the same from country to country, genre to genre, and industry to industry–so these guidelines apply no matter where you’re from or what sort of books you write.
If an agent is established, s/he should have a verifiable track record of commercial book sales, and be willing to disclose it.
A robust history of selling books to commercial (advance-paying) publishers is the single best indication of an agent’s effectiveness and expertise. You want an agent who is selling regularly to a variety of commercial publishers (a reasonable minimum standard is the AAR’s’ requirement for new members–at least 10 sales within the past 18 months), and who has experience selling books in your subject or genre.
You may have heard that “you can’t get published without an agent, and you can’t get an agent unless you’ve been published.” The first, sadly, is increasingly true, but the second is a myth–and a pernicious one, because it pushes many writers into the arms of dishonest and incompetent agents. Previous publication credits will certainly make you stand out in the slush pile, but they’re not a requirement for finding a good agent. No successful agent will refuse to consider a promising manuscript just because its author hasn’t published before.
Agencies’ policies on track record disclosure vary. Some agents won’t reveal books that are under contract but not yet released, and some won’t provide complete client lists. And few agents will disclose clients’ contact information, so it’s probably not worthwhile to ask for references. But at a minimum, any reputable agent should be willing to give you a list of recently-published books that she has sold. If she has a website, look for the information there (and be suspicious if it’s missing). You may also find it by doing a websearch on the agent, or checking agent directories such as Publishers Marketplace. (See the Links section for more resources).
If an agent refuses to answer questions about sales, or tells you that sales information is confidential, be wary. She may be trying to hide the fact that the agency has a poor success rate, or deals with disreputable publishers.
Be sure also to check that sales are real sales. Questionable agents may lie about their track records, claiming sales they haven’t made or citing nonexistent authors and titles. Alternatively, the titles may be genuine, but the books may have been placed with bad publishers (for an example, see Faking a Track Record, from Writer Beware’s blog) or with small publishers that don’t typically work with agents. There’s nothing wrong with placing books with solid small presses–but the real test of an agent’s skill is getting in where an author can’t, i.e., to agented-only publishers. Why pay an agent 15% of your income for a book you could have placed yourself?
If an agent is new, s/he should have a relevant professional background–either working in publishing, or training at a reputable agency.
The one circumstance in which it’s OK for an agent not to have a track record is if he’s just starting out. A new agent who is actively building a client list can be a good prospect for a new writer.
However, not all new agents are created equal. In order to target manuscripts appropriately and get attention from editors–not to mention, identify salable properties and effectively negotiate contracts–an agent needs personal contacts and an inside knowledge of the publishing industry. Someone coming to agenting from a non-publishing-related background is unlikely to have either, and may take a very long time to get up to speed–if indeed they ever do.
For a stronger discussion of this very important issue, see the section on amateur and incompetent agents above, as well as this post from Writer Beware’s blog on why new agents need relevant professional experience.
Be sure also that an agent who claims to be new really is new. Some questionable agencies try to excuse a wretched track record by saying that they’re new, when in fact they’ve been in business for years. As a general rule of thumb, a new agent should begin making regular sales within a year of starting up.
It’s advantageous for an agent to maintain membership in a professional literary agents’ organization.
The USA, UK, Scotland, Australia, and New Zealand all have professional agents’ trade organizations (for the organizations’ websites, see the Links section, below), many of which require members to adhere to codes of ethics that help to ensure fair practice. Just as important, members must demonstrate professional success before they’re allowed to join.
Non-membership is by no means an indication that an agent is questionable. Many successful agents choose not to join trade groups, or haven’t been in business long enough to qualify. Nor is membership an infallible guarantee of quality–Writer Beware has received serious complaints about some members of the AAR, the trade group for US-based agents. Nor is any particular member necessarily the right agent for you–a very different question, but an equally important one, from whether or not the agent is reputable.
Professional memberships do, however, suggest a basic level of competence.
To make themselves look more reputable, some questionable agents cite membership in other groups, such as the Publishers’ Marketing Association, the Better Business Bureau, or local writers’ clubs. None of these are relevant to agenting, and they indicate absolutely nothing about an agent’s success, skill, or honesty. (There’s more information on irrelevant memberships at Writer Beware’s blog.)
A note about the Writers’ Guild of America: for film agents, membership in the WGA is important, not just because WGA signatories agree to ethical practice, but because production companies prefer to deal with them. However, WGA signatory rules don’t protect book authors. WGA members aren’t allowed to charge reading or editing fees for scripts, but they can charge them for other kinds of literary properties. Also, WGA signatories don’t have to prove professional competence.
An agent should not charge an upfront fee.
An agent’s income should derive from commissions on sales, not from fees charged to clients.
Fee-charging violates the basic premise of the author-agent relationship: a shared financial interest in the sale of the author’s manuscript. An agent who makes money only when the author does is not only highly motivated to sell the author’s work, but to make the most lucrative possible deal. An agent who makes money prior to a sale substantially diminishes his incentive to pursue legitimate publication.
Writer Beware defines a fee as any charge–excluding commissions–that’s a requirement for either submission or representation, that must be paid by every client or potential client, and that is due upfront (i.e., before service is rendered). For instance, a reading or evaluation fee that must accompany submission, a critique fee that’s a condition of representation, a retainer or representation fee due on contract signing, or a submission or circulation fee billed on a recurring basis or per submission.
It isn’t only your wallet that’s at risk. There’s an overwhelming correlation between fee-charging and a lousy track record of sales. Writer Beware has collected documentation on hundreds of agents who charge fees or engage in the abuses identified on this page, and of these, only a handful have anything approaching a genuine track record. Not all fee-charging, non-selling agents are dishonest–many are just inept, unable to keep their businesses going without reaching into their clients’ pockets. But for writers, the end result is the same: no sale.
Note that most successful agents do expect their clients to bear some of the cost of submission–usually, expenses the agent wouldn’t otherwise incur, such as photocopying, postage, long-distance phone calls, courier fees, and the like. Standard practice, however, is to allow these expenses to accrue and deduct them from the author’s advance, or to bill them after they’re incurred.
For an extended discussion of the kinds of fees you may encounter and the rationales that go with them, see The Truth About Literary Agents’ Fees.
For book agents, commissions should not be more than 10-15% for domestic sales and 20-30% for co-agented or foreign sales.
Some agents–mostly questionable, but a few legitimate ones as well–justify domestic commissions (commissions on sales made in the agent’s home country) of 18% or 20% by claiming that it’s more costly to represent new writers. That may be so, but do you really want an agent who penalizes you for being new? As always, track record is the bottom line–a successful agent is worth considering even if she charges 20%. But keep in mind that 10-15% is the prevailing standard, with 15% being the most common.
Conversely, you may run across a book agent who charges a lower-than-standard commission–in the UK or Australia, less than 10%, and in the USA, less than 15%. Sometimes this is a sign of inexperience, but often the lower commission rate is being offered to sweeten the impact of an upfront fee. (There’s more on “bargain” agents at Writer Beware’s blog.)
For script agents, commissions should not be more than 10%.
The WGA’s Minimum Basic Agreement (a collective bargaining agreement that sets the terms under which WGA writers work with studios, agencies, and others) requires that agents charge a commission of not more than 10%. There’s nothing to compel agents to comply with the MBA–but major studios don’t generally deal with agents who don’t.
Be wary if an agent refers you to an outside service for which you have to pay.
There are times when a reputable agent may suggest that a writer hire an independent editor–for instance, for a salable project that needs developmental work that the author, in the agent’s judgment, can’t provide. Such recommendations are perfectly legitimate, though you should do some careful thinking before choosing this often very expensive option. (For more on the pros and cons of independent editing, see the Independent Editors page.)
But questionable editing schemes do exist, and receiving an editing referral should always prompt further research. There may be a kickback arrangement–if an agent tells you your manuscript needs work and then recommends a specific editing service, the editing service may have promised to give the agent a percentage of whatever you wind up paying. The same goes for fee-charging publishers and print-on-demand self-publishing services, which sometimes provide finder’s fees to agents who persuade their clients to accept pay-to-publish contracts.
Alternatively, the agent or agency may own the editing service or publisher, running it under under another name or at another address in order to conceal the connection. Some agencies are no more than fronts for editing or fee-based publishing businesses.
Be wary if an agent doubles as a paid editor or as a publisher–especially if those services are offered to clients or potential clients.
Serious conflict of interest questions arise here. If an agent can make money from editing your manuscript, how can you be sure that a recommendation to edit is in your best interest? (Many agents do work with clients to edit and polish their manuscripts for submission, but they don’t charge for this–it’s part of the service covered by their commission). If an agent can profit from publishing your book himself, where’s the incentive to offer your manuscript to another publisher, or to keep sending out a manuscript that doesn’t immediately get picked up?
This is a complicated issue, because in today’s highly competitive publishing environment, everyone is looking for new revenue streams, and the lines between agents, publishers, editors, and publicists–once sharply separate–have begun to blur. A growing number of successful agents have associated editing, consulting, or publishing businesses.
Ideally, the agent will maintain a wall between these different functions–i.e., clients of the agency are never offered the editing or publication, and those who are edited or published by the agent are never offered representation. But not always. So while an agent with an associated business may not be disreputable, you do need to weigh his or her success against the possibility that your best interests may not be served.
See the Agents Who Are Also Publishers section, below, for a more detailed discussion of this important issue.
An agent’s correspondence and/or website should be free of grammatical errors and typos.
This may sound obvious, but a literary professional should be able to write and spell correctly. It’s amazing how many questionable agents produce error-ridden documents and websites.
Be alert for unprofessional practice.
Editors don’t want to see author photos–and no matter what you’ve heard, a novel submitted to a major publisher should not be accompanied by a “marketing plan.” (Some smaller publishers, which rely on their authors to do much of the promotional work, do want to see marketing plans–but the bigger publishers don’t, and those are the ones your agent should be approaching.) Nor should an agent ever use your query letter. If an agent requests any of these from you, be wary: the agent may not be dishonest, but he probably isn’t very competent.
Other things that turn editors off: form letters or postcards with boxes to check off and send back to indicate interest, “bundled” queries (several queries in the same envelope), “blitz” or shotgun submissions (submissions that have obviously been sent to a laundry list of not-necessarily-appropriate publishers), inclusion of cover mockups or sample illustrations (children’s authors take note). Any of these will immediately identify a submission as coming from an unprofessional source.
Writer Beware’s blog provides lots more detail on unprofessional submission practices.
Be wary of an agent who claims to specialize in new writers.
Such agents are often fee-chargers looking to collect from inexperienced beginners. Successful agents’ lists usually contain only a small percentage of new writers.
Be wary of an agent who is looking for poets.
Apart from celebrity projects and writers who are already well-known, successful literary agents rarely represent poets. Even in the best of circumstances, poetry collections are a tough sell, and the poetry market, which is dominated by small presses, simply isn’t lucrative enough to make it worth most agents’ while. Literary agents who claim to represent poets are nearly always either dishonest operators looking to charge a fee, or amateurs who know nothing about the realities of the industry.
Be wary of an agent who claims to want to sell your book idea to Hollywood.
Sales of dramatic rights for unpublished manuscripts are rare. When dramatic rights do sell, it’s almost always after the book is published or under contract. The prospect of a Hollywood sale is usually a pipe dream offered to gullible writers by unscrupulous fee-chargers.
Be wary of an agent who advertises.
Most reputable agents have websites, and many have entries in popular writers’ guides or online directories. But reputable agents don’t need to advertise: they already have more submissions than they can handle. They do not buy Google ads, or solicit submissions on Craigslist, or advertise for clients in writers’ magazines or local free papers. Any agent you encounter through such avenues is automatically suspect.
Be wary of an agent who solicits you.
Reputable agents do sometimes contact writers whose work they’ve seen and liked. This used to be extremely rare, but the popularity of blogs and social media have made it more common. However, it’s still unusual.
Questionable agents, on the other hand, often derive much of their clientele from direct solicitation (here’s an example, from Writer Beware’s blog). If you subscribe to writers’ magazines or register your copyright, you may be a target–fee-charging agents often purchase lists of names and addresses from these sources.
Be wary of an agent who provides extravagant praise or inflated promises, and of her opposite, an agent who paints a dismal picture of your chances of success.
Reputable agents know better than to promise what can’t be guaranteed, such as lucrative book contracts, movie deals, bestsellerdom, and the like.
On the other hand, a reputable agent isn’t going to take you on unless she feels there’s a good chance of placing your manuscript. Excessive negativism is often a marginal or incompetent agent’s way of rationalizing a poor track record. Watch out for agents whose contracts contains clauses absolving the agency of responsibility if your book doesn’t sell.
Until pretty recently, if you found an agency and a publisher co-existing under the same umbrella, you could automatically cross them both off your query list. Reputable agents did not double as publishers; agents who did double as publishers typically were running deceptive vanity operations, often making money off their clients by charging agency as well as publishing fees.
Today, however, with the popularity of ebooks soaring, and digital publishing easier and cheaper than ever before, a number of very reputable agencies have dipped a toe into publishing waters–and it’s certain that more will follow.
Many of these agency/publisher ventures focus on re-publishing their clients’ backlist–books that have gone out of print and to which the authors have reverted rights. Others are a mix of backlist and original publishing, for both clients and non-clients. Still others offer a kind of assisted self-publishing service, in some cases for clients only, in other cases for anyone.
From agents’ perspective, all of this makes good business sense. Most successful agencies are sitting on deep catalogs of backlist books, which, thanks to digital publishing, can be cheaply and profitably be brought back into circulation. And if a wonderful manuscript won’t sell despite diligent effort, why let it languish? Why not publish it, or help the client to self-publish?
Unfortunately, some troubling conflicts of interest arise here. If an agency can publish a client’s book itself, will it try as hard to market the book to traditional publishers? Will it give up sooner on a book that doesn’t sell right away? How much might running a publishing division distract from the agency’s core activity of representing manuscripts to publishers? Your agent is supposed to be your advocate in publishing contract negotiations–but who advocates for you when it’s your agent who’s offering the contract? (For a more detailed discussion of these important issues, see this blog post from agent Peter Cox, and also this article by agent Jason Allen Ashlock.)
To make things even more confusing, the schemes and scams are still alive and well and fleecing victims–from “agencies” that are nothing more than fronts for vanity publishers, to agencies that are publishing their clients’ books because they are too incompetent to sell them to real publishers.
How to protect yourself? First and foremost, use the guidelines in the section above to make sure that you only submit to reputable agencies with verifiable track records. That will take care of much of the danger in one step.
If the agency has a publishing division or an assisted self-publishing service be aware of it, and think about how to respond if you’re offered or steered toward something other than straightforward representation. Think also about how you’d feel if the agency decided at some point that it had made enough submissions, and that publishing you itself was a better option.
Is there a wall between the different branches of the business? I.e., the agency doesn’t represent publishing clients, and agency clients aren’t offered publication. This is rare, but if it exists, it indicates that the agency is aware of the potential conflicts of interest and is taking steps to avoid them.
Does the publisher publish backlist books only? If that’s the case, a new client with an unpublished manuscript shouldn’t need to worry that they might be urged toward the publisher.
If the agency skips over representation and offers you publication, stop and take a breath. Is this really what you want? Just as important–if this agency likes your book enough to publish it, might another agency like it enough to represent it?
Warning bells should start ringing if you’re asked to pay. Some of the assisted self-publishing services offered by reputable agencies are fee-based, but since vanity publishing is a hallmark of an agency/publisher scam, any request for money should make you really cautious.
Also a red flag: pressure. If the agent seems mostly interested in pushing you toward the publisher, with representation as an afterthought, ask yourself whose best interest is being served.
And if you’re thinking of accepting a publication offer from an agency, either as a first-timer or for your backlist, find someone qualified–and unaffiliated–to vet the contract for you. Don’t assume, just because it’s “your” agent, that you’re being offered the best deal.
Manuscript display sites and electronic slushpiles
Manuscript display sites and electronic slushpiles promise to bring you to the attention of literary agents and/or publishers and/or movie producers by displaying an excerpt of your book or screenplay, sometimes with a synopsis, biography or other information. A fee may or may not be required.
The theory is that editors, literary agents, and producers will be eager to visit a website where pre-screened, searchable work is available for their perusal, thus enabling them to avoid paper submissions, inappropriate queries, and vast volumes of email. This concept seems to be at least somewhat effective for screenplay writers–but for book writers, evidence that agents and editors make much use of display sites is slim. Worse, a display site is a ready-made recruiting ground for literary sharks.
For a more detailed discussion, see Writers’ Services.
A submission service promises, for a fee, to approach publishers or agents on your behalf. Some simply send off your query and/or sample material; others offer editorial services to get your submission into shape, or create those materials for you. Sometimes part of the service is the “packaging” of your submission with a picture of you, a bio, a sample marketing plan, and so on (this is why some submission services misleadingly call themselves “book packagers”, a term that means something quite different in the real world of publishing).
However, publishers aren’t interested in fancy extras, and their inclusion will identify your submission as coming from an unprofessional source. And submission services aren’t necessarily run by qualified people, and may not be skilled at writing queries or targeting appropriate editors and publishers. This is especially true of the email query blast services. For the most part, submission services are a waste of money.
For a more detailed discussion, see Writers’ Services.
A writers’ conference can be a great way to network and to learn. However, don’t take it on faith that the agents and publishers who attend are reputable. The larger conferences do a pretty good job of making sure to invite only successful professionals, but smaller conferences aren’t always so careful. Some fraudulent and marginal agents are regulars on the conference circuit.
This is an especial concern with conferences that host pitch sessions. Always research the agents/editors before you sign up for one of these sessions. And think twice–or three times–before signing up for a pitch session that costs you extra. These are not just moneymakers for the conference, but also, sometimes, for the agents, who get a cut (very similar to a reading fee).
Not all successful agencies bother to maintain websites or blogs (this is especially true in the UK). So the absence of online presence–while unusual–is not necessarily an indication that an agency isn’t reputable. Equally, the existence of a website or blog doesn’t mean an agency is reputable.
How to tell a reputable agent’s website from a questionable one’s? Good design is not a clue. Some questionables have exquisitely-designed websites, while some successful agents’ sites look terrible. A domain name also proves nothing. Most (though not all) reputable agents have their own domain names, but so do many questionables. A client list doesn’t mean anything either, unless the clients are published.
Look for two things. First, a list of recent sales (including author, title, and publisher, so you can verify that the books exist). Questionable agents don’t generally have track records, so their websites won’t mention sales at all, or will make vague claims that can’t be checked. Second, specific information on the agent’s work experience and background. Questionable agents don’t usually have relevant background, so their websites will not have a CV, or else will provide only the same unverifiable claims.
There’s a more detailed discussion of how to evaluate an agent’s website at Writer Beware’s blog.
Print market guides
Market guides such as Writer’s Market or Writers’ and Artists’ Yearbook are excellent sources of information. But an agent’s inclusion in a market guide isn’t a guarantee of reputability. Many guides are compiled by questionnaire, and the information is only cursorily checked, if at all. Questionable agents are often listed in these publications. Don’t take a listing at face value; always do more research.
Agent directories, listings, or databases on the Internet
There are a number of helpful, vetted, up-to-date agent directories online, such as AgentQuery.com, QueryTracker.com, and AuthorAdvance. These can be a valuable adjunct to your agent search (though they do have limitations–see this discussion at Writer Beware’s blog).
There are also listings that are much less helpful. Some have been compiled by individuals with little knowledge of publishing, or bizarre personal agendas, or something to sell. Others are databases where anyone can enter unscreened information. They’re likely to include large numbers of questionable agents, to omit large numbers of successful agents, and to be seriously out of date.
Always be cautious of online agent listings or directories, and be sure to double-check the accuracy of any information you obtain through these sources.
If I could only give one piece of advice to new writers, it would be this: EDUCATE YOURSELF!
In the search for an agent, knowledge is your most useful tool and your best defense. The more you know about publishing, the less likely it is that you’ll be taken advantage of, and the more likely it is that you’ll be able to submit your work effectively and appropriately. If more writers took the time to build a store of publishing knowledge before beginning the quest for an agent or a publisher, rather than trying to learn while they search, Writer Beware’s work would be cut in half. We hear every day from authors who’ve made mistakes they likely would easily have avoided, if they’d only done their research ahead of time.
So even if you’re on fire to get your manuscript out there, take a breath, step back, and do some reading…and not on the Internet, where misinformation abounds. The Internet is an invaluable research tool, but only if you know how to filter what you find, and you can’t do that unless you already have a knowledge base.
Go to a bookstore (yes, I know, very old school), and spend some time in the section where books on writing are shelved. There are many excellent how-to-get-published books, and you’re sure to find one you like. Please don’t skip this step; it really is one of the best investments in your future career that you will ever make.
See this post from Writer Beware’s blog for more suggestions for reading, researching, and learning about the publishing industry.
Tools to Help You Evaluate Agents
- E-mail Writer Beware. SFWA has assembled an archive of documentation on hundreds of agents who engage in the practices we warn about above. Send us the names of agents you’d like to know about, and we’ll summarize for you any data that’s in our files. If we have no information on an agent, we’ll let you know that too.
- Preditors and Editors provides lists of agents and publishers, with “not recommended” notations to indicate those who charge fees or engage in other writer abuses.
- Google Groups is a searchable database of online discussion groups, with message archives dating back to 1981. Writers often post agent questions or complaints to Usenet. If you’re uncertain about an agent, do a search on his/her name here to see what you find.
- A great place to ask questions about agents (and publishers) and find comments and warnings: the Bewares, Recommendations, and Background Check message board at the Absolute Write Water Cooler, which is moderated by me.
- Writer Beware’s Thumbs Down Agency List: the literary agencies about which Writer Beware has received the greatest number of advisories and complaints, or which, in our judgment, pose the most significant hazards for writers.
- Trying to discover whether an agent has a track record can seem like a daunting task, but there are a number of ways to go about it. This article from Writer Beware co-founder Victoria Strauss, Researching an Agent’s Track Record, suggests a procedure that incorporates a number of the resources listed above–plus some you may not know about.
- Prof. Jim Fisher, of Edinboro University of Pennsylvania, is an expert on literary fraud who has written a book about one of the more notorious scams, the Deering Literary Agency (see the link at the top of the page). His website offers tips and information on assessing literary agents.
Resources for Agent Hunting
- How to Find a (Real!) Literary Agent: a complete tutorial from Writer Beware co-founder Ann Crispin based on her popular writers’ workshops, including researching literary agents, creating a synopsis, writing a query letter, and managing your submissions.
- From Writer Beware co-founder Victoria Strauss, The Safest Way to Search for an Agent recommends a procedure for agent-hunting that’s designed to weed incompetent and dishonest agents out of your query list, and provides tips on querying and suggestions on how to use the resources below.
- The Association of Authors’ Representatives (AAR) is open to agents who’ve been in business for at least two years, and satisfy minimum sales criteria. Its website includes a list of member agents, suggested questions for authors to ask prospective agents, and a Canon of Ethics that excludes reading and evaluation fees, secret profits, and referral fees.
- The Writers Guild of America (WGA), which represents writers in the motion picture and TV business, maintains a list of signatory agents.
- The professional association for literary agents in the UK is the Association of Authors’ Agents (AAA). It’s open to agents who’ve been actively representing clients for three years or more, and who satisfy minimum income requirements. Its website includes a list of member agents and its Code of Practice, which excludes reading fees.
- The Personal Managers’ Association (PMA) is the UK’s professional body for screenplay and dramatic agents.
- The Association of Scottish Literary Agents (ASLA) is the Scottish point of liaison with the UK-wide Association of Authors’ Agents.
- The Australian Literary Agents’ Association is open to agents of at least three years’ standing who satisfy minimum sales and/or income criteria. Its website includes a list of members and its Code of Practice, which excludes reading and editorial fees.
- The New Zealand Association of Literary Agents is a trade group established to maintain professional standards and represent the interests of members. Its website includes a list of members.
- As far as I know, there’s no agents’ association in Canada. The Writers’ Union of Canada or the Canadian Authors Association may be able to help with agent information.
- Many successful agents are members of Publishers Marketplace, where they post information on their interests, submission requirements, and sales. There’s much useful information here, even more if you’re willing to pay for a subscription.
- AgentQuery.com is a large, searchable agent directory that provides information on interests, submission requirements, background, and sales. Unlike some other online agent listings, it vets the agents it includes.
- QueryTracker provides a similar service, with similar safeguards.
- AuthorAdvance is another helpful directory.
- Science Fiction, Fantasy, and Horror sales announcements compiled from Locus magazine by writer Melinda Goodin–unfortunately she seems to have stopped aggregating them in 2010, but it’s still a helpful source of agent information for these genres.
- For romance writers: recent agented romance sales, compiled by writer Karen Fox.
- Publisher’s Lunch is a daily e-mail newsletter with all the latest news about publishing worldwide, including recent book deals and who agented them. A full subscription costs, but the “lite” version is still free.
- Another excellent daily industry newsletter, completely free: Book Trade News.
- Also free is Shelf Awareness, a newsletter that covers the world of bookselling.
- Publishers Weekly covers the international publishing scene, with an emphasis on the US market. (Full content is available only to subscribers, but searches on an agent’s name will bring up “teaser” references if PW has reported a sale.)
- Another good source of US/international publishing news: the online version of Publishing Trends. Its archives contain many informative articles.
- The Bookseller.com is an excellent source of information on the UK market. It also offers an informative free newsletter.
- Quill & Quire, Canada’s magazine of book news and reviews, includes an informative Deals section.
- Bookseller & Publisher provides info on the Australian publishing market.
- Irish Publishing News: news and features on the Irish publishing market.
General Information on Agents and Agenting
- A number of established agents blog (usually anonymously), providing a treasure trove of information, right from the source. Some of my favorites:
Pub Rants (Kristin Nelson)
Nathan Bransford (Nathan is no longer an agent, but his blog still covers all aspects of the industry)
Dystel and Goderich
Rachelle Gardner (great perspective on the Christian market, and publishing in general)
Crowe’s Nest (Sara Crowe, who specializes in the children’s market)
- How to find a literary agent: good advice from former agent Nathan Bransford (and check out “The Essentials”–there are links in the left-hand sidebar).
- Also from Nathan Bransford’s blog, author Jeff Abbott explains the importance of having an agent.
- More on why writers need agentsif they’re planning on submitting to large or medium-size publishers, from an editor’s perspective.
- Targeting Agents: an informative article on how to target agent queries, by agent Ethan Ellenberg. There’s excellent information here on assessing agents’ track records.
- Agent Jessica Faust on Bad Agents: how to recognize marginal and incompetent agents, and why they’re as bad for your career as a dishonest agent.
- Joe Schmoo Agent, advice in a similar vein from agent Kristin Nelson.
- From agent Sarah LaPolla, advice on when you should be wary of brand-new agents (and publishers)–and when you don’t need to be.
- Agents: A Guide by Harold C. Underdown. Geared to children’s book authors, but useful for everyone.
- You’ve got a representation offer–now what? Author Sarah Ockler suggests some issues to think over and questions to ask in Literary Agent Offers: Don’t Settle!
- On the flip side: agent Rachelle Gardner gives advice on how to fire your agent.
- General advice on author-agency agreements from intellectual property lawyer Daniel Steven, plus a sample agreement.
- From attorney David Koehser, a discussion of what should be included in an author-agency agreement.
- Agent Kristin Nelson’s detailed discussion of the anatomy of an agency agreement: Parts One, Two, Three, Four, Five, Six, Seven, Eight, Nine, and Ten.
- Literary agent Rachelle Gardner on author-agent agreements.
- What to look for in an author-agent agreement, from the author’s perspective: an entry from Writer Beware’s blog.
- The dangers of the interminable agency clause, a feature of some agents’ contracts, also from Writer Beware’s blog.
- The Passive Voice, a blog run by an intellectual property lawyer, includes a variety of contract-related posts. Most involve publishers, but there are several useful posts about author-agent contracts.
Up Close and Personal — Writers’ Experiences With Bad Agents
- Avalon Associates/Media Arts International: a case study of a literary agent and film producer who stole hundreds of thousands of pounds from clients.
- The Woodside Literary Agency: a case study of a fee-charging literary agency.
- Helping Hand Literary Services/Janet Kay & Associates: a case study of another fee-charging agency.
- Melanie Mills: a case study of a fee-charging agent who also happened to be a career con artist.
- The Deering Literary Agency: a case study of a fee-charging agency that also owned a vanity publishing company.
- Martha Ivery/Kelly O’Donnell: a case study of a fee-charging literary agent who funneled clients into the vanity publishing company she ran under an alias.
- Coverage from Writer Beware’s blog of the extremely strange tale of the Hill & Hill Literary Agency, whose owner charged very small fees for a very large scam. One of Hill’s victims blogged about her experience.
- The Renaissance Papers: writer A.L.Sirois’ interesting encounter with one fee-charging agency.
- Bawn Literary Agency: Writer Tina Morgan exposes a fee-charging agent.
- Writer Karen Clayton describes her run-in with a fee-charger in Agents: the Good, Bad, and the (Sometimes) Ugly Truth.
- Writer Charles Deemer has a close encounter with a fee-charger.
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