To Agent or Not to Agent?
by S.D. Yorston

This seems to be a question that most beginning writers ask. Do I need an agent to get published? Will an editor take me more seriously if I have someone representing me? Which leads to: Where can I find an agent? Are they expensive? How do I know this person is not pulling something on me?

Well, let's start off with the first set of questions: Do I need an agent to get published? The answer is no. An agent isn't an editor. He or she can't get you published unless they happen to be editing a magazine or work for a publishing company as an editor. Many writers (if not all of us) generally have gotten published just fine without the help of an agent. I'm talking here of smaller press publications: short stories, articles, etc. A good number of writers of novel-length fiction and non-fiction have also made it to press without an agent and continue to do so without the aid of one. (More on this last statement later.)

Will an editor take me more seriously if I have someone representing me?

Well, that depends on the editor and the market you're trying to get into. The short answer is no. Most editors will bend over backwards for a writer if the prose they are marketing is good enough. Believe me, an editor that likes a novel isn't about to turn it down just because you're unagented. And an agent can't sell a novel to an editor who isn't interested the work. (Picturing menacing agent holding editor at gun point over manuscript, "Publish this!")

Now, getting the novel to the editor without an agent in a publishing house that has a general rule not to read unagented material is another matter. In this case, try a house that doesn't mind reading unsolicited manuscripts. Once you've made your first sale and have need of an agent, then he or she can shop to the markets that only read represented material.

General rule of thumb is that if you don't have need of an agent, then why use one? When you've managed to sell the Great American Novel, then you can go to an agency and allow them to negotiate the contract for you. Or, as some writers do, you can negotiate on your own. This route is not an easy one, however. You'll have to have a good understanding of the rights attached to the property, be able to negotiate with the lawyers the publishing house uses, and be able to donate the time it will take to read the contract thoroughly and bargain your way to an acceptable contract. There's a reason agents get paid for the work they do and the work is quite considerable.

Now, if your specialty is shorter works, then an agent isn't going to be of much use to you, since most magazines have set offers of the rights they purchase and a set of rates they use. These rates are usually not negotiable since the fees involved are miniscule compared to the fees involved in novel-length works.

Okay, so you've sold that Great American Novel and the editor is ready to offer you a contract that's almost as thick as the manuscript he's interested in buying. What do you do? Well, as mentioned above, you could slog through it yourself, but unless you know what you're doing, or are prepared to learn fairly quickly, go shopping for an agent.

What do I look for in agent? Are they expensive? How do I know this person isn't pulling something on me?

First and foremost, your prospective agent should have extensive knowledge of the market you're publishing in. No sense in hiring an agent who markets screenplays if your book is a biography of the founding fathers. Second, make sure this agent is reputable. Ask for referrals. No, demand them. Get in touch with some of his other clients and see what they think of him. Third, make sure your agent is accessible for your questions (and you will have them). If you have any doubts or confusion about the negotiations going on, ask questions and make sure you're satisfied with the answers. Know what you're getting into. Know what rights you're giving up and understand the repercussions of their sale. If the agent is evasive or dismissive of your questions, don't be afraid to put your foot down. After all, he's working for you and you're entrusting him with the end result of your hours of labour.

Most agents will take 10-15% of the profits (actually closer to 15%). This figure may or may not be negotiable. Remember to keep this in mind when hunting for an agent for your works. The agent will also be negotiating your royalties (where a house is flexible on them) so be sure you're completely aware and understand any agreements made in respect to advances and royalty rates.

I haven't sold a book yet, but I want an agent to shop my book around because I can't seem to get an editor to look at it.

In this case, when you've exhausted the "unsolicited manuscripts are okay" markets, an agent can be helpful. The same rules apply. Make sure you're aware of what you're getting into. Some agents will charge a reading fee. Stay away from them unless you've exhausted the ones who don't. Make sure this person has a proven track record. Again, ask for referrals and don't take the "I've successfully placed X number of books with editors" routine. Anyone can rent an office and call themselves an agent (or in this day and age, agent in their bathrobe in front of a computer at home), but unless they've been working in the publishing business for a while and have the knowledge and connections to place a novel, they aren't going to have any more luck getting an editor's attention than you have.

So you're ready to undertake the task of finding the right agent for you. Where do you begin? Well, if you're reading this, you have an Internet connection and have at your fingertips a very powerful tool for research. There's an enormous amount of information about the whole business of publishing and agenting, here's just one place to start:

• Writers.net List of Literary Agents

A hard copy resource:

• Guide to Literary Agents 2007 by Joanna Masterson
  Writers Digest Books; 16th Rev edition (July 21, 2006); ISBN: 1582974322
  Available at Amazon.com / Amazon UK

And perhaps the most valuable tool: conventions and workshops. Hit any of them you can find in your area, or plan vacation time in a city that hosts one. Networking is perhaps the most powerful tool a writer can call upon. Pack up your manuscript and, more importantly, a well-written synopsis of the work. Don't harry the poor creatures, but instead try to get introduced to them, or politely approach them with the synopsis and ask if they're willing to take a look at the work. At the very least, you can find out more about the writing business and make connections that will pay off in the long run.

© 2000 by S.D. Yorston

About the Author:
Shane Yorston is a science fiction and fantasy writer living in eastern Canada. To date, he's seen print in a few small press magazines in his home country and in the US. He most recently appeared in Divine Meat from Idol Press, an anthology of erotic mythology (ISBN: 0-352-33587-4, Published June 2001, Virgin Publishing). He came on board with Q*ink! a couple of years ago helping out in the chat room and now manages the group's web presence.

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