Literary agent
From Wikipedia, the free encyclopedia
A literary agent represents writers and their written works to publishers and film producers and assists in the sale and deal negotiation of the same. Literary agents most often represent novelists, screenwriters and major non-fiction writers. They are paid a fixed percentage (ten to twenty percent; fifteen percent is usual) of the proceeds of sales they negotiate on behalf of their clients.
Authors often turn to agents for several reasons: (1.) Quite a few well-known, powerful, and lucrative publishing houses do not accept unagented submissions. (2.) A knowledgeable agent knows the market, and can be a source of valuable career advice and guidance. (3.) Being a publishable author doesn't automatically make you an expert on modern publishing contracts and practices, especially where television, film, or foreign rights are involved. Many authors prefer to have an agent handle such matters. (4.) The author's working relationship with his or her editor isn't muddied by disputes about royalty statements or late checks.
Literary agencies can range in size from a single agent who represents perhaps a dozen authors, to a substantial firm with senior partners, sub-agents, specialists in areas like foreign rights or licensed merchandise tie-ins, and clients numbering in the hundreds. Most agencies, especially the smaller ones, will specialize to some degree, representing authors who (for example) write science fiction, or mainstream thrillers and mysteries, or children's books, or highly topical nonfiction. Almost no agents will represent short stories or poetry.
Anyone can call himself or herself an agent in the book world. However, in the State of California, agents need to be licensed with the state, and can only legally take up to 10% of the client's fee (10% is the standard). In the film business, anyone can be a manager without being licensed, and do not have limits on fees. For more on agent requirements see [1].
Legitimate agents and agencies in the book world are not required to be members of the Association of Authors' Representatives (AAR), but most are. Effective professional agents almost invariably learn their trade while working for another agent, though some cross over to agenting after working as editors. It normally takes years for entry-level employees to become sub-agents and acquire their own string of commercially viable authors. They may eventually decide to strike out on their own and form a new agency, or they may stay with their original agency in hope of rising to the top.
Legitimate agents do not charge reading fees, demand retainers, bill authors for the cost of submissions or other operating expenses, or otherwise derive income from any source other than the sales they make on their clients' behalf. They also will not place their clients' work with a vanity press or subsidy press. Both these practices may indicate that the author is dealing with a scam agent. Another questionable practice consists of referring the author to a so-called "professional editor" or "book doctor" who is in collusion with the agent. The ensuing edit may or may not be appropriate, or of professional quality, and is almost always expensive.
A client typically establishes relationships with an agent through querying, although the two may meet at a writer's conference, through a contest, or in other ways. A query is an unsolicited proposal for representation, either for a finished work (fiction) or unfinished work (nonfiction). Various agents request different elements in a query packet. It typically begins with a query letter (1-2 pages) that explains the purpose of the work and any writing qualifications of the author. Sometimes a synopsis or outline are requested as part of the query. Often, the author sends five to ten pages of their work. Lastly, for written queries, a SASE (Self-Addressed Stamped Envelope) is a standard inclusion. E-queries are popular among authors, but many agents do not take them for a variety of reasons.
If an agent is interested in a work, he or she will request a partial, which is typically either three chapters, fifty pages, or something in between. If the agent really likes a work, he or she will request a full, which is the full manuscript (minus any dedications or other things that are not added in until publication). If the agent thinks that they can sell the full, they will accept the author. Often, and traditionally, contracts between agents and clients are simply verbal; however, an increasing percentage of agents are turning to written contracts to make the deal explicit. If a written query is rejected (which happens to the vast majority of queriers), the response is sent in the SASE. Typically the rejection is a form letter; getting a rejection that isn't a form letter or has hand-written comments (especially a message to the effect of "query me for other projects") is typically taken as a very good, if disappointing, sign.
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[edit] Literary agents of the past
[edit] Further reading
- Curtis, Richard (2003) How To Be Your Own Literary Agent: An Insider's Guide to Getting Your Book Published. ISBN 0-618-38041-8
- Herman, Jeff (2005) Jeff Herman's Guide To Book Publishers, Editors & Literary Agents, 2006. ISBN 0-9772682-0-9.
- Fisher, Jim (2004) Ten Percent of Nothing: The Case of the Literary Agent from Hell. ISBN 0809325756
- Glatzer, Jenna (2006) The Street Smart Writer. ISBN 0974934445
[edit] See also
- Preditors and Editors
- Publishing
- Guide to Literary Agents
- Writer's Market
[edit] External links
- Agents for children's book writers and illlustrators
- How to find a great children's literary agent
- A database of literary agents
- Preditors and editors: A guide to literary scam artists
- Writer Beware
- The 20 Worst Agencies List
- Association of Authors' Representatives
- A List of hundreds of Literary agents representing genre fiction
- Absolute Write's Bewares and Background Checks forum
- Literary Agents Online: Guide to E-Mail Query Letters
