Advice about approaching agents!

When approaching an agent it is always best to hop towards them, whilst singing Amazing Grace and swinging a cat's head on a string.

Exactly. But don't forget, this is after doing laps of Central Park naked while reading aloud from The Elements of Sytle.
 
I think two big issues for many aspirants looking for an agent are:

1. Whittle down your list of agents to one who actually represent authors in the genre you're writing for. You could approach 50 agencies in the UK alone, but around 40 of those don't normally represent SFF.

Look out in the Writers Yearbook for agents who specifically express an interest in the genre, and also watch out for agencies not listed. You may find this useful for SFF agents:
http://www.chronicles-network.com/f...agents-who-specialise-in-science-fiction.html

2. The second biggest problem I think with submissions is the writer not taking the time to have their work properly appraised by a third-party, not least an accredited editor to help polish at least the first few chapters.

I often see people then retort that getting an editor is unaffordable expense, but let's be frank - this is your big shot for acceptance, and everything needs to be at the best level you can get it. You need to be as active as possible in preventing an agent from finding excuses to reject your work.

From what I've heard from agents, a good 90% of everything they receive is substandard - everything form basic formating issues to poor use of grammar. I think every aspirant needs to focus not simply on submitting to agents, but instead focus on how to ensure you're in that final 10% after submission, where their work can be more seriously considered.

Just my personal 2c. :)
 
I often see people then retort that getting an editor is unaffordable expense, but let's be frank - this is your big shot for acceptance, and everything needs to be at the best level you can get it.

While I agree with the third eye viewing, authors first need to be able to do an intense edit themselves. Your work should be as clean structurally and otherwise as you can possibly get it before you hand it off to someone else for proofing.
 
I'm fairly new to being an agent; I have my first author in print and 4 more due out this year. I agree that you need to be professional and get 3rd party to review before you submit.
In the last 2 years I have read some utter tripe, but also some very very good work, and some of the good stuff does not get picked up...that’s where the last 2 elements come in...Hard work...and luck!

you need to create your own profile, your own web page your own blog etc.. show your willing to work for your book, and luck...well most of the manuscripts i have read and accepted, i have helped edit, find test readers and polish the book before submission, and i have always read every book that came in...until now, i have finally hit the wall and had to give some just a few chapters.
To be honest 2 of the books that have made it to publication, would not if they had not been lucky enough to find me at the start when i had enough time to commit to helping them re-work the book.
 
May I ask the name of your authors and where you have placed them?
 
My practice is: queries are freebies...I shotgun them out. If agents don't accept email queries, I don't query them.

Partials, pretty much the same thing. Reading 50 pages (if they even read that much) is not that much of a time investment for them and it's the business they're in. I very strongly resent the idea (not found in other businesses) that I can only show my wares to one person at a time. I don't really care if they "want" an exclusive or not. It's not their decision. If they were to tell me something like "I will only read your partial if you promise not to send it to anybody else until I'm through" I would evaluate just how much I cared about getting to this one agent and would press for a time frame. That is only businesslike. Then I make a decision whether to submit to him on the basis he requested and stick by my word. So far that has never come up, actually.

An entire manuscript is another matter. If somebody is interested in reading the whole guacamole, then fine. I'll wait. For a specified time. If they don't want to be commit to a time frame, I make one myself. "I am so freakin' happy you are reading my story for free that I'll give you a one month exclusive on it." Or some such. I have not yet run into an agent who won't accept that deal.
 
Yep, the query is vital, and then everyone knows where they are and what they expect.
 
I'm not trying to be a jerk here, but Parmenian's authors are listed on the site linked to his profile.
 
I very strongly resent the idea (not found in other businesses) that I can only show my wares to one person at a time. I don't really care if they "want" an exclusive or not. It's not their decision.

But writing is NOT like any other business, and believing and trying to behave as though it is is an unfortuntate way to begin.

To start with, we don't sell our manuscripts to agents, we ask them to represent us. And why shouldn't they have as much right as the rest of us to choose which jobs they choose to apply for and which they don't?

When a writer sells a manuscript, he or she is selling a unique object, which, once they've sold it, can't be sold to someone else. So it's not like bottles of shoe-polish, or bags of potato chips. Supposing a writer sends a partial or a complete manuscript to several agents at once and one of them buys it -- all those other agents have just wasted their time, time they could have devoted to giving somebody else's manuscript a more careful reading. Some are willing to take that risk by reading partials, some are not, but why shouldn't the decision be up to them? It's their time. And what is the advantage to the writer if several agents look at something at once? It is simply a matter of getting an answer yes or no a little sooner. It's not like the writer is a sales rep sitting outside some executive's office waiting to be called inside; the writer is free to go on with his or her own life, employing the time as he or she sees fit. And supposing that several agents are interested at once? They aren't going to get into a bidding war, because that's not how they conduct their business. So you get to pick and choose who will represent you -- but you could accomplish the same thing by beginning with the agents you most want to represent you and going through the list one by one.

In the end, we, as writers, are not like sales reps or shopkeepers. We don't arrive by appointment, and agents and editors don't walk into our shops looking for something to buy. We're more like telephone solicitors or door to door salesmen, with (in the case of partials and full manuscripts) a prolonged sales pitch. I would be nice, however, if we showed a little more consideration than either.
 
I'm continually amazed how many writers (and ALL of the writing magazines, for more obvious reasons) take the side of agents and publishers against writers, always urging us to accept whatever shabby or even illegal treatment they hand us.

This post takes a completely wrong-headed view of the problem, I'd have to say. There are several mistakes in thinking: yes books are unique. So are paintings. Can you offer paintings for open sale or not?

No agents aren't buyers. But neither are they job applicants (if they were, they'd have to do things our way, wouldn't they) But actually my comments here apply to editors and publishers as well.

The writer may be at a disadvantage in many ways, but is in control. You don't have to grant any more than you want to. Sorry, but that's pretty undeniable.

As far as the idea that you can go about your life while these nabobs are possibly reading your work...come on, now. You spend a long time writing a novel. It will take you a long time to produce another one. If you were to go along with this thing and wait for months (IF you hear back) for people to decide, one by one, whether to read your partial, then your MS, it would take a year just to canvass ten prospects.

I'm not talking about what THEY want, or what the "guides" say. I'm talking about the practical business of flogging work. I seriously doubt you'd find many professionals that would strongly disagree with my statement of how to handle queries, partials and MS.

And a main message from my post. THEY do not set the parameters of your relationship with them, YOU do. If they make demands you don't like, you walk. Simple as that. There are plenty enough agents you could be talking to while some twit takes a month to read a chapter.
 
I believed as a publisher, and I believe as an agent, that 99% of the time, both the above and the writers are trying to do the same thing - get a book published properly, on terms that suit us all.

I have never believed in being unnecessarily confrontational, or looking at matters as 'us and them'. If we can be professional and straightforward, I've seldom found any need for finger pointing or anger...
 
I'm continually amazed how many writers (and ALL of the writing magazines, for more obvious reasons) take the side of agents and publishers against writers, always urging us to accept whatever shabby or even illegal treatment they hand us.

There are several mistakes in thinking: yes books are unique. So are paintings. Can you offer paintings for open sale or not?

No agents aren't buyers. But neither are they job applicants (if they were, they'd have to do things our way, wouldn't they) But actually my comments here apply to editors and publishers as well.


As far as the idea that you can go about your life while these nabobs are possibly reading your work...come on, now. You spend a long time writing a novel. It will take you a long time to produce another one. If you were to go along with this thing and wait for months (IF you hear back) for people to decide, one by one, whether to read your partial, then your MS, it would take a year just to canvass ten prospects.

And a main message from my post. THEY do not set the parameters of your relationship with them, YOU do. If they make demands you don't like, you walk. Simple as that. There are plenty enough agents you could be talking to while some twit takes a month to read a chapter.

Then it's just as well that you're happy being self-published, lin, since you feel such a strong resentment against the (long) accepted practices of the industry. Which is fine for you. May you do well in all your endeavors. But it seems to be that it's rather unfair that you're so determined to share your misconceptions and misconstructions of traditional publishing with those who do want to break in.

No, agents do not set the parameters for what we do and when we do it, but neither should we do so for them. Both should have an equal right to set their own perameters for any relationship. You state what you are willing to do, they state what they are willing to do; then each side respects the others decision. While arguing against shabby treatment of authors, you seem to be arguing for disrespect of agents and editors; but respect and fair-dealing is a two way street. If an agent says, I don't want to look at manuscripts that are under consideration elsewhere, we have, as you so correctly state, a perfect right to look elsewhere for representation. Writers might well consider, however, whether they would want a busy, experienced agent to represent them, or someone who has a lot of time on his or her hands.

As for your comparison with paintings, it's wrong on at least two counts. Once someone buys a painting they are not expected to spend further time and money making that painting available to the rest of the viewing public. Neither does the buyer necessarily enter into a long term relationship with the painter.

And whether or not a writer sits around and waits for a reply, or whether they get right to work on another project, is completely up to them. Some go one way and some another, but it's their choice. Expecting other people to change the way they do business in order to better accomodate that choice seems extremely unfair to me. (And I'm in the group that sits around and waits.)

I'm continually amazed how many writers (and ALL of the writing magazines, for more obvious reasons) take the side of agents and publishers against writers, always urging us to accept whatever shabby or even illegal treatment they hand us.

I seriously doubt you'd find many professionals that would strongly disagree with my statement of how to handle queries, partials and MS.

You seem to be contradicting yourself here, but perhaps I'm just being dense. And while we may disagree on the subject of what constitutes shabby treatment, illegality is a lot easier to define, and I have to say that after decades in the business, I've never heard a professional writer encourage any other writer to accept illegal terms or treatment. Quite the reverse.

No agents aren't buyers. But neither are they job applicants (if they were, they'd have to do things our way, wouldn't they)

Quite right. They aren't job applicants, because they aren't applying -- we are soliciting them. As always, the one soliciting is expected to do things in a manner chosen by the one being solicited -- or else go elsewhere.

But believe anything you want, lin. I'm not trying to convince you of anything; I doubt that I even could. As I indicated in my first paragraph, what disturbs me is that you seem so set on encouraging others to ignore and cast disrespect on the professional courtesies -- to their cost, not to yours or mine. By representing the whole thing in terms of an adversarial relationship, you may be setting a lot of people off on the wrong foot.

As John says, it isn't us versus them. It should be a mutually beneficial relationship, between people who show mutual respect and consideration. (In my own dealings with agents and editors over the years, I have never experienced the reverse. Never.) And as with any such relationship, you should begin as you mean to go on.

In any case, I believe I've made my viewpoint clear, you've certainly made yours unmistakably clear, and those who are about to submit manuscripts to agents themselves are by now undoubtedly quite capable of deciding whose advice they want to take.
 
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I have to agree with Teresa on all counts. As someone who started by self publishing with considerable success, but now enjoys the benefits of being represented by a respected Literary Agent and published by a good publishing house, I can safely say that I know which is better.

Agents earn their money. My agent managed to get the first offer made by my eventual publisher doubled from the initial bid. As the first offer was above the average for a 'first traditionally published book', I can only say that I was delighted by that result. I would not have had the gall, or the experience to recognise it would be possible, to push the deal that far. I would likely have taken what was offered first time around. That's where an agent's experience and knowledge comes into its own.

Getting a good agent is not easy - granted. But, like anything precious, if it were easy to obtain, then the value of having an agent would quickly be lost.

2c.
 
Just my 2 pennies worth and all just my opinion on the matter.

From what I have read on agents' blogs and on various writing forums (absolute write for one) is that with regard one page query letters, then most agents accept you will be sending out a number of these. On a personal note, even with these I try and tailor the query letter to each agent/agency, name of agent (or who deals with submissions) what they are looking for in the form of bio, writing credits etc.

If they request sample chapters they do expect you to mention if any other agent has samples. I have personally held off sending out even query letters for a manuscript if sample chapters are requested, (I could not do anything about any query letters already out there, of course) most agents I have found have given me an answer on a sample within a month/six weeks, not that long to wait.

If I ever get a request for a full manuscript and the agent asks for an exclusive (in my dreams of course) I would say yes, but try to agree a time , say three/four months. I think a good agent would know by then if the manuscript was worth taking a risk on, and a few months is not long to wait.

I would add that at the moment a small, but well thought of publisher has a sample of one of my efforts (requested after I had sent a query letter) and I am not at the moment submitting that one anywhere else, even as a query. (I am also trying to sell two other manuscripts as well as this one at present.)While I am waiting I am getting on with my current WIP and tearing apart an old novel in the hope I might make it worth submitting.
 
Then it's just as well that you're happy being self-published, lin,
I didn't say any such thing. I made my living as a free lancer in major markets for decades and have had several books published by traditional publishers.

I stand by my methods...and by what I am saying: They don't dictate this stuff to us, we stipulate how we submit. As in any deal, if the other party is making unreasonable demands, you don't deal.

My sympathy is not with those poor over-worked agents and publishers, sorry. It's with writers.

It should be a mutually beneficial relationship,

That fits in well with what I'm saying here.
 
They don't dictate this stuff to us, we stipulate how we submit. As in any deal, if the other party is making unreasonable demands, you don't deal.

But you don't seem to be willing to extend the same choice to them: they stipulate what they read.

And why one can't have sympathy for editors, agents, and writers at the same time escapes me. Seeing things from the other viewpoint makes it a lot pleasanter (and I might add more effective) dealing with agents and editors. A hostile and demanding attitude will get a writer nowhere -- not until they've written that international bestseller, and that's the writer who doesn't have to go looking for an agent.

Oh, and I tried to find your books at amazon, because I was curious to find out which traditional publishers you've worked with -- if they treated you so shabbily that they've caused such bitterness, best to warn new writers away from them -- but I couldn't find anything. Do you write under another name?
 
I think the misunderstanding is in general caused by people talking about other subjects.
Lin seems to be talking about the fact that you should select agents, then go and see how their websites look like and then send them either a request letter/mail or a few chapters. At this point it is reasonable to send out quite a few of those.

Teresa/SJAB seem to be Talking more about when you have received word back from the agent that he wants to look further into your writings and when you are 100% that you will get a decent answer back, this compared to say the standard rejection letter.

Should you however, Lin, be in contact with more agents and such on a level beyond the first (having them read your full manuscript), aren't you be blocking those agents from reading/taking on other writers?

Like Mark illustrated, though, hard negotiations do have their advantages, but since we can state that the author of this thread is searching more for a way in, rather than a great deal, I don't think playing it hard is the best way for hu;):p:p;) (oh no I used hu)
 
As far as I can tell, lin is saying don't send out to any agent who isn't willing to play by your rules, and do get the search for an agent over as quickly as possible.

But it isn't about speed; it's about finding the right agent and the right editor and getting your book published in the right way. All of these things take time, and if you can't deal with that, then you shouldn't pursue a career in traditional publishing.

And sure it would be nice to find an agent who bends over backwards to make life easy for all the authors who might wish to submit to them -- but when it comes time for that agent to negotiate a contract, an author might want someone with a little more backbone.

Therefore the main point which I have been trying to get across: be wise in choosing where and to whom you submit your manuscript, but there are more important factors in selecting a (possible) agent than how quickly you can get a great number of them to look at your manuscript. Much more important factors.
 

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