Why Have A Literary Agent? by Alison Booth
Why bother with an agent? After all, they collect around 15% of your hard-earned royalties, so if you can manage to get a publisher without an agent you will be that much better off.
The trouble is that it’s very hard to get a publisher without an agent. Very few authors succeed in doing so. Most publishers view the agent as the gatekeeper who’s able to block out all but the best manuscripts, thereby saving the publisher’s time in doing the screening themselves. So it’s hardly surprising, from the publishers’ profit-orientated perspective, that they prefer dealing with agents.
What’s in it for the author, though? A good agent understands the publishing industry, knows who the most appropriate publishers might be for your novel and is persuasive in approaching publishers. A good agent is also financially savvy, good at bargaining for the most lucrative deal for you (and for them), and is experienced in scrutinising legal contracts and checking royalty statements.
It’s an added bonus if the agent also provides critical input into further developing work before it goes to a publisher. A good agent won’t care only about the commercial aspects of the novel but will also care about its quality, and can help develop that. After all, it reflects poorly on the agent and their reputation (and royalty income) if the novel isn’t up to scratch.
Once my agent and I signed up together, she was great at telling me what she didn’t like about the first draft: too many sentences starting with he or she, too many deaths (and it wasn’t even a murder mystery), the nasty people were too nasty (after all, everyone has some good points, don’t they? A villain with some good points can be even more threatening than one who is thoroughly bad).
Was I still glad to have the agent after the publication of the first book? The publisher purchased world rights when they took on Stillwater Creek. In doing this they took over some of the agent’s role. World rights meant that it was the publisher who sold the book to Presses de la Cite in France, it was the publisher who negotiated the large-print deal and the audio rights (no royalties on either of these as it was a charitable concern), it was the publisher who offered the two book deal, and it was the publisher who sold Stillwater Creek to Reader’s Digest in separate deals in the United Kingdom and in Australasia.
In spite of this, I am still very glad to have the services of my agent. Why? My agent not only pointed me in the right direction with the first book but she also helped me complete the second book The Indigo Sky in time; she read my drafts and made largely constructive comments about them. This sped up the process in meeting the deadline. It was my agent who championed my proposal for a third book, A Distant Land, and who guided me in writing the treatment for this. Until this time I hadn’t even known what a treatment was… (yes, really). Clearly none of this would have been possible if I’d been operating on my own.
For all these reasons, I’m very glad to be represented by an agent. Plus, there’s another compelling reason: having an agent frees up your time. If your family responsibilities and your day job are demanding, you too may want to avoid the hassle of dealing with many of the time-consuming administrative aspects of being a novelist.
How can you get an agent to take you on? There’s lots of advice out there on this. A good place to start is The Australian Writer’s Marketplace. This is where I began my search for an agent. I tried two. The small one, located not far away from where Stillwater Creek was set, knocked me back after reading three sample chapters. The larger, well-established one in Sydney took me on. I think I was lucky.
Alison Booth’s author website: www.alisonbooth.net
Writing Novels in Australia