Do I Need a Literary Agent and How Do I Find One?

Image by Marco Arment

Image by Marco Arment

Do I need a literary agent?

Short answer: yes. If you want to be published traditionally, you absolutely need an agent. (I’ll post about self-publishing vs. traditional publishing later on.)

Why do I need a literary agent?

  1. Few publishers (maybe none) will read anything unless it comes to them from a literary agent.
  2. Agents have in-depth knowledge of the publishing industry and will know which editors/publishers are most likely to be interested in your work.
  3. Your agent may give you feedback to help you to polish up your work before it gets submitted to said publisher.
  4. Your agent really believes in your work and will fight to get it out there.
  5. Your agent will negotiate your publishing contract – and because they work off of commission (they don’t make money until you do), you know they’ll negotiate it to your greatest advantage.

How do I find a literary agent?

The traditional (and still legitimate) way to find an agent is to look them up in the latest edition of Writer’s Market. But now we have the Internet; it’s much easier to look them up on AgentQuery. Start by searching by the genre you write, and make a list of the agents who are accepting submissions. Find out everything you can about each agent before you query. Visit their website (follow submission guidelines!), read their blog, and read any interviews they’ve done.

A great way to pinpoint agents who might like your book is to look up the agents who represent authors with work similar to yours. I don’t know of any standard place to find this information, but you can try the acknowledgements page of the book, the author’s website, searching by author on AgentQuery, or simply Googling it (comb through the results carefully, though; see below).

How do I avoid getting scammed?

DO NOT simply search “literary agents” on Google. I love Google, but there are droves of scam lit agents out there, and AgentQuery is a safer bet. To really protect yourself, here are a few more steps to follow.

  1. AAR– The agent’s AgentQuery profile will specify if they are an Association of Author’s Representatives member or not. Members of the AAR adhere to strict ethical guidelines. (Though there are legitimate agents who aren’t in the AAR, so don’t throw out an agent just because they aren’t a member).
  2. Predators & Editors – Look up every agent on this site before you query. It’ll tell you if they are legit or a scammer, have made recent sales, and if they come highly recommended. The website isn’t very professional, but writers have depended on it for years.
  3. Run Away from FeesNo legitimate literary agency charges writers up front. Period. If you see a reading fee, run. If you see administrative fees, run. A legitimate agency takes a commission from your publishing profits, and will not bill you until you make money.

More resources:

Learn how to query in these other posts: writing your hook, sample hooks, and what else goes in a query.

Learn more about agents, including what to ask an agent interested in representing you at AAR’s website.

Read about “spaghetti agents” and how to avoid them on former agent Nathan Bransford’s blog.

Inspiration Monday XVI

Another great week. I feel like I’m missing somebody, though…please let me know if I did, and I will rectify my omission with great haste!

Also, here’s a little gift I recently found out about and have forgotten to tell you all about for several weeks: (*cue fanfare*) A FREE (electronic/online) copy of Strunk & White’s The Elements of Style, also known as the bible of writing, which is fortunately way shorter than the actual Bible (my copy is only 85 pages long). Enjoy!

Jinx

Drew

Jenna

Mike

Patti

Kay

SAB

Juan

Chessie

The Rules

There are none. Read the prompts, get inspired, write something. No word count minimum or maximum. You don’t have to include the exact prompt in your piece, and you can interpret the prompt(s) any way you like.

OR

No really; I need rules!

Okay; write 200-500 words on the prompt of your choice. You may either use the prompt as the title of your piece or work it into the body of your piece. You must complete it before 6 pm CST on the Monday following this post.

The Prompts:

Outstretched fingers*

I can’t draw love, but I know it when I see it.*

She thinks I’m dead

Unmentionable

Confidence trick

 

Want to share your Inspiration Monday piece? Post it on your blog and link back to today’s post; I’ll include a link to your piece in the next Inspiration Monday post. No blog? Email your piece to me at stephanie (at) balcomagency (dot) com.

Plus, get the InMon badge for your site here.

Happy writing!

* Today’s first and second prompts brought to you by Jinx and TragicPete, respectively.

How to write with body language

55% of human communication is nonverbal.

Which means more than half of what you say is nothing but expressions and gestures and eye contact.

Which means if you use nothing but “he said” and “she replied” to tag dialogue, your readers are missing half the message. Besides which, body language is also an effective way to show tone without “telling” tone. For instance:

“Hmmm,” she said unhappily/happily/thoughtfully. [All “telling”]

“Hmmm,” she frowned.

“Hmmm,” she smiled.

“Hmmm,” she tapped her lips with one finger.

We have the additional benefit of cutting the dialogue tag, “said,” which can get annoying in large doses.

Of course, use of body language isn’t limited to dialogue. You can say a lot without actually saying anything (useful if, like me, you are terrible at writing dialogue):

He hunched in his chair, elbows on knees, head in hands.

She bit the corner of her bottom lip, her gaze darting left and right.

He frowned, stroking his chin.

She leaned back and folded her arms, tapping her fingers against her skin.

He cocked one eyebrow, smirking.

There are countless other gestures to illustrate countless other emotions. Here are a few (in totally random order). Got any other good ones? Leave ‘em in the comments!

Grin

Smirk

Grimace

Furrow brow

Wrinkle forehead

Slap forehead

Twiddle thumbs

Twitch/tick

Bite nail

Suck thumb

Pick nose

Run hand through hair

Twirl hair

Skip

Amble

Stroll

Lumber

Swagger

Shuffle

Bob head

Flare nostrils

Wink

Nod

Shake head

Hug self/knees

Rub arms

Shudder

Shiver

Tremble

Scratch

Rub eye

Slouch

Tilt head to one side

Meet gaze

Look in the eye

Gaze slide to floor

Blink

Start

Shrug

Sigh

Sniff

Swallow

Wrinkle nose

Squint

Shift weight

Cross legs

Eyes glitter

Eyes glint

Clap

Snap fingers

Thread fingers

Fold hands

Nose in air

Look down nose

Look sideways

Peer

Glance

Stare

Glare

Purse lips

Push hair out of eyes

Inspiration Monday XIV

Happy Memorial Day, whether or not you are American – and thanks to all the folks who risk (and give up) their lives so that we can post whatever the heck we want on blogs and stuff. It’s a heavy price, and I hope I don’t have to remind the Rewriters not to waste this opportunity to speak their minds in the very best way they know how.

In other news, with my three-day weekend, I made some excellent progress with the Super Secret Project!

And all the InMon submissions continue to impress me. There are a few new faces this week; please be sure to welcome them!

pianolover1114

Patti

Bayley

Marantha

Mike and two

Billie Jo

Jinx

Scribbla

Kay

Chessie

Hugmore

Carl

Char

Mike per Char

***EDIT: So, apparently it’s week 14. Not week 19. I could make the excuse that the V and the X are so close to each other on the keyboard, or that I preferred the symmetry of XIX, but I’d be lying. I’ve changed the post title, but the URL/link is permanently XIX, so be sure to link correctly. Thanks for the heads up, Patti!

****EDIT: please also welcome Lady Nimue and check out Barb’s piece

The Rules

There are none. Read the prompts, get inspired, write something. No word count minimum or maximum. You don’t have to include the exact prompt in your piece, and you can interpret the prompt(s) any way you like.

OR

No really; I need rules!

Okay; write 200-500 words on the prompt of your choice. You may either use the prompt as the title of your piece or work it into the body of your piece. You must complete it before6 pm CSTon the Monday following this post.

The Prompts:

The crime of forgetting *

Wait for my signal

Sideways in time

Broken heart. Bloody hammer.

Overexposed

Want to share your Inspiration Monday piece? Post it on your blog and link back to today’s post; I’ll include a link to your piece in the next Inspiration Monday post. No blog? Email your piece to me at stephanie (at) balcomagency (dot) com.

Plus, get the InMon badge for your site here.

Happy writing!

*Today’s first prompt brought to you by Jinx. Thanks, girl!

A Defense of Happy Endings

Let’s get down to it. What’s better: a happy ending or a sad one – and why?

First, let’s define “happy” and “sad” endings. It’s not as simple as whether or not the hero survives; Shakespeare’s Hamlet and Lewis’s The Last Battle both end with everyone dying, but one leaves you in despair and the other brings you incredible joy.

I think it’s more accurately measured by the presence of two things: meaning and victory. Compare Sydney Carton’s death in A Tale of Two Cities to any Nicholas Sparks book. Everything that happens in Two Cities leads up to, even contributes to, Carton’s death, and he dies nobly (meaningfully), to save a friend (victory). Whereas Sparks’s M.O. is for two people to find love, only to lose it again (defeat) when one of them unexpectedly (senselessly) dies in a car wreck, in a shipwreck, or of Leukemia. We cry an awful lot at Sparks (at least the movies; I never deemed the books worthy of my time) as well as at Dickens, but one leaves us sad and the other, satisfied. Dickens’s ending is meaningful; Sparks’s is a parlor trick.

Sparksstirs up emotion, sure – but tears are cheap. It’s easy to get our characters into scrapes, to beat them bloody, to take away everything they care about; it’s harder to get them out of trouble, heal them, and give them their hearts’ desires while making it meaningful and believable instead of nauseatingly cheesy. But the fact is – and Dickens proves it – it can be done.

Happy endings sometimes seem cheesy because they are unrealistically glossy – like nothing bad ever happened again. These are either simplified to reinforce the style of the story (perhaps for younger readers), or are just badly written. But some people lump all happy endings into the same “Unrealistic” category. They call themselves realists, preferring books that speak the “hard truth.” They scorn stories that end with weddings, saying the marriage would never last in real life. But that’s not realism. Realism is acknowledging that some marriages end in divorce; cynicism is assuming they all do.

And the funny thing about cynicism? It’s a self-fulfilling prophecy. How much of what’s wrong in real life, failed marriages included, is that way just because people have given up fighting? If you write about a “realistic” failed marriage, what good is it? You’re not revealing anything your readers haven’t seen already. You’re only reinforcing hopelessness. Why not write about a struggling couple that fights to save their marriage? You can empower your readers to hope and to fight without being cheesy or unrealistic.

Don’t be silly, you might say; everyone knows it’s just a story. Readers don’t take it to heart.

That’s a lie. Even the cynical marketing world I work in acknowledges that the story is one of the most powerful forces on earth. A well-crafted story doesn’t just claim that a bad situation can turn out well—it shows how a bad situation can turn out well. Stories can make people see new possibilities. Stories can change people’s minds. Stories can inspire or discourage.

What will your stories do?