The career novelist

Choosing an agent

Given that, why do some well-established writers stay in place?

Perhaps because they are comfortable doing business in an old-

fashioned way. The old rules, they may feel, were easy to under-

stand. The new world of publishing, on the other hand, can be cold

and corporate. To these writers an old-fashioned agent may feel like

an ally in a hostile world. They want to hold change at bay.

That is a shame, because when you think about it such writers

may be holding back their careers, perhaps even their creative

development. If so we may be missing out on some great stories.

So, you ask, how does one actually give oneself a choice? Is it

really possible? And what criteria should one use in evaluating

agents?

CHECK THE MENU
The first point to grasp is that agents come in many different vari-
eties. I am not talking about the obvious difference that everyone
knows about: New York vs. out of town; big shops vs. small inde-
pendents; specialists vs. generalists; 10 percent commissions vs. 15
percent commissions. These are important points, of course, and I
will soon discuss them at some length.
However, there are other factors that separate agents, factors
that may seem incidental at first, but that over time have a major
impact on one's career. These include background, business style,
editorial skill, accessibility, total results for all clients, and others.
To illustrate these factors, I have created a roster of fictitious
agents. These amalgams are inspired by my colleagues, but none is
a roman-a-clef-style portrait of any particular agent.
The King Maker. Formerly an entertainment lawyer, this agent is
one of the biggest names in the business. His client roster reads like
the New York Times Best-seller List. A sharp dresser, he can be seen
most lunchtimes at the Grill Room at the Four Seasons, publish-
ing's number-one power scene. However, his clients speak with him
far less often than publishers do. It is said that he takes calls only
from clients whose books are hot. Unknown to them, all but his top-
grossing clients are actually handled by subordinates. The results
are mixed. As for editorial help, his clients receive none; that, he
feels, is the editor's job.