Agents as a ‘filter’
Agents have become more powerful over the years as publishers have
become more dependant on them. If you’ve been trying to get your
submission read by a publisher, especially in the US and the larger
publishing houses, you won’t be surprised that the ‘slush-pile’ is
often not read at all.
Publishers have decided that it is easier only to consider
submissions coming from agents, which have been ‘filtered’ by them.
That way the publishers can focus on the strongest possibilities. They
may well have to pay more and get less in the way of subsidiary rights
on the titles they buy through agents, but many regard those
disadvantages as a price worth paying.
Publishers fight for market share
The key to understanding this is the battle for market share, with
publishers desperate to make sure that their company acquires – and
ties up in a multi-book contract – the next potentially mega-selling
author. To sift through a giant slush-pile is not seen as
cost-effective any more. The 'midlist' has withered away and
publishers are desperate for the next big thing.
Why writers need agents
What all this means for those writing for general publishing is that you
need to find an agent before you can find a publisher, making the
whole process a tricky two-step activity. But once you do have an agent,
they will have to sell your work before they make any money. So an agent
will only take you on if they think they can sell your work.
Your agent will charge you between 10% and 15% on what they sell for
you, with more for translation rights. The upside is that an agent,
particularly a good and established one, will have far better access to
publishers than you do.
Chris Holifield
Our Michael Legat Factsheet
on Literary Agents gives
more background. See also the information on his book
An
Author's Guide to Literary Agents.
See also our UK and
US
agents lists, which you can check out
directly on our site.
