Australian Literary Agents ListList of Australian frahlings
Every agents who charge a "reading fee" or any kind of charge before work should be prevented like the pestilence. One thing that can take the writers' minds off in the USA is the fact that there are only about twenty working frahlings in Australia. Twenty agents for the authors of the vast, tanned country.
You need an operative? They don't need an operative to get released, but it does help. A number of the major publishing houses will not look at a script unless it has been recommended by an agency - cutting budgets may mean that a publishing company no longer has an armada of internal S&Ls.
So for some editors, the agency functions as a kind of doorman. Alternative options are available: look for script developers such as the Hachette QWC or Varuna Harper Collins programmes that can bring your work directly to a publisher's notice. The Ice Age's authorirsten Reed submitted her text for the YA Prize; it didn't succeed, but it was noted and she got a publication agreement.
You can also find the various Premiers' Literary Awards, which usually bring you a money award, a mentor, perhaps an agency and a contract. When you are very fortunate in such a situation, an asset may even come to you (but don't breathe). There is also the possibility of contacting an agents using simple methods.
The best thing to do is to proceed by e-mail or with an old-fashioned note sent by dove. Review the agent's website - make sure the agency accepts entries and represent your category (the Australian Literary Agents Association will list this information for its members at http://austlitagentsassoc.com.au/). Please write a concise covering note as follows:
Between two and three phrases - including all possible written credentials and all pertinent earlier releases (if you have a long list of releases, put the two/three best ones in your note and add a list of releases on a dedicated page). Part three: how long is the novel; what is its style; who else is working in this field (that tell an operative who your targeted audience is); and why you made it.
Number four: Indicate that you have a summary and the first three sections (or the first fifty pages, as indicated on the agent's website) and a self-addressed franked cover (SSAE) included if you wish to have the script back. Be sure to state how the product will culminate - an editor or editor wants you to know how the ending is.
The last section should contain (just like your covering letter) the length, the title and a sentence under the motto "This will please the reader of Kelly Link and Aimee Bender" (or whoever a suitable analogy is). Don't call an operative and ask him to take you over.
Don't tell an operative they'd be fortunate to have you, and they should really get on board now! Don't wear your script under the noses of an operative at a drink or other event - it may seem like an occasion, but it's not. Don't write long, long letters or e-mails - be brief and concise.
Busy folks won't be reading your five-page note. Don't fight with an operative who says no. Do not call after two wards to find out why the agents have not called you. The next time my mind is opened for the store, it will be about the fact that a publishers is not necessarily the same as an editorial.
I have a list of my friends who are especially polite: those who pick up the telephone, cleaning staff, safety guards and the teammates - especially the heroes.