Find a Literary Agent FictionFinding A Literary Agent Fiction
An 8-point guide to troubleshooting for writers looking for a frahling
Unfortunately, it is often a necessary part of the search for a literary agent. Typically, the agent gets over two thousand entries per year and is only allowed to subscribe to one or two of them. Being a person who works with literary operatives every single working days, I listen to the background to why operatives refuse script.
Which part of your volume makes an agent rise and attract attention? Belletristic writers may consider it a conception, an uncommon figure or an uncommon age. In the case of non-fiction, this could even be your own experience that will enable you to compose the work. Or you could just describe it as'a romance story', but you can wager that your agent will read twenty or more entries that say the same thing on that date.
This is the approach you need to focus the agent's interest on - so put it in the first line of your poll. Acclaimed for his work, he is a highly respected and respected author, Steven D. Levitt and Stephen J. Dubner - an economics graduate from the University of Chicago and a New York Times reporter.
The two writers have formidable references that would make an agent pay attention. Perhaps you would like to tell us about your experience working with uncommon individuals or about an exceptional world. Locate what it is about your work that is original and make it the center piece of your entry.
They want an agent to concentrate on your words - not a confection. The same applies to the filing of e-mails. Joke doesn't fit into a covering note unless you're a comedian. So the thing an agent is likely to recall about your filing is your filing - not the fancy typeface you used.
The majority of agent requests contain a questionaire, a summary and a written example - and perhaps an author's bio for non-fiction authors. Anybody who has tried to summarize knows that it is difficult to put an entire volume on one page. It can be switched off by any letters, summaries or resumes that roar on pages and pages.
You only need to include a few sections that include the USP (Unique Selling Point) of your textbook, a brief abstract of your writing skills (if available - you don't need to be an authority to writing fiction) and a notice to say what's included. It should contain one or two pages and give an overview of the core of your storyline and your people.
A written curriculum vitae should contain one or two pages and should only cover the things of relevance to your text. Keep it brief and simple makes it easy for an agent to get the yist of your field in the little amount of space they have. And if so, make sure you include this part of your textbook in your entry.
After all, it is not your task as an agent to be an expert in trendspotting. However, it is definitely a good idea to keep an eye on what is about to happen to see if there is a connection to your text. A few of our operatives like to summarize their work or write a resume first. Many people like to trim directly to your type.
Unfortunately, many entries have failed here. Be it fiction or non-fiction, all textbooks should begin with a tick. Don't mail it to an agent who specializes in "chick lit." Well, I mean, meeting your agent is really half the battle. No. There are many agencies that display the types of ledgers they are looking for on their websites, or you can browse an agent base such as AgentHunter (UK and Europe) or AgentQuery (USA and Canada).
When there' s a work you think is similar to yours, find out who is representing it. When you have found an agent that you think is appropriate, adjust your request to him or her. It is as easy as writing your name to the agent. They should also study the agent's filing policy to see exactly what they expect from a filing.
It will be a shame to be refused for something as stupid as the lack of the inquiry in the text of the e-mail. The number of entries received by an agent is such that it can occur. Many of the tales of winning writers have been repeatedly denied before they succeeded.
When you think you've stumbled into a barrier with your entries, maybe it's a good idea to get help from outside. A copyreader will be able to identify the mistakes in your design, plotting and typing and help you to make your text as good as possible. Full development work can be very useful if it is expensive, or you can try a script evaluation or evaluation that will give you genuine feed-back on your first three sections or letter of proposal.
It is important to know that refusal does not mean that your textbook is poor. Agent Hunt is usually a numbers quest, and you should - if possible - be proud of your refusal letter. Juckes works with Agent Hunter, the extensive on-line data base of the British Frahlingen, which is available to writers around the world.
If you would like more information about submission to Frahlingen, please see this useful guideline from The Writers' Workshop.