Most authors dream of seeing their book in a reader’s hands—on shelves, in bookstores, or highlighted in a publisher’s catalogue. But for many, that dream hinges on one pivotal figure: the literary agent. After helping over 130 clients write and publish their books, and going through this journey myself as a published author and writing coach, I’ve seen firsthand how critical the right agent can be—and how misunderstood the process of finding one often is.
The traditional publishing world is both structured and opaque. It’s not enough to have a powerful story or a marketable concept. You need someone who understands the publishing landscape and can advocate for your work with skill and strategy. That’s what a literary agent does—when they’re the right fit.
But finding the right agent isn’t about blasting emails to every name you see online. It’s about strategy, clarity, and persistence. It's also about knowing when an agent is worth your time—and when you're better off pursuing other routes.
In this guide, I’ll walk you through everything I’ve learned—both as a writer who’s been represented and as a coach who’s guided many others through the process. Whether you’re seeking representation for your novel, nonfiction, or memoir, you’ll get the clear, no-fluff insight you need to make real progress on your publishing journey.
Let’s start by understanding what a literary agent actually does—and why they’re so central to the traditional publishing path.
A literary agent is more than a middleman. They’re your advocate, strategist, and connector in the publishing world. Their job is to represent your work to publishers, negotiate your contracts, and ensure you get the best deal possible—not just financially, but also in terms of rights, creative control, and long-term opportunities.
Most of the major publishers—especially the Big Five—won’t accept unagented submissions. This means your manuscript won’t even be considered unless it comes through a literary agent. That’s why having one is often a non-negotiable for authors pursuing traditional publishing.
The agent's role goes far beyond sending a few emails. A reputable agent will help you refine your manuscript, craft a marketable book proposal or pitch, and match your work with editors who are actively acquiring your genre. They're immersed in the industry. They know what editors want, what trends are fading, and how to position your book so it doesn’t get lost in the slush pile.
You may think of them as a business partner, but they’re also part coach, part dealmaker, part gatekeeper. They don’t just sell books—they build careers. And because they only get paid when you do, a good literary agent is deeply invested in your success.
But before you start searching for potential literary agents, you need to be clear on something else: do you actually need one? Let’s break that down next.
Not every writer needs a literary agent—but if you want to publish traditionally with a reputable house, especially one of the Big Five, you almost certainly do.
Literary agents act as filters for publishers. They protect editors’ time by sending them only what they believe is worth publishing. As a result, most major publishing houses no longer accept unsolicited submissions. They rely on agents to bring them vetted, polished manuscripts from serious authors. Without an agent, your manuscript is unlikely to reach the right desk.
But there are exceptions.
If you're publishing a highly niche nonfiction book, building your own platform, or planning to self-publish, a literary agent may not be necessary. In fact, I’ve coached several clients through successful self-publishing launches that outsold traditionally published titles in their categories. For some projects, keeping full control and moving quickly to market is more valuable than pursuing a traditional book deal.
That said, for authors aiming to build a long-term writing career—especially in fiction, memoir, or commercial nonfiction—having the right agent opens doors that simply wouldn’t open otherwise. Agents don’t just sell your book. They help position you as a marketable author. They can shape your brand, pitch multiple projects over time, and grow your career in ways that would be difficult to do alone.
So, before you start querying, ask yourself this: Are you aiming to publish through a large or mid-sized traditional publisher? Do you want your book stocked in major retailers and reviewed in industry publications? Are you ready to treat writing as a professional endeavor, not just a personal project?
If the answer is yes, then yes—you need a literary agent. But not just any agent. You need the right one. And finding that person takes more than a quick Google search. It starts with understanding who agents are, what types exist, and what they actually do for writers.
Let’s explore that next.
Not all literary agents operate the same way. To find your dream agent, you need to understand the landscape—because the type of agent you choose can shape the trajectory of your writing career.
At a broad level, literary agents fall into two main categories: those at large, full-service agencies and those at boutique or independent agencies.
Full-service agencies often have departments for foreign rights, film/TV adaptations, and even merchandising. If you're writing a high-concept novel, commercial nonfiction, or something with strong media potential, a full-service agency can help your book reach beyond print. These agencies work with major publishers like Penguin Random House and Simon & Schuster, and they usually represent established authors or high-potential debut writers.
Boutique agencies, on the other hand, tend to offer more personalized attention. You may be working directly with the head agent or founder. If you're a new author, this can be an advantage—especially if your manuscript fits a niche market. Some new agents at boutique firms are actively building their lists and eager to find new talent.
There are also genre-specific agents, which is where your research becomes critical. Certain agents specialize in literary fiction, science fiction, romance, memoir, or political nonfiction. Others may only take on projects within business, wellness, or narrative journalism. Querying a nonfiction proposal to an agent who only reps speculative fiction won’t get you a response—it’ll get you ignored.
Some agents focus exclusively on nonfiction and will evaluate your platform more than your manuscript. They’re looking at your credibility, your audience, and your ability to promote your book. In these cases, your query letter and book proposal matter more than the manuscript itself.
If you’re unsure how to categorize agents, use tools like Publishers Marketplace, QueryTracker, or AgentQuery. These directories allow you to search for potential literary agents by genre, location, agency name, or even client list. You’ll often find interviews, submission guidelines, and preferences—all critical to your agent search.
Knowing what type of literary agent you're looking for makes your query process more effective—and increases your odds of landing someone who’s not just willing, but excited to represent you.
In the next section, we’ll explore the qualities to look for in a good literary agent, and how to separate the promising from the problematic.
Finding a literary agent is only half the battle. The real challenge is finding a good literary agent—someone who believes in your work, understands your goals, and knows how to guide your career in the publishing world. As someone who’s coached over 130 authors, I’ve seen what happens when writers settle for just any agent. The result is often frustration, stagnation, or worse—dead ends.
So what separates a good agent from a mediocre or even harmful one?
Look for agents with a proven history of successful book deals. This doesn’t mean they have to represent celebrities or New York Times bestsellers—but they should have sold books to traditional publishers you recognize. Use tools like Publishers Marketplace to verify their recent deals.
New agents can be excellent partners if they’re hungry, responsive, and backed by a solid agency. But if they haven’t sold anything yet and can’t articulate a clear plan for your book, they may not be ready to represent you.
A good literary agent doesn’t just like your genre—they know the market inside it. Whether you write literary fiction, science fiction, business books, or memoir, your agent should understand reader expectations, industry trends, and what acquisitions editors are currently seeking.
Look at the agent’s client list. Do they represent other authors in your category? Have those authors signed with recognizable publishers? If yes, that’s a strong signal.
The right agent has access. They’ve built relationships with editors, know which publishing houses are open to new authors, and understand how to position your book for success. A well-connected agent can get your manuscript onto the right desk—and keep it from getting lost in the slush pile.
This is one of the most overlooked—but crucial—elements of a healthy agent-author relationship. A good literary agent responds to emails in a timely manner, communicates clearly, and respects your time. They keep you informed about submissions, rejections, feedback, and next steps.
If your gut tells you they’re flaky, disorganized, or evasive during the early conversations, listen to it.
Don’t look for someone who loves everything about your book. Look for someone who’s excited by it and willing to challenge you. A strong agent will tell you when a chapter falls flat or when your query letter needs work. They want the manuscript to be its best before pitching it—and they’ll help get it there.
A legitimate agent will never ask for upfront fees. Their compensation is a commission (usually 15% of domestic sales, 20–25% for international and sub-rights). They’ll also offer a clear, written agreement outlining their responsibilities.
If someone asks for payment to “review” your manuscript or charges reading fees, walk away. That’s not a professional agent—it’s a scam.
Above all, your agent should want to represent your book. They should believe in your vision and be excited to pitch it. If you sense lukewarm energy or vague commitment, keep looking. The agent-author relationship is a long game, and you want someone who’s genuinely in your corner.
A good literary agent is not just a connector—they’re a career partner. They’ll shape the early stages of your publishing path and influence your growth as a professional writer.
Once you know what to look for, it’s time to start your search. Let’s now break down the exact steps to find a literary agent who’s the right fit for you.
Most writers search for a literary agent the wrong way—random Google searches, cold queries to big names, and hoping for the best. After working with dozens of clients through this process, I’ve developed a clearer, more strategic approach to finding the right agent—not just any agent.
Here’s how to run a smart, focused agent search in today’s publishing landscape.
This is non-negotiable. No amount of clever querying will help if the manuscript isn’t strong. Your story must not only be well written—it must be marketable. That means it fits a recognizable genre, delivers a clear promise to readers, and brings something fresh.
If you're writing nonfiction, a great book proposal and a strong author platform are even more important than the manuscript itself. If you're writing fiction, especially literary or commercial fiction, your full manuscript should be complete and polished before you begin querying.
Writing a great book also means thinking like a publisher. What’s the hook? Who’s the target audience? What shelf will this book sit on? Can it sell? These are the questions an agent will ask—so ask them first.
This is where most writers cut corners—and pay the price.
Use databases like:
QueryTracker
AgentQuery
Publishers Marketplace
These tools allow you to filter agents by genre, agency, client list, and recent sales. Don’t stop at surface-level details. Go deep:
What kinds of books has this agent sold?
Which publishers have they worked with?
Are they accepting queries right now?
Do they welcome simultaneous submissions?
Search Twitter and LinkedIn for updates. Some agents tweet calls for submissions or share recent deals using hashtags like #MSWL (Manuscript Wish List). These posts often give you real-time insight into what they’re actively looking for.
As a writing coach, I often help clients compile and organize their agent list in a spreadsheet. You can create columns for genre match, submission guidelines, status, notes, and follow-up dates. This turns a stressful search into a manageable system.
Once you have a longlist of potential literary agents, it’s time to narrow it down.
Look for:
Agents who specialize in your genre (e.g., science fiction, historical fiction, business nonfiction)
Agents who represent debut authors (if this is your first book)
Those who have a personal interest in your topic
A balance of experienced agents and new agents—the latter are often more open to unknown writers
Avoid the temptation to query 50 agents blindly. It’s better to send 10 strong, tailored queries to agents who are a genuine match than 100 generic ones.
And remember: You don’t need the most prestigious agent. You need the one who gets your work—and can sell it.
Your query letter is your foot in the door. It’s often the first—and sometimes only—thing an agent will read.
Make it count. Here's a basic structure:
Personalized greeting using the agent’s name
A strong hook or logline (1–2 sentences about your book)
A brief paragraph describing the plot or purpose of your book
A short author bio with relevant credentials (including any previous publications or platform size)
A line explaining why you chose this agent
A polite closing and offer to provide the full manuscript or book proposal
Avoid sending the same letter to everyone. A line or two of personalization goes a long way. Mention a specific author they represent or an interview where they expressed interest in your topic.
Professional, concise, and focused query letters are not just a good practice—they’re essential.
Most agents allow simultaneous submissions, but always check their submission guidelines.
Be transparent. If you're querying multiple agents, mention it in your letter:
“This is a simultaneous submission.”
And if one agent requests the full manuscript or expresses strong interest, notify the others. It’s respectful—and it may even expedite other responses.
Simultaneous submissions increase your chances and save you time. You don’t want to wait six weeks for a “no” just to start again from zero.
If you haven’t heard back after the agent’s stated response window (often 6–12 weeks), it’s okay to follow up. Send a short, professional note asking for a status update.
Don’t follow up too soon, too often, or with frustration. Publishing is a long game, and agents are juggling many projects. A respectful follow-up is good etiquette. A pushy one closes doors.
This six-step process will give you a clear, repeatable system to find a literary agent who’s aligned with your work—and your goals.
Next, let’s look at where to actually find these agents, and which tools and events can help you build your query list faster.
You don’t need industry connections or an MFA to find a literary agent—but you do need the right tools and a disciplined research process. Fortunately, we live in an age where most of the resources are at your fingertips. As a writing coach, I guide my clients through this phase carefully—because where and how you look for agents often determines how quickly (and successfully) you’ll connect with one.
This is one of the most powerful free tools available. QueryTracker lets you search by genre, location, agency, and more. It also lets you track submissions, response times, and success rates—all in one dashboard.
It’s not just a list—it’s a research assistant. If you’re serious about finding an agent, set up an account and start building your personalized query list.
Another trusted, free database that’s especially helpful for new writers. AgentQuery allows you to filter by genre, keywords, client list, and whether agents accept email queries or postal submissions. Many writers use both AgentQuery and QueryTracker together.
It’s an excellent way to discover new agents who are actively building their lists and may be more open to debut work.
This paid tool is used by serious authors, agents, and editors. Publishers Marketplace allows you to search agents by name, track their sales, and see which publishing houses they’ve worked with recently. If you're targeting the Big Five or hoping to land a six-figure book deal, this is a smart investment.
You can also subscribe to the free Publishers Lunch email newsletter, which announces recent deals and acquisitions.
Many agents are active on Twitter and share exactly what they’re looking for. Search hashtags like:
#MSWL (Manuscript Wish List)
#AmQuerying
#QueryTip
#DebutAuthor
#AskAgent
These hashtags often lead to new opportunities, updates on open/closed query windows, and submission tips directly from agents.
Follow agents whose profiles mention your genre. Engage respectfully—but don’t pitch them in the comments. Use social media as a research tool, not a shortcut.
While online tools are powerful, in-person (or virtual) events can still be game-changers. Conferences like the Writers Digest Conference, Sierra Nevada Writers Conference, and The Muse & The Marketplace often feature pitch sessions where you can meet agents face-to-face—or screen-to-screen.
These interactions can lead to requests for your full manuscript on the spot. And even if they don’t, you’ll get valuable practice and feedback.
Keep an eye out for online-only pitch events like:
#PitMad (Twitter pitch party)
#RevPit
#SFFPit (for science fiction and fantasy)
These events are especially useful for finding new talent-friendly agents.
Once you identify promising agents, always go to their agency’s website. Here, you’ll find:
Submission guidelines
Query preferences
Genres represented
Instructions for sending your query letter or sample pages
Some agencies are open to simultaneous submissions, while others are not. Follow each agent’s rules to the letter—it’s your first test of professionalism.
If you’re part of a writing group, an MFA program, or even an online course like The Architecture of Writing, ask around. Agents often take submissions from referrals more seriously.
You can also connect with authors who are one or two steps ahead of you. Many writers are open to sharing their experience—sometimes even their agent’s name.
When done properly, your agent search becomes more than a logistical step—it becomes part of your training as a professional author. You begin to understand how agents work, how the publishing industry functions, and what it truly means to position a book for success.
Next, we’ll discuss why agents often reject manuscripts—and how you can avoid the most common traps.
Rejection is part of the process. Every writer faces it—whether they're submitting their first query letter or their fifth manuscript. But rejection doesn’t always mean your book is bad or your writing isn’t ready. Often, it’s a matter of timing, fit, or presentation.
Understanding why literary agents reject submissions is essential if you want to reduce the number of “no’s” and increase your chances of landing the right agent.
After guiding over 130 writers through the querying process, I’ve seen the same patterns repeat. Here are the most common reasons why agents say no:
This is one of the most avoidable mistakes. Many agents specialize in very specific genres—science fiction, literary fiction, commercial nonfiction, etc. If your manuscript falls outside their focus, they’re not going to consider it—even if it’s brilliant.
Before submitting, research agents carefully. Read their profiles. Check their client list. Use filters on QueryTracker or AgentQuery. Only query agents who clearly represent the genre your manuscript belongs to.
Your query letter is your first impression. If it’s vague, overly long, confusing, or dull, agents may not even glance at your manuscript.
Common issues:
No clear hook or premise
Weak title or lack of genre identification
No personalization or reason for querying that specific agent
Overemphasis on personal background instead of the book
A compelling query letter is structured, specific, and sharp. It tells the agent what your book is, who it’s for, and why it matters.
You may feel eager to get your work out there—but if your full manuscript isn’t polished, it shows.
Agents look for writing that flows, characters that feel real, and structure that builds tension or clarity. If your story starts slow, lacks focus, or is riddled with errors, even a great concept won’t save it.
Before querying:
Work with beta readers
Hire a writing coach or developmental editor
Revise multiple times
Consider taking a writing course (like Architecture of Writing)
Agents need to believe your book can sell. If your manuscript is too niche, too derivative, or doesn’t align with current trends, it may be seen as a tough sell.
This is especially true in nonfiction. Without a well-defined target audience or a clear solution to a pressing problem, your book proposal might fall flat.
To improve your odds:
Read Publishers Weekly and similar outlets to track trends
Reference comparable titles in your query or proposal
Highlight your platform if you're writing nonfiction
Sometimes rejection has nothing to do with you. Agents might already represent a similar book. They might be overloaded with submissions. Or they might be temporarily closed to queries—without updating their profile.
This is why simultaneous submissions are smart. You don’t want your entire career timeline hinged on a single gatekeeper.
Be strategic. Query in batches. Keep researching. Keep submitting.
Rejection is never easy—but it’s also not the end. Many of the authors I’ve coached have landed agents after dozens of rejections. Some were offered representation after revising based on an agent’s feedback. Others signed with a different agent entirely who was a far better match.
In the next section, I’ll show you how to handle these rejections professionally—without losing momentum or confidence.
Getting rejected by literary agents is part of the process. I’ve seen talented writers receive 50, even 100 rejections before landing their first agent—not because their work wasn’t strong, but because finding the right fit takes time. The question isn’t if you’ll be rejected. The question is how you’ll respond when it happens.
Here’s how to handle rejections like a professional—and use them to grow as a writer.
This advice may sound obvious, but it’s crucial. A rejection letter doesn’t mean your writing is worthless. It doesn’t mean your book has no future. It often means:
The agent is over capacity
Your genre isn’t what they’re looking for
Your book is too similar to something they’ve recently sold
The market isn’t right right now
Agents receive hundreds of submissions weekly. Most rejections are form responses. Don’t read too much into them.
If you receive personalized feedback, treat it like gold. Most agents don’t take the time to explain why they’re passing—so if one does, it means your work caught their attention.
Even short comments like:
“Pacing felt slow at the beginning”
“Concept strong but the voice didn’t connect with me”
“Not quite right for my list but please try again with future work”
These are opportunities. Keep a record of the feedback. If you notice patterns across multiple rejections, take a step back and revise.
I’ve helped many clients rework their query letters and full manuscripts based on agent feedback—leading to eventual offers.
If an agent requests materials—like your full manuscript or book proposal—and you don’t hear back within their stated timeframe (often 6–12 weeks), you’re allowed to follow up.
Here’s how to do it:
Keep it short and respectful
Mention the date you submitted
Reaffirm your interest
Don’t attach anything new unless requested
If the agent replies with a pass, thank them and move on. Don’t argue. Don’t ask for more feedback unless they’ve offered to provide it.
Rejections should not stop your query process. They are data, not dead-ends.
If you're querying in batches (e.g., 10–15 agents at a time), use the results to guide your next batch. If you're getting form rejections with no requests for pages, revisit your query letter. If you're getting partial or full requests followed by rejections, revisit your manuscript.
In most cases, querying is a long-haul game. It’s not unusual for a writer to go through several versions of a manuscript or proposal before landing an agent.
This may seem obvious, but I’ve seen writers reply emotionally to rejection letters—arguing, pushing back, or asking for exceptions. Don’t do this.
You may want to query that agent in the future with a new project. You may cross paths at a conference. The publishing world is smaller than you think.
Handle rejection with grace, and your reputation will work in your favor.
Every rejection is a step closer to the agent who believes in your book. Keep refining, keep submitting, and keep writing. Your next project may be the one that breaks through—or the revision you do tomorrow might turn a “no” into a “let’s talk.”
In the next section, we’ll look at practical ways to improve your writing and increase your chances of getting an agent to say yes.
Many writers think finding a literary agent is about pitching harder or querying more people. But the single most effective way to improve your chances is this: become a better writer.
In my work as a writing coach and ghostwriter, I’ve seen strong writing do what flashy pitches cannot—hold an agent’s attention beyond the first page. Strong writing builds trust. It signals that you're not just querying for validation—you’re a professional ready to deliver.
Here’s how to sharpen your skills and stand out in a crowded field of submissions.
No matter how talented you are, there’s always room to grow. Most successful authors work with editors, coaches, or critique partners behind the scenes. If you want to land a book deal with a traditional publisher, you must treat your manuscript like a professional product.
That means:
Working with beta readers for early feedback
Hiring a professional editor before querying
Joining critique groups or writing communities
Taking structured writing courses
If you're looking for a complete, professional system, my signature course—The Architecture of Writing—is built specifically to help writers develop strong, market-ready manuscripts. It’s the same framework I’ve used with dozens of authors who later signed with agents or publishers.
Don’t just read for pleasure—read with a writer’s eye. Break down how successful authors in your category structure their chapters, build suspense, or deliver key ideas. Compare their pacing, dialogue, or tone to your own.
Create a list of comparable titles and use them in your query letter or book proposal. Agents want to know how your book fits into the market—and what makes it stand out.
If you're writing nonfiction, agents will look at more than your manuscript. They want to see your platform—your audience, authority, and visibility in your field.
Build this through:
Publishing articles or blogs
Speaking on podcasts or at events
Growing a relevant following on social media
Offering lead magnets or courses tied to your book’s topic
Remember, traditional publishers are investing in you, not just your book. They want to know you can help sell books.
Sometimes, you need more than critique—you need strategic guidance. A writing coach helps you:
Clarify your book’s concept and structure
Overcome mental blocks and procrastination
Write with discipline and consistency
Prepare for publishing (queries, proposals, marketing)
I've coached authors through every stage of the writing and publishing journey—some of whom had been stuck for years before finally getting offers from literary agents or publishers.
You can go far on your own—but with the right support, you’ll go farther and faster.
Agents can tell within a page—sometimes a paragraph—whether a manuscript is ready for publication. That kind of polish only comes from rewriting, not just writing.
Don’t be afraid to rewrite your opening chapters, restructure your narrative, or cut entire sections. The most successful authors are relentless editors of their own work.
Improving your writing isn’t about chasing perfection—it’s about making your work undeniably ready. When agents sense that readiness, they’re far more likely to say yes.
In the final section, I’ll walk you through what to do next—whether you’re about to send your first query or revising after your fiftieth rejection.
If you've made it this far, you're not just curious about literary agents—you’re serious about finding one. That commitment sets you apart from most writers who give up after a few rejections or send half-hearted queries into the void. The truth is, finding the right literary agent takes real work—but it's work that pays off when done with intention.
Here’s how to move forward from here with clarity and momentum:
If you want to publish with a traditional publisher, have your book distributed nationally, or build a long-term author career, a literary agent is almost essential.
But if your goals are better served through self-publishing—for example, to support your business, share a personal story, or maintain creative control—you may not need an agent at all.
The choice depends on your project and your vision. I help many clients weigh these options based on their goals, not the trends.
Landing a book deal isn’t just about having one great idea. It’s about showing up professionally, querying strategically, and refining continuously. You may go through dozens of agents before finding the one who sees your potential. That’s not failure—it’s filtering.
The writers who succeed aren’t the ones who never get rejected—they’re the ones who keep submitting, improving, and learning from every no.
If you’re ready to begin:
Finalize your full manuscript or book proposal
Build a curated list of potential literary agents
Draft and personalize your query letters
Begin sending out simultaneous submissions
Track responses and follow up respectfully
If you're stuck or unsure where to begin—or you’ve been querying without results—consider getting expert support. Working with a writing coach or joining a writing program like The Architecture of Writing can accelerate your progress and give you the tools to finally get unstuck.
I’ve walked this path myself—first as a writer, then as a ghostwriter and coach. I’ve seen how discouraging the publishing world can feel from the outside. But I’ve also seen how quickly the momentum shifts when your message is clear, your writing is sharp, and your mindset is grounded in professionalism.
You’re not just looking for any agent. You’re building a writing career. That starts now.
If you’d like help navigating your path to publication, or you want an expert pair of eyes on your manuscript or query letter, I invite you to book a free consultation with me and my team at Trivium Writing.
Let’s make your writing irresistible—so the right agent can’t say no.