How to Find a Literary Agent (+ List of Directories)

Professional research is absolutely necessary to determine whether an agent is a strong fit. What authors do they already represent? What books have they landed successful deals with recently? If they have a professional social media account, they are likely posting the types of books they like to read or advice about how to reach out to them. This is all healthy, necessary background research to ensure you're not wasting your time or theirs. They likely receive hundreds if not thousands of manuscripts, so if they're talking about how to stand out from the crowd, you should be listening.

But boundaries certainly exist and people will establish them intentionally; if their social media account is private, for example, it's likely wise that you don't request to follow if you don't know them personally!

I like seeing the title, genre and comp titles at the top. Often, writers hide this info in the final paragraph. I want to know immediately what this book is and what it's about, along with where it could sit in the market. It quickly tells me if this book is for me and if the author even knows what their book is about.

Another misstep is writing far too much in your plot paragraph. It really should only be 1-2 short paragraphs. Think plot/premise/payoff. This is probably the hardest part for writers. You are very close to your own work and might feel overwhelmed by condensing the entire narrative into a handful of sentences. When I receive a query, I'm looking for your main character, their world, what has changed in their world, twists or turns along the way, and even a question you might have for the reader.

For bonus points, add a logline before your plot paragraph(s). It's an efficient way to hook the person you're querying.A query letter should be no more than one page. Finally, look up the agent or editor's name and address it to them with the correct spelling. First names are preferred. It feels old-fashioned to address a query with Mr, Mrs, Ms, etc.

A lot of query letters are too long. An agent will spend perhaps one minute scanning through your query letter, so make it easy for them to find the important stuff. And don't spend too much of your word count on the summary! The goal isn't to tell the agent everything that happens in the book; the goal is to mention enough selling points and hooks that the agent is intrigued and starts reading your sample pages. This means one, maybe two paragraphs of summary, in the basic format: "[Protagonist] wants [motivation], but [obstacle] gets in the way. They'll have to [challenge] if they're ever going to achieve [stakes]."

I think that authors are sometimes so keen to get on board with a particular agent that they forget to keep their letters concise and professional and often volunteer personal information and background information that doesn't have a place in a query letter. The other thing I often see is authors including what almost amounts to a full synopsis of their book, whereas this should be presented in a separate document.

Three words: be more specific.

The standard advice used to be: look to a book's back jacket description for an example of how to describe your book in a query letter. The truth is, over time, the trends in queries have evolved AWAY from what's used on the back cover of books. Book jacket descriptions tend to be more vague, and focus on general claims like, "a thrilling coming of age story." Also, book jacket descriptions often end with rhetorical questions like, "Will Eva find love before it's too late?" but rhetorical questions in a query tend to be an agent pet peeve.

Most of all, agents don't want to hear that you have a "sweeping love story." They have 50 other sweeping love stories in their inbox right this instant. They want to hear the SPECIFICS of your setup, conflict and stakes to know how your love story stands out from the others, or they'll be getting out the broom to sweep your query right back out of their inbox!

A couple of the most common areas I see authors make mistakes in their query letters include:

1. Not using proper query format
2. Making the Book section (what your book is about) section either too long or too short.

While there is some variation on a query format, the one I like to use is the Hook, Book, Cook method.

1. Paragraph 1 is your Book. What the title of the book is, the word count, why you decided to pitch the agent, comparable titles, etc
2. Paragraph 2-3 is the Book. Think of this like the blurb on the back of a book or on Amazon. You want to give agents just enough information that they want to know more, but not give the ending away. That's for the synopsis, as is going into greater detail about the character and story. For the query, focus on the primary characters with their primary goals and motivations, the overarching conflict and villains, and set up the stakes of what the heroes will lose if they fail
3. Paragraph 3-4 is the Cook. You as the author! If you don't have any prior writing credits, that's okay. Include a short paragraph about what you like to do, or what you enjoyed about writing the book. If you do have prior writing credits, try to only include those that are most relevant to what you're pitching (example, it's likely not applicable to share that you had an article in a cooking magazine if you're pitching urban fantasy, unless that ties in some way).

When writing the Book section of the query, I often recommend to authors to go into their local bookstore and seek out books in your genre with descriptions you like. See how they introduce characters, conflict, what details they do (or don't) include. Emulate them with your own story. Queries can be difficult, but with practice they do get easier!

Common mistakes in query letters:

1. Not saying what your book is about and why your target audience will love it.
2. Remaining a secret writer by not sharing who you are, your background, and your writing experience.
3. Giving away too much of the story: Mr. A hates Mr. B and winds up killing him.
4. Making assumptions about the publisher, the books it publishes, and those it doesn't.
5. Making unrealistic promises: This book is going to be a best seller with 500,000 books sold this year.

There are a few common mistakes you can avoid when writing your query letters. Here are some "do's" and "don'ts."

1. Include only your first and last name in the query. The agent has your email address, and that is the address they will use if they wish to contact you. Do not include any other contact information (unless requested).

1. Address the query letter as the agent stipulates on their website. If they do not specify their preferred salutation, use their first name and last name, e.g., "Dear Jane Doe."

1. Make your first sentence about what you and the agent have in common (e.g., "Dear Ms. Smith, On your website, you say you like working with authors who (fill in the phrases the agent used), so I'm excited to present my (state your word count, genre, and BOOK TITLE IN CAPS)."

1. State your comps (competitive or comparative titles) in your first paragraph. With your comps, try to use one book that this agent represented. Don't use best sellers as comps. Don't use books published over 2 years ago (and not over 3 years) as comps. Be current. Do your research. If you can't find recent comps, do more research. Read every book you use as a comp. (As you read your comps, make notes about how each comp is like your book, and how it is not like your book. You'll need this information for your book proposal (for nonfiction), and you'll need to talk about this with the agent when they call you.)

1. Make your query letter 300 words. Why? Because a 300 word count is industry standard. Because 300 words is what many agents allow for their online submission forms. Because 300 words (single-spaced) will fit on one printed page, in case the agent prints out your query. Because if you can write an interesting query letter in 300 words, the agent will know you're a pro.

1. Format your query according to industry standards: single-spaced, left justified, 2 spaces between paragraphs. No tabs or indents. No bold or underlining. Put your book title in CAPITAL LETTERS.

1. When emailing your query, always drop your letter into the body of the email. Never send it as an attachment, unless requested. Don't send a query snail mail unless requested. Write in the email Subject line as directed (e.g., "Query - Title of Book - Name of Author.")

1. Don't follow up on your query letter (unless an agent has invited you to submit to them). If you have sent an unsolicited query, if an agent says on their website their response time is four to eight weeks, and at eight weeks you haven't heard from them, query other agents (but not in the same agency). No response from an agent is a "No." Don't take it personally ... just move on. Your perfect agent is out there, waiting for your query letter!

I wish you every success with querying.

One big mistake is querying the wrong agent. Sending your 90,000 word adult fantasy to an agent who specializes in literary nonfiction will only result in a rejection. This does not mean that you do not have an amazing story, but rather that that particular agent cannot best service that particular story. As a writer, make sure to do your research to find the best agent for your work.

Hope this helps!

Querying can be emotionally challenging and overwhelming for authors. Once you're in it, you're amongst a sea of probably tens of thousands of other authors at the same time, and there are, of course, only so many agents and agencies out there. Truthfully, the odds are not great; an agent will sign only about 1-3% of the authors they come across in their queries. This is why the query must be in tip-top shape: a query's only job is to make the agent curious enough to ask for pages. Then, they have to fall in love with the pages (the writing and the story, which are two different things) and have a vision for it in the current market.

If you go into it with the right mindset, it can make it easier. Expect to receive many passes; it's inevitable in 99.9% of cases. Your story isn't for everyone; no one's is. And there are so many reasons an agent might pass. Try not to take it personally; if they pass, then they were not the agent for you. You have to have thick skin though. Not every agent will reply, and if they do, they may give feedback or a reason they're passing or they may not. It's hard not knowing, but there's not much you can do about it. Agents are not paid for the time they spend on queries, and their top priority is the clients they already have, so unfortunately, queries often fall to the bottom of the priority list. And because we receive so.many.queries, it's very difficult to stay on top of them all. We simply don't have the time to respond to everyone. All you can do is do your best; ensure your query is spectacular so that it stands out, your pages are spectacular so agents see it as ready or nearly ready for submission to publishers, and research the agents and agencies first so you know you're shooting your shot with the most appropriate people in the industry. Follow their submission guidelines, don't cheat, and be friendly and professional. Get several pairs of fresh eyes on your query so you know it contains all the necessary elements (and doesn't contain anything that shouldn't be in it) as well as your manuscript, and make sure everything is ready before you begin querying. Being prepared says a lot about your work ethic, which is important to agents as well

It sounds cliche, but the only difference between those who find representation and those who don't is that the authors who found representation didn't give up. It takes patience, persistence, and perseverance. And it may not happen with your first completed manuscript, or even your second or third--but if your goal is to find an agent and be traditionally published, keep going. Keep learning, keep trying, keep connecting with other writers and industry pros. You've got this!

Don't be afraid to tear up your query letters and start again. Be aware of the time of year -- you may be going 24/7/365 but agents and publishing houses don't do that. Check out Writer's Digest articles on query letter writing and examples of winners and losers. Check out Query Shark. Understand the different agent types and editors at small presses -- different query styles may be required. Send queries out, mark the calendar 4 weeks from that date, and forget about them until then.

Query letters are not a sales letter about you -- you love your book, your letter needs to make anyone want to love your book as well. :O))

Check out writing blogs/websites such as those of folks like Anne R Allen or Janice Hardy -- or any author you admire -- their tips on query letters may include something you've never considered.

Start your next book... c'mon! You might be surprised what's waiting to pop outa your head!

Querying is so tough these days! There's more agents than ever before, but yet imprints are folding, combining, etc. so the number of projects being sold hasn't increased, making it harder to catch an agent's eye.

There may be any number of reasons you're not getting full requests--your query letter doesn't capture the unique quality of your book making it stand out, your first pages fall flat and don't pique the agent's interest, or, quite simply, the agent isn't interested in your characters or plot. And there's nothing you can do about that last one. Every book isn't for every person. Every agent has meh topics they rather not read about. If an agent isn't into mermaids, they're unlikely to request a full from a query that describes a book about mermaids. That query was never going to land a full, and there was absolutely nothing about the query or your writing that could have changed that.

So, concentrate on what you can control and push aside the rest. Querying is not a comment on your worth as a human or as a writer. Publishing is a fiesty marathon. If your current project isn't getting bites, write the next thing. You'll improve with each project. Trust that the stars will eventually align when your idea and words will pack a punch. How can you make your project stand out as unique? What tropes can you put a spin on? Create characters we can't help but root for. Lean into what you--your background, your hobbies, your experience, can bring to a project that springs it to life in a way that can't be replicated.

But above all, know that it's not just you--the struggle is real for many, and the only thing you can do is simply keep writing.

Don't lose faith!

I know that's easier said than done but try not to let rejections get you too demoralized. Most best-selling authors had the same struggle and likely went through many rejections before securing a deal. Unfortunately, it's all part of the process.

If you are getting form rejections then it is likely you are either choosing the wrong agents or there are issues with your query pack, so make sure you put as much work as possible into researching who you want to pitch to and refining your documents. Don't rush into querying. This is your one shot to catch the attention of that agent, so you want to get it right.

If you are getting requests for your full manuscript then you are likely on the right track and have a good submission pack. Don't be afraid to ask for feedback, but agents are very busy so you may not always get it.

I would also encourage you to keep writing while querying. Authors often get their second or third book picked up instead of the first one they queried, so don't lose hope. If you are tired of the rejections then use any feedback you have been given to write something new. There are no guarantees, but keep working at it and hopefully you will find your perfect agent eventually.

Finally, be kind to yourself. A rejection doesn't mean your book is rubbish - it just means that the agent can't see a place for it at this point in time. Many, many, many brilliant books have been turned down initially and then had great success when they found the right home. Don't give up hope.

The first thing I consider in a manuscript is how well the first line caught my attention and made me truly care. Even if is subconscious, readers are passing judgement on a piece immediately. This is why the first line is absolutely vital to setting up a successful manuscript. Unfortunately, most people have a very short attention span, and over 500,000 new fiction books are published each year, leaving no shortage of choices for readers. If a writer is adept at capturing an audience in just one line, it tells me they likely understand storytelling and know how to craft a narrative with a compelling voice.

Beyond this, I see potential in consistency. By this, I mean I always look for consistency in the voice throughout a manuscript and for characters to remain consistent in their choices or motivations. If characters are constantly doing strange and out-of-character things, it tells me the work is not well planned or fully developed. I look for plot consistency as well: is the central problem remaining the central problem, or have things drastically shifted somewhere along the way? If it has shifted, it is a sign that the original plotline/idea may not have been strong enough to carry the story.

I hope this helps! There are quite a few other small things I look for, but these are the two biggest ones I can typically spot right away.

I’m not a literary agent, but the agent who represents me as an author has become a good friend over the past twenty-plus years we’ve known each other. Her days are hectic to say the least. First, she maintains communications with her authors, their editors and publishers, her other contacts in the industry, and new authors she might want to work with. She strategizes finding the best fit for each manuscript she takes on and sends them to publishers for consideration. She keeps meticulous records, negotiates and approves contracts, reads and provides editorial advice on manuscripts, and keeps abreast on industry trends and developments. She might also handle rights other than print and digital rights, such as foreign rights, audio rights, and film rights. All this is in addition to the day-to-day management of a demanding business.

It’s no wonder literary agents sometimes have long response times to submissions. They must fit reading new manuscripts in between all the other tasks that fill their days. Because of time constraints, many agents now employ and empower “readers” to sort through the numerous submissions they receive each day. Readers may be interns, in-house editors, or aspiring agents, and most read only the first chapter or two of a submission and then decide whether to send the book onto the agent. That’s why I advise my editing clients that their openings must be as polished and close to perfectly executed as possible, so their work makes it past that initial screening.

Bottom line: Agents are very busy professionals who may be hard to reach, but if your goal is a traditional publishing deal with a major publisher, your best chance will come if you have secured literary agent representation.

The baseline requirement is that you need to address your query to the agent's name; "Dear agent" letters sent out as shotgun emails to five hundred agents will get rejected quickly. Beyond that...my usual suggestion is to offer one or two sentences at the beginning of the query letter showing that you've done your homework. This can be as simple as "I saw on MSWL that you're looking for more multi-POV novels," or "I saw on your agency website that you're interested in cozy fantasy." This shows that you're respecting the agent's time by making sure that what you're sending is aligned with their tastes at the most basic level. Agents know that you're probably querying about ten people at once, and they're receiving perhaps hundreds of queries a day, but the personalization makes it a little more likely they'll spend some extra time looking at yours.

I think a personalized query letter achieves the same aim as a piece of handwritten, personalized mail: it shows the sender has put thought and intention into what's enclosed.

As a small-press publisher, I certainly understand that manuscript submitting is a numbers game. Authors have every right to query their manuscripts to dozens of publishers and agents simultaneously. But no one wants to be treated like a row on a query tracking spreadsheet! Dear Sir/Madam, to whom it may concern, generic language about the submission's fit within my company's catalog of publications: these tactics suggest the author is taking a slapdash approach to submitting.

Conversely, when a submitting author can demonstrate their familiarity with my press, it comes as a huge relief to me. Of course, I don't expect every submitting author to buy a copy of book I've published before firing off their manuscript. But if an author can reference a title from my manuscript wish list, or if they address me by name, or if they can say in 1-2 sentences how their book aligns with my company's mission statement, then that goes a long way!

Because many authors want to increase their chances of representation, most send out lots and lots of queries letters all at once using some form of template (Dear Agent, I'm seeking representation...). While using a template like this does cut down on time, some agents get hundreds, if not thousands, of query letters a month! What's a way you can stand out from that? Personalize the query.

Agents want to know that you, the author, not only have a good book worth pitching, in the genre the agent works in, but that you have put in the time and effort to learn why they specifically would be a good fit for your work. An author-agent partnership is not a one and done thing, but ideally and ever-growing relationship that starts by being a good fit for one another. And so, showing that you researched them by personalizing a query expresses that:

1. You have done your research for that particular agent, and so take your craft seriously
2. You know what they represent so are pitching them in a genre they actually represent
3. Have likely researched their other clients so you have a reasonable idea of whether you might fit well with them.

On top of this, if you meet an agent at a conference or writing-related event, mention that! Again, agents get many, many queries, so if they ask you to send them stuff, or you spoke to them, remind them where you met them, and any relevant details related to your work you might have discussed. This will hopefully set you off on the right foot and be the start of a wonderful author-agent relationship.

Personalizing a query is a great way of letting agents know that you've researched their tastes and interests, which also conveys that you're taking a professional, well-considered approach to querying and the industry itself. When you let an agent know that you've chosen them specifically because of the clients and/or books they represent, because of their online presence, or because of an interview they've given, it shows them you've taken the time to learn who they are--which also means it's likelier that you're sending them a manuscript suited to their tastes.

Although writing queries is more an art than a science--and it can often feel like screaming into the void--if you take the time to carefully research potential agents, editors, and publishers, then your odds of approaching an appropriate one for your project (i.e., someone who would be interested in it), are far higher. Being able to demonstrate that research by being able to personalize your query will make you stand out in a good way. Conversely, if you send out copycat queries blind, you're less likely to wind up in front of someone who will resonate with whatever you're pitching. "Personalizing" includes using correct basic info (name, title, company, etc.), but also appealing to relevant aspects of the recipient's professional and personal background, from the types of books they typically represent (or what kinds of articles they publish if you're pitching mags) to whatever hobbies they may have that dovetail with what you're writing about. In other words, personalizing can't possibly hurt and might just help.

It’s like junk mail vs. "real" mail. When I get an envelope with an advertiser's name, I usually toss it aside, thinking I don't need a new garage floor or whatever they're selling. But when I get mail addressed to me personally from a real person, I'm much more likely to want to know what they have to say.

While some advisors might suggest that one generic query letter is appropriate for all agents, my best advice is that you personalize every query you send. This means researching every agent, finding out what authors and books they have represented, and then using at least one "comp" (comparative title" / "competitive title") on that agent's (or their agency's) roster. When you do this, the agent knows that:

1. you are querying them because you're familiar with their work and you know your book is a fit for them,
2. your book suits their agency's roster, and
3. you have done your homework.

When writing a query letter, follow the agent's submission guidelines precisely. For example, an agent named Jane Smith might request on her submissions page that she be addressed as "Ms. Jane Smith." So, if in your salutation, you write, "Dear Jane" or "Dear Ms. Smith," that is instant notification to the agent that you haven't read (or haven't followed) her submission guidelines. Will that mean you won't follow her directions if she signs with you? Agents get literally hundreds of queries every month. Don't give an agent a single reason to reject your query.

Some agents care a lot about personalized query letters, and other agents accept that some authors prefer to send out generic letters. Since you don't know which agents have which preferences, it makes sense to personalize all your query letters.

Happy querying!

In my experience, personalizing a query letter shows a few things:

1. Your interest in working with that particular agent. This increases their interest in your project and your agent-author relationship.
2. Your knowledge of the market and targeted marketing. As a writer you don’t need to be a pro at this, but showing your ability to promote yourself displays valuable skills that can be used later for things like author events.
3. Your research skills. Showing that you are good at finding the right agent showcases your research skills which may come in handy for your work, particularly if it’s nonfiction.

Hope this helps!

It shows you've done the hard work of doing research and aren't submitting to just anybody. It adds a personal touch and hopefully will make you stand out from the rest of the crowd. If you can reference a book or two represented by the agent, and compare it to the book you have written, you will bolster your argument for approaching this particular agent. This research takes time, but I believe that, in the end, it can make a difference in helping your query stand out.

This answer will be different for every literary agent because we all have different backgrounds, and so many backgrounds can contribute to an agent's growth and expertise. For me, I was already an editor and wanted to move into the literary agent space as well. Additionally, I was very involved in the literary community through my own podcast, another hugely popular podcast, my own writing and network of writers, and the fact that I'd served as Co-chair of Editor's Canada and International Rep on the Crime Writers of Canada board. Even still, it's hard to get into agenting--you often need clients to be an agent, but you need to be an agent to have clients! My friend (who's also a literary agent) introduced me to the owner of an agency and we met. We got a good vibe from each other and he agreed to bring me on as an editorial assistant to introduce me to agenting. He was my mentor throughout the process, taught me so much, and it was the best move I could have made. I proved my worth and was moved into an agent position not long after, and the rest is history! Now, I enjoy the best of both worlds; I'm an editorial-minded literary agent who's growing my list of talented authors, and I'm a freelance professional editor who helps authors get their manuscripts ready for publishing, whether indie, self-, or traditional. Both roles are completely separate so that there's no conflict of interest, but I bring industry knowledge, experience, insights, and expertise into each.