Questions To Ask Before Signing With A Literary Agent

Gary Smailes | 16 December 2025

Communication Style and Professional Practices

An agent’s voice in your inbox matters more than glossy promises. You need a partner who keeps you informed, sets clear expectations, and respects your time. Ask precise questions. Listen for specific habits, not vague reassurances.

Frequency and rhythm of updates

What you ask:

• How often do you update clients on submissions, passes, and general news?

Healthy answers name a cadence.

• During active submissions, a weekly roundup by email.
• When quiet, a monthly check-in with a short status note.
• Real-time pings for major news, like an offer or strong interest.

Vague replies signal trouble.

• “I reach out when there is news.” That phrase often equals silence.

Follow-up prompt:

• When timelines stretch, how do you keep momentum and morale?

You want a plan. Batch updates. Calendar holds for the next wave. Pattern tracking across passes.

Mini-exercise:

• Write your ideal rhythm on a sticky note. Weekly during subs, monthly otherwise, same-day for offers. Bring that to the call.

Preferred channels and response times

What you ask:

• Do you prefer email, phone, or video? What response window should I expect?

Strong partners give numbers.

• Email within two business days for standard questions.
• Same day for time-sensitive matters marked “urgent.”
• Phone or video for strategy calls, booked within a week.

Clarify time zones. Clarify vacation coverage. A brief autoresponder during conferences helps everyone.

Watch for hedging or “text me anytime.” Boundaries protect your writing hours and your agent’s focus.

Passes, feedback, and next steps

What you ask:

• Do you forward editor passes? Do you summarize themes in feedback? How do you plan next steps after a round fails to land?

Best practice:

• Forwarded passes, lightly redacted if needed.
• A short synthesis once a batch wraps. Two to three lines on trends, plus a plan.
• Strategy might include targeted edits, a shift in editors, or a new positioning line.

Red flags:

• No access to pass language.
• No postmortem call.
• A shrug when a round stalls.

Sample phrasing to use:

• Would you outline your approach to revision between rounds, including expected turnaround and goals?

You want clarity on scope and timeline. Two weeks for a light pass versus a full structural overhaul with a four-week window.

Multiple submissions and transparency

What you ask:

• When you submit broadly, how do you track editors and keep clients informed?

Look for a system.

• A shared tracker, spreadsheet or Airtable, with editor names, imprints, dates sent, status, and notes.
• Update rhythm stated upfront.
• Clear rules around exclusives. How long. What qualifies as a no-response pass.

Ask whether you see the submission list in advance. You should. You deserve to know who has your work and why those editors fit.

Client-initiated contact vs scheduled check-ins

What you ask:

• How do you handle quick questions during submissions? Do you set routine calls?

You want both:

• A standing check-in, monthly during subs, quarterly during drafting.
• An open door for short emails, with a clear subject tag for time sensitivity.
• No weekend pressure unless an offer hits a deadline.

If an agent bristles at questions, pause. You are hiring a representative. Mutual respect runs both ways.

Editorial approach and use of freelancers

What you ask:

• Do you provide developmental guidance? Do you work with freelance editors? When do you expect a manuscript to be submission-ready?

Models vary. Get specifics.

• Some agents give an editorial letter and light line notes, then a quick second pass.
• Others focus on big-picture guidance, then suggest a freelancer for heavy lifting.
• Ask who pays for freelance work, typical rates, and why a freelancer enters the picture.

Good signs:

• A clear philosophy, like “I help strengthen hook and pacing before going wide.”
• A timeline for editorial work, with availability noted during busy seasons.
• Respect for your voice, not a rewrite in disguise.

Clarify scope creep:

• How many rounds before you go on submission?
• What triggers a pause for a larger rethink?

Read between the lines

Details reveal culture. A partner who gives numbers, timelines, and tools will likely keep you grounded during slow stretches.

Quick comparison:

• Strong: “I send a weekly Friday update during subs. You get a tracker link on day one. I forward passes same day and schedule a 20-minute regroup when a round wraps.”
• Weak: “I’m always around. I’ll let you know if something comes up.”

Questions you can copy and paste

Use these scripts during the call or in a follow-up email.

• During active submissions, what weekly or monthly update schedule do you follow?
• What response window should I expect for emails marked urgent versus standard?
• Will you share a submission tracker with editor names, dates, and status notes?
• How do you summarize pass feedback and decide on next steps between rounds?
• Do you set routine check-ins during subs? What does that cadence look like?
• How hands-on are you editorially, and when do you bring in freelancers? Who covers those costs?

A quick gut check

After the call, score answers on clarity, specificity, and tone.

• Clarity. Did you get dates, numbers, and tools?
• Specificity. Did examples match your genre and path?
• Tone. Did you feel respected and steady, even while discussing passes?

Your book needs an advocate and a communicator. Choose the person who proves both in the way they answer these questions.

Client List and Industry Relationships

Your agent's network opens doors. Their relationships determine which editors see your work first, how seriously those editors consider it, and what happens when negotiation time arrives. But relationships without results mean nothing. You need both.

Recent sales and debut success stories

What you ask:

• Show me recent sales in my genre. What debut authors have you launched in the past two years?

Good agents bring receipts. They name titles, publishers, and rough deal terms without breaking confidentiality. They describe the path from submission to sale.

Listen for patterns:

• Do they sell across multiple imprints or lean heavily on one house?
• Are debut deals advancing upward or staying flat?
• Do second books happen, or do careers stall after the first contract?

Sample follow-up:

• Walk me through your most recent debut sale in women's fiction. How long from submission to offer? Which editors passed, and why did the winner connect?

Red flags:

• Vague references to "great deals" without specifics.
• No debuts in your genre within the past year.
• All sales clustered at one publisher, suggesting limited reach.

Editor relationships and publishing house connections

What you ask:

• Which editors do you work with most? How would you describe those professional relationships?

Strong answers include names and context:

• "I've worked with Sarah at Berkley for five years. She trusts my taste in cozy mysteries and responds within a week."
• "At Tor, I submit to three different editors depending on subgenre. David handles space opera, Maria focuses on near-future SF."

You want depth, not breadth alone. An agent who mentions twenty editors but describes none will struggle to advocate for your work.

Ask about house cultures:

• How do different publishers approach debut marketing? Which ones invest in new voices versus established names?

Warning signs:

• Reluctance to name specific editors.
• Relationships described as "friendly" without professional details.
• Heavy focus on editors who left the industry years ago.

Staying current with industry changes

What you ask:

• How do you track editor moves, imprint changes, and market shifts?

Publishing moves fast. Editors switch houses. Imprints merge or disappear. An agent stuck in old patterns wastes your submission opportunities.

Look for systems:

• Publishers Marketplace for deal tracking and editor moves.
• Publisher newsletters and social media for acquisition focus changes.
• Conference attendance and industry networking for advance intelligence.

Sample answer:

• "I check Publishers Marketplace daily for moves. I subscribe to house newsletters. At conferences, I schedule coffee with editors to discuss their lists and priorities."

Follow-up question:

• Give me an example of how an editor move affected your submission strategy for a client.

Subsidiary rights approach

What you ask:

• How do you handle international rights, film and TV options, and other subsidiary rights?

Three main models:

1. Full-service agents handle everything in-house.
2. Agents work with co-agents for foreign markets and film.
3. Hybrid approach, with some rights managed internally and others farmed out.

Each works, but you need clarity on:

• Who negotiates these deals?
• How are commissions split?
• What expertise covers your genre's international appeal?

For genre fiction:

• Ask about foreign market strength. Romance travels well. Literary fiction faces tougher international sales.

For commercial fiction:

• Film and TV rights matter more. Does your agent have entertainment industry connections or co-agents who specialize?

Co-agent relationships for foreign sales

What you ask:

• Do you use co-agents for international sales? How do you choose them?

Good agents maintain co-agent networks worldwide. They know which foreign agents excel in specific territories and genres.

Details to explore:

• Commission splits. Standard is 50/50 between your agent and the foreign co-agent.
• Communication flow. Do you hear directly about foreign interest, or does information filter through multiple layers?
• Track record. Ask for examples of recent foreign sales in your genre.

Sample question:

• Which territories show the strongest interest in psychological thrillers? Who are your go-to co-agents there?

Client references

What you ask:

• Would current clients, especially debuts in my genre, be willing to speak with me?

Professional agents offer references. They connect you with writers who faced similar paths and publication timelines.

What to ask references:

• How does the agent handle slow submission periods?
• Do updates arrive on schedule?
• How collaborative is the editorial process?
• Were there any surprises during contract negotiation?

Two references minimum. Three gives you a better pattern. If an agent balks at references, ask why.

Reading between the lines

Strong industry relationships create opportunities. Weak ones limit your book's reach. Here are quick tests:

The name-drop test:

• Do they mention specific editors by name and describe working relationships?

The recent activity test:

• Are sales examples from this year, or do they reach back to 2019?

The genre knowledge test:

• Do they understand your market's international appeal and subsidiary rights potential?

The access test:

• Do they offer client references without hesitation?

Questions you can copy and paste

Use these during calls or in follow-up emails:

• Name three editors you work with regularly and describe those relationships.
• What debut deal in my genre are you most proud of from the past year?
• How do you stay current with editor moves and market changes?
• Walk me through your approach to foreign rights and co-agent relationships.
• Which territories show strong interest in my genre, and who are your co-agents there?
• Would two current clients in my category speak with me about their experience?

A relationship reality check

After the conversation, evaluate what you learned:

Contract Negotiation and Business Terms

Money talk does not ruin the art. It protects it. Ask clear questions, then listen for clear answers. You want an agent who negotiates hard, tracks details, and explains terms without fog.

Commission structure

Start here. Numbers reveal priorities.

What to ask:

• Please outline commission for domestic sales, foreign rights, film or TV options, and other subsidiary rights.
• Do foreign rights involve co-agents, and how is commission split?

Reasonable ranges:

• Domestic book deals often sit at 15 percent.
• Foreign rights often sit at 20 to 25 percent, especially with co-agents involved.
• Film or TV often sits at 20 percent, sometimes higher with entertainment firms.
• Audio, large print, first serial, and other subrights usually track domestic rates unless outsourced.

Follow-up:

• Which rights do you retain to sell on my behalf, and which does the publisher control?
• If the publisher controls audio or translation, will you try to sub-license before offering those to the house?

Red flags:

• Wobbly answers on splits.
• “We’ll figure it out later.”
• Surprise administrative fees tied to basic work.

Advances and royalties

You want strategy, not vibes. Ask how the agent sizes up leverage and timing.

What to ask:

• How do you set an advance target range before submission?
• Which factors guide your push on royalty escalators, bonus clauses, and performance triggers?

Listen for:

• Comparable titles and prior sales data, even if from adjacent lists.
• Pre-empt versus auction strategy, with pros and cons for each.
• How payment schedules land. Fewer installments help cash flow.
• Strong royalty floors on formats you expect to sell. For example, trade paperback at 7.5 percent rising to 10 percent, hardback at 10, 12.5, 15 percent with sensible breakpoints, audio at 25 percent of net or stronger if leverage allows.
• Ebook rates at industry standard or better.

Mini-exercise:

• Ask the agent to walk through a hypothetical offer in your genre. Advance size, royalty grid, escalators, territory, audio control, delivery-acceptance schedule. A confident agent will talk specifics.

Red flags:

• “Advances do not matter.” They do. They set expectations inside a house.
• No mention of escalators or bonus clauses.
• No plan for reversion triggers tied to minimum sales.

Contract review process

Money flows through clauses. Details matter.

What to ask:

• Do you review contracts line by line yourself, or involve a contracts manager or attorney for complex terms?
• Which clauses draw the most scrutiny on your deals?

Strong answers mention:

• Option language with clear limits on format, genre, and time.
• Non-compete narrowed to direct market conflict, not a blanket gag on future work.
• Delivery and acceptance with objective standards, not vague “satisfactory to publisher” language alone.
• Out-of-print tied to sales volume, not “availability.”
• Audit rights with workable notice and look-back.
• Warranties and indemnities narrowed to what you control.
• Marketing and publicity commitments captured in side letters when leverage exists.

Follow-up:

• How do you track contract riders across client lists to keep leverage consistent?

Red flags:

• “Standard contract” as a reason to skip negotiation.
• No written summary of changes requested and outcomes.

Post-termination commission

Relationships end. Royalties continue. You need rules before trouble.

What to ask:

• How do you handle commission on deals made during representation once we part ways?
• How long do you take commission on those deals, and on what revenue streams?

Common setup:

• Agent receives commission on deals they brokered, including future royalties and subrights tied to those deals, for the life of those contracts.
• New work signed after separation sits outside prior commission.

Follow-up:

• Please put this in the agency agreement with plain language.
• How do you transfer open submissions or pending subrights if we part? Who alerts publishers and co-agents?

Red flags:

• Commission on work the agent did not sell.
• Vague survival clauses without sunset terms.

Reversion of rights

Books fall quiet. Rights should return when sales drop.

What to ask:

• How do you push for reversion when a book goes quiet?
• Which thresholds trigger reversion in your preferred language?

Look for:

• Out-of-print defined by sales units over a set period, not “available” in any format.
• Reasonable sales windows. For example, fewer than a set number of copies in two consecutive royalty periods.
• A path for rights reversion on audio and translation where licensed separately.

Anecdote:

• One author saw ebook-only “availability” block reversion for years. An agent renegotiated to a sales-based trigger on renewal. Rights returned within a year, and a new edition found fresh life.

Red flags:

• No plan for reversion.
• “Publishers never grant that.” Strong agents win sales-based triggers often.

Expenses and billing

Small costs become big resentments without clarity.

What to ask:

• Which expenses do you bill back to clients? Copying, postage, legal review, foreign tax forms, wire fees?
• Do you seek approval before any non-trivial expense?
• How often do you send statements, and which documentation arrives with them?

Healthy practices:

• Most agencies absorb routine office costs.
• Clients approve third-party costs in advance. For example, legal review or book-to-film pitch decks.
• Clear statements, quarterly or semiannual, with royalty reports attached and agency commission listed.

Follow-up:

• Ask for a sample statement with names redacted.
• Confirm who holds subrights income and how fast funds pass through to you.

Red flags:

• Vague “processing fees.”
• Surprise deductions on royalty statements.

Questions to use

Copy, paste, and ask:

• Please outline commission for domestic, foreign, audio, and film or TV.
• Which rights do you pursue in-house, and which go to co-agents or the publisher?
• Walk me through your strategy on advances, royalty escalators, and payment schedules in my genre.
• Who reviews contracts line by line, and which clauses you push hardest?
• How do you handle commission on deals you broker after separation, and for how long?
• What language do you seek for out-of-print and reversion triggers?
• Which expenses require approval, and how are statements documented?

You deserve an agent who treats business terms as part of the art. Clear math. Clear clauses. No surprises.

Long-term Career Development Strategy

You are not hiring an agent for a single swing at the plate. You want a partner who plans seasons. Ask for a blueprint, not a pep talk.

Building beyond book one

Start with vision. Where do they see you in three years, five years, ten?

Questions to ask:

• How do you shape a path beyond the debut, including series work and standalones?
• When do you push a series, and when do you pivot to a new idea?
• How do you protect optional material so book two does not get locked in by vague option clauses?

Listen for:

• A plan for proposals between books, so you never wait empty‑handed.
• Guidance on whether to keep one lane for a while or expand into adjacent subgenres later.
• Talk about timing, not only content. Release rhythm matters.

Mini‑exercise:

• Ask them to map three possible next projects on a one‑page timeline. Include proposal delivery, submission windows, and a backup plan if book two stalls. You want a brain wired for contingencies.

Red flags:

• “We will see what happens.” Translation, no plan.
• No awareness of option clauses or how they choke second books.

Platform, speaking, and industry ties

You do not need to turn into a walking billboard. You do need smart outreach.

Questions to ask:

• Where do you see the highest return for my time, given my genre and bandwidth?
• Which conferences fit my audience?
• Do you broker introductions for blurbs, podcast spots, or newsletter swaps?

Strong signs:

• Specific venues and events. Names, not vibes.
• A short list of publicists, marketers, and media trainers who fit your category.
• Realistic boundaries. You write first. Outreach supports the writing, not the other way round.

Anecdote:

• One debut romance author focused on two regional signings, a targeted Bookstagram tour, and a friendly podcast. No sprint for every platform. Sell‑through beat listmates with bigger social footprints. Focus wins.

Red flags:

• “Build a platform” with no plan.
• Pressure to spend money without a budget or goals.

Shifts in genre or age category

Writers evolve. Good agents know how to manage that energy without blowing up readership.

Questions to ask:

• How do you handle a move from, say, YA to adult, or fantasy to thriller?
• Do you advise on pen names, brand separation, and scheduling?
• If you do not work in a new category, who inside your agency takes point?

Look for:

• A schedule that preserves momentum on the primary list while you develop the new project.
• A view on pen names based on retailer data and metadata, not vibes.
• A team plan if a colleague will co‑represent in a new space.

Anecdote:

• A YA fantasy author wrote an adult mystery under a light pen name. Same agent, clear metadata, newsletter transparency, staggered releases. No audience whiplash. Both lines grew.

Red flags:

• Blanket bans on category shifts.
• “Use a pen name” as a reflex, with no strategy behind it.

Traditional, hybrid, and backlist use

Publishing gives you more than one road. You want an agent who respects choice and knows the trade‑offs.

Questions to ask:

• Where do you draw lines between traditional deals and independent releases?
• How do you approach re‑issuing reverted titles or originals between traditional releases?
• If I choose to self‑publish a project, how do you support, or step aside cleanly?

Listen for:

• Clarity on time versus money. Traditional asks for patience, independent asks for cash flow and energy.
• Clear commission rules on self‑funded projects. No gray area.
• A view on audio originals, short work, and Patreons, with an eye on contract conflicts.

Red flags:

• One‑size‑fits‑all advice.
• Pressure to use in‑house services with no opt‑out.

Publicity and marketing support

Agents do not run your campaign, yet strong ones help you make smart choices.

Questions to ask:

• Will you review the publisher plan and push for improvements where needed?
• Do you join calls with the publicist and sales team?
• Who do you trust for freelance help, and at what price ranges?

Healthy signals:

• Pre‑pub timeline talk. ARCs, trade reviews, bookseller outreach, influencer timing.
• Realistic launch tiers. Not every book gets a tour. Strong agents help calibrate.
• Sample email templates for outreach to booksellers, librarians, and media.

Mini‑exercise:

• Ask for a sample 90‑day launch checklist for your genre. You want a partner fluent in the beats.

Red flags:

• “Marketing is all on the author.” Not true. The house has obligations, even on modest lists.

Support during rough patches

Careers wobble. You need a steady hand.

Scenarios to cover:

• Poor sales. Ask how they reset positioning for the next book, push for a clean slate with a new editor, or rebrand with a pen name if needed.
• Editor leaves. Ask how they protect the project, win a strong handover, or move the book if support collapses.
• Creative block. Ask what support they offer. Deadline triage, extension requests, a short break, referrals to coaches or therapists, peer critique matches.

Anecdote:

• A midlist thriller writer missed expectations on book three. The agent renegotiated option terms to free a fresh pitch, shifted to a tighter subgenre, and pressed for a wider galley mailing. New editor, new jacket, stronger hook. Sales doubled. Not magic. Method.

Red flags:

• Silence during hard seasons.
• Shame as a management tool. You deserve respect, even during a miss.

Questions to use

• Where do you see my next three projects, and how would you time them?
• How do you protect book two from a restrictive option?
• Which events or outlets align with my readers, and what support do you offer?
• How do you manage shifts across genre or age, including pen names and scheduling?
• What is your stance on hybrid paths, and how do you handle commissions on self‑funded work?
• How do you interact with publicists, both in‑house and freelance?
• Walk me through your playbook for poor sales, editor changes, or creative stalls.

You want an agent who thinks in arcs, not spikes. Someone who knows when to press, when to pause, and where your best work lives. Ask for detail. Look for a plan. Then see whether their timeline respects your energy and your goals.

Submission Strategy and Market Positioning

This is where agents separate themselves from the pack. Anyone with a contact list submits manuscripts. Smart agents position books to win.

Timing, editor selection, and submission style

Start with the fundamentals. How do they choose who sees your work, when, and in what order?

Questions to ask:

• Do you submit simultaneously to multiple editors, or go exclusive to build relationships?
• How do you sequence submissions across imprints within the same house?
• What factors determine your first round versus holding editors in reserve?

Listen for:

• Specific reasoning. "I always start with Editor X because she responds fast and gives great feedback, even on passes." Not "I have good relationships."
• Understanding of house dynamics. Some editors compete internally. Others collaborate. Your agent should know the difference.
• A backup plan. First round fails? Round two hits different editors, not the same people with revised pitches.

Red flags:

• Blanket simultaneous submissions with no strategy.
• "I send to everyone at once." Translation: spray and pray.
• No mention of seasonal timing or market windows.

Finding the right fit

Matching books to editors requires homework. You want an agent who reads beyond deals announcements.

Questions to ask:

• How do you research which editors actively acquire in my subgenre?
• Do you track recent acquisitions, or rely on older relationships?
• How do you account for editor workload, list priorities, and seasonal needs?

Strong signs:

• They mention specific recent deals. "Sarah just bought two psychological thrillers, both debut, both with unreliable narrators."
• They know editor preferences beyond genre. "Michael loves commercial women's fiction but passes on anything too literary. Emma wants the opposite."
• They track editor moves and imprint changes. Publishing shifts fast.

Mini exercise:

Ask them to walk through their research process for your manuscript. You want to hear about Publishers Marketplace, industry newsletters, conference intel, and colleague networks. Surface-level research shows.

Anecdote:

One agent spent three weeks tracking down the perfect editor for a debut fantasy. The editor had just moved imprints, was building her list, and had publicly mentioned wanting more mythology-based stories. Perfect timing, perfect fit. The book sold in a preempt within a week.

When round one fails

Most books do not sell on first submission. How your agent handles round two reveals their true skill.

Questions to ask:

• What triggers moving to the next round of submissions?
• Do you revise the pitch, the sample pages, or suggest manuscript changes?
• How long do you wait between rounds, and what factors influence timing?

Look for:

• Analysis, not just fresh names. "Three editors mentioned pacing in the first act. Let's address that before round two."
• Strategic pauses. Sometimes waiting three months helps. Sometimes striking fast works better.
• Honest assessment of market conditions. If comparable titles are struggling, your agent should acknowledge that reality.

Red flags:

• Immediate pivots to round two with no reflection.
• "Let's try a different pitch" without addressing feedback patterns.
• No clear end point. How many rounds before reconsidering the project?

Auctions and multiple offers

High-class problems need experienced handling. You want an agent who has managed competitive situations before.

Questions to ask:

• How do you structure an auction to maximize both advance and terms?
• What factors beyond money influence your recommendation between publishers?
• How do you help authors evaluate non-monetary benefits like marketing support or editor reputation?

Listen for:

• Auction mechanics. Do they set floors, deadlines, best-bid processes?
• Publisher evaluation beyond dollars. House culture, marketing reach, distribution strength, editor track record.
• Clear communication about your role. You make the final choice, but they provide data and context.

Strong example:

"I set a floor based on your day job salary, then evaluated offers on marketing commitment, editor enthusiasm, and house performance with debut authors in your genre. The winning publisher offered 15% less cash but double the marketing budget and a proven track record with first novels."

Red flags:

• "We always go with the highest bidder." Money matters, but other factors shape career trajectory.
• Pressure tactics that sacrifice relationship-building for short-term gains.

Debut versus established author deals

Different experience levels require different approaches. Make sure your agent understands where you sit.

Questions to ask:

• How do debut deals differ from established author negotiations in my genre?
• What realistic advance ranges should I expect based on recent comparable sales?
• How do you position a debut to compete against established names?

Useful context:

• First novels often sell on sample pages and strong concepts. Established authors sell on track records and proven audiences.
• Debut advances tend toward the conservative side, with more upside in royalty escalations and option terms.
• Marketing support for debuts focuses on discoverability. Established authors get broader promotional pushes.

Red flags:

• Unrealistic advance expectations based on outlier deals.
• No awareness of debut-specific challenges in your category.
• Generic advice that ignores your manuscript's unique positioning.

Market trends and optimal timing

Publishing runs on seasonal rhythms and trend cycles. Smart agents time submissions accordingly.

Questions to ask:

• How do you track what editors are buying right now versus what they bought six months ago?
• What seasonal factors affect submission timing in my genre?
• How do you balance trend awareness with evergreen appeal?

Look for:

• Current market intelligence. "Editors are pulling back on dystopian YA but still hungry for contemporary with speculative elements."
• Seasonal awareness. Holiday releases, summer reads, back-to-school launches all affect submission timing.
• Trend versus quality balance. Good books transcend temporary market shifts.

Practical example:

Literary fiction submissions often peak in fall for spring releases. Commercial fiction flows year-round but avoids certain seasonal dead zones. Your agent should know these patterns for your category.

Questions to use

• Walk me through your typical submission timeline from query to offer.
• How do you research and select editors for first-round submissions?
• What would trigger moving to a second round, and how would that strategy differ?
• Describe how you have handled an auction or multiple-offer situation.
• What advance ranges are realistic for debuts in my genre based on recent sales?
• How do you stay current on editor preferences, market trends, and seasonal timing?
• If my manuscript does not sell after multiple rounds, what alternatives do you suggest?

You want an agent who treats submission like chess, not checkers. Someone who thinks several moves ahead, adapts to changing conditions, and positions your work for maximum impact. Strategy beats luck every time.

Agency Structure and Support Systems

The agency behind your agent matters more than you might think. Structure shapes everything from response times to career longevity. You need to understand what you're signing up for.

Solo, boutique, or big house

Each model offers different advantages. None are inherently better, but they serve different author needs.

Solo agents give you direct access and personalized attention. Your agent handles everything, knows your work intimately, and makes all decisions. The downside? No backup when they're sick, on vacation, or overwhelmed. Their network is their network, period.

Small agencies (2-10 agents) offer the best of both worlds when run well. You get personal attention plus colleague support. Agents share contacts, brainstorm strategy, and cover for each other. The risk comes if personalities clash or the agency lacks clear systems.

Large agencies (20+ agents) bring powerful networks and specialized departments. Foreign rights, film/TV, publicity teams, assistants who know the business. But you might feel lost in the shuffle, and your agent could be juggling 100+ clients.

Questions to ask:

• How does your agency size benefit my career specifically?
• What resources do you have access to that solo agents or smaller firms might not?
• How do you maintain personal attention given your client load?

Listen for specifics. "Our foreign rights department sold translation rights for three debut novels last month" beats "We have great international connections."

Backup systems and continuity

Your agent will take vacations, get sick, or handle family emergencies. What happens to your career during those periods?

Essential backup elements:

• Clear coverage arrangements with qualified colleagues
• Accessible client files and submission tracking
• Authority to make time-sensitive decisions in your absence

Questions to ask:

• Who covers your clients when you're unavailable, and what authority do they have?
• How are client files organized so backup agents understand my situation?
• What constitutes an emergency that requires immediate action versus waiting for your return?

Red flags:

• "I never take time off." Everyone takes time off eventually.
• Vague answers about colleague capabilities.
• No formal systems for client information sharing.

Real example: Agent goes on maternity leave for three months. Her colleague handles urgent submission deadlines and communicates with clients, but major decisions wait for her return. Client files include detailed notes on each author's goals, submission history, and preferences. Authors know exactly what to expect and when.

Bad example: Agent disappears for two weeks with no notice. Clients email into a void. Urgent submission deadlines pass unhandled. The agency scrambles to assign coverage after authors complain.

Junior agents and support staff

Larger agencies often involve multiple people in your account. Understand who does what and why.

Typical support roles:

• Assistants: Handle initial queries, schedule calls, manage submission tracking
• Junior agents: May handle subsidiary rights, foreign sales, or specific client relationships under senior supervision
• Rights directors: Specialize in international, film/TV, or audio rights
• Contracts managers: Review deal terms and negotiate standard clauses

Questions to ask:

• Will junior staff work on my account, and what are their specific responsibilities?
• How experienced are they, and what oversight do you provide?
• Do I communicate directly with support staff, or does everything go through you?

Good signs:

• Clear role definitions and experience levels
• Support staff with relevant publishing backgrounds
• Regular communication about who handles what

Warning signs:

• Inexperienced assistants making editorial suggestions
• Unclear reporting structures
• Support staff turnover that affects continuity

Conflicts of interest

Most agents represent multiple authors in similar genres. This creates potential conflicts that good agencies manage proactively.

Common conflict scenarios:

• Two historical fiction authors targeting the same editor with similar concepts
• Competing authors in auction situations
• Limited slots for conference pitching or marketing opportunities

Questions to ask:

• How many authors do you represent in my genre, and how do you manage potential conflicts?
• What happens if two of your clients end up competing for the same opportunity?
• How do you allocate limited resources like conference slots or editor access?

Smart agencies:

• Maintain clear policies about competing submissions
• Communicate potential conflicts upfront
• Focus on expanding opportunities rather than limiting them

Problem agencies:

• Take on too many similar authors without strategy
• Favor established authors over debuts in conflict situations
• Lack transparency about potential competition

Example policy: "I represent four thriller writers, but they write different subgenres. When conflicts arise, I handle them by timing submissions differently or focusing on each author's unique strengths. I never put clients in direct competition without discussing strategy first."

Agent departure and succession

Agents change agencies, retire, or leave publishing. Your contract might be with the agency, but your relationship is with the person. Plan accordingly.

Questions to ask:

• What happens to my contract if you leave the agency?
• Do I have the right to follow you, stay with the agency, or seek new representation?
• How are ongoing deals and royalties handled during transitions?

Standard arrangements:

• Agent departure: You choose to follow your agent to their new agency or stay with current agency under new representation
• Agency closure: Agents typically take their clients to new agencies or help find alternative representation
• Retirement: Succession plans should involve client input on new agent assignments

Red flags:

• No clear policy on agent departures
• Automatic contract transfers without client consent
• No succession planning for senior agents nearing retirement

Additional services

Some agencies offer services beyond traditional representation. Evaluate what you need versus what sounds impressive.

Common additional services:

• Publicity support: Press release writing, media training, tour coordination
• Editorial services: Developmental editing, copyediting, manuscript critique
• Career coaching: Platform development, social media strategy, industry networking
• Rights management: Specialized foreign, film/TV, or audio rights departments

Questions to ask:

• What additional services do you provide, and are they included in your commission?
• How qualified are staff members providing these services?
• When do you recommend outside specialists versus handling services in-house?

Be realistic about value. Publicity support from an agency assistant might not match hiring a professional publicist. Editorial services from junior staff might not replace working with experienced freelancers.

Smart approach: Ask about specific expertise and track records. "Our publicity coordinator worked at three major publishers and handles book launches for established authors" tells you more than "We provide publicity support."

Questions to use

• How does your agency structure specifically benefit authors in my career stage and genre?
• What systems ensure continuity of representation when you're unavailable?
• Who else might work on my account, what are their roles, and what oversight do you provide?
• How do you handle conflicts of interest between authors writing in similar areas?
• What are my options if you leave the agency, retire, or change career focus?
• What additional services does your agency provide, and how do you determine quality and value?
• How does client communication work with multiple people potentially involved in my account?

The best agency structure is one that matches your needs and communication style. Some authors thrive with boutique personal attention. Others benefit from large agency resources and departmental expertise. Neither approach guarantees success, but understanding what you're getting prevents future disappointments and helps you maximize the relationship from day one.

Red Flags and Termination Considerations

You are hiring a business partner. Ask hard questions before the honeymoon. Clarity now saves you from messy endings later.

When relationships end

Reasons to part ways usually fall into a few buckets.

• Chronic non-response. Weeks of silence during active submissions.
• Fee requests. Reading fees, marketing packages, or retainers.
• Ethics concerns. Misreporting submissions, pressure to accept poor terms, mishandling money.
• Strategic mismatch. Different visions for your career or book positioning.
• Scope of work issues. No notes, slow reads, or no movement after long stretches.
• Behavior problems. Rudeness to editors, skipping meetings, boundary issues.
• Breach of agreement. Ignoring clauses, withholding statements, late payments.

Ask for examples. “Tell me about a time you ended representation and why.” You want a calm, professional description, not gossip.

Process and notice

Breakups need a clean process. Press for specifics and ask to see the clause in writing.

• Notice period. Thirty days is common. Some use immediate termination by written notice.
• Deliverables on exit. Client files, submission lists, editor notes, and royalty statements.
• Projects in play. Who handles offers that arrive during notice. Who sends withdrawals or updates to editors.
• Money flow. Where payments go during and after notice.

Sample clause language to look for:

• Termination: either party may end representation on 30 days’ written notice.
• Agent remains agent of record for any agreements negotiated during representation, including amendments and extensions.
• Agent receives commission on earnings from those agreements in perpetuity.
• Agency sends statements and payments within a set timetable, often quarterly.

If the language feels vague or one-sided, ask for revisions. A fair agent will talk through options.

Career direction changes

You might want to write across categories. Romance today, horror next year. Or a memoir after a thriller. Some agents love that. Others focus tightly.

Questions to raise:

• Where do you feel strong. Where do you refer to a colleague.
• Do you co-agent projects outside your lane, or prefer a split list.
• If I write in two categories, who leads on each. How do we avoid crossed wires with editors.

A simple script helps:

• “I plan to write across adult and YA. Are you comfortable leading both, or would we bring in a colleague for one.”
• “If we bring in a colleague, do I sign a separate agreement for each project.”

Listen for openness, a plan, and respect for your goals.

Disagreements and escalation

You will disagree at times. Smart teams define how decisions get made.

Try this sequence:

• Ask for the rationale. “Walk me through your submission plan and why.”
• Propose an experiment. “Let’s try your plan for two rounds, then reassess with data.”
• Set decision rights. “On contract terms, you negotiate. On career direction, I decide after we discuss options.”
• Create a tie-break rule. “If we still disagree, we pause and revisit after new information.”

Red flag language:

• “Trust me, no questions.”
• “Sign now or the offer disappears.”
• “Editors hate when authors ask about terms.”

Healthy language:

• “Here is my plan, and here are the risks.”
• “We can revisit on X date with results.”
• “Your decision, I will support it.”

Subsidiary rights and royalties after a split

Money keeps flowing long after a sale. Get clear on who handles what.

• Commission life-of-work. Agents earn commission on deals they brokered, forever. Standard industry practice.
• Unexploited rights. Who controls audio, translation, or film if no sale exists yet. Does control revert on exit, or remain for a time window.
• Pending offers. If an offer arrives during notice, who negotiates. How will you approve terms.
• Accounting. Who issues statements, when, and in which format. Where funds are held. Separate client accounts inspire confidence.

A fair setup:

• Agency keeps commission on existing deals and their extensions.
• Any right not licensed by the exit date reverts to you, unless a submission is pending. If pending, set a short window to wrap up or revert.
• Statements continue on the regular schedule, with email PDFs and year-end summaries.

What professional endings look like

Good ending:

Your agent says, “My interest leans toward book club commercial. Your work leans darker. I think you will thrive with someone else.” They send a full submission history, names three agents as referrals, and transfer files within a week. Royalties continue on time.

Bad ending:

Silence during a live offer. You reach the editor directly and learn about an email your agent never answered. The agent resurfaces, blames travel, refuses to share statements, and holds funds. You bring in your contract and a paper trail. The relationship collapses, and you still chase money six months later.

You want the first version. Screening questions help you spot it.

Fast red flags

• Reading fees or retainers.
• No written agreement.
• Refusal to share a client list or recent sales.
• Vague on accounting or royalty schedules.
• No plan for vacations or leave.
• Aggressive pressure to sign within 24 hours.
• Hostility when you ask questions.
• Rights grab language that assigns all work, including future projects, with no carve-outs.
• No policy for conflicts when multiple clients write in the same lane.

Questions to ask, word-for-word

• Would you describe three situations where you ended representation. What prompted each decision, and how did you manage the handover.
• Please walk me through your termination clause. Notice period, agent of record, and commission on future earnings from past deals.
• If I move into a new genre, do you lead, bring in a colleague, or refer out. How does that affect commission and communication.
• When we disagree on submission strategy, who decides. How do we resolve deadlocks.
• How do you handle unexploited audio, translation, and film after a split. What reverts, and when.
• Who issues royalty statements after a split. How often. Where are client funds held.

Ask these before you sign. A trustworthy agent will answer plainly, give examples, and share documents. Your future self will thank you.

Frequently Asked Questions

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