The Difference Between A Literary Agent And A Book Editor

Gary Smailes | 29 December 2025

Roles at a Glance: Literary Agent vs Book Editor

Two different jobs. Two different outcomes. One sells your work. The other strengthens your pages. Know which problem you need to solve, then pick the right partner.

What a literary agent does

• Represents you and your book to publishers.
• Pitches to acquisitions editors and manages submission strategy.
• Negotiates contracts and rights, including audio, foreign, and film.
• Guides career choices, timing, and positioning.
• Interprets royalty statements and chases missing payments.

Agents work on commission, usually 15 percent on domestic deals, higher on foreign and film. No upfront fees. Reasonable expenses only with your approval.

A quick picture. You finish a thriller. Your agent reads, offers big‑picture notes on the hook and comps, then builds a submission list. They track reads across imprints, run offers to ground, and negotiate advance, royalty escalators, territory, and reversion triggers. Six months later, a royalty statement arrives with lines for reserves, returns, and subrights. Your agent explains each line before you ask where the missing audio money went. Then they check with the audio publisher and get it sorted.

Important boundary. Many agents give smart editorial feedback, but they are not your line editor. Their goal is sale readiness, not sentence polish.

What a freelance book editor does

• Improves the manuscript.
• Developmental editing covers structure, plot, argument, pacing, character, and theme.
• Line editing focuses on clarity, tone, rhythm, and imagery at the sentence level.
• Copyediting checks grammar, usage, consistency, and light facts.
• Proofreading catches typos after layout and checks for formatting glitches.

Editors work for you, the author. You pay a fee for agreed deliverables and a timeline. Expect an editorial letter, margin comments, a style sheet, and a revision plan. Some editors offer calls to walk through notes. Good ones specify how many rounds are in scope.

An example. Your memoir sags in the middle. A developmental editor suggests cutting one timeline, front‑loading the central choice by chapter three, and folding three side characters into one composite. The line editor later trims repetition, tightens dialogue tags, and tunes voice to match your strongest chapters. After revisions, a copyeditor brings consistency to dates, dashes, and capitalization. A proofreader reads the laid‑out pages with fresh eyes and flags last‑minute gremlins.

Editors do not submit to publishers. They do not negotiate contracts. If a freelancer hints at back‑door access or guaranteed introductions, step away.

What an in‑house acquisitions editor does

• Works for the publisher, not for you.
• Buys projects, usually from agents.
• Runs the deal through editorial board and sales.
• Shepherds the book through edits, design, and production.
• Coordinates copyeditors, proofreaders, and cover direction.

Once the deal closes, this editor becomes your main editorial partner at the house. They will ask for revisions, set deadlines, and advocate for your book at sales conference. For business terms, your agent remains the frontline.

Who gets paid by whom

• Agents are paid by commission from your deals. They earn when you earn.
• Freelance editors are paid fees by authors. Clear scope, clear invoice.
• In‑house editors receive a salary from the publisher. No fee from you.

If someone wants a reading fee to consider representation, that is a no. If an editor folds in a promise of a book deal, that is a no.

What they do not do

• Agents do not charge to read. They do not require paid edits through a partner service.
• Editors do not promise representation, a submission, or a deal. They improve the work. Full stop.
• No one honest guarantees an outcome in publishing.

Quick diagnostic: who do you need today

Answer these in one line each.

• What is the single biggest obstacle right now. Quality of the manuscript or access to publishers.
• What feedback have you received from beta readers. Structure and pacing, or small errors and phrasing, or market fit.
• What path are you pursuing. Traditional deal or self‑publishing.

Now pick:

You need an editor if:

• Your draft needs structural surgery, stronger voice, or cleaner pages.
• You plan to self‑publish with professional quality.
• Agents replied with R&R notes about story shape or stakes.

You need an agent if:

• Your manuscript is polished and you want a traditional deal.
• You prefer a partner for rights, contracts, and career planning.
• You receive interest from multiple editors and need negotiation help.

Not sure. Do a sample edit with two freelancers on ten pages. Ask an experienced author to read your query package. Clarity follows feedback.

Small scenarios to anchor the difference

• Debut fantasy writer with a trilogy outline. If book one still sprawls at 140k and the midpoint drifts, hire a developmental editor. Once the story holds, query agents for book one while you draft book two.
• Picture book author with a strong concept and a poetry background. Hire a picture book editor for meter, page turns, and page count discipline. Then query agents who rep picture books and list illustrated sales.
• Indie romance author with steady ebook sales on book four. Hire a line editor to tune voice, then a proofreader. Keep control of ebook and print. If audio interest grows, consider an agent for audio and foreign rights only.
• Nonfiction expert with a platform. Hire a proposal editor to sharpen hook, comps, and chapter summaries. Then approach agents who sell in your category. Your agent will target editors who want that audience and topic.

How to move now

Pick one next step and schedule it.

• For an agent search. Draft a query letter, a short synopsis, and clean sample pages. Build a list of twenty agents who represent your genre. Send five, track responses, revise, then send the next five.
• For an editor search. Request two sample edits. Compare margin notes and the editorial letter. Confirm scope, rounds, and timeline in writing.

One more thing. The right partner leaves you smarter about the work. The wrong one leaves you confused and lighter in the wallet. Ask clear questions. Get deliverables in writing. Then commit to the path that serves the book in front of you.

When You Work With Each (Draft → Deal → Publication)

You work with different partners at different moments. Early, you need eyes on the pages. Later, you need access and negotiation. Here is how the handoffs usually go.

Pre-query: finish the work in private

Fiction: finish a full draft. Let it rest for a week. Print it. Mark where your attention drifts. Fix the big stuff first, then fuss with sentences.

Nonfiction for a traditional deal: build a proposal, sample chapters, and a tight outline. Prove expertise and audience.

Bring in readers. Three is plenty. Ask focused questions:

• Where did you skim.
• Where did you feel confused.
• What stuck after you finished.

If notes point to structure or stakes, hire a developmental editor. Ask for an editorial letter, margin notes, and a plan for revisions. If notes point to clunky lines, look for a line editor. If comments stay on typos and continuity, book a copyedit, then a proofread after layout.

Mini exercise:

• Write a one sentence hook. No commas. If you struggle, the pitch likely needs work before you query.

Query phase: approach agents

Package three things: a query letter, a short synopsis, and clean sample pages. Follow each agent’s submission rules. Always.

Track responses in a simple sheet. Name, date sent, status, notes. Send in small batches. Five to ten at a time. Revise between batches if patterns show up in passes.

Be open to R&R requests. R&R means revise and resubmit. Before you agree, ask:

• What changes do you want to see.
• How much time do you expect revisions to take.
• Would you consider an exclusive review period.

If requested changes align with your vision, proceed. If not, thank them and keep querying.

Agented revisions: tune for market

Many agents offer notes before going on submission. Expect big picture guidance. Hook, comps, pacing, opening chapters, title. Do not expect line fixes.

Agree on scope and timeline. Who reads the next pass. How many rounds. When do you go on submission.

Example: your rom-com drifts for two chapters before the meet-cute. Your agent suggests starting at the party scene, trimming backstory, and tightening chapter endings. You revise in four weeks, then your agent reads again and writes a short pitch to match.

If problems run deeper, hire a freelance editor. Agent notes help, but they do not replace professional editing when the book needs major surgery.

Submission to publishers: your agent runs point

Your agent builds a list of acquisitions editors, prepares a pitch, and sends your work. They track reads, handle follow ups, and share updates. This is their lane. You stay off the email thread.

Your job during submission:

• Work on the next project.
• Keep updates to a weekly rhythm unless news breaks.
• If an editor reaches out directly, forward to your agent.

When offers arrive, your agent negotiates terms. Advance, royalty escalators, territory, formats, option language, reversion triggers, audio and foreign rights. You decide with full information, not guesswork.

Post-sale editorial: in-house partnership

Once a deal closes, you work with an in-house editor. Expect a development letter first, often two to eight pages. Then line editing, copyediting, and proofreading follow a schedule.

You will see a style sheet from copyedit. You will review page proofs. You will meet deadlines. When notes feel off, talk with your editor. If you hit a wall, loop your agent in for support on timing or scope, not sentence-level choices.

Common timeline for a spring release:

• June: development letter and call.
• July to August: revise.
• September: line edit review.
• October: copyedit.
• December: page proofs.
• January: final corrections.

Self-publishing path: editors, not agents

For indie publication, hire freelance editors for quality. Development, line, copyedit, proofread. Bring in a cover designer and a formatter. Build a process that repeats across titles.

Once sales grow, some agents license subrights. Audio, foreign translation, large print. They take commission on those deals. You keep control of ebook and print.

Example: an indie thriller author releases book three, lands strong audio numbers with book two, and asks an agent to pursue German and audio rights. The frontlist continues on the indie track. Subrights are handled by the agency.

Build a timeline you trust

Put dates on paper. Clarity lowers anxiety and saves you from impatience.

Suggested checkpoints for a first novel:

• Beta read, three readers, four weeks.
• Optional developmental edit, six to ten weeks.
• Query batch 1, five agents, two weeks of responses.
• Revise based on patterns, two weeks.
• Query batch 2, ten agents, three to four weeks.
• Submission window with an agent, eight to twelve weeks is common, though outliers happen.
• Post-sale editorial deadlines, supplied by the publisher.

Do the same for nonfiction, with proposal milestones instead of a full draft.

One-page plan:

• Stage: where you are.
• Partner: beta readers, editor, agent, or in-house editor.
• Deliverable: pages, proposal, letter, or revision.
• Deadline: a real date, not “soon.”
• Next step if response is no: revise and try again, or move to the next project.

A final bit of sanity. Do not rush to fix a business problem with an editorial hire, or a story problem with a query binge. Name the need. Pick the right partner. Then do the work in front of you.

Money, Contracts, and Ethics

You want a book deal or a better book. You also want clean business. Here is how money flows, who signs what, and where scams hide.

Agent compensation

Standard domestic commission sits at 15 percent. Foreign, translation, and film often sit between 20 and 25 percent, since co-agents take a share.

No upfront fees. None. Reputable agents get paid when you get paid.

Reasonable expenses, with your prior approval, come out of earnings. Think courier, mailing, or a shared database listing. You see each expense on a statement.

Quick math example:

• Advance: 50,000 dollars, domestic.
• Agent commission, 15 percent: 7,500 dollars.
• Net to author, before tax and any approved expenses: 42,500 dollars.

Ask about payment flow. Many agencies hold funds in a client trust, then pay out within a set window. You receive statements with each payment.

Key clauses in an agency agreement:

• Commission rates per category, domestic and subrights.
• Expense policy and pre-approval process.
• How funds are handled and when you get paid.
• Termination terms and a sunset clause on existing deals.

Sunset clause means commission on deals the agent placed continues for a period after parting ways. Two to three years is common.

Editor fees

Freelance editors bill by scope, not a percentage of sales. Typical ranges for an 80,000 word manuscript:

• Developmental edit, 1,500 to 4,000 dollars or more.
• Line or copyedit, 800 to 2,000 dollars.
• Proofreading, 500 to 1,200 dollars.

Genre complexity, messy drafts, and rush timelines raise price. A clear brief lowers back-and-forth and protects budget.

Payment schedules vary. Many editors book with a deposit, then progress payments, then a final payment on delivery. Get dates in writing.

Deliverables you should see

From a freelance editor, expect a written scope. At minimum:

• Editorial letter length and focus.
• Margin comments on the manuscript.
• Number of rounds and what each round includes.
• One call or meeting to walk through notes, if offered.
• Timeline, start date, and delivery date.
• Style sheet for copyedits.
• Payment schedule, kill fee, and revision policy.

From an agent, expect a short agency agreement, not a handshake. Look for:

• Commission rates by category.
• Subrights handling, audio, foreign, film, large print.
• Whether the agency uses co-agents and how splits work.
• Accounting schedule, monthly or quarterly.
• How you or the agent end the relationship.

If any point feels fuzzy, ask for a line in the agreement. Clarity today saves headaches later.

Rights and negotiation

Agents negotiate. Editors who freelance do not negotiate with publishers on your behalf.

Core terms an agent will push on:

• Advance size and payout schedule.
• Royalty rates and escalators.
• Territory, world or specific regions.
• Formats covered, hardcover, trade paper, ebook, audio.
• Option clauses on next work.
• Out-of-print definition tied to sales, not “available.”
• Reversion triggers, when rights return to you.
• Non-compete scope and language.
• Cover approval or consultation, where possible.

A good agent walks you through each clause. You sign knowing why choices were made.

Red flags you do not ignore

• An “agent” asks for a reading fee or a payment to review pages.
• A mandatory paid edit through the same agent or agency.
• Guaranteed deals or promised access as part of a paid service.
• An editor who wants a percentage of sales for freelance work.
• Life-of-copyright grabs in any agreement.
• No termination clause, or a clause that traps you for years.
• Vague deliverables, no timeline, or “we will figure it out later.”
• No client list, no verifiable sales, no references.
• Pressure to sign today.

Walk away. You are hiring a partner, not buying a golden ticket.

Quick checks before you sign

For agents:

• Ask for a client list and recent sales. Publishers Marketplace helps.
• Ask how subrights are handled, in-house or via co-agents.
• Ask how often you will get statements and payments.
• Ask how you will communicate during submission.
• Ask to see standard agency language on expenses and sunset.

For editors:

• Request a sample edit of five to ten pages.
• Ask for two references from authors in your genre.
• Confirm scope, deliverables, and dates in writing.
• Ask about a call to discuss notes, if needed.
• Confirm payment schedule, deposit, and kill fee.

Mini exercise, five minutes:

• Write a one-page budget for your next six months. Line items, beta readers, freelance edit, query costs, conference travel, postage. Add a 10 percent buffer. If numbers shock you, adjust scope or timeline before you spend.

You do not need to love contracts, you need to read them. Slow down, ask questions, and keep copies of everything. The work on the page matters. So does the paper you sign.

Editorial Support: What You’ll Get From Each

You hire an agent to sell your work. You hire an editor to improve pages. Both give feedback, but the flavor differs. Knowing who does what saves time, money, and nerves.

What agent feedback looks like

Agents think about saleability. Expect notes on hook, positioning, comps, and pace. Fewer tracked changes, more big-picture bullets.

A real-world sample from an agent email might read:

• Strong voice. Open slower. First chapter reads like page 50.
• Hook belongs in paragraph one. Lead with the secret and the stakes.
• Trim backstory across the first three chapters. One line per page, tops.
• Shorter query. Two comp titles closer to today’s list.

Sometimes an agent offers an R&R. You revise, then resend. You might get a page of notes or a short call. Not a marked-up manuscript.

Translation help:

• “Tighter first act” means fewer scenes before trouble starts. Try moving the inciting event into chapter one or two.
• “Stronger comps” means books from the last two to three years, same audience, same tone.
• “Pacing drag at midpoint” means a sag. Cut travel scenes, combine reveals, raise stakes sooner.

An agent might spot sentence tics, though line editing belongs elsewhere. Expect market-aware direction, not a line-by-line scrub.

Freelance editing types, with examples

Developmental editing

• Focus: structure, plot, pacing, character arcs, theme. For nonfiction, argument order and reader promise.
• Deliverables: editorial letter, margin notes, revision plan, sometimes a call.
• Example, thriller: middle stalls after the first chase. A dev editor maps scenes, shows a tension dip between 40 and 55 percent, and proposes a new sequence. The reveal moves forward, a weak subplot folds into the main plot, and chapter goals sharpen.
• Example, nonfiction: chapters feel like stand-alone essays. The editor proposes a clear throughline, adds signposts at chapter opens, and reshapes the table of contents around a single promise to the reader.

Line editing

• Focus: voice, rhythm, imagery, clarity, sentence flow.
• Deliverables: tracked changes in-line, margin notes on habits and choices.
• Example, before: “The hallway was completely silent, and she began to feel as though tears would come, in a way feeling out of control.”
• Example, after: “Silence pooled in the hall. Tears pressed. Control slipped.”
• Another fix: swap filler verbs for concrete action. “There was a sound coming from the kitchen” becomes “A pan clattered in the kitchen.”

Copyediting

• Focus: grammar, usage, consistency, light fact-check.
• Deliverables: corrected manuscript, style sheet covering capitalization, hyphenation, numbers, spelling, voice choices.
• Example fixes: en dash to hyphen where needed, serial comma consistent, dialogue punctuation standard, brand names and titles styled one way, time formats aligned with house style. A light check on dates and proper nouns, with queries where sources help.

Proofreading

• Focus: final typos and layout glitches after pages are designed.
• Deliverables: marked PDF or proofs with page-level corrections.
• Typical catches: extra spaces, misspellings, swapped headers, widows and orphans, repeated words at line breaks, broken hyphenation. Proofreading works on laid-out pages, not a moving manuscript.

In-house editorial, once a publisher buys

An acquisitions editor shepherds your book through edits and production. Expect a revision letter, round or two of dev work, then copyedit and proofread. A schedule arrives with real dates. House style applies. Copyeditors and proofreaders come from the publisher’s roster.

Your agent stays close. You get help triaging notes, pushing back on requests that shift the book off course, and keeping deadlines realistic. If a clause in the editor’s letter raises a contract issue, your agent handles that part so you focus on pages.

Quick picture:

• Month 1: editor letter, big-picture changes.
• Month 2: revised manuscript due.
• Month 3: copyedit arrives, two to three weeks to review.
• Month 4: proofs, final tidy pass, no big rewrites here.

Boundaries that protect you

• Editors improve text. Editors do not shop projects to publishers or negotiate deals.
• Agents sell rights and manage deals. Agents do not charge reading fees or insist on paid edits through their shop.
• An editorial agent gives notes to raise odds on submission. Helpful, yes, though not a substitute for deep page work when a book needs structural surgery.
• Any service offering “guaranteed deals” in exchange for payment belongs on your no list.

Diagnose your need

Use feedback to pick the right support.

If you hear:

• “I lost the thread in the middle.” Seek developmental editing.
• “Voice feels uneven. Some sentences sing, others sag.” Seek line editing.
• “Comma issues and inconsistent spelling.” Seek copyediting.
• “Typos, wonky punctuation, missing page numbers.” Seek proofreading.
• “Hook unclear. Who buys this? Which shelf?” Talk to an agent or a coach with market experience, then fix the pitch and opening.
• “Great idea, slow start.” Revise opening scenes, then ask for a new beta read or targeted dev feedback.

Two quick exercises:

• Pull three beta notes. Label each as structure, line-level, or surface. The majority label points to your next hire.
• Read your first five pages out loud. Track stumbles. Stumbles every sentence means line editing. Smooth flow with weak stakes means developmental.

Match the support to the problem. Ask for deliverables in writing. Keep roles clean. Your future self will thank you when edits land on time and submission runs smoothly.

Choosing and Vetting the Right Partner

You are hiring expertise, not vibes. Strong partners save years. Weak ones waste them. Do the homework before signing anything.

Finding agents

• Start with MSWL. Filter by genre, age group, and themes. Read agent feeds to see taste in real time.
• Track targets with QueryTracker or a simple spreadsheet. Note submission windows, materials requested, and response patterns.
• Check Publishers Marketplace for deal history, categories, and imprints. New agents at solid agencies often build lists fast.
• Visit agency sites. Follow guidelines line by line. Personalize queries with fresh comps. Use requested file types and word counts.
• Pull names from acknowledgments in books similar to yours. Many authors thank agents by name.

Quick example. Writing a cozy mystery set in a bakery. Search MSWL for “cozy,” “small town,” “culinary.” Add agents who ask for those keywords. Cross-check Publishers Marketplace to see recent mysteries sold. Note editors and imprints in those deals, since those names help later.

Evaluating fit with an agent

Enthusiasm matters, though a plan matters more. Ask for a submission strategy, not only warm praise.

Green flags

• Clear pitch for your concept, with comps from the last two or three years.
• A list of editors and imprints, plus a reason for each choice.
• A communication rhythm. For example, monthly updates during submission.
• Openness on subrights, foreign partners, and audio strategy.
• A fair agency agreement with commission spelled out, expenses pre-approved, and a clean termination path.

Questions

• What revisions do you envision before submission?
• Which editors would you pitch and why?
• How do you communicate during submission?
• How are subrights handled?

Notes on list size. A veteran with a full list offers leverage and long ties. A newer agent brings hunger and time. Either works, if strategy and communication feel strong.

Finding editors

• Search professional directories such as EFA and CIEP. Filter by genre. Shortlist names with relevant credits.
• Ask for a sample edit of 5 to 10 pages. Compare notes from two or three editors. Look for clarity, respect for your voice, and specific solutions.
• Request a written scope. Deliverables, rounds, timeline, and total fee. No vague promises.
• Read testimonials. Look for repeat clients in your genre and acknowledgments where your editor receives thanks by name.

Quick read on sample work. Do comments explain the why, not only the what. Are suggestions concrete. Do you feel smarter after reading margin notes. If yes, keep talking.

Questions

• What is your editorial approach for a book like mine?
• What deliverables will I receive?
• What timeline and availability do you offer?
• What experience do you have in my genre and market?

Due diligence that protects you

For agents

• Membership in AALA, or a clear professional background.
• No reading fees. No required paid editing through the agency.
• Recent deals on Publishers Marketplace or verified announcements.
• References from current clients. Ask about follow-through during submission.
• Search name plus “Writer Beware.” Scan for complaints.

For editors

• A clear contract. Editorial letter or tracked changes, number of rounds, response windows, timeline, and fee schedule.
• Payment tied to milestones, not all upfront. A reasonable deposit is normal. A kill fee clause for cancellations.
• A style sheet for copyedits. File delivery in industry formats. Privacy respected.
• Testimonials with real names and titles. Credits you can verify.

Red flags

• Guaranteed book deals.
• Vague scopes. “I’ll fix your book” without a plan.
• Pressure to buy extra services unrelated to editing or agenting.
• Rights grabs or clauses that bind you beyond the project.

Make the choice with a scorecard

Emotion helps, numbers help more. Rate each prospect from 1 to 5 in these areas.

• Genre fit
• Strategy
• Communication
• Track record
• Chemistry
• Terms

Add weights if one area matters more. Total the numbers. Then sleep on the decision and read your notes again.

Two quick exercises

• Build a shortlist today. Ten agents, three editors. One page of notes per name.
• Send three queries and request two sample edits. Compare replies side by side. Pick one next step by Friday.

You are not looking for perfection. You are looking for a partner who understands your goals, respects your pages, and follows through. Choose for fit and clarity. The work feels lighter when the person across the table is the right one.

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