Should You Query a New Literary Agent or an Established One?
The Pros and Cons
By Mary Kole
Mary Kole is a former literary agent, freelance editor, writing teacher, author of Writing Irresistible Kidlit, and IP developer for major publishers, with over a decade in the publishing industry.
Before I offer my opinion on whether or not to query a new literary agent versus an established one, let me acknowledge a bit of bias: I was once a newer agent, and so I have a sympathetic eye toward the new literary agent who is starting out. I don’t let it cloud my judgment, but I do want to be transparent. There is absolutely legitimate and undeniable value to working with very experienced writing agents, but there's something to be said for a new literary agent as well. Let’s get into whether a new literary agent or a senior literary agent is right for your next submission.
Should I Query a New Literary Agent or a Senior Agent?
What's the difference between a new literary agent and an established one? It boils down to time, judgment, and experience. Just like Ben Folds says, "time takes time," and the only way a new literary agent can gain recognition, clout, and leverage is by working in the publishing industry day in and day out for years. There’s no replacing or manufacturing this kind of experience.
The rank of each agent in an agency—as you will often see people tagged as a “Senior Agent” or as an “Associate Agent,” for example—has to do with the time spent with the agency and the number of books that each literary agent has sold. However, these labels are usually more important to the agents than they are to writers (because they determine pay scale and seniority). I’d recommend not getting caught up in them too much, especially since every literary agency has different internal criteria for how they promote and offer titles.
Established Literary Agent Considerations
First, let's talk about established literary agents. These are typically Presidents, Senior Agents, and maybe even Agents at a literary agency. These are not the new literary agents at an organization, unless an agent is switching agencies from a different agency where they held a senior position. (A new literary agent at any agency is one who is working their way up from intern or assistant, not just new to that particular agency because of a job change.)
Established agents generally have a history of three to five years or more in the publishing industry, with a track record of successful book deals. They have solid relationships with editors and a good reputation, which often results in their projects receiving extra attention when they land on an editor’s desk.
The pros of working with an established literary agent versus a new literary agent are:
Highly reputable;
Long-term relationships with many contacts;
Notable sales record and list of represented clients; and
More leverage and influence in negotiations.
There are, however, some cons to working with an established agent:
Highly selective, so it can be tough for debut authors to get their attention.
They often get clients through personal referrals instead of submissions (known as “referral only”), and some might be outright closed to queries for good or for extended periods of time.
Established agents typically have a bigger client list and will need to devote more time to existing sales and clients, leaving less time for beginning writers (especially those that want a bit more of a “high touch” communication style).
Usually take fewer risks on debut authors who have potential but who may require a lot of time and effort, they tend to provide less of an editorial agent experience.
Working with an established agent is a trade-off. They stay busy and work hard to keep their power. But that also means that smaller authors or debuts may feel forgotten on a rock star literary agent’s list. When deciding, ask yourself what is more important: their clout when working with editors, or feeling like a big fish in a small pond? With an established agent, you’ll always get the first benefit, but perhaps not the second one.
New Literary Agent Considerations
Let’s take a look at how a new literary agent might play into your literary agent research and submission strategy. They may have started as a reader, intern, or assistant and climbed up the ladder. A new literary agent has generally been in the business for zero to three years. They might be working on both boosting their publishing contacts and their client lists. The industry relies on reputation and relationships, and a new literary agent is still working on gathering these assets.
Importantly, the reputation of the literary agency where the new literary agent is working can temper this. Newer agents who are employed by big-name agencies already have some clout—respected companies only hire good employees, and a lot of the agency’s other agents have already paved the way for the new literary agent. Senior colleagues of a new literary agent can also be mentors, giving advice on submission lists, suggesting which editors to target, and helping the agent advance more quickly. But until the new literary agent makes more sales, they are generally unknown to editors. And their tastes and market knowledge are still growing, so publishers take that into consideration when receiving submissions from a new literary agent.
Here are the cons of working with a new literary agent on the scene:
Has less personal influence and may not have the agency clout or relationships with mentors that other agents have;
Might be dealing with fewer high-profile clients and making fewer big sales;
Might also be reading for and supporting their more senior colleagues, which eats into their time;
May lack the market knowledge of long-standing industry people; and
Personal connections with editors are still in the process of being built and might currently be lacking.
However, there are some pros to working with a new literary agent:
They’re ravenous for sales and career success, since a new literary agent is typically only paid on commission;
Have more time to devote to clients they already work with and may be more open to taking on writers/projects that need more attention—taking a chance on debuts to develop them as writers (and themselves as providers of writing notes);
Have something to prove and are the face of their agency: they attend writing conferences, reach out to editors, and make sure their name is known. (Plus, working with them could potentially reap great rewards down the line as they grow in prestige.)
It’s kind of a gamble on both sides—writers are taking a risk on a new literary agent at the start of their career, just as the agent is taking a risk on a writer.
Consider Your Needs When Choosing a New Literary Agent or an Established One
When searching for a literary agent, take yourself into account, and be mindful of what you feel you need. Be sure to check that any new literary agent you query already has some sales of their own and that they are with a credible agency. Unfortunately, it’s not hard to set oneself up as a literary agent, and publishing scams abound because writers are so emotionally invested in their work. If a new literary agent is associated with a well-known agency, someone has vouched for them. When making your list of agents to query, I suggest having both new and established agents in the mix. This way, you can see who is more responsive. You might end up surprised.
To be clear, a new literary agent will still be picky about the books they represent. They’re working hard to create their own reputations, so it isn't necessarily easier to get an offer from one. Also, established agents have an eye for great debuts. It really is a toss-up, so get out there and dive into the slush pile!
Click here to purchase Irresistible Query Letters, my book on query letters, including over forty examples with comprehensive notes on each one. There’s a ton of submission advice, best practices, and insider information in these pages, and you’ll really enjoy seeing what other writers are doing in the slush.