Get a Literary Agent: The Complete Guide to Securing Representation for Your Work by Chuck Sambuchino Read Free Book Online

if the agent really likes what she sees, she’ll request more. So far, at least five agents have signed clients after reading their work as part of a Writer’s Digest webinar.
REFERRALS. When you query an agent, normally your e-mail lands in her in-box (the slush pile). It’s reviewed quickly as the agent tries to assess whether your writing or the story seems good enough for her to invest more time. In other words, submitting to a slush pile means your work will get a quick look, and the turnaround time for a response is very hit and miss. Neither of these factors is ideal. Getting a referral changes all that.
    A referral is when an agented writer passes your work to his agent with a stamp of approval. Referrals are often read soon after they arrive—pushed nearer the top of the agent’s to-do list. If one of the agent’s authors is giving this new writer a thumbs-up, the agent will likely take a longer look at his work, going beyond what she would do for an average submission. I’ve heard multiple agents say something along the lines of “Good writers travel in packs,” so referrals make the agent’s job easier—that helps you avoid the slush pile.
    So seek out referrals from any individuals you feel comfortable asking. Let’s say that you join a local writing group and a few of the writers there already have agents and published books. Perhaps one of those writers agrees to critique your novel or proposal. If he really enjoys it, he may offer to submit it to his agent. If the fellow writer’s response is positive but he doesn’t offer a referral, you can gently ask for one, provided you feel like you’re not overstepping any bounds. The worst the writer can say is no.
WRITERS CONFERENCES. Every year, there are approximately 125 writers conferences held in the United States and Canada. Many of those have literary agents in attendance, and those agents attend specifically to meet with writers one-on-one and hear pitches. Many times, the agents aren’t even making any money to attend events—so the key upside of their attending is to find that diamond in the rough who’s got an amazing book up his sleeve.
    I found my own literary agent at a conference. I speak at about ten writing events per year, and beyond simply finding an agent, I believe conferences are a great opportunity to immerse oneself in the business side of publishing. You meet editors; you make writing friends for life; you get instruction; your creativity is refreshed; you find inspiration from others who have succeeded. But perhaps most of all, you get the chance to meet agents in person, look them in the eye, and talk to them about your book.
    “Go to writers conferences! Conferences are where the art of writing and the business of publishing intersect. They’re great places to network and become part of a larger writing community. And they give writers incredible access to the insights of top editors and literary agents. I’ve had the good luck of meeting several of my clients at conferences. Having that face-to-face contact can tell you so much about how you will work with someone.”
    —Elizabeth Evans (Jean V. Naggar Literary Agency)
    Here are some dos and don’ts for pitching to agents at a writers conference.
Conference Dos
Do practice your pitch in advance.
Do be able to explain what your book is about in one sentence. (This is called a log line .)
Do go to as many educational sessions as possible to learn from authors, agents, and editors—and take notes. You’ll get insights that help to perfect your book and your pitch, and you may get insights about which agents would be a good fit for your book.
Do bring business cards in case an agent asks for one.
Do your best to be friendly and open. Smile.
Do dress the part. You don’t need a fancy dress or a three-piece suit. But don’t come looking like you just woke up. Remember that an agent is looking for a business partner.
Do bring some extra cash. The conference will likely