What is a literary agent? What do they do? And do you even need one?
I spoke with Bob Hostetler, a 30-year veteran of Christian publishing. He’s been a writer and magazine editor, freelance book editor, and author of over 50 books, both fiction and nonfiction. He’s also a literary agent with the Steve Laube Agency.
What is a literary agent?
Bob: A literary agent is a go-between person. They go between an author or someone with a book idea and a publisher. Acquisition editors at publishing houses tend to work with literary agents to find the next hottest thing, the next Max Lucado or Frank Peretti.
Thomas: An agent is part talent scout and part lawyer. They’re like the man in the suit that you call to go deal with the other men in the suits to get them off your back.
Bob: A little bit. A literary agent also acts as a coach. Most literary agents coach authors, helping to refine ideas and make sure they’re pitched in a sellable way.
Do authors even need a literary agent?
Thomas: Are literary agents still important today? Aren’t they just leeches taking away 15% of an author’s money?
Bob: Some are, so buyer beware. I tell people at writers conferences not to merely look up somebody in a listing of literary agents. As with most professional relationships, the best relationship with a literary agent will begin with a referral, a recommendation, and research. Other authors will tell you who represents them and how they like that relationship and that sort of thing. There are some bad apples, as in any industry, but I think literary agents are even more important today than when my first book came out in 1992.
That book was sold without an agent, and in the Christian market, that was how it was done at that time. Over the last 15 to 25 years, publishers have had to cope with the volume of material that comes to them from writers of varying abilities. Working with agents helps lighten the workload. Most publishers don’t accept unsolicited submissions. That means agents still have access to those folks, but Joe Average Writer, pounding away on his 1955 typewriter, doesn’t have access to those publishers outside of writers conferences. A few still consider unsolicited submissions from people working on books, but most require agent representation. The need for an agent has only become greater in both the general and Christian markets.
Thomas: The Christian publishing market has undergone significant changes over the past few decades. Thirty years ago, many publishers were denominational. If you had a manuscript, you could talk to your pastor, who might connect you with a denominational publisher. The process was relatively straightforward.
Fast forward to 2019, and the landscape looks very different. Most of the top Christian publishers are now owned by large secular companies, such as HarperCollins or Random House. These corporations don’t approach the Christian market with a faith-based motivation; instead, they see it as just another niche to exploit for profit.
This shift has made it even more important for authors to have an agent. Unlike in the past, when a shared denominational connection might have fostered a sense of teamwork, the current environment is more transactional. While some denominational publishers still exist, they represent a much smaller portion of the market.
Bob: Large New York publishers have acquired Christian publishers, but most of them still retain their staff and distinctions as Christian publishers inside the larger entity. The Christian book publishing world is still populated by the same people from 20 years ago, but they’re now much older.
You’re right that the acquisition of many of those larger Christian publishers has changed the atmosphere and the process to some degree. But as you said, there are still denominational and family publishers in the Christian publishing world that march to the beat of their own drum.
I often tell writers at conferences that one of the advantages of attending a conference is meeting agents face to face. You also get a feel for how different publishing houses work. Some have a very corporate feel, while others feel like a denomination (because they are), and still others feel like a family, so they each operate accordingly. Agents know these publishers. We work with them day in and day out so we can tailor things to the personality of the publisher as well as to the personality of the author.
Thomas: Agents do far more than just sell an author’s work to a publisher. They also play a vital role in protecting the author’s interests. While not all publishers are bad, there are situations where having an agent can prevent serious issues.
For example, I know a highly successful thought leader who is widely respected and influential in his field, but he experienced a major setback because he didn’t have an agent. This individual had built a thriving self-publishing business, selling hundreds of thousands of copies of his books on his own. When one of the top publishers approached him to publish his next book, he assumed he didn’t need an agent, so he signed the deal himself.
However, the contract gave the publisher full editorial control, which turned out to be a mistake. They removed several pages of crucial supporting material from his book to make it more concise. These cuts weakened his arguments, and when the book was released, it faced harsh criticism from the academic community for lacking sufficient evidence to back its claims.
The backlash made the publisher nervous, and they decided to unpublish the book entirely. It harmed the author’s reputation and created a very public controversy. The author ended up on Fox News, holding up the pages that had been removed, trying to explain what had happened. It was a disaster.
Watching this unfold, I couldn’t help but think how different things could have been if he’d had an agent. An agent could have negotiated the terms of the contract, ensured those key pages remained in the book, and shielded the author from being overruled by the publisher. Instead, without that support, he was left vulnerable, and his reputation took a hit that arguably hasn’t fully recovered to this day.
Bob: There are stories all over the industry like that. Contract negotiations and the things that agents live and breathe day in and day out are mostly gobbledygook to the average writer. People don’t get into writing because they love legalese and the negotiation process. And that’s just a sliver of what agents do for authors. An agent will evaluate the contract, troubleshoot, and make sure it isn’t taking advantage of the author. If there’s a concern, the agent can often negotiate better terms.
One of the things I love about the Christian publishing industry is that it’s a small world. We’ve known each other for decades, so we’ve built relationships. We know folks, even after they’ve moved from one publishing position to another. We know who can be trusted and who you have to watch carefully. Agents can mediate disagreements when they arise.
Steve Laube has been my agent since he started his agency, so I live what I preach. I’ve long appreciated the value of an agent advocating on my behalf, preventing me from making career stumbles, saving me embarrassment, and helping me negotiate, consider, strategize, and sequence multiple projects. He has saved me from painting myself into a corner. A good agent does all those things for their authors.
Thomas: It’s very telling that even though you’re an agent yourself, you still have an agent. As Jim Rubart likes to say, “It’s hard to read the label when you’re standing inside of the bottle.” No matter how much your writing skills improve, you’ll always need an editor. Even Stephen King has an editor review his manuscripts. That outside perspective is invaluable for catching mistakes and helping you kick around ideas. They can tell if you or your publisher is off track. And the truth is, it could be either. Sometimes it’s even both.
That’s why it’s so important to have someone on your team who will give you honest feedback and tell you the truth.
Agents are motivated to help you succeed because they only get paid when you do. An agent acts on your behalf, working for your best interests. Having that kind of partnership can make all the difference.
How do you get an agent?
Thomas: Let’s say we’re all convinced we need an agent to go the traditional publishing route. How do you get one? Where do we start?
Bob: The best place to start is at writers conferences and events that agents frequent. There is no replacement for meeting someone in person, and a writers conference is the best place to do that.
Writer’s Digest publishes a listing of agents who are looking for work. Various websites have listings of agents who are available, which can be helpful. But that’s also a good way to invite disaster because you don’t know these people. You haven’t met them.
For many debut authors, there’s a sense of desperation to find an agent. Some authors believe that once they have an agent, their career is set. While an agent can be a key part of your success, that desperation can work against you. If you’re willing to sign with anyone who offers to represent you, you could end up in a difficult situation. Remember, the best-case scenario is that you’ll work with this person for 10 to 20 years and potentially the rest of your career.
An agent-author relationship is a long-term partnership, and it’s crucial that you and your agent are a good fit. As you mentioned, it’s a symbiotic relationship. The agent only makes money when you do. That’s why it’s so important to find someone who understands you, someone you like, and someone with whom you enjoy working. There has to be a sense of compatibility.
One of the best ways to meet potential agents is at writers conferences. You’ll have opportunities to meet multiple agents, schedule appointments, ask questions, and get a feel for their personalities. Sometimes, you’ll meet someone who just doesn’t click with you, and that’s okay; it’s better to find out early. The personal factor in this relationship is something I can’t overemphasize.
For example, I attend about 12 Christian writers conferences a year, and I often rub shoulders with the same small group of agents. Over time, I’ve gotten to know them, shared conversations (and even ice cream cones), and built trust. Many of them are reputable, kind people, but I can’t tell you who will be the best fit for you. Your personality and the agent’s personality need to align. The right fit will go a long way in creating a successful, long-term partnership.
Thomas: Your genre also plays a crucial role in finding the right agent. It’s not just about having a great personal connection. Even if you get along well, the partnership won’t work if the agent doesn’t represent your genre. For example, if they focus on fiction but you write nonfiction, or if your specific type of fiction is outside their expertise or network, they may not be able to sell your work.
Bob: The first step is to get to know some agents; don’t just pick someone from a directory or listing. I understand that this can be time-consuming and sometimes expensive, but it’s an investment worth making. I promise you won’t regret taking the time to meet and connect with agents before making a decision.
Thomas: I’ll push back slightly here because there is a different group of people who don’t follow this advice. For example, when I interviewed Alex Harris on the podcast, he shared that no one in his family had ever attended a writers conference, yet they’re all New York Times bestselling authors. They didn’t find agents through traditional methods. Instead, they used networking. They knew someone who connected them with the agent they eventually worked with. Being part of an influential family gave them unique opportunities to bypass the typical path.
Bob: When it starts with a recommendation or a referral, then that’s part of the process. But my guess is that he didn’t sign with them based on the referral. He probably had some phone conversations. He probably interviewed the agent as much as the agent interviewed him. You can connect by referral, phone, or in person, but my point is that it’s not a Yellow Pages listing.
Why is it so hard to get an agent?
Thomas: Now, why would you say that getting an agent is so hard for Christian authors? Many writers have been trying to get an agent, and it’s so hard.
Bob: Part of the challenge is that there’s a learning curve. You have to understand the agent or agency, their specialties, and their strengths, and develop your own skills as a writer. At writers conferences and in submissions, I often see authors whose craft isn’t fully refined yet. They’re still learning the fundamentals of writing, which is an essential part of the journey before approaching an agent.
My assistant responds to probably 25% of the email submissions I get by saying, “Bob doesn’t really represent fantasy.”
When I first started submitting my debut novel to publishers, I was rejected 108 times. Who has that kind of stamina? Looking back, I can tell you that at least 100 of those rejections were my own fault. I hadn’t done my homework. I was sending my little Christian YA novel to publishers like Harper & Row, where it didn’t belong. It was a completely inappropriate submission.
Getting an agent or publisher requires a lot of homework. You need to research who you’re approaching, understand their interests, and make a thoughtful, appropriate introduction. That’s why I encourage writers to get to know multiple agents as early as possible.
But even with the right connections, many rejections happen because the craft isn’t fully developed yet. I do my best to encourage writers who show promise, even if I recognize that publication is still years away for them. I keep the door open and maintain the conversation when I can.
To paraphrase Nietzsche and Eugene Peterson, it’s “a long obedience in an uphill direction.” The process can feel like a slog, but success often requires persistence. Sometimes, it’s about improving your craft, learning the industry, or persevering through setbacks. Other times, you might have great material, but the timing may not be right.
How does an author know when it’s time to pursue an agent?
Thomas: When should an author pursue an agent? How can we know when we’re ready to pursue getting an agent?
Bob: I often tell people that when you have an irresistible hook for an irresistible idea, you’re on the right track. I’m always on the lookout for that standout concept—that hook that makes you think, Wow, why hasn’t anyone thought of that before? It doesn’t have to be a high-concept idea, but it does need that unique brilliance that grabs attention.
If your book idea is broad and vague, like a general book about God, you might spin your wheels for a long time. But if you have a hook that makes an agent or editor sit up and say, Wow, I’ve never seen anything quite like this before, and you can build a solid proposal around that idea, then you may be ready to approach an agent.
Many agents now begin the conversation with potential clients through a query—a three- or four-paragraph letter or email. While this works for some, I choose to start the conversation only when I’ve seen a full proposal. A strong proposal includes a compelling hook, a summary, a table of contents, an outline, an author bio, a marketing section, a comparison section, and a couple of sample chapters. I need this level of detail to determine whether we’re a good fit and can walk this road together or if the author needs more development.
If I receive a query and like the idea, I’ll ask for the proposal. But ultimately, it’s the full proposal that helps me judge whether the author is ready for representation.
How does an author know if they have a good idea?
Thomas: How do you know if your idea is a good idea or not? Everyone’s baby is pretty to them. How do you know if your “book baby” is objectively pretty and not just pretty to you?
Bob: You need to go beyond feedback from your mom, spouse, or best friends and get genuine, unbiased reactions to your work. Field-test your idea. This is another reason to attend writers conferences and share your work, even though it can be terrifying. You need honest critique. If conferences aren’t an option, consider joining a critique group, a writers group, or even a circle of trusted peers. Some people exchange feedback over email or online. My friend Eva Marie Everson started Word Weavers International, a network of critique groups, which I highly recommend.
Whatever approach you take, you must seek help in evaluating, refining, and field-testing your ideas. No agent wants to represent a one-hit wonder; we’re looking for authors with a pipeline of strong ideas for a long-term partnership. That’s why relying on your mom, spouse, or best friends isn’t enough. Their investment in your approval can cloud their judgment. Instead, you need feedback from people who can offer honest, analytical critiques.
Even now, after writing more than 50 books, I still rely on a circle of trusted individuals who are skilled at offering constructive feedback. Whenever I have a new idea, whether it’s a cover draft, query, proposal, summary, or hook, I share it with them. Then, I step back to let them tear it apart. If the idea survives that process, I know it’s worth pursuing.
None of us should operate in a vacuum. Field-testing your work is essential. Just like any muscle, your writing muscles—especially your ability to craft pitches, hooks, and proposals—get stronger with practice. But it takes time and consistent effort to develop them.
Thomas: One of the best ways to improve your craft is to start a critique group. Many writers hope someone else will already have a group in their area that’s the perfect fit for them, but the reality is that rarely happens. If you want a group, you may need to be the one to start it.
Most authors are shy and hesitant to take the lead, which often results in communities filled with writers all waiting for someone else to step up and organize a group. That’s why I’m so passionate about this topic. I even created a course on how to start your own writers group or critique group. Don’t wait for someone else to take the initiative. If you need it, chances are others in your community do too.
Bob: I suggest you go ahead and be selfish about it. Create a critique group that meets your exact needs and aligns with where you are in your writing journey. Design the group around what works for you. Set up an agenda or structure that helps you achieve your goals.
You’ll often find that others are looking for the same things and are at similar stages in their writing journey. So don’t be afraid to craft the group to fit your needs, at least in the beginning. Chances are, you’ll attract like-minded writers who benefit from the same structure and focus.
To learn more, watch the replay of our webinar where Bob Hostetler & Thomas Umstattd Jr. answer questions about literary agents, publishing, and writing.
Webinar: Literary Agent Q&A with Bob Hostetler
Webinar Details:
- Cost: Free
- Why: Learn how podcasts work and easy ways to start using them to write better books and build a bigger platform.
- Register to watch the replay.
Sponsor
Christian Writers Institute’s Literary Agent Bundle
Normally we feature an individual course, but today we are featuring a course bundle.
- Mistakes New Writers Make by Kathy Ide
Explore the biggest mistakes writers make and how you can avoid them. A four-part video course. - The Ten Enemies of Good Writing by Rene Gutteridge
The better your writing, the easier it is to find an agent. - The 10 Ks of a Good Book or How You Can Make 10k on Your Next One! by Steve Laube
Steve talks about what makes for a good book. This talk is also a special glimpse into the mind of an agent. Find out what they are really looking for. - Do I Need an Agent? by Steve Laube
Find out what an agent does and why you need one for your career. Not all authors need agents. - The Publishing Process by Len Goss
Learn the process of turning a manuscript into a book. - The Elements of an Effective Book Proposal by Steve Laube
Create a book proposal that gets noticed! A complete audio presentation. Plus BONUS materials including book proposal templates and examples. - How to Sell Everything You Write by Bob Hostetler
Learn Bob’s special approach that ensures he sells everything he writes. - Redeeming Rejection by Steve Laube
Perhaps the most powerful talk in this whole course. How you handle rejections defines your character as an author. - The Power Book Proposal by David Horton
Engage an editor with a powerful book proposal for both nonfiction and fiction. - How to Use The Christian Writers Market Guide by Bob Hostetler
This is a key tool for finding an agent. Learn how to use it from the man himself.
This bundle is an entire writers conference worth of lectures. But unlike a writers conference, it doesn’t cost $500. It is normally $85, but you can use the coupon code “podcast” to save 10% or click this link to activate the coupon code automatically.