Literary Agents: A Writer's Introduction (Paperback)

~ Arco (Author)

Editorial Reviews

Amazon.com Review

In these days of high-stakes publishing mergers and acquisitions, it is the literary agents, not the editors, who seem to be having all the fun. It used to be editors who discovered and nurtured new writers, edited their books, and helped map out their careers; now, as editors have less and less control over their lists and ever-increasing bottom-line pressures, these pleasures fall to the agent. For Literary Agents: A Writer's Introduction, Publishers Weekly editorial director John F. Baker has compiled 44 profiles of agents, many of whom moved to agenting from publishing and editing specifically because they craved closer contact with authors. While editors have to answer to both writers and publishers, says agent Dominick Abel, "I wanted to be answerable to authors alone." Unlike agents, adds Loretta Barrett, "editors these days are often powerless on their [authors'] behalf."

"The fundamental sea-change in publishing in recent years," says Michael Larsen (Literary Agents: What They Do and How They Do It), "is that it has gone from being an editorially driven business to a market-driven one." This means that the types of books being published have changed, as have the types of chances publishers are willing to take. "I once believed all books worth publishing would find a home," says Joy Harris, who represents Whitney Otto and Mark Singer. "I no longer think that's true." Publishing houses, says Barney Karpfinger (Jonathan Kellerman, Michael Winerip), "are far less willing than they used to be to take leaps of faith."

There is hope, though, mostly in the form, according to Carol Mann (Robert Jastrow, Paul Auster), "of small press publishing and the fact that university presses are broadening their coverage." And most agents, unlike most editors, are still willing to wade through the slush pile, though very few, admittedly, add to their lists many writers who don't come with some form of recommendation or invitation. Literary Agents provides a nice sense of the agent's life, as well as a rare glimpse into the minds of a good number of individual agents. The profiles are a bit formulaic--most start with a brief physical description of their subjects, moving on through a discussion of background history and client lists to end with a (usually pessimistic) comment on the state of publishing--but there is much to be gleaned here, nonetheless. --Jane Steinberg

From Publishers Weekly

"Literary agents," writes Baker, "are the uncrowned kings and queens of the book publishing business today." In this eminently useful guide to these publishing royalty, PW's editorial director provides the information writers need to determine which agent is right for them, and to gain entree to his or her court. The emphasis is on helping the aspiring author, and so Baker bypasses agents at large firms like ICM or William Morris in favor of independent practitioners, more open to taking on newcomersAbut established writers would do well to heed his findings. For in the 44 profiles, alphabetically arranged, that follow a background introduction, Baker harvests from agents from A-Z (Dominick Abel to Al Zuckerman) wisdom gained from decades upon decades of experience. Even before Baker reports that Don Congdon "began work in 1936 as a teenage messenger at the long-gone Lurton Blassingame agency at $12 a week," it's clear that his book doubles as a history of contemporary publishingAand as an oracle of its future: "The industry's continuing pursuit of a paper-based medium is, he declares, a waste of time," writes Baker of Richard Curtis. But above all this is sourcebook for new writers, and Baker serves them well. The profiles, based on in-person interviews, include data on agents' history, attitudes, genre preferences, author list and means of contact. Abjuring fact-packing, the profiles present elegant, occasionally tart portraiture: Georges Borchardt is "the very model of the dapper Frenchman"; Robert Lescher flashes "a frequent smile that does not always seem to accord with what he is saying." As amenable to being read cover to cover as to being referenced one profile at a time, this unique volume provides the scoop on "the people who make it happen." (The book also includes contact info for 20 agents not profiled.) Agent, Jean Naggar.
Copyright 1999 Reed Business Information, Inc.

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Product Details

• Paperback: 256 pages
• Publisher: Arco; 1 edition (April 1, 1999)
• Language: English
• ISBN-10: 0028617401
• ISBN-13: 978-0028617404
• Product Dimensions: 8.2 x 6 x 0.7 inches
• Shipping Weight: 4.8 ounces
• Average Customer Review: 4.1 out of 5 stars  See all reviews (11 customer reviews)
• Amazon.com Sales Rank: #1,607,382 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

3 of 3 people found the following review helpful:

3.0 out of 5 stars Once Over, If Not Lightly..., August 9, 2002

By	Earl Merkel "earl" (Chicago, IL) - See all my reviews

I seized upon John Baker's book LITERARY AGENTS in what I thought was quarter to midnight in my writing life.

H.Y., the agent I had signed with from a Washington D.C. based literary agency with what I had been told was a solid reputation, had failed to sell my first novel, LIKE DISTANT CITIES BURNING-- and had, in fact, lied to me and to a television audience on Book TV about his experience in selling fiction.

He had, as it turned out, none. And with the disgrace of that disclosure looming, H. apparently decided to dodge the bullet in a time-honored way: he pocketed his Palm Pilot and fled-- without, unfortunately, notifying his clients.

After two months of unanswered e-mails and unreturned phone calls (no word, either from H. or from the lawyer-cum-agent whose name was on the firm's shingle) it fell to a receptionist to finally confirm my dark suspicions: H. had taken to the hills, had abruptly withdrawn from literary representation altogether, opting instead to cash in on the then-hot dot-com frenzy.

I no longer was represented. I had been cast adrift, with my second book (FINAL EPIDEMIC) ready to go to market, but with no agent to rep it.

John Baker's book was my first frantic lifeline. Here, instead of the cookbook listing of so many "guides" to literary agents, was a writer who actually did the legwork and INTERVIEWED the agents of which he wrote. For me, as for most writers, it was a welcome relief to finally see these shadowy demi-gods profiled as flesh-and-blood, living beings whose own likes and dislikes, personality and personal baggage, life triumphs and failures was finally set down in black-and-white for the discerning reader.

The book is a fascinating read as well as an informative and useful guide-- and for any writer who seeks an insight to those who in today's publishing world serve as the de facto gatekeepers, it is well worth the purchase price. One only wishes that Baker would not stop at this initial volume, but would turn this into a ongoing, updated series-- whether as a "hard-copy" book or as an on-line service.

While I ultimately signed with an agent who was (a) successful in placing both my novels with a major publisher, and (b) not in Baker's initial (and as of this writing, only) edition of LITERARY AGENTS, I did establish a dialogue with several of those he profiled therein; it was a result of Baker's careful attention to detail that made these individual agents both approachable and recognizable as human beings.

You may not find an agent by reading this book; indeed, with most reputable agents reporting that they decline upward of 98 percent of the author inquiries they receive, the odds are against it.

But in LITERARY AGENTS, you will gain an insight into those agents whom Baker profiles --an insight that may serve you well in your understanding of what makes them tick.

--Earl Merkel

...

2 of 2 people found the following review helpful:

4.0 out of 5 stars Great new resource for writers!, April 12, 1999

By	Jim Cherry ([e-mail]) (Chicago) - See all my reviews

Literary Agents A Writers Introduction by John Baker is a must read for anyone who is serious about writing, or for anyone considering taking the step into serious writing. This book consists of interviews with forty-four of the biggest name agents in publishing, I should know I've had rejections from a lot of them, but now I know why. Each interview is an easy 3-4 pages long but packed with information Of interest is the near universal opinion of the state of the publishing industry and the changing role of the agent, and the agent's reaction to this changing role and how it affects how they interact with authors and potential authors. You can also witness how close this community is, as people appear and reappear from interview to interview. The one drawback is that more agents weren't subjected to the interview, but then of course it would be a voluminous volume. Another item that would be of interest to a reader is number of people who claim to have discovered Stephen King and John Grisham.

1 of 1 people found the following review helpful:

5.0 out of 5 stars Solid Agent Background and Insight for Any Writer, July 31, 2006

By	W. Terry Whalin "Publisher/ Editor / Writer" (Scottsdale, Arizona) - See all my reviews

Almost anyone can hang out a shingle with the title "literary agent." How can the writer tell the legitimate agents from the vultures who prey on new writers? Often publishers are overwhelmed with submissions and with the ever-changing market and movement of editors from one house to another, agents play an increasing role in the marketplace.

As Baker writes, "Agents, unlike authors or even editors and publishers, are seldom interviewed, and much of the material in this book is therefore unique. It is hoped that it will give its readers a much better idea than they have ever had before of how these most important players in the book world think and operate--and in the process, a better sense of who might or might not be receptive to their work."

Agents are on the inside track for understanding which editor or publisher takes what type of book. Also they increasingly work with writers to develop ideas and proposals, then use those proposals as sales tools with the editor. While a writer's allegiance to a particular publisher or editor has often vanished, the chemistry between a writer and his literary agent often outlasts any change.

This book covers about 70 agents and it's only a sampling from this industry insider and regular contributor to Publisher's Weekly.

Each chapter profiles different agents and their specialty such as fiction or genre fiction or nonfiction or spiritual material. Also Baker asks each of them about their perspective on book publishing which provides some interesting insight. The end of each chapter includes the agent's contact information. According to Baker, a well-written letter or proposal remains the best way to catch the agent's attention. I recommend this book for writers who want to learn more about the book marketplace and agents in particular. Some of the advice may help you in an ever-changing market.