An Agent on the Fence: What’s the Tipping Point?

I’m the new kid on the block when it comes to agenting. I’ve been surprised by a few things about this career, one of them being just how often agents feel undecided about a project when reading queries and proposals. As an author, I viewed agents as gatekeepers, making swift decisions—a yes or a no—with no wiggle room between the two. On the other side now, I see that these decisions are complex and nuanced. Though some decisions are swiftly made, often times, it’s an involved process weighing many variables. Here are some ways an agent on the fence can be moved toward an offer or a rejection:

 

Toward an offer

The writer has the credentials to write other books

Sometimes a project is submitted that is well-written, but the concept has been repeatedly covered in the market. This is when I take a look at the broader picture. Perhaps this isn’t the book we take to publishers, but is there another book the author has the credentials to write that is more unique? Is the author open to considering other topics, or is this the only book they envision themselves writing? Agents often ask themselves about a writer, “Is this person the best person to write this book?” When a writer has the potential to write more than only the proposed book, this can push us off the fence to offer representation.

The concept is unique, and the platform is growing

When a writer submits a unique project that has potential, but their platform isn’t as strong as I’d like, I often find myself “on the fence.” If I can see that the writer is making a dedicated effort to grow their platform (and it’s already close to where I’d like it to be) I’m more willing to take a chance, knowing that I can show publishers a sustained growth pattern. Keep in mind that a platform is more than a writer’s social media accounts. We look at email subscription lists, speaking opportunities, and connections to well-platformed people, as well. The key in this scenario, is that the project is very strong both in writing and concept and platform growth is being made.

They know what it takes

When I see a submission come in from a writer that has done all the things (for example, an email subscription list with an enticing lead magnet, membership to writers organizations, established platform, a polished website) I take notice. It tells me a couple things: 1) they take their writing career seriously and 2) they’ve taken the time to educate themselves about what agents and publishers like to see. Typically, it also tells me that (hopefully) the writing will be strong as well, because someone who has spent this kind of time learning how to be successful in marketing themselves, will also have invested time to learn the craft of writing. If they have all of this going for them, and the writing is strong, but their book idea could be better, I’m more likely to try brainstorming other options with them for possible projects to represent.

Toward a rejection

They have unrealistic expectations

Sometimes writers will say their proposed project is the next bestseller, or they envision it being a “global” success. Both of these things are possible, and every agent dreams of this kind of project—but they are rare. While I am always a fan of writers believing in their work, these kinds of comments let me know they may be inexperienced or unknowledgeable of the way publishing works, and how much work it takes to make a book successful.

They aren’t open to feedback

If an author is unwilling to be open-minded about suggestions to make a project stronger, it is a red flag for an agent. At this point, it doesn’t matter how unique the project is, or how large the platform has grown, or even how well-written the manuscript is. The partnership between client and agent is one of mutual respect, and give and take. It’s important that the opinions and professional experience on both sides be considered. After all, agents want writers to succeed, and the recommendations we offer are based on both industry knowledge and experience.

The genre isn’t selling

This is always a difficult situation, and one I find myself in quite frequently. I may love a project, and the writing is strong, but the genre is simply not selling well. As an agent this is a hard pill to swallow, but I cannot waste a writer’s time and hope, knowing that a project has no chance once submitted. I’ll often tell writers in this situation that I cannot sell that particular genre at the moment, and offer to look at other projects they may be working on if I feel their work is promising.

 

Have you found any of these to be surprising? Which ones and why?