Have I run out of agents?

I've been querying a particular novel for some time now. At the beginning of the query track, I made a list of "dream agents". Blew through those. Revised the query letter, sent out the next batch, expanded my list.... all those things you do in an attempt to improve one's chances of getting a full request, and possibly an offer. But I think I've come to the end of my agent list.

My issue is that I tend to write in two specific genres, with projects often crossing over. (I am pleased at how many authors are writing crossover novels between my two genres, so I know this isn't an outlier idea, and I'm never at a loss for comp titles.)

My list was comprised of agents who said they repped these two genres. While most agents have been form rejects or NORMANs**, those few who have offered personal replies, either on my initial query, or on a full request, have had good things to say about my novel... just not that it's suitable to their list at this time. Alas.

Looking for agents who rep both my genres has limited the field somewhat, enough that I've now reached the end of agents who are open to queries and who rep my two genres.

My question is, should I risk querying agents who only rep one of my genres (and say they don't rep the other), knowing that they might not be interested in projects that skew towards another genre?

Or am I better off putting this novel aside and waiting six months until my next novel is ready for querying (again, another cross-genre project), and start from the top of my list once more? I'm not looking for an agent to rep a single project. I'm looking for a long-term relationship with an agent who wants to stick with me for my career (or significant part thereof).

You don't mention which genres you're working in, but it's not the genre that might be tripping you up; it might be category.

Some categories just don't lend themselves to blending: Amish romance and serial killers; zombies and police procedurals; dystopian chick lit.

My hunch is you're probably not testing those boundaries since you got some requests, but sometimes agents look at something and think "nawww" without even reading to see if you pulled off Bakers in Space: The Final Fondue Tier

That said, I'm firmly in the camp of query every agent you're willing to work with regardless of what they say about genre or category. Sometimes we don't know we're looking for you till we hear from you.

As an example,  I have a science fiction project on my list right now. If you were to ask me if I rep sf I'd say no, but this novel blew my sox off, and I will sell this thing if it requires I read the entire SF canon to be able to talk about it knowledgeably.

Thus: query everyone.

And, you might enter some of those Twitter manuscript cattle calls too. Those things are stalked by younger, less well known agents who are building their lists; agents you might not have heard of but work for agencies you have.

Junior agent stalking manuscript

**NO Response MeAns No agents 

(NORMAN is a coinage of this blog; don't feel foolish you didn't know what it meant.)

Well, that's one way to look at it; here's the other

I recently received an offer of representation -- doing a happy dance! -- but it struck me as a little peculiar.  This is what happened. I queried a Very Established Agent -- accomplished and well-connected and part of a highly regarded agency -- and VEA's assistant wrote back asking for the full manuscript. Soon thereafter, the assistant said "they" loved the book so far and "they" asked for a two week exclusive, which I couldn't grant because other agents were reading (and because you've addressed the pitfalls on this blog!). Then, VEA emailed directly and said he loved the manuscript and wanted to talk to me. Gulp. So we set up The Call, and he repeated that he loved the book but since his assistant, who recently got promoted to a junior agent, had plucked my manuscript from the slush and loved the book enough to risk it as HER debut, he wants her to be my agent. I would be her first client, but since he also believes in my book (and elaborated on why), he will be there every step of the way to back her up.

On it's face, this could be great. Sort of like getting two agents for the price of one. And the offering assistant seems very capable and eager. But on the other hand, I felt a little odd about how I was passed off. Please don't get me wrong here!  These are very nice people -- I've spoken to both of them and they are super kind and enthusiastic about my book. And they have been doing all sorts of things to win me over, including having me talk to VEA's clients about the offering assistant. But is this how most new agents get clients? It felt a little like a bait and switch. And if I take the offer, should I have anything put in writing about VEA's involvement, or is that just a matter of trust on my part?  Finally, if I get a second offer of representation from another very awesome agent reading my manuscript (hard to imagine, but then again, two others are reading now), should I pass on this offer because of any part of how it went down, or should I still seriously consider it because VEA has promised to be heavily involved?

Yes, this is EXACTLY how busy established agents keep the revenue flowing to an agency. Bring in hotshot young folks and let them loose in the incoming queries.

Just this past month one of our most successful agents found three things that were terrific and redirected them to other agents.


And your extra special idea of asking to have VEA's involvement put in writing...well, let's just say if you asked me to do that, you'd no longer have an offer of representation.

I'm going to suggest that you recognize a hard truth here: you don't have confidence that you'll have effective representation from this young agent. You think of yourself as being "passed off" and talk about "bait and switch" and having to "trust" the agent will do what he says he will.

Don't accept this offer no matter the status of the other requests.

The worst thing you can do is start off with an agent having doubts. You'll doubt her at every missed phone call, every lagging answer on an email, and probably most of her advice on strategy. You'll want to check with VEA before doing anything and that's one fast way to undermine a new agent's confidence.  (In fact, my minions checked with me on stuff they didn't know BEFORE the client was looped in.)

And you'll always wonder if you could have done "better."
That kind of thinking is toxic in any relationship and you don't need me to tell you that.

Don't inflict this on a young agent looking to build her list.

Let her start with people who actively want her, recognize she was the one who found their work, advocated for making them a client, AND persuaded VEA to invest his time in the project as well.


This is a time for brutal self-honesty. Look at what you wrote to me. It reflects what you're thinking.

If you elect not to follow my advice here, I strongly encourage you to recognize that you do have doubts and to be very careful you don't convey them to the agent or to VEA (as in jebus, do NOT ask for his involvement in writing.)

Query Question: feedback and junior agents

I have a scenario for your wonderful blog, where the readers comments are as insightful as the posts. Here’s the situation: I’ve been reading awesome agent’s (AA) blog for almost a year now. From time to time AA holds an incredible open query event for her followers, promising to provide a personal reply, even if the query isn’t right up her alley. Suspecting a fatal conceptual flaw in my manuscript, I have intended to submit to this open query event. But, being the neurotic author that I am, I waited, not wanting to blow the opportunity with a manuscript or query that wasn’t up to snuff. I’ve finally gotten my act together, but AA seems to have suspended her open query events. Meanwhile, at AA’s agency there is a new junior agent (JA) seeking in my genre and firing off #MSWL tweeter twits that look they were targeted directly at my manuscript. What’s a neurotic author to do? (1)

There are probably two specific concerns here. First, after we’ve read every bit of advice on your blog, how can we find better specific feedback than the typically vague agent rejection? A few rejections along the lines of “You certainly write great dialog, but I just don’t feel passionate about your main character,” or “I love your concept and writing, but unfortunately I’m not connecting with your story,” are nice but don’t really help. More rejections are just a flat no, or worst of all, a no reply. Your recent post on professional editing services made this approach to getting good feedbacks look like a chancy proposition at best. And my CP, despite her excellent advice on my MS has little insight into what my fatal flaw might be. (2)

The second concern is regarding the wisdom of submitting to junior or new agents. What should we be looking for in a new agent? What should we be looking out for? Is the fact that JA works for a well respected agency with people like AA surrounding her, and presumably guiding and mentoring her recommendation enough? (3)

(1) Hmmm...I wonder who that slacker AA agent is?

And let's all remember that the purpose of Chum Bucket isn't to get feedback alone. It's querying for real. And that's the problem. I've been backed up on requested fulls for more than six months. I request a HUGE percentage of manuscripts during Chum Buckets (often up to 10% of total queries) so if I'm backed up on reading, the last thing I should do is add to the inventory.

I know that's not what you want to hear, but telling people they need to wait for me to read their work in 120, 150, 180!!!! days makes me crazy.

Therefore you should be casting a wider net. Which brings us to

(2) An agent's job is NOT NOT NOT to critique your work. You can get that sometimes from requested fulls, or more likely if you meet an agent at a conference and have her look at your synopsis, with the idea of helping you identify plot holes, or look at your query to identify weaknesses. Short of that, you need to get advice from other sources.

(3) You look for a junior agent who is sitting five feet away from a fierce senior agent who will keep her out of trouble.  You look for an agent who loves your work and thinks she can sell it.  And you make triple dog sure that she isn't heading for the exit anytime soon.

Query question: former agent/when to reveal

My former agent and I recently parted company on good terms. Without going into details, we inherited each other when his partner left the business. and weren't really a good fit.

I am currently completing a non-fiction proposal, which was not completed at the time when we said "bonne chance and farewell" and which he did not send out. Do I mention previous representation in the query or bring it up later in the process?

You do not need to mention a former agent for a new project UNLESS you've been published before.

If you have been published, you'll need to mention the earlier works, the publisher and that the agent who handled the deal for you left the business.



If you haven't been published, you don't need to mention any previous agent relationships since this project did not go out on submission.

Of course, IF the project had been shopped, you need to say so, and by whom. This is when you need the submission list and editor's replies. On some occasions, I can see holes in the submission strategy and figure out a better plan. (That's NOT often at all, sorry)



Make sure you update your website if you have the old agent's name on it.  That's one of the easiest ways for me to discover that someone has been represented/published before if they don't mention it in the query. And yes, I DO look. If I'm interested in reading your manuscript (or in this case proposal) I do some sniffing around ahead of time to see if there are any bumps in the road.