When Good Agents Go Bad

From all appearances Danielle Smith was a good agent. She started out at Foreword Literary, moved to Red Fox in 2014, and then in 2017 started her own agency, Lupine Grove, representing children's book authors. There was nothing about her performance to indicate anything unusual. She made sales and negotiated contracts with major publishers. I even included her on this blog. Yet, for the past five years she has repeatedly committed fraud, for reasons which remain entirely mysterious. When it came out that she had been forging letters of acceptance from publishers to her clients, and deceiving the authors she represented, the publishing world was shocked.

Danielle Smith's story is, fortunately, unusual among legitimate agents. It would be a mistake to come to the conclusion that her pattern of deception is common. But, by the same token, every prospective author should be aware that when an agent does not appear to be abiding by normal rules of conduct (e.g. keeping in regular touch with clients), it is worth questioning them.

Here is the Publishers Weekly story on the sad, complicated case of Danielle Smith. Give it a read.

Agent Danielle Smith’s Former Clients Speak Out

Publishers Weekly, August 2, 2018

The children’s book publishing world has been roiling for the past week over the disclosure that Danielle Smith, the principal of Lupine Grove Creative, an agency specializing in children’s and YA authors, acted more like a literary grifter than a literary agent. Since Smith emailed a letter to her clients on July 24, confessing that recently she had “not handled a situation as well as I should have” and thus was dissolving the agency effective immediately, 19 former clients have reached out to PW, sharing tales of a pattern of malfeasance that has shaken their confidence and adversely affected their careers.

According to some former clients, she claimed to have had offers in hand that didn’t exist, such as, one author requesting anonymity disclosed, a $50,000 two-book deal. She informed others that editors had expressed interest in their submissions, but subsequently told them that either the editors had then lost interest or had outright rejected those submissions. Clients also complained about Smith’s refusal to communicate with them honestly and in a timely fashion, as well as the lack of transparency, including a reluctance to render submission lists to them upon request. Several clients allege that she even forged emails from editors and passed this correspondence along to them.

Read the rest of this fascinating article HERE.

An Inside Look at Literary Agents

This full one-hour interview with Jodi Reamer (Writers House), Kim Witherspoon (Inkwell Management), Robert Gottlieb (Trident Media), Sloan Harris (ICM), Eric Simonoff (WME), and Christy Fletcher (Fletcher & Company) is fascinating. These agents are surprisingly frank, revealing not only what they think about writers, but how the whole publishing industry works.

(If the video doesn't play, click here: https://www.youtube.com/watch?v=qL5bcAXTZys)

Here are the responses that, for me, really stood out.

What’s the best, or most memorable, opening line from a query or proposal you’ve ever read… that you said, “I know this is a book I want to sign?” What about the worst opening line you’ve ever seen in query or proposal?

Eric Simonoff: "It would be an egregious lack of judgment on your part if you did not represent me. Let me give you ten reasons why." 

Jodi Reamer: "I don't read query letters. I go straight to the manuscript, because that tells me everything I need to know."

What is the biggest frustration you have with the way Hollywood handles books? What is the state of power that authors have over adaptation when it comes to film or television adaptation? Is there a best strategy for timing the submission or sale of film or television rights for a book to Hollywood?

Sloan Harris: "Being stuck in development forever and ever ... five six years." 

Jodi Reamer: "They want changes that have nothing to do with the book. But the more the studios involve the authors, the more successful the project tends to be." 

Robert Gottlieb: Studios don't want authors slowing down production, but also it's a different medium." 

Kim Witherspoon: "It's healthiest for the author not to be involved in production."

What are the trends with young adult fiction, paranormal fiction, dystopia, and erotic fiction (like 50 Shades of Grey)? Are they past their peak?

Eric Simonoff: Publishers are always chasing yesterday's trends. 

Jodi Reamer: In terms of YA as a whole, it just comes down to great writing.

Have you ever had the "one that got away"?

All: Just one?!?

What do you feel are the best outlets for promoting books? How important are Facebook, Twitter, and the blogosphere? Do authors have to Tweet or blog? Can it help get bigger deals? What is the best way to tap into an audience and grow? How important is it for authors to have a relationship with their fans?

Jodi Reamer: The best media outlet is NPR. 

Robert Gottlieb: Publishers have recently discovered Facebook, but the blogosphere is extremely important in terms of the promotion of books.

Eric Simonoff: If you need to ask, "Do I have to tweet? Don't."

Kim Witherspoon: It's important for writers to have a relationship with their readers. The writers know who their readers are; the publishers don't.

What’s the most exciting thing about how the publishing business has evolved? Where are you finding new talent? How is Amazon and self-publishing changing publishing? Is there a new and growing marketing for shorter, mid-length books?

Sloan Harris: I used to find talent scouring literary magazines, but those sources have largely dried up. My younger colleagues are finding talent on blogs. 

Robert Gottlieb: Amazon is having an influence on traditional publishers. Stories that publishers won't pick up are selling millions of copies when they are self-published on Amazon, and that makes publishers take notice. 

Sloan Harris: I think that following trends is a really tricky way to build lists. 

What makes a literary agent valuable? 

Robert Gottlieb: It's really about managing rights and making the author successful. 

Sloan Harris: I think of myself as someone who can help a writer develop.

(Note the important difference in how these two agents approach writers. Gottlieb takes a strictly business approach, while Harris values his position as someone who can enhance a writer's career. If you are a commercial writer, an agent like Gottlieb would be a good choice. Literary writers would be more comfortable with an agent like Harris.)

Agent Bios

Jodi Reamer (Writers House):  Jodi Reamer is an agent and an attorney. She's been with Writers House since 1995. She represents children's books, picture book to young adult, and adult books with a focus on commercial fiction.

Kim Witherspoon (Inkwell Management): Kimberly Witherspoon, at age 26, founded her own literary agency, which quickly became one of the most prestigious and successful agencies in Manhattan, with clients who are frequently published around the world. Over the past 15 years, she has represented critically acclaimed and bestselling authors of both fiction and nonfiction.

Robert Gottlieb (Trident Media): Robert Gottlieb started the Trident Media Group agency in 2000 so that he could inculcate the entrepreneurial spirit into the DNA of the firm from inception. For many consecutive years, Trident continues to rank as the number one literary agency in North America in the number of transactions for authors based on the statistics from the major trade website, Publisher's Marketplace.

Sloan Harris (International Creative Management – ICM): Sloan Harris co-heads publications at ICM, a talent and literary agency with offices in Los Angeles, New York, Washington D.C. and London, representing clients in the fields of motion pictures, television, music, publishing, and live performance.

Eric Simonoff (William Morris Endeavor – WME): Eric Simonoff began his publishing career at W.W. Norton as an editorial assistant. He joined Janklow and Nesbit in 1991 and rose to co-director. He left Janklow & Nesbit for William Morris Endeavor in 2009. He represents three Pulitzer Prize winners, as well as over a dozen New York Times bestselling authors. Note: Mr. Siminoff is closed to queries.

Christy Fletcher (Fletcher & Company): Christy Fletcher began her career at the Carol Mann Agency. In 2003, she founded Fletcher & Company, widely considered one of the leading independent literary agencies. Clients include many international bestselling and prize-winning authors. The agency expanded into feature film and television production and management in 2006, and acts as producer on several client-based projects. Note: Ms. Fletcher is closed to queries.

10 Things We Hate About Agents (And 10 Things They Hate About Us)

Authors and agents have what I would call an ambivalent relationship. It's not precisely love/hate, but it does involve a clash of expectations.

This clash is the inevitable result of a business mentality coming in close contact with artistic sensibilities. When writers who are devoted to the craft or, more specifically, to their own writing, are abruptly thrown into the cold water of capitalism, disillusionment is inevitable.

(I've previously written about that conflict at some length. See my astonishingly perceptive post: Literary Agents: The Writer's Ultimate Ambiguous Relationship.)

Launching into the publishing world can be a painfully enlightening experience for a writer. Not surprisingly, it can be equally as vexing for agents who may not realize that their clients are not only unprepared, but are quite confused as to what is expected of them. But in some cases, it is not merely confusion that causes problems. With increasing numbers of writers submitting their work (exacerbated by fierce competition for publishing slots), frustrations can arise, leading to complaints on both sides.

Here are some of them.

Ten things writers hate about agents

1) Agents who charge a fee, or who are really book doctors, but don't let you know until you have submitted your work. This is the most egregious of sins in the agent community. Fortunately, it is becoming relatively rare - but it still exists. If an agent charges a fee, especially after they have requested pages (and given you glowing compliments), do not pay them a cent, and run for the hills. NO LEGITIMATE AGENT CHARGES A READING FEE.

2) "No reply means no." The majority of agents no longer send rejections. They simply do not respond at all. In this age of automatic email replies there is no excuse for that kind of behavior. We all understand that agents are busy people, but we also expect them to be professionals. It is highly unprofessional to leave writers hanging.

3) Agents who ask for partials or fulls, and then either don't reply or send a canned response. This is something I personally really dislike. If an agent asks to see a manuscript, the writer will assume, rightly, that the agent has taken an interest. At this point, a lack of reply is somewhat like inviting a girl (or boy) to the prom and not showing up. It's not only rude, it's unconscionable.

4) Agents who say they want "great writing" but don't request sample pages along with your query. C'mon agents! Put your money where your mouth is! If you want great writing, then take a look at the first chapter! Every agent worth his or her salt knows that writers are piss poor at writing queries, so skip the query and spend a few minutes on the first ten pages.

5) Agents who expect writers to compose copy. There is a huge difference between writing a novel and writing copy. A book is self-expression. Copy is what your boss hires you to churn out in order to sell his (or her) products. Agents cannot reasonably expect writers, especially fiction writers, to suddenly know the rules of advertising. That is a skill unto itself, and one in which writers are not trained.

6) Agents who promise the moon. Most agents won't take on your project unless they are "in love" with it. (To translate, "in love" means "I can sell this to a publisher and make money.") It is perfectly reasonable to expect enthusiasm from agents. What isn't reasonable is when agents tell you that your book is going to be a bestseller, that it will be a "breakout" novel, or that they are sure you will get a movie deal.

7) Agents who promise nothing. At the bare minimum an agent should be able to tell you what he or she can do for you. Agents should let you know what their contacts in the publishing industry are, what kind of track record they have, whether they have sold books like yours. They should have a game plan for selling your book. It goes without saying that they should be well acquainted with the terms of a contract, and should be willing to explain those terms to you.

8) Long, convoluted contracts that are filled with legalese. Back in the day, when there were no contracts between agents and authors, a simple handshake (verbal or physical) was enough. Now, there are lawyers. Contracts that are written by lawyers will always favor the agent for the simple reason that lawyers represent the people who pay them. Contracts written by lawyers can contain anything, including a promise on the part of the author to produce additional books (that happens), a promise to maintain a certain physical appearance (that also happens), and no termination clause. A fair contract should be no longer than a page or two, should state which book the agent is representing, and include a termination clause applying to both parties. It should specify how much the agent will take in commission, and how funds will be disbursed to the writer, as well as which services the agent will provide in clear language. (I highly recommend that writers join the Authors Guild. The Guild provides legal reviews of contracts to its members.)

9) Agents who do not maintain contact after they have offered to represent your work. It is the agent's job to market your book to publishers. Any decent agent will keep you apprised of how that quest is going. They will tell you which publishers they have approached and give you feedback. If they don't touch base with you on a regular basis, they are not doing their job.

10) Agents who drop their clients after a few attempts at selling a manuscript to a publisher. When the going gets tough, some agents are all too willing to simply drop their "difficult" client in favor of a manuscript that is easier to market, or which they perceive is easier to market. Shame on them.

Ten things agents hate about authors

1) Writers who do not research who they are querying. Nothing will turn an agent off faster than a query addressed to "Dear Agent." (Seriously, don't do that.) Make sure you are addressing your query to an individual agent, and that you have spelled the agent's name correctly. Also, make absolutely sure that you have gone to the agency's site and have read the bio of the agent you are querying.

2) Writers who do not follow instructions. This is such an easy thing to do; there is no excuse for not submitting your query exactly the way the agent has specified.

3) Bad spelling and grammar. Agents are not forgiving about error-ridden query letters. If you can't spell, or don't know the difference between "lay" and "lie" (my pet peeve), they will become irritated. It is not a good idea to irritate someone you are wooing.

4) Writers who do not know how to write a query letter. Writing a basic query is not rocket science. You need a short opening with your book's title, genre, and word count, a paragraph that summarizes your book, and a brief paragraph about your qualifications as a writer. Make it short and to the point. Don't waste the agent's time.

5) Authors who pester agents. Nothing ticks agents off more than clients who make repeated phone calls, text constantly, or email incessantly. An agent's job is to sell your book, not hold your hand.

6) Authors who do not disclose that they have submitted to publishers, or who have already self-published their work. Very few agents are willing to take on manuscripts that have been "shopped around." How can they be expected to pitch your work to editors who have already rejected your manuscript? And while some agents are willing accept work that has been self-published, read their submission requirements carefully to make sure that's allowed.

7) Writers who submit to more than one agent at the same agency. Do writers really expect agents who work together to compete with one another? Only submit to one agent at an agency. And if you get a rejection, make sure that agency allows subsequent submissions to other agents. (Some agencies share; a submission to one agent is a submission to them all.)

8) Writers who submit queries for fiction that is not completed. Novels have to be finished and fully edited before a query can be sent. It's disappointing for an agent to request a partial or a full, only to be told that the book is not finished. It is equally distressing for them to receive a rough draft. (Make sure your manuscript is as error-free as possible before you send it!)

9) Lack of professionalism. Writers who don't seem to be aware that the agent-client relationship is a business arrangement can be very annoying. What does being professional mean? First, a manuscript that follows standard manuscript guidelines (double spaced, Times New Roman or another standard font, etc.) is professional. Submitting your work promptly is also professional. Keeping appointments is professional. Remembering that the agent has a job, and is not available at all hours, is professional.

10) Writers who get angry when they receive a rejection, or get upset at an agent's suggestions for improvement. Not many agents offer a critique of work they've received. They simply don't have the time. But those who are willing to go the extra mile by offering feedback are performing a service. The proper response should be "Thank you," not a snarky reply, or a pissed-off blog post. The same holds true for rejections. If writers are upset by a rejection, they should keep it to themselves.

____________________

To writers: For God's sake, learn to write a proper query letter! Query Shark is your best resource. (Note: Query Shark is closed to new queries, but you can still see the archives.) There are also successful queries on Writer's Digest. And read my Best Method for Handling Rejections (and getting published). It will keep you sane.

To agents: For God's sake, learn to write a proper rejection letter! Please, oh please send us rejections. Don't leave us in limbo. We are human, and your silence makes us suffer. Also, if we are expected to know your name, do us the courtesy of not addressing rejections to "Dear Author."

Mega-List of Agents Looking for Memoirs

Updated 3/13/25

Memoirs are enjoying a resurgence in the publishing world. While biographies and personal histories have previously been reserved for well-known figures - political leaders, writers, artists - increasingly, this genre is opening up to ordinary people who simply have a story that might appeal to a wide readership.

Here is a list of 231 agents looking for memoirs. In most cases, these agents are also interested in representing other non-fiction. Read their submission requirements carefully. In the case of memoirs, agents frequently want a writing sample, just as they would for fiction. But, to be on the safe side, have an outline of your memoir prepared before you begin querying.

For other non-fiction, a proposal is required. The proposal is a detailed chapter-by-chapter breakdown of your book which must be submitted even if your book is complete. Make sure your bio reflects your expertise in your book's subject.

IMPORTANT: You should NEVER query an agent without checking the agency website first. Submission requirements change, and agents may close their lists, or switch agencies at any time.

NOTE: Don't submit to several agents at the same agency simultaneously. If one rejects you, you may then submit to another. (Some small agencies share. Be alert to a notice that "a no from one is a no from all.")

For a complete list of agents looking for writers in all genres see: Agents Seeking Clients.

Agency	Agent	Guidelines	How to Submit
Creative Artists Agency	Tina Bennett	https://creativeartistsagency.submittable.com/submit	Query via form
Megibow Literary Agency	Helen Masvikeni	https://www.megibowliteraryagency.com/submissions	Query and first ten pages of your book in the body of your email
The Ethan Ellenberg Literary Agency	Ethan Ellenberg	http://ethanellenberg.com/submission-guidelines/	Send a brief query letter, sample chapters, in the body of an email. No attachments
Writers House	Daniel Lazar Susan Ginsburg	https://www.publishersmarketplace.com/members/SGinsburg/ http://www.publishersmarketplace.com/ members/DanielLazar/	Query letter by email. Please include the first 5 pages of your manuscript with your query letter. NO attachments
DeFiore and Company	Laurie Abkemeier Brian DeFiore Miriam Altshuler Caryn Karmatz Rudy Tanusri Prasanna	See individual agents for submission details and contact information	Query with brief summary of your novel or the scope of your non-fiction project; short description why you’re writing the project; any specific credentials you have for writing the book in question
The Karpfinger Agency	Barney Karpfinger	http://karpfinger.com/submissions/	Query only. Please include a brief description of your book in the body of the email, along with a short bio
Portobello Literary	Caro Clarke	https://www.portobelloliterary.co.uk/#submissions	Submit a chapter outline and three sample chapters no longer than 50 pages.
The Book Group	Brettne Bloom	submissions@thebookgroup.com http://www.thebookgroup.com/submissionguidelines	Send a query letter and ten sample pages, with the first and last name of the agent you are querying in the subject line
Salky Literary Agency	Kate Garrick	https://www.salkyliterarymanagement.com/submissions	Submit via query manager
Sanford J. Greenburger Associates	Daniel Mandel Iwalani Kim	See individual agents for contact and submission information https://www.greenburger.com/submissions	Query letter
Calligraph	Alison MacKeen Katherine Flynn Zoe Pagnamenta Eric Lupfer	https://www.calligraphlit.com/contact	Please send a query letter to submissions@calligraphlit.com with a brief synopsis of your work and a short bio, along with 25 pages of sample material in the body of the email (no attachments will be opened). Include the name of the agent you are querying in the subject line of the email, along with the title of your project and its genre.
Elyse Cheney Literary Associates	Elyse Cheney Adam Eaglin Alice Whitwham	submissions [at] cheneyliterary [dot] com http://www.cheneyliterary.com/#scrollto-contact	Please send a query letter briefly describing your project and professional background, along with up to three chapters of sample material. We ask that you not query more than one agent
Trident	Scott Miller Martha Wydysh Erica Spellman-Silverman	https://www.tridentmediagroup.com/submissions/	Query and online form. Wait 30 days before submitting to another agent at Trident
Harvey Klinger, Inc.	Wendy Levinson David Dunton Andrea Somberg Rachel Ridout	https://www.harveyklinger.com/submission-guidelines	Query, short synopsis of your work, an author bio, and the first five pages of your manuscript (pasted into the body of your email, no attachments please)
Dystel & Goderich Literary Management	Miriam Goderich Stacey Kendall Glick Jim McCarthy	https://www.dystel.com/submission-guidelines	Query. Synopses,  sample chapters (one chapter or the first 25 pages of your manuscript) should either be included below the cover letter
Vicky Bijur Literary Agency	Vicky Bijur	https://www.publishersmarketplace.com/members/vbijur/	Query letter
John Hawkins & Associates, Inc.	William Reiss	http://www.jhalit.com/#Submissions	A brief letter about your book (genre, summary and/or synopsis, word count, etc.) A bit about you/your writing background Include your book proposal as a single Word attachment.
The Friedrich Agency	Lucy Carson	http://www.friedrichagency.com/submit	Query letter
The Aaron M. Priest Literary Agency	Lucy Childs Mitch Hoffman Lisa Erbach Vance	http://aaronpriest.com/submissions/	Query letter with 1 chapter pasted into email - no attachments
Wm Clark Associates	William Clark	https://www.wmclark.com/query-form/	Online form
Don Congdon Associates, Inc.	Katie Kotchman Susan Ramer	https://doncongdon.com/submissions-1	Query and first chapter
Folio Literary Management	Frank Weimann	https://www.publishersmarketplace.com/members/weimann/	Query and first 10 pages pasted in body of email
Dunham Literary	Jennie Dunham	Has submission periods http://www.dunhamlit.com/?how-to-submit,4	Query letter
Brandt & Hochman Literary Agents, Inc	Gail Hochman  Mitchell Waters Emily Forland Emma Patterson Jody Kahn	See individual agents for contact information	Query letter
Scovil Galen Ghosh Literary Agency	Russell Galen Anna Ghosh	russellgalen@sgglit.com annaghosh@sgglit.com http://www.sgglit.com/submissions.htm	Query letter
Irene Goodman Literary Agency	Irene Goodman	https://www.irenegoodman.com/submissions	Email a query letter and the first ten pages, along with a synopsis (3-5 paragraphs) and bio, in the body of an email to the agent of your choice
Lexington Literary Agency (UK)	Seren Adams	https://www.lexingtonliterary.co.uk/kat-aitken-literary-agent	To submit your work to me, please send a brief cover letter along with a biographical note and either the first three chapters of your work (if fiction) or a proposal (if non-fiction).
Carol Mann Agency	Carol Mann Gareth Esersky Joanne Wyckoff	https://www.carolmannagency.com/submissions	Query letter including a brief bio, a synopsis and the first 25 pages in the body of your email - no attachments
David Black Literary Agency	David Black Gary Morris Susan Raihofer Sarah Smith Joy Tutela	https://www.davidblackagency.com/submissions-faqs	Query letter
Vertical Ink	Nick Mullendore	http://www.vertical-ink-agency.com/submission	Query and a brief overview or chapter outline for your project. In your query, please include your contact information, any relevant background information on yourself or your project, and a paragraph of description of your project. Also, please include any marketing and promotion information relevant to you and/or your project.  All of this material must be included in the body of your email.
BJ Robbins Literary Agency	BJ Robbins	http://www.publishersmarketplace.com /members/bjrobbins/	Query letter
Victoria Sanders & Associates	Victoria Sanders  Bernadette Baker-Baughman	https://www.victoriasanders.com/submissions	Query plus three chapters (25 pages) in body of email
Susan Schulman Literary Agency	Susan F. Schulman	https://www.publishersmarketplace.com/members/Schulman/	Query letter at least one chapter - no attachments
Wendy Sherman Associates, Inc.	Wendy Sherman	http://www.wsherman.com/submission-guidelines/	Query and bio
Open Book Literary	Leslie Zampetti	https://www.openbooklit.com/submissions	Query letter, a short bio, and the first five pages of your manuscript
Frances Goldin Literary Agency	Sam Stoloff Matt McGowan   Caroline Eisenmann Roz Foster Alison Lewis Lucy Cleland	https://www.goldinlit.com/submissions	Query and sample
Robin Straus Agency, Inc.	Robin Straus	http://www.robinstrausagency.com/submissions	Query letter with contact information, an autobiographical summary, a brief synopsis or description of your book project, submission history, and information on competition. If you wish, you may also include the opening chapter of your manuscript.
Philippa Sitters Associates (UK)	Philippa Sitters	https://www.philippasitters.co.uk/submissions	A proposal introducing the book, and yourself as an author, plus a detailed chapter outline. Information on your view of the book's potential market, similar titles and marketing possibilities would also be helpful, but aren't essential. Up to three sample chapters from the book, double spaced.
Jean V. Naggar Literary Agency	Ariana Philips	https://www.jvnla.com/submissions	Online form
The Tessler Literary Agency	Michelle Tessler	Online form http://www.tessleragency.com/submissions.html	Online form
Curtis Brown, Ltd	Kerry D’Agostino Laura Blake Peterson Katie Grimm	http://curtisbrown.com/submissions/	See individual agents for submission requirements
McIntosh & Otis, Inc.	Elizabeth Winick Rubinstein	http://mcintoshandotis.com/submissions/	Query letter, author bio, and three sample chapters (no more than 30 pages) of the manuscript
The Waxman Leavell Literary Agency	Susan Canavan Barry Harbaugh	https://www.waxmanliteraryagency.com/submit	Query letter and the first ten pages of your project in the body of an email.
Emilie Stewart Literary Agency	Emilie Stewart	http://emiliestewartagency.com/Submissions.html	Query and one or two sample chapters
Prospect Agency	Emily Sylvan Kim  Charlotte Wenger	Online form http://www.prospectagency.com/boathouse.html	Query letter, three chapters and a brief synopsis via online form
JABberwocky	Eddie Schneider	https://awfulagent.com/agents/	Query and first 5 pages. A brief one to three-page synopsis can be included at the bottom
Veritas Literary Agency	Katherine Boyle  Michael Carr	https://www.veritasliterary.com/submissions	Query letter
Liza Dawson Associates	Tom Miller Rachel Beck	https://www.lizadawsonassociates.com/submissions/	Query letter
Sterling Lord Literistic	Philippa Brophy Neeti Madan Robert Guinsler Mary Krienke Danielle Bukowski Pearl Cadigan Chris Combemale Jessica Belaval	https://www.sll.com/submissions	Online form
The Stuart Agency	Andrew Stuart	Online form http://www.stuartagency.com/submissions.html	Online form
Talcott Notch Literary Services	Gina Panettieri	https://talcottnotch.net/?page_id=12	Query and 10 pages
Trellis Literary	Allison Hunter Stephanie Delman Allison Malecha Allison Devereux	https://www.trellisliterary.com/submissions	See their form
Hornfischer Literary Management	Jim Hornfischer	http://www.hornfischerlit.com/Hornfischer_Literary _Management_LP/Submissions.html	Query letter
Wales Literary Agency	Elizabeth Wales	http://waleslit.com/submissions/	By referral only
Laura Langlie Agency	Laura Langlie	laura@lauralanglie.com Note: This agent gives very rapid responses	Query letter
Hill Nadell Literary Agency	Bonnie Nadell Dara Hyde	http://www.hillnadell.com/contact/submissions/	Query manager
Fredrica S. Friedman & Co.	Fredrica S. Friedman	submissions@fredricafriedman.com http://www.fredricafriedman.com/submissions.html	Query letter
Fifi Oscard Agency, Inc.	Peter Sawyer Carmen La Via	Online form http://www.fifioscard.com/sub_guide.htm	Online form
Marsal Lyon Literary Agency, LLC	Jill Marsal	http://www.marsallyonliteraryagency.com /submissions/submission-info/	Query letter
Chris Calhoun Agency LLC	Chris Calhoun	https://www.chriscalhounagency.com/submissions	Query letter, a synopsis of the work, the first three chapters of the manuscript, a brief bio or resume
Susan Rabiner Literary Agency	Sydelle Kramer Holly Bemiss	sydellek@rabiner.net hollyb@rabiner.net	Query letter
Julia Lord Literary Management	Julia Lord	https://julialordliterarymgt.com/submission-guidelines/	Query, synopsis, first 5 pages in body of email - no attachments
Gina Maccoby Literary Agency	Gina Maccoby	query@maccobylit.com	Query letter
WME	Howard Yoon Dara Kaye	https://wmebookdepartment.com/submissions	See individual agents
The Angela Rinaldi Literary Agency	Angela Rinaldi	info@RinaldiLiterary.com http://www.rinaldiliterary.com/how-to-submit.html	Query letter
Union Literary	Sally Wofford-Girand Christina Clifford Trena Keating	https://www.unionliterary.com/contact	Query with sample pages attached in .doc or .docx format. Please do not send .pdf files
Serendipity Literary Agency	Kelly Thomas Jiton Sharmayne Davidson	Online form http://www.serendipitylit.com/2012-11-20-22-51-55/non-fiction	Query letter
The Martell Agency	Alice Fried Martell	http://themartellagency.com/submissions/	Query letter
Malaga Baldi Literary Agency	Malaga Baldi	https://baldibooks.com/submission-guidelines/	Query letter
Dunow, Carlson & Lerner Literary Agency	Arielle Datz Henry Dunow Erin Hosier Eleanor Jackson Nicki Richesin Rachel Vogel Betsy Lerner	https://www.dclagency.com/	Query and 10 pages in body of email
The Unter Agency	Jennifer Unter	http://theunteragency.com/submissions/	Query letter
Calligraph	Zoë Pagnamenta Alison MacKeen Eve MacSweeney Carolyn Savarese	https://www.calligraphlit.com/contact	Please send a query letter to submissions@calligraphlit.com with a brief synopsis of your work and a short bio, along with 25 pages of sample material in the body of the email (no attachments will be opened). Include the name of the agent you are querying in the subject line of the email, along with the title of your project and its genre.
Paper Literary	Catherine Cho	https://www.publishersmarketplace.com/members/paperliterary/	Query letter, synopsis, and the first 3 chapters (10,000 words) to submissions@paperliterary.com. Include all material within the body of the email.
Massie McQuilkin & Altman Literary Agents	Maria Massie Rob McQuilkin Rayhané Sanders Stephanie Abou Max Moorhead Julie Stevenson Lane Zachary Aram Fox Elias Altman Ashley Lopez	https://www.mmqalit.com/contact/	See individual agents for submission details
Inkwell Management	Alexis Hurley Nathaniel Jacks Eliza Rothstein Naomi Eisenbeiss	submissions@inkwellmanagement.com http://www.inkwellmanagement.com/contact/	Query letter and short writing sample (1-2 chapters) in body of email
Fairbank Literary Representation	Sorche Elizabeth Fairbank	queries@fairbankliterary.com http://fairbankliterary.com/submissions/	Query and 1 chapter in body of email
Tracy Brown Literary Agency	Mr. Tracy Brown	tracy@brownlit.com	Query letter
Albert LaFarge Literary Agency	Albert LaFarge	lafargeliterary@gmail.com http://thelafargeagency.com/contact/submissions/	Query letter
Grosvenor Literary Agency	Deborah Grosvenor	submissions@grosvenorlit.com https://grosvenorlit.com/submitting	Query letter
Schiavone Literary Agency, Inc	James Schiavone	CLOSED	Query letter
Wilson Media	Robert Wilson	queries@wilsonmedia.net https://www.publishersmarketplace.com/members/battingfourth/	Query letter
Fletcher & Company LLC	Christy Fletcher Grainne Fox Sarah Fuentes Rebecca Gradinger  Sylvie Greenberg Erin McFadden	info@fletcherandco.com https://fletcherco.wordpress.com/about/	Query letter
Paul S. Levine Literary Agency	Paul S. Levine	https://paulslevinelit.com/contact/	Query letter
Joelle Delbourgo Associates	Joëlle Delbourgo	http://www.delbourgo.com/submissions/	Query letter
Carnicelli Literary Management	Matthew Carnicelli	https://www.carnicellilit.com/submissionss	Online form
Solow Literary Enterprises	Bonnie Solow	info[at]solowliterary[dot]com http://www.solowliterary.com/submissions/	Query letter
Cowles Agency	Katherine Cowles	katherine@cowlesagency.com	Query letter
Aevitas	Jennifer Gates Janet Silver Jane von Mehren Lori Galvin Sarah Levitt	https://aevitascreative.com/agents/	Online forms: See individual agents
Rick Broadhead & Associates Literary Agency	Rick Broadhead	submissions@rbaliterary.com https://rbaliterary.com/submissions/	Query letter
DeFiore and Company	Brian DeFiore Laurie Abkemeier Matthew Elblonk Caryn Karmatz Rudy Miriam Altshuler	https://www.defliterary.com/opportunities#submission	See individual agents for submission requirements
Ayesha Pande Literary	Ayesha Pande Madison Smartt Bell	https://www.pandeliterary.com/queries-pandeliterary	Online form
Martin-Newens Literary Management	Kristen Terrette	http://www.martinliterarymanagement.com/	Query letter
Judith Riven Literary Agency	Judith Riven	Closed	Query letter
Albert T. Longden Agency	Albert Longden	atlong2012@hotmail.com	Query letter
Gardner Literary	Candice Marie Benbow	https://rachellegardner.com/submissions/	Query letter
The Zoe Pagnamenta Agency	Zoe Pagnamenta	Closed	Query and 25 pages Snail mail only
PFD New York	Annabel Merullo Adam Gauntlett Laurie Robertson Elizabeth Sheinkman	https://petersfraserdunlop.com/submissions/books/	Query letter, 3 chapters and synopsis
Judith Ehrlich Literary Management	Judith Ehrlich	http://www.judithehrlichliterary.com /submissions.html	Query letter
TriadaUS Literary Agency	Uwe Stender	http://www.triadaus.com/sub-guidelines.html	Query letter
Laura Dail Literary Agency	Carrie Pestritto	http://www.ldlainc.com/submissions	Online form
Marianne Strong Literary Agency	Marianne Strong	Not active	Query letter
Literary Artists Representatives	Sam Fleishman	Closed	Query letter
Jane Rotrosen Agency	Danielle Marshall	https://www.janerotrosen.com/submissions	Query letter
Empire Literary Agency	Andrea Barzvi	http://www.empireliterary.com/contact/	Query letter
Jud Laghi Agency	Jud Laghi	submissions@laghiagency.com http://www.laghiagency.com/submissions/	Query and 1 chapter
Stonesong Agency	Judy Linden	submissions@stonesong.com https://www.stonesong.com/submissions	Query and 1 chapter or 10 pages
The Helen Zimmermann Literary Agency	Helen Zimmermann	Submit@ZimmAgency.com http://www.zimmermannliterary.com/submissions	Query letter
Fox Literary	Diana Fox	https://www.publishersmarketplace.com/members/fox/	Query letter and the first 5 pages of your manuscript
Ebeling & Associates	Michael Ebeling	http://ebelingagency.com/inquiries/	Query letter, see details on website
Lynn Johnston Literary	Lynn Johnston	http://www.lynnjohnstonlit.com/submissions.html	Query Manager
Max Gartenberg Literary Agency	Anne G. Devlin	http://www.maxgartenberg.com/submissions.htm	Query letter
The Elizabeth Kaplan Literary Agency	Elizabeth Kaplan	https://www.elizabethkaplanlit.com/submissions	Query letter
P.S. Literary Agency	Curtis Russell Carly Watters	http://www.psliterary.com/submissions/	Query letter
Andrew Lownie Literary Agency	Andrew Lownie	mail@andrewlownie.co.uk http://www.andrewlownie.co.uk/how_to_submit	Query letter
Kimberly Cameron	Amy Cloughley	https://kimberleycameron.com/submissions/	Online form
Cooke McDermid Agency	Martha Webb Cody Caetano Amy Moore-Benson	https://cookemcdermid.com/submissions	Online form
Straus Literary	Jonah Straus	https://www.strausliterary.com/submissions	Query with a synopsis, author bio, and two sample chapters in the body of the email
Levine Greenberg Rostan Literary Agency	Stephanie Rostan Daniel Greenberg Lindsay Edgecombe Monika Verma	https://lgrliterary.com/submissions/	Online form
Jeff Herman Agency	Jeff Herman	submissions@jeffherman.com http://www.jeffherman.com/submission-guidelines/	Query letter
Howland Literary	Carrie Howland Zoe-Aline Howard	https://howlandliterary.com/submit-to-howland	Use each agent's querymanager link
Glass Literary Management	Alex Glass	http://www.glassliterary.com/submissions	Online form
Charlberg & Sussman	Rachel Sussman	https://www.chalbergsussman.com/submission-guidelines	Query letter
Wolf Literary Services	Kate Johnson Leigh Eisenman	https://wolflit.com/contact	Query and 50 pages
Jennifer Lyons Literary Agency	Jessica Felleman NO LONGER LISTED ON THE AGENCY WEBSITE	https://www.jenniferlyonsliteraryagency.com/submission-guidelines/	Use her querymanager
Andy Ross Agency	Andy Ross	andyrossagency@hotmail.com http://www.andyrossagency.com/submissions.html	Query letter
Sarah Jane Freymann	Sarah Jane Freymann	http://www.sarahjanefreymann.com/?page_id=3872	Query and 10 pages in body of email
McCormick & Williams	Edward Orloff Bridget McCarthy	http://mccormicklit.com/guidelines/	Query letter
Table Cell	Table Cell	Table Cell	Table Cell
Table Cell	Table Cell	Table Cell	Table Cell

What Agents Want: Making Sense of Submissions

Your manuscript is complete and polished, and now you are ready to embark on the task of sending query letters. (Or alternatively, you can go to a conference and pitch an agent in the flesh. Go here for a list of conferences: Writing Conferences )

Before you send your query, you need to do a little research. Does the agent accept your genre? Does the agent have a track record? Does the agent clearly describe his or her submission requirements? And when the agent describes what it is he or she wants, what on earth are they talking about?

Agents, like publishers, use jargon - it's one of the hazards of the trade. But as an author, you may have no idea what they mean by "high concept," "upmarket," "literary." Reasonably speaking, your job is to write your book; theirs is to find a niche for it. Unfortunately, writers are expected to define not only their genre, and their audience, but also their market niche, which is something writers generally know nothing about.

It's never too late to learn!

Here are some terms you may run across in agent bios when they describe what they are seeking:

High Concept means the book can be made into a movie. Usually, books that fall into this category have a single premise ("what if..."), clear story lines, are highly visual, appeal to a mass audience, and have a well-defined emotional focus that fits into a movie category. (Family comedy? Drama? Romcom?) If you can sum up your book in one sentence, you may have written a high-concept novel.

Up-market fiction is any novel that has mass appeal and is also well-written. Memoirs of a Geisha falls into that category. These are books you want to read again and again. Frequently, non-genre fiction may be used instead of up-market.

Commercial fiction is entertaining, has a plot that moves right along, and may or may not feature writing that makes you cringe. The Stephanie Plum mysteries would fall into that category, as well as most popular mass market paperbacks. (Romances, in particular.) These are books you read in a dentist's waiting room, because that's where you find them, and which you will probably leave in the waiting room after your teeth have been nicely polished. Most genre fiction is commercial.

Literary fiction is art. Nobel Prize winners fit into this category. (Pretentious wannabes also end up being described as "literary," because reviewers often can't tell the difference between art and gimmickry.) In literary fiction, how you tell a story is more important than what actually happens. (As a case in point, can anybody tell me exactly what happened in White Noise?) The exploration of character, style, and theme is what propels these books along. If you are reading a book, and you have to stop because the prose is stunning, revelatory, or just plain deep you are reading literary fiction. If you need a half hour to explain what your book is about, you may have written something literary.

Narrative non-fiction is any non-fiction that reads like a novel. The Poet and the Murderer is a great narrative non-fiction book that tells the story of how ... no, I won't spoil it for you. You'll just have to read it. If you can turn the forgery of an Emily Dickinson poem into a gripping tale of obsession, murder, and suspense, you're writing narrative non-fiction.

Strong platforms are what agents who represent non-fiction like to see (though not necessarily narrative non-fiction). Are you the CEO of a Fortune 500 corporation? Are you a quarterback in the NFL? Are you a surgeon doing experimental face transplants? Does everyone on the planet know who you are? Those are people who have strong platforms. If you have a few thousand followers on Twitter, or a blog with a couple thousand followers, or lots of "friends" on Facebook, you do not have a strong platform - although all those things may be useful if you write fiction.

These posts will help you find an agent who is right for you:

How to Research an Agent

Beggars Can Be Choosers - How to Pick an Agent

Valuable Tips for Pitching to an Agent or Editor

Finding an Agent – Look before you leap

Are You Ready to Contact an Agent? Take This Short Quiz and Find Out

What Not to Do When Contacting an Agent

2 New Literary Agents Looking for Writers

Here are two agents actively looking to expand their client list. Cara Mannion of Harold Ober Associates  is looking for YA and adult commercial fiction, including romance (and all its subgenres), historical fiction, women’s fiction, paranormal, science fiction, horror, mysteries and thrillers, as well as nonfiction biography. (NOTE: Cara is no longer an agent.)

Stephanie Delman of Trellis Literary is looking for literary fiction, historical/book club fiction featuring stories that haven’t been told, upmarket women’s fiction, and smart psychological thrillers/suspense, as well as nonfiction pop culture, narrative memoirs, and blog-to-book projects.

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Cara Mannion of Harold Ober Associates

Note: Cara is no longer an agent.

About Cara: A graduate of New York University’s Summer Publishing Institute, Cara is the newest addition to the legacy agency Harold Ober Associates. Before joining the agency world, she worked in editorial at Entangled Publishing’s new adult imprint for two years. At HOA, she works in both the book and film/TV worlds as she assists with selling books’ motion picture rights. Originally hailing from the sunny beaches of Florida, Cara is now enjoying seeing the seasons actually change while actively building her own client list. She can be found on Twitter @Cara_Mannion.

What she is looking for: Mainly YA and adult commercial fiction, including romance (and all its subgenres), historical fiction, women’s fiction, paranormal, science fiction, horror, mysteries and thrillers. Limited interest in nonfiction includes humor and biography. Cara particularly enjoys strong female protagonists, juicy love triangles, subversive conspiracy plots, and opening lines that make you want to jump headfirst into the book.

Not Looking For: Fantasy, memoirs, picture books, poetry, self-help books, screenplays and short story collections.

How to submit: Please email the first 10 pages of your manuscript, a concise query letter, and a detailed synopsis to cara [at] haroldober.com. You can also mail your query to:

Attn: Cara Mannion
Harold Ober Associates
425 Madison Avenue
New York, NY 10017

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Stephanie Delman of Trellis Literary

About Stephanie: After graduating from Johns Hopkins University with a B.A. in Writing Seminars, Stephanie held editorial positions at a health website and a literary journal, and then happily joined Sanford J. Greenburger Associates in 2012. There, she works for the president, collaborates on foreign rights, and is now building her own list. She tweets occasionally at @imaginarysmd.

What she is seeking: Literary fiction, historical/book club fiction featuring stories that haven’t been told, upmarket women’s fiction, and smart psychological thrillers/suspense. In nonfiction, Stephanie looks for pop culture, narrative memoirs, and blog-to-book projects (from writers with established platforms).

Not seeking: Stephanie does NOT represent children’s books, sci-fi, fantasy, romance novels, erotica, or prescriptive nonfiction.

How to submit: Use their submission form HERE.

2 Agents Seeking New Clients

Updated 11/20/17

Here are two new agents seeking clients. Amanda Leuck of Spencerhill Associates is looking for literary and commercial YA, new adult fiction, urban fantasy, and romance in all genres, including edgy romantic suspense, contemporary and paranormal. Victoria Selvaggio is looking for all genres (lyrical picture books, middle grade and young adult fiction, new adult, mysteries, suspense, thrillers, paranormal, fantasy, narrative nonfiction, adult fiction), thrillers and all elements of weird, creepy stuff.

Always check the agency website before querying. Agents may close their lists or switch agencies, and submission requirements can change.

If these agents do not suit your needs, you can find a list of dozens of literary agents seeking clients here: Agents Seeking Clients.

Amanda Leuck of Spencerhill Associates

CLOSED TO QUERIES

About Amanda: Amanda Leuck started her career in various facets of the media, including work on a TV talk show, at a fashion magazine, as a print journalist, and as an on-air traffic reporter. After graduating from New York University, Amanda went on to study literacy and literature at the post-graduate level. It was then that she developed a passion for the publishing industry. Amanda started at Spencerhill Associates as an editorial assistant, and was promoted to agent in August 2014. Her Twitter handle is @MandiLeone.

What she is seeking: strong, character-driven stories, written with an unforgettable voice. She is looking for literary and commercial YA, new adult fiction, urban fantasy, and romance in all genres, including edgy romantic suspense, contemporary and paranormal with a fresh twist.

How to submit: Send all submissions to submission [at] spencerhillassociates.com. Send the query letter in the body of the email. Address the query to Amanda. Include the pitch, and information about past publishing credits in the letter. Attach a detailed synopsis, and attach the first three chapter in .doc, rtf or txt format to the email. Spencerhill also uses an online submission manager.

Victoria Selvaggio of Storm Literary Agency

Temporarily closed to submissions

About Victoria: Victoria A. Selvaggio comes to Storm Literary Agency as a Literary Agent and Partner. Previously with The Jennifer De Chiara Literary Agency, she was drawn to the publishing scene first as an author. As a prior Regional Advisor for SCBWI: Northern Ohio, Victoria’s desire to help writers and illustrators reach their publications goals inspired her to become an agent. With over twenty-five years as a business owner, Victoria is excited to help grow the agency’s client base with talented writers and illustrators, while also helping build the agency from within with motivated agents who possess the same ideals, literary interests, goals, and approaches to the industry. As a frequent presenter at conferences, library events, contests, etc., Victoria is always interested in meeting writers and illustrators, and hearing about unique projects!

What she is seeking: “I am currently looking for all genres (lyrical picture books, middle grade and young adult fiction, new adult, mysteries, suspense, thrillers, paranormal, fantasy, narrative nonfiction, adult fiction), but find I’m drawn to middle grade and young adult. I especially love thrillers and all elements of weird, creepy stuff. If it’s out of the box, and it will make me think and think, long after I’m done reading, send it to me. On the flip side, I yearn for books that make me laugh, cry and wonder about the world.”

How to submit: Temporarily closed to submissions.

2 New Agents Actively Seeking Clients

Here are two new agents actively seeking writers. Heather Flaherty (Bent Agency) is looking for children’s, middle grade, and young adult fiction and nonfiction, as well as select new adult fiction, and pop-culture or humorous nonfiction. Sarah Nagel (Writers House) is looking for psychological thrillers, horror, mystery, suspense, literary fiction, realistic Young Adult and Middle Grade with a hint of magical realism, and for nonfiction - medical ethics, true crime, humor books and memoir.

Heather Flaherty of The Bent Agency

Closed to queries

About Heather: “I grew up in Massachusetts, between Boston and the Cape, and started working in New York City as a playwright during college. This pushed me towards English as a focus, and after a lot of country-hopping in my early twenties, I wound up finally beginning my publishing career in editorial, specifically at Random House in the UK. That’s also where I became a YA and children’s literary scout, which finally landed me back in NYC, consulting with foreign publishers and Hollywood regarding what the next big book will be. Now as an agent, I’m thrilled to turn my focus on growing authors for that same success.”

What she is seeking: Children’s, middle grade, and young adult fiction and nonfiction, as well as select new adult fiction, and pop-culture or humorous nonfiction.

“Currently I’m looking for YA fiction across-the-board, though my heart does sway towards issue-related YA with humor and heart – not depressing, or mopey. I also love love love hard, punchy, contemporary YA that’s got no hesitations when it comes to crazy. I’m also always up for seeing contemporary stories with sci-fi or fantasy elements, as well as a clever respin of an old or classic tale. And then, lastly, really good horror and ghost stories… not gory-for-gory’s sake or overly disgusting, but cringing, dark, bloody twisted, and even lovely. That said, the one thing I love above all else in a YA novel, regardless of sub-genre, is a strong and specific character voice. A real person, not another ‘everygirl.’

As for the middle grade I’m looking for, I want it stark, honest, and even dark; either contemporary or period, as long as it’s accessible. Coming-of-age stories, dealing-with-difficulty stories, witness stories (adult issues seen through the child’s p.o.v kinda thing), anything that makes you want to hold the narrator’s hand… for your own comfort, as well as their’s. I am also ok with these stories having slight magical or fantasy elements as well – as long as they’re subtle. In new adult, I like to see story… not just romance and/or erotica. For me, it should pretty much be a great YA novel for an older audience. On the nonfiction side, I’m looking for strong teen memoirs about overcoming crushing situations. ”

How to submit: Read The Bent Agency’s updated submissions guidelines online, and then e-mail flahertyqueries [at] thebentagency.com.

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Sarah Nagel of Writers House

NO LONGER AN AGENT

About Sarah: Sarah Nagel joined Writers House in 2011 to work with Senior Vice President, Merrilee Heifetz and is now actively building her own client list. Previously, Sarah was a media lawyer in London and graduated with two separate degrees in English Language and Literature, and Law. Follow Sarah on Twitter: @SarahNagel14.

What she is seeking: Sarah is looking for psychological thrillers (those that mess with your head rather than high speed cross-country chases), horror, mystery, suspense and literary fiction. Sarah is especially interested in strong character-driven fiction and stories that explore the dynamics of a dysfunctional family unit / relationships. Sarah also represents realistic Young Adult and Middle Grade with a hint of magical realism. On the nonfiction side, Sarah is interested in medical ethics, true crime, humor books and memoir with a distinctive narrative voice with a universal resonance. Sarah is not looking for straight sci-fi, high fantasy, romance or picture books.

How to submit: “I accept e-mail queries and will usually respond within 4-6 weeks. Please submit your query, including the first ten (10) pages of your manuscript pasted into the body of the e-mail (no attachments please!), to snagel [at] writershouse.com with “QUERY FOR SARAH NAGEL: [TITLE OF MANUSCRIPT]” in the subject line. Please do not query multiple Writers House agents simultaneously.”