Querying Literary Agents, Part 1: Big Five Dreams or Indie Vibes?

Rosemi Mederos: 00:01

If you have plot bunnies coming out of your plot holes, it’s time for a writing break.

Take a break from hitting refresh on our inbox, anticipating an email from a literary agent, to discuss . . . well . . . literary agents. Today we’re starting a four-part series about querying literary agents, and I have tips for fiction and nonfiction manuscripts. As you know, querying is the painful process of pitching your book to a literary agent in hopes of landing a representative who, working on commission, is going to pitch your book to publishers. It’s a great system, I swear.

I want to underscore the fact that I am a big fan of literary agents as well as a huge supporter of self-publishing. You do not need a traditional publisher these days to get an audience for your book, but thousands of query letters still go out to literary agents every day, and I’m here to help.

One business trip to Chicago and one head cold later, I am so glad to be taking a break with you again.

The Writing Break cafe is open, so let’s grab a table and we’ll start with the latest publishing news.

UK writers protested outside Meta’s London office last week in opposition to Meta's use of the "shadow library" LibGen to train its AI models without author consent. Placards read “Get the Zuck off our books” and “I’d write a sign, but you’d steal it.”

French publishers and authors have joined in the fight against Meta. They recently filed a lawsuit also accusing Meta of using their copyrighted works without permission to train its AI system.

And in the United States, multiple copyright infringement lawsuits filed by authors and news organizations against OpenAI and Microsoft have been consolidated into a single case in Manhattan federal court. This lawsuit also alleges unauthorized use of copyrighted works to train AI systems.

Crown Publishing Group launched a new imprint called Storehouse Voices, which is dedicated to publishing fiction and nonfiction works by Black authors.

Check the show notes for links to all of these news stories. In a moment, we’ll begin our series on querying literary agents. If you’re looking to cut out the middleman, check the show notes for a link to the longest list I could find of publishers currently accepting unagented manuscripts. The advice in the next segment also applies in large part for straight-to-publisher submissions, so let’s head to the Overthinking Couch.

Episode 84 is about query letters and book proposals, which, like this segment, includes advice for fiction and nonfiction manuscripts. Thirty-seven indispensable episodes later, we’re finally diving into querying.

Step 1, or 1a, perhaps, is to think about whether you want traditional or self-publishing, and I’m going to start this series with the assumption that you’ve already thought it out. If you haven’t, take a moment to listen to Episode 68, called “Traditional Publishing versus Self-Publishing”.

So, step 1b is more thinking. Do you want to publish with a Big Five publisher or an independent publisher?

The Big Five publishers are Penguin Random House, HarperCollins, Simon & Schuster, Hachette, and Macmillan. That’s it. That means that the other publishers you know off the top of your head, like Tin House or Graywolf, are most likely still sizable and well-respected.

With a Big Five publisher, your book could show up in every major bookstore, library, airport, and even overseas. You could get a large advance. You could get awards, reviews, and media attention that you would not have gotten with another publisher. And you’ll get top-tier editors, designers, marketers. In theory, you’ll get a team of professionals that knows how to sell books. Although if you go back to listen to episode 117, you’ll see that it’s not always smooth sailing.

What you also get is less creative control. They might change your title, for instance. And they might select your cover and decide how your book is promoted without your input.

Competition is tough, and you will need a literary agent to submit to the Big Five publishers on your behalf. And once you do sign a book contract, it will still take about eighteen months before your book is released.

As for independent publishers, some are mid-sized and some are small presses. These are easier to access. As mentioned earlier in this episode, there is a link to a list of publishers that accept unagented submissions in the show notes. Publication could be faster, with your book releasing within a year from when the contract is signed.

You’ll also get a smaller, closer-knit, and collaborative team of publishing experts, which means more direct conversations with the team about editing, cover design, and your goals and vision for your book.

Advances will be smaller, and you might be offered a deal that gives you no money upfront. Distribution is smaller than at a Big Five.

I think there is much more respect for smaller and mid-sized publishing house releases than there used to be, and regardless of which avenue you choose, you will have to promote your book.

So, how can you decide what is best for you?

Of course, most of us, if not all of us, want to be a household name. We want our books to have as many readers as possible. We want to make as much money as possible, but do you want those things more than you want creative freedom?

Is it more important that your book finds the right readers rather than the most readers? Some indie presses specialize in experimental lit, LGBTQIA+ voices, or regional fiction, making them an ideal home for books that might not fit neatly into Big Five marketing categories. If your book serves a niche community, you’ll be able to take more risks in your storytelling and be more authentic because you’re not tailoring your voice to satisfy a broad audience.

In a niche space, authors are able to develop a meaningful community among their loyal readers as well as their fellow writers. For many of us, connection is more valuable than cash.

Speaking of cash, remember that literary agents work on commission. Any so-called agent trying to charge you upfront costs of any kind is scamming you. Many scammers will claim to be from a reputable literary agency, so watch out.

The other thing to consider is do you already have a platform and an audience? Is it necessary to go to a Big Five to have a big reach?

When deciding between aiming for a wide commercial reach or a passionate niche, remember that both routes can lead to success, book deals, and long-term careers. What matters is your goals, your timeline, and your story. Think about the life you want to build through your writing, and I’ll be back next time to discuss researching literary agents.

If you have information you’d like to share about querying agents, send an email to podcast@writingbreak.com. I’d love to hear your story.

Until next time, thank you so much for listening, and remember, you deserved this break.

Thank you for making space in your mind for The Muse today.

Writing Break is hosted by America’s Editor and produced by Allon Media with technical direction by Gus Aviles. Visit us at writingbreak.com or contact us at podcast@writingbreak.com.