Querying Literary Agents, Part 2: Where the Lit Agents Are and How to Find Yours

Rosemi Mederos: 00:01

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

Where in the world have I been lately? Researching, writing, editing, condemning book bans, researching some more, and not taking nearly as many breaks as I should. Still, I regret this delay of the four-part literary agent series I promised you. I’m reminded of “Try Again,” the song by the gone but never forgotten Aaliyah. The opening of the song features the poet Timbaland admitting, “I shouldn’t have left you without a dope beat to step to.”

So, yes, there were chapters to write and book bans to fight, but I’m glad to be back with you, and I’m also glad that I still remember how to work the controls in the sound booth. In past Writing Breaks, we discussed what literary agents do and how to land one. Today we’re discussing how to research lit agents and find the ones who might actually want to represent your book. We have some publishing news to get through first. The Writing Break cafe is open, so let’s settle in.

blic schools nationwide since: 2021

If you don’t care about marginalized communities, gay rights, or gender equality, or even if you go as far as thinking that women, gay people, low-income people, working class individuals, and people of color should be silenced, keep in mind that books by straight, white, financially comfortable men made me the freedom-loving, progressive feminist civil rights advocate I am today. Book banners remove To Kill a Mockingbird by Harper Lee while leaving in For Whom the Bell Tolls by Ernest Hemingway. I read both of those books as a minor, but only one of them taught me guerilla warfare.

Much like the anti-establishment characters in For Whom the Bell Tolls, the US Department of Education is dynamiting bridges. The bridges the DOE are exploding lead to our intellectual freedom, and it is negatively affecting everyone, including writers and indie publishers.

This year alone, the DOE dismissed multiple civil rights complaints related to book bans, calling them “meritless.” Not just unfounded. Meritless. And the broader concern about censorship is being brushed off as a hoax. We know that anytime we hear the words hoax or fake news these days, we’re being manipulated; it’s politically charged language that’s supposed to get you to pick a side without seeking out any facts. And now a department created to support students and protect access to knowledge is openly mocking the idea that students deserve diverse books on their shelves.

The administration also tried to eliminate the Institute of Museum and Library Services, which is the only federal agency funding public libraries. The problem with libraries, of course, is that they provide free access to books and technology to communities that need it most. This move led to the placement of the entire IMLS staff on administrative leave and the suspension of numerous grants, jeopardizing programs such as summer reading initiatives, digital literacy training, and rural internet. The message is clear: if it looks like learning and sounds like equity, it’s in the crosshairs.

,: 2025

They’ll tell you it’s about a parent’s right to make decisions for their children, but it’s really a handful of parents making decisions for all children. These books are not jumping into kid’s backpacks or following them home. The same people who say, ‘guns don’t kill people, people kill people’ are the same people who say a book can permanently damage a person. Make it make sense. This is systemic censorship with civil rights implications. Beyond library books, the DOE’s actions could embolden further censorship and restrict students' access to even more educational materials.

We’re not just talking about policy anymore. We’re talking about who gets to learn, who gets to speak, and who gets to be heard. Chances are, your voice is one they want to silence.

This is about public trust, not political parties. When libraries, teachers, and students have to fight their own government to keep books on shelves, we all lose something.

In a pass or fail system, the Department of Education is failing to do its job. It’s actively dismantling the systems that protect readers, teachers, and learners. And remember that this negatively impacts writers, librarians, booksellers, and indie publishers. We’re all part of the same ecosystem.

The only thing the Department of Education is educating us on is how little they care about education. Those of us who write and publish understand the dangers ahead.

And now some good news. There is a new initiative from the United Kingdom hoping to change the literary world. This initiative is called The Bee, yes, as in honeybee. The Bee is a platform dedicated to amplifying the voices of working-class writers.

th,: 2025

The Bee isn't just a literary magazine; it's a multifaceted platform that includes:

a website showcasing fiction, non-fiction, interviews, and commentary by working-class writers;

a podcast, titled The Working-Class Library, which features guest writers and academics discussing books that deserve a place in a virtual "working-class library"; and

The Beehive, an online community offering support, development opportunities, and resources for emerging working-class writers .

Edited by Richard Benson, former editor of The Face magazine, The Bee seeks to create a space where stories reflecting real societal experiences can thrive. Benson emphasizes that many of the most impactful writings come from ordinary working people, and it's crucial these voices are heard.

This initiative builds upon the success of A Writing Chance, a program co-founded by Michael Sheen, the Joseph Rowntree Foundation, and Northumbria University, aimed at providing opportunities for writers from lower-income backgrounds.

As Claire Malcolm, CEO of New Writing North, aptly puts it: "Talent is classless. Opportunity, however, is class-bound." The Bee is a timely response to this disparity, striving to ensure that the literary world becomes more inclusive and representative of diverse backgrounds .

For more information or to get involved, visit thebeemagazine.com.

Now let’s return to the glorious Overthinking Couch for part 2 of our literary agent series.

In Episode 70, I explained what to expect when working with a literary agent, including their role in your writing career and their standard commission percentages. And in Episode 75, I shared 7 tips for landing a literary agent. You can find links to both of those episodes in the show notes of this episode.

Today’s episode is about connecting with the right agent for you. You can think of it as choosing your starter Pokemon, swiping right on a dating app, or whatever other analogy you want to make. As for me, a coastal baby, I like to think of it as choosing your first mate for a long sailing trip. You want an experienced sailor who can navigate with muscle and grace. And, of course, you should both have similar taste in music. You’ll be stuck together through the hardship of stormy weather and the beauty of sunsets at sea. Literary agents are selective about who they work with, and authors should be as well.

You do not write books in every genre, and agents do not represent books in every genre. Some who represent fiction might not want fantasy or horror. Contacting the agents who aren’t a good fit for your manuscript wastes more of your time than it does theirs.

So, where do literary agents lurk, and how can you select the right one for you?

I have been a cog in the publishing industry long enough to remember when finding an agent meant scouring the Writer’s Market annual guide and the Guide to Literary Agents. These five-pound phone books are both still published by Writer’s Digest, although they no longer release a new version every year. Searching these tomes meant jeopardizing your eyesight and equilibrium, hoping that your favorite agent listing wasn’t obsolete by the time you sent off your query, and waiting six months for a form rejection letter.

It seems medieval when compared to the resources available today.

First, there’s Query Tracker, which is an online database of literary agents. You can search by agent name, agency name, and genre. And you can use the site to create a list of agents you’re interested in contacting and to keep track of agents you’ve already contacted. It’s free to access, but there are some features that require a paid subscription.

It is a great resource, but you should always double-check an agent’s website to be sure you have the latest information. For example, I’ve seen instances where Query Tracker says an agent is closed for submissions but the agent’s website says otherwise, and vice versa.

It is important to be methodical when querying, and Query Tracker makes it easy to stay organized. (No, this is not sponsored.) Otherwise, I recommend using Excel to keep track of your queries. There are free spreadsheet templates for this online. Agencies do not want you to query more than one of their agents at a time, so a spreadsheet will help you keep track of agents and their agencies. Usually, once you receive a rejection from an agent, you are welcome to query another agent at the same agency. Read submission guidelines carefully.

Next up, there’s Manuscript Wishlist, which is a site where agents post what genres they’re looking for right now. Agents add themselves to this site, so not every agent is listed. Still, it’s a great site, and it’s likely that the more authors use it to find the right agent, the more agents will sign up to it.

Then there’s Publishers Marketplace. This is where you can see which agents are wheeling and dealing. The database is free to access, but, again, some features require a paid subscription. (No, I’m not sponsored.)

You can find new agent alerts on websites like Writer’s Digest and Publisher’s Weekly, and you can check the hashtag MSWL on social media for open calls and manuscript wishlists. You should also check the site Writer Beware for any warnings about the agents you’re thinking about querying.

A highly recommended analog option would be to check inside of books similar to yours. Authors mention their lit agents in the acknowledgments at the back of the book.

Always, always, check the agent’s bio and submission guidelines on their agency website for the latest information.

So, you know where to find lit agents. Now what?

First, there are the basics. Does this agent represent your subgenre? Not just detective fiction but police procedurals. Not just fantasy but YA fantasy.

Are they still seeking your subgenre? Agents close themselves off from a genre for a variety of reasons. Maybe they already have clients in that space on whom they want to focus. Maybe they're passing that category along to someone else at their agency. Maybe they’ve grown tired of that genre. Don’t waste your time querying someone who isn’t actively seeking books in your genre.

Another thing to check is when they last sold books like yours and to what publishing houses. Publishers Marketplace is where I go for that information.

And, of course, are they and the agency they work for reputable? Do writers say that the agent remains communicative and energetic? It is common to hear that an agent becomes less communicative after they’ve signed you.

A simple Google search often reveals a lot, and you might also want to check Writer Beware specifically. If you check other sites, like Reddit, remember that disgruntled and recently rejected writers are biased and only know one side of the story. And scam artists might post fake positive experiences. You'll have to be discerning.

In part 3 of this series we'll dissect the query letter itself and the differences between the fiction and nonfiction querying process. Until then, 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.