The Complete Guide to Querying Literary Agents (Season 7 Recap)

Rosemi Mederos: 00:01

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

The past five episodes were all about literary agents. If you’ve been listening long enough, you might have guessed that this bonus episode was coming up. In this episode, all of the lit agent segments have been lovingly stitched together for your listening pleasure. This concludes season 7 of Writing Break. Consider the next 3 seasons a masterclass on genre.

In season 8, we’ll look closely at fiction genres. From mystery to fantasy, thrillers to romance, season 8 will examine the foundations of storytelling. We’ll learn how to meet reader expectations, master common tropes, and avoid the pitfalls of popular genres.

Once you know the rules, it’s time to experiment. Season 9 explores hybrids, mashups, age categories, and international traditions—from YA to graphic novels, from experimental prose to writing for adaptation.

And because real life makes the best stories, season 10 dives into memoir, essays, journalism, true crime, science writing, and more. We’ll cover every major nonfiction form with clarity and depth.

The data shows that podcast listeners tune an episode out after about 25 minutes. I get it. We’re all busy, so why all the yapping? I’ve always wanted this show to serve as a break from your craft, not a distraction. Still, these episodes might get awfully close to the 25-minute mark more often than usual, but I’ll do my best to make sure each episode is informative and interesting.

This trilogy will consist of about 60 episodes covering fiction, experimentation, and nonfiction. I’m shooting for a balanced mix of accessible, practical advice and deeper craft discussions, and, of course, the latest publishing news and book trends. I hope you stick with me and send along any suggestions, advice, and comments to keep me going.

Now, let’s settle in at the Writing Break cafe and get started on the full recap on our four-part and one bonus series about querying literary agents.

From Episode 121: Querying Literary Agents, Part 1: Big Five Dreams or Indie Vibes?

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.

From Episode 122: Querying Literary Agents, Part 2: Where the Lit Agents Are and How to Find Yours

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.

From Episode 123: Querying Literary Agents, Part 3: Writing Your Query Letter

Having to write a query letter can feel like an insult. I’ve already written 80,000 words, why do I need to write any more? But time is precious and limited and fleeting, so you spend a bit of your time so that the literary agent doesn’t spend too much of their time on something they’re not interested in representing. Query letters are one of those things you should overthink.

A query letter is a one-page pitch that introduces you, your book, and why the particular agent you’re contacting should care about you and your book. There is a classic structure to these things, and much like septums, query letters might deviate from the classic structure and still achieve their purpose.

However, literary agents receive a massive amount of query letters, and we can pretend they don’t use AI to filter through them, but we know they do. Deviating too much from the classic query letter structure might result in the AI program ignoring your letter or outright rejecting you.

The classic structure for fiction query letters is three-fold.

First, there’s the hook. You should start the letter strong with a 1 to 2 sentence pitch. Include the title of your masterpiece, the genre, the word count, and comparable titles.

Next comes the mini synopsis, which is 1 to 2 short paragraphs summarizing your main character, their goal, what’s standing in their way, and what’s at stake. Include just the core narrative and emotional hook. I know it hurts, but you’ll have to leave subplots and worldbuilding out of this.

Finally, you’ll end the query letter with a short bio. This should be a maximum of one paragraph. Include your writing credentials, relevant experience, and/or a short statement about why you wrote this book.

Keep the tone of your query letter aligned with the tone of your book. If your book is funny, your letter can be light. If you’re writing a horror novel, you don’t have to scare the lit agent, but you also don’t have to make them laugh.

It is common for literary agents to ask that you send either the first few pages or three entire chapters along with your query letter. Sometimes they want the first three chapters, and sometimes they want any three chapters. You’ll find this information in the submission guidelines for each agent or agency. Read carefully. So so carefully.

For both fiction and nonfiction, it is incredibly important that you address each letter to the correct agent. You might send out dozens of query letters, so triple-check that you’re addressing the right agent and spelling their name correctly.

For nonfiction titles, you will need a query letter, but you’ll also need a book proposal.

For the query letter, you’ll start with the elevator pitch, which tells the reader what your book is about and why you’re writing it now.

Next, you’ll provide details on your platform if you have one. This includes discussing your newsletter, podcast, social media following, as well as your academic or professional standing. This is where you prove that people care about your book’s topic. Follow that up by explaining why people will want to hear about the topic from you. Why are you the one writing this book?

Finish the letter by listing what other information will follow. That’s kind of confusing, hold on. OK, so your book proposal, which we will talk about next, will include your book’s topic, hook, and pretty much everything that is already in the query letter. There will be some overlap. But the book proposal will also include other sections not in the query letter. Let the agents know what additional information they’ll find in the book proposal. Agents usually want you to include the proposal in the body of the email rather than as an attachment, so your closing sentence can be something along the lines of, “below you will find my book proposal, including an overview of the book, a description of the target audience, and three sample chapters.”

A standard nonfiction book proposal includes at least 7 parts, divided by headers. Those headers are Overview, Target Audience, Competitive Titles, Author Bio, Marketing Plan, Chapter Outline, and Sample Chapters. Let’s zoom in.

Overview: What is the book about? Why are you writing about it now?

Target Audience: Who is this book for? It is important to show you understand the book market, at least as it pertains to your book.

Competitive Titles: What successful books exist that are like yours? How is your book different or even better than those titles?

Author Bio: You’ve already included your background, credentials, and platform in the query letter, and you should include them again here. This gives you a chance to expound on the information found in the query letter.

Marketing Plan: How do you plan to promote the book? Your publisher will do some promotion, but you will be expected to promote your book as well.

Chapter Outline: This provides a summary for each chapter. Yes, even the unwritten ones.

Sample Chapters: Not all literary agents want sample chapters with your query letter, but most do. You’ll send along about three chapters, but not necessarily the introduction or the first chapter. The sample chapters are what convince the agent and publisher you can deliver, so make them good.

While you do not need to be a household name to land a nonfiction deal, you do need to make a compelling case for your idea, your voice, and your relevance.

Whether you’re writing fiction or nonfiction, there is a guaranteed way of making your query letter stand out, which is by not making it stand out. What the bleep does that mean, Rosemi? It means do not make the same mistakes as everyone else. That alone will make your letter a rare gem. You already know to make sure you’re addressing the correct agent and that their name is spelled correctly. Here are 5 more common missteps authors make when submitting a query letter:

They ignore agent guidelines. But not you, you’ll definitely customize each letter and give them what they want according to what’s on their website.

They overhype their book. If you had a dollar for every time someone said their book was going to be the next Harry Potter, all your money troubles would be over.

They write too much biography. You can write a bit in the query letter and a bit more in the book proposal, but please refrain from writing your life story. In fiction you don’t have a book proposal, so what you put down in the query letter is it. And remember your query letter is one page; your author bio is one small paragraph.

They write a book summary in the query letter rather than a pitch. With a strong pitch in a fiction query letter, the agent will ask for a full manuscript. In nonfiction, the chapter outline should summarize each chapter, but even then it should be brief. You’re not writing a book report (thank goodness_.

They forget to include the genre or word count. But again, you would never do this. You are perfect in every way, and it’s just a matter of time until everyone else realizes it too.

From Episode 124: Querying a Literary Agent, Part 4: What Happens After You Hit Send

The most common thing that happens after you send a literary agent a query is . . . nothing. You don’t hear from them at all, which is fine. Their website usually tells you how many weeks of silence should be taken as a ‘no’. More on that later.

But let’s say you do get a response. What should you expect? There are three different replies you might receive from a literary agent after sending out a query: there’s the form rejection, the personalized rejection, and a request for additional materials.

First up, the form rejection. These are generic and brief. You might get something like, “Thank you for submitting. It’s not right for us at this time.” That is it. This type of response is not a reflection of your worth as a writer or the quality of your work. It simply means that the project is not the right fit for that particular agent at that particular time. There is no need to read between the lines or overanalyze the phrasing. It often means that a literary agent’s assistant has rejected your submission. And more and more often, submissions are passing through AI, so it’s possible a human never even laid eyes on your email. That’s sure motivating, right?

On QueryTracker.com, authors will often paste the text of the rejection they received from a particular agent, and from that you’ll be able to discern whether you received a form rejection or a personalized rejection from that agent.

The personalized rejection is the kind of rejection that hurts, but it can be useful. If an agent takes the time to give you feedback, it means your writing caught their attention. They saw promise in your voice, your concept, or your structure. For nonfiction authors, this might look like comments about your platform, the clarity of your proposal, or whether the topic feels sufficiently focused for the market. Personalized rejections often contain insights that can help you strengthen your work for future submissions.

And then, there’s the response we are all hoping for: a request for additional materials.

If you are writing fiction or memoir, the agent may ask for a partial manuscript, which typically means between ten and fifty pages, or they may ask for the full manuscript.

If you are writing nonfiction, it’s a bit more complex. The agent will usually ask for a full book proposal and sample chapters. This usually includes the introduction and one or two chapters from the body of the book. We talked about submission materials in the last episode, in case you missed it.

If you already sent the nonfiction proposal and samples with your initial query, a follow-up request might mean one of a few things. The agent may want the full proposal if you only sent part of it. They may ask for additional sample chapters. They may suggest revisions and invite you to resubmit. Or, they may be ready to set up a call to discuss the possibility of representation.

For nonfiction, if an agent follows up with a request, you have likely cleared that first hurdle. You have shown that your concept is appealing and your platform looks promising. Now they want to assess two things: execution and market viability.

Execution means they want to see whether you can actually deliver the book you are proposing. They will be looking for clear, confident writing, a compelling structure, and a voice that suits the subject. They want to know that your content is engaging and that you can carry your idea across the full manuscript.

Market viability means they want to understand whether there is a real audience for your book. They will consider whether the topic fills a gap in the market, whether the comps are current and well chosen, and whether your platform will help support sales. They will also consider timing and relevance. In other words, is there a reason this book needs to be published now?

For example, if you are pitching a book called Go From First Draft to Existential Crisis in 30 Days, the agent will want to know that your method is actionable, that you have a clear audience in mind, and that this idea feels fresh enough to stand out in a crowded category.

So, what do you do when you get a request?

First, take a deep breath. Then follow these six steps, which applies to both fiction and nonfiction writers:

Thank the agent for the request.

Label your files clearly with your last name, the title of your book, and the type of file.

Attach the requested materials in the format they specified.

Include your original query in the reply unless the agent specifically asked you not to.

Proofread your email before sending.

Update your query tracker.

Earlier in this series, I think it was the previous episode, we discussed staying organized and tracking your queries. You can do this with a spreadsheet, a query tracker site, or pen and paper. At a minimum, you should track the agent's name, the agency, the date you sent the query, the date of their response, the type of response, any feedback received, and whether the agency allows you to query another agent at their firm in the future.

Nonfiction authors should also track any proposal variations. If you are adjusting platform metrics, comp titles, or marketing language for different agents, make a note of that.

If the agency’s website says it’s okay to follow up, set a reminder. If the agency site says “no response means no,” then take that as your answer and move on.

Now let’s address rejection.

Rejection is part of the process. Every published author you know has an inbox full of rejections. Ghosting happens, too. It is frustrating, but it is common. Do not let it derail your momentum.

However, if you receive several rejections with similar feedback, pay attention. That is a sign that something in your query or proposal needs to be revised. If agents repeatedly mention an unclear premise, a weak opening, or an underdeveloped platform, it is worth pausing your submissions to make adjustments.

A rejection from a literary agent is not a final judgment. It is one person’s opinion on one version of your project. Keep refining, and keep going.

From Episode 125: What to Do While Waiting to Hear Back from Agents

Querying can feel like shouting into the void. You pour your heart into a pitch, send it out, and then…nothing. And unlike other careers, there's no real-time feedback loop. You don’t get a "Great pitch today!" badge. You don’t know if an agent is loving your pages or deleting them unopened. You’re in the dark, so let’s turn on some lights.

There are at least four writerly things you can do while you wait.

1. Work on something new.

Starting a new project will help you shift from outcome-focused to process-focused. It doesn’t matter if the new project is the sequel to what you just wrote, a mess of a first draft for a new series, or something totally different from your usual genre. Maybe you just make notes or start some research. Maybe you return to a long-abandoned project. Figure out what creative project will motivate you most right now, and go for it. Continuing to work on your writing career builds momentum and keeps your confidence high.

2. Read intentionally.

I’ve said it before: it’s important to read books in your genre. But during this waiting period, read whatever you want, but read as a writer. Take note of what works: pacing, character arcs, plot twists, all that. Reading is one of the most important things you can do as a writer. If you don’t have time to read, you don’t have time to write.

3. Organize your creative life.

Sure, you might now have time to clean out your fridge or reorganize the garage, but I’ll bet there is a lot of digital clean up that needs doing. Clean out your email inbox, update your bio, refresh your website, back up your files, back up your files, back up your files. Getting organized keeps you in the driver’s seat rather than feeling like you’re just waiting for your train to come in.

4. Revel.

Having something to send out to literary agents is an achievement in and of itself. Enjoy this stage. Revel in it. You are advocating for your art and figuring out how best to share your words with the world, and that is something to celebrate.

Remember this feeling. As Leonard Cohen said, “I hope you’re keeping some kind of record.” And if you haven’t heard “Famous Blue Raincoat” by Leonard Cohen, I highly recommend you add that to your to-do list.

A couple of don’ts include: don’t compare yourself to anyone else, and don’t doomscroll. Ever.

And no matter what happens next, you are still a professional writer. Because professionals show up, even when it’s hard.

The waiting is the hardest part, but it doesn’t have to be wasted time (cue The Eagles).

And, since my recently concussed brain seems to want to quote other people all day, I’ll end with one of my favorite quotes, which is attributed to Sigmund Freud (ew), and although no one knows from whence it originated, we know it wasn’t Freud:

"One day, in retrospect, the years of struggle will strike you as the most beautiful.”

I hope you enjoyed this bonus episode. Next time, we’ll begin season 8. Tune in for more writing tips and the latest publishing news and book trends. 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.