How I Found a Book Agent for My Manuscript

I stared at my finished manuscript, feeling both thrilled and scared. The idea of finding a literary agent seemed like a huge challenge. Finding the right literary agent was more than just a task—it was the key to my publishing success.

The publishing world is all about connections and knowledge. About 80 percent of books published by major New York houses come through agents. These agents help negotiate deals, protect authors, and open doors. They make money only when you do, earning 15 percent of your earnings.

My journey to finding an agent was filled with research, rejection, and hard work. I learned that getting an book agent is about finding a true partner who believes in your work. In this article, I’ll share how I found my agent, helping you on your own path to finding quality representation.

Key Takeaways

• Most major publishers only accept manuscripts through literary agents, making representation essential for traditional publishing success
• The right agent serves as your professional advocate, negotiating better deals and protecting your interests throughout your career
• Finding representation requires thorough research, personalized query letters, and strategic targeting of agents who represent your genre
• Rejection is a normal part of the process—persistence and continuous manuscript improvement are key to success
• A successful author-agent relationship is built on mutual respect, clear communication, and shared vision for your work

1. My Journey to Seeking Literary Representation

After months of writing, I hit a wall: now what? I had poured my heart into my manuscript. But I had no idea how to share it with readers.

Seeking literary representation dawned on me during a late-night read. Successful authors all mentioned their agents. I knew my manuscript needed a pro advocate.

I felt a mix of excitement and doubt. I was proud of my work but worried it might not be enough. The fear of rejection kept me up at night.

I started looking for agents online and felt lost. There were hundreds of them. I didn’t know where to start or how to choose.

I thought sending queries to many agents was the best plan. I believed finding an agent was all about numbers. But looking back, I see how wrong that was.

Reading acknowledgment pages in my favorite books changed everything. I saw the same agent names over and over. These agents were more than gatekeepers; they were partners in shaping books I loved.

I learned that agents do more than sell manuscripts. They’re career guides, contract negotiators, and advocates. This wasn’t a hurdle; it was a partnership I needed to build carefully.

This new understanding changed everything. I stopped seeing agent-seeking as a desperate scramble. I started viewing it as a professional search for the right partner. This shift made all the difference in my success.

2. Understanding What Book Agents Really Want

Before finding the right agent, I had to learn about their role in publishing. I spent weeks researching what literary agents do and why they’re so picky. This changed how I approached submitting my work.

Seeing agents as business partners, not just gatekeepers, was a game-changer. I understood they were making smart business choices, not rejecting me personally.

The Role of a Literary Agent in Publishing

I found out a literary agent is more than a middleman. They know which editors are looking for certain books. This knowledge is key to matching manuscripts with the right publishers.

Agents do important things authors can’t do alone. They negotiate publishing contracts to protect authors and get fair deals. They also secure advances and handle the financial side of book deals.

What really surprised me was how agents act as long-term career advisors. They don’t just sell one book and disappear. They help authors make long-term publishing decisions and build lasting writing careers.

Here’s what agents usually do every day:

• Reading and evaluating manuscript submissions
• Pitching promising projects to editors at publishing houses
• Negotiating contract terms and advances
• Managing relationships with existing clients
• Staying current on industry trends and market demands

Why Agents Are Selective About Manuscripts

Learning about the business side of agent representation was a big breakthrough. Agents work on commission—usually 15 percent of what they sell. They only make money when they sell an author’s work.

This means agents have to be very selective. They spend a lot of time on each project, from editing to contract negotiations. If a book doesn’t sell, they’ve worked for free.

The numbers really showed me how competitive it is. Most agents get hundreds of queries every month but can only take on a few new clients each year. The acceptance rate is very low—often below one percent.

Agents look at more than just manuscript quality when deciding what to represent:

1. Current market trends and reader demand
2. Their existing client roster and any conflicts
3. Relationships with specific editors
4. The author’s platform and professional presentation
5. The book’s advance size and long-term career prospects

This new understanding changed my approach. I stopped taking rejection personally and started looking for agents who were a good fit for my project. I realized a “no” often means the agent wasn’t the best match, not that my manuscript was bad.

3. Getting My Manuscript Ready for Agent Consideration

When I typed “The End” on my first draft, I felt proud. But I soon learned that manuscript preparation was just the start. Agents don’t help unpublished writers finish their work. So, I had to polish my manuscript before sending out queries.

Completing My First Draft

Finishing my first draft was like climbing a mountain. But, I found out that agents want to see the complete manuscript for fiction writers.

This is different for nonfiction, where a solid book proposal is enough. I made the mistake of thinking three chapters and an outline were enough. But agents want to see a story that lasts from start to finish.

The key lesson? Don’t rush to submit your manuscript. I learned to slow down and focus on making it the best it could be. Many new writers rush to publish without their work being ready.

Using Storyloft to Refine My Manuscript

After finishing my draft, I knew I needed help with manuscript revision. That’s when I found Storyloft, an AI-powered writer app.

Storyloft stood out because it offers writing, editing, illustration, and formatting all in one place. Before, I was using Google Docs, Scrivener, and spreadsheets. It was chaotic.

Storyloft’s AI helped me find weak spots in my story. It pointed out pacing issues and character development problems. The AI was careful not to change my writing style, which I was worried about.

The platform’s collaboration features were a game-changer. I could invite beta readers and my editor to leave feedback in one place. No more endless emails or version control problems.

Professional Formatting Matters

I didn’t realize how important professional formatting was until later. Agents see many submissions, and amateur-looking manuscripts get rejected fast.

Following industry standards shows you’re serious about your writing. Storyloft helped me create professional-looking layouts for both print and ebooks.

This preparation took months, but it boosted my confidence. When I started querying agents, I knew I was submitting my absolute best work. This confidence made a big difference.

The effort I put into preparing my manuscript paid off. Agents could focus on my story without being distracted by formatting or incomplete work.

4. Researching Agents Who Represent My Genre

At first, researching agents seemed daunting. But then I found tools that showed me who was buying manuscripts like mine. I learned that finding the right agents meant looking beyond generic lists. It was about finding agencies that were selling books like mine.

This targeted approach changed everything. I aimed to find 25-50 agents who had recently sold books like mine. This made the search feel manageable, not overwhelming.

Using Online Databases and Resources

I spent $25 on a Publisher’s Marketplace subscription. It was the best investment in my agent search. This platform is used by publishing pros to track book deals. I could search by genre, category, and keywords that matched my manuscript.

What made it invaluable was seeing recent sales. I found out which agents were actually selling books like mine. The platform showed deal announcements with agent names, publishing houses, and brief descriptions of each book.

I also used QueryTracker, which offered both free and paid versions. QueryTracker gave me submission guidelines, response times, and success rates. The Writer’s Digest Guide to Literary Agents blog introduced me to new agents building their lists.

The best way to find the right agent is to research who’s selling books you wish you’d written.

Following Agents on Social Media

I started following agents on Twitter and Instagram. They shared insights and preferences. This gave me a glimpse into their personalities beyond their websites.

The #MSWL (Manuscript Wish List) hashtag was my guide. Agents shared their dream projects in detail. I knew if my manuscript was a good fit.

The official Manuscript Wish List website was a treasure trove. I spent hours reading agent profiles. This helped me tailor my query letters to each agent’s interests.

Reading Acknowledgment Pages in Published Books

I visited bookstores and pulled books similar to mine off the shelves. I looked at the acknowledgment pages to find agents who represented books like mine.

I made a spreadsheet of these agents. Then I researched each one to see if they were accepting new clients. Some had closed their lists, but many were open to new projects.

This approach changed how I saw the agent landscape. I went from a vague list to a targeted list of agents who would connect with my manuscript.

5. Creating a Target List of Literary Agents

After weeks of research, I had a long list of agent names. I knew sending queries randomly was a waste of time. So, I aimed to create a list of agents who were the best fit for me.

Sorting through the list felt overwhelming. I had names from databases, social media, and book acknowledgments. But just having names wasn’t enough. I needed a way to find the right agents at the right time.

Prioritizing Agents by Fit and Interest

I made a detailed spreadsheet with all the important details. Each row was for a different agent. I included their name, agency, recent sales, submission preferences, and my notes about their fit.

My list started with about 75 agents. That seemed too many, so I ranked them. My A-list agents had sold books similar to mine in tone, theme, and style.

These weren’t just fantasy agents if I wrote fantasy. They were agents who loved character-driven fantasy with strong emotional arcs and diverse casts. Being specific was key.

My B-list had agents who represented my genre well but had slightly different tastes. This allowed me to be strategic. I could save my best fits for later, after refining my query.

This strategy was very helpful. One writer I connected with went from zero responses to seven manuscript requests out of twelve queries—a 58% success rate.

Tracking Submission Guidelines

Each agent had their own rules, and following them was essential. I added columns to track what each agent wanted. Some wanted only a query letter, while others wanted the first ten pages in the email body.

Some agents asked for a synopsis with the query. A few had specific contact methods. Getting these guidelines wrong could mean instant rejection.

I set up a system to track my submissions. It showed when I sent each query, when to follow up, and what materials each agent wanted. This system helped me avoid mistakes like sending duplicate queries or forgetting to respond.

This table was my command center. It showed which agents I’d contacted, what they’d requested, and when to follow up. Keeping organized helped me stay professional and avoid mistakes.

By focusing on a list of 50 agents, I improved my chances. Quality connections with the right agents were more important than sending out many queries.

6. Crafting a Query Letter That Gets Noticed

After months of working on my manuscript, I hit a snag. I had to condense my story into one page. This query letter was my ticket to getting noticed by literary agents.

Agents get hundreds of queries weekly. They decide fast if they want to see more. So, I treated my query letter with the utmost care.

The Hook That Grabbed Attention

My first query hook was a flop. It was too generic. It took me fifteen drafts to craft a hook that stood out.

I changed my approach by focusing on the experience of reading my book. Instead of a generic plot summary, I wrote: “When Sarah finds her grandmother’s letters, she discovers a shocking family secret.”

This hook did three things well. It introduced my protagonist, presented the conflict, and hinted at the emotional stakes.

I also learned that matching the tone of your manuscript is key. If it’s darkly funny, your hook should be too. If it’s a thriller, your query should be suspenseful.

Personalizing Each Query

My response rate soared when I personalized each query. I included a paragraph explaining why I chose each agent. This made all the difference.

Think of agent queries like dating. Mass emails don’t work. Personalized queries do. I researched each agent before sending my query.

Here’s what made my personalization effective:

• Mentioning specific books they represented that shared DNA with mine
• Referencing interviews or #MSWL tweets where they expressed interest in certain themes
• Noting shared connections like alma maters or writing communities
• Explaining exactly why my manuscript fits their current list

This personal touch showed I’d done my homework. It also helped agents see why my book might interest them.

Keeping It Concise and Professional

Most agents prefer one-page query letters. This limit forced me to be ruthlessly disciplined about what to include.

My query letter needed five key elements: a personalized opening, a hook, a brief plot overview, my writing credentials, and a professional closing. Packing all this into 250-300 words was a challenge.

I initially wrote too much. My first queries were two pages long. Cutting them down made them more effective. Agents appreciated the brevity.

Keeping a professional tone was just as important as the content. I avoided gimmicks, used respectful language, and proofread obsessively. One typo could ruin an excellent query letter.

7. Preparing My Synopsis and Sample Chapters

Getting my synopsis and sample chapters ready was just as key as my query letter. Once agents showed interest, they asked for these extra materials to really get to know my work. I quickly saw how important it was to have these documents polished and ready.

Novelists often need a synopsis and early chapters. But nonfiction writers have different needs. A nonfiction book proposal can be 20 to 30 pages long, with market analysis and chapter summaries. I was glad my fiction had simpler needs, but it was tough work.

Writing a Compelling Synopsis

Writing a synopsis was one of the toughest challenges I faced. It’s different from a blurb or marketing copy. It must show the whole story, including the ending, and capture the emotional journey.

My first try was a mess. I wrote an eight-page synopsis with every detail. It felt like a boring summary, not a compelling story overview.

Learning to cut it down to two pages was hard. I had to focus on the main character’s journey and the main conflict. Every sentence had to move the story forward, not just list events.

I used Storyloft to outline my story’s core beats before revising my synopsis. This helped me see what was essential and what wasn’t. The synopsis had to show a complete story arc, not just list every twist.

Here’s what I learned about different submission materials:

Choosing the Right Sample Chapters

When picking sample chapters, I learned a key rule: always start from the beginning. Agents want to see how you introduce your story and character from the start.

I was tempted to send Chapter Seven, with its exciting action. But I realized it wasn’t the best choice after researching more.

Agents don’t accept unsolicited materials that don’t follow their guidelines. They usually don’t want full manuscripts right away. They want to see if you can grab their attention from the start, not just impress them later.

This made me revise my opening chapters many times. I knew these pages were my first chance to show my writing to agents. Every sentence had to be strong.

I worked hard to make sure my first chapter introduced the main character’s voice and the central conflict. These chapters were my chance to open doors or close them, so I put a lot of effort into making them stand out.

8. My Strategy to Find a Book Agent

Finding a book agent wasn’t about luck. It was about having a clear plan. My strategy evolved through trial and error. Once I got it right, everything changed.

It was important to balance patience with momentum. I had to test and commit to my approach.

Thinking like a marketer was key for strategic submissions. I needed data to guide my decisions. I also had to protect my list of agents from a flawed approach.

The Batch Submission Approach

At first, I wanted to send queries one at a time. This felt safe and manageable. But I realized it would take years to get responses.

Then, I thought about sending 50 queries at once. My writer friends warned me it was risky. If my query had a flaw, I’d waste my list before finding out.

I chose batch submissions of about 15 queries at a time. This gave me enough data while keeping most of my list safe. If I didn’t get requests within six weeks, I knew my query needed work.

My first batch included a mix of agents. I sent to top-tier and mid-tier agents. This let me test my query without risking my favorites.

The batch approach helped me track patterns. If I got partial requests but not full ones, my opening chapters needed work. If agents loved the partial but not the full book, I needed bigger revisions.

Timing My Queries Strategically

Query timing was key to my success. Agents are swamped after major conferences. They return with hundreds of new queries and pitches.

Summer months and late December were slow. Many agents take vacation or work reduced hours. I adjusted my schedule to avoid these times.

January and September were the best months for strategic submissions. Agents are building their lists for the year and often more open to new voices. I tracked my response rates by month and saw a difference during these times.

The best time to query is when agents are actively building their client lists, not when they’re buried in submissions from conferences or away on holiday.

Following Up Appropriately

Following up was a step I almost skipped. I’m glad I didn’t. Several agents who became interested in my work said they’d missed my original query during busy periods.

I developed a simple follow-up timeline: 6-8 weeks after the initial query. This gave agents time to respond while catching those whose inboxes had overflowed. My follow-up wasn’t demanding or desperate—it was professional and brief.

My follow-up email was short and polite. I mentioned the date I’d sent the original query, restated my book’s genre and hook, and re-attached the original query materials. I made sure my agent strategy included this step for every batch.

The results surprised me. About 20% of my positive responses came after follow-ups. One agent even apologized, explaining a family emergency had derailed her reading schedule that month. Following up wasn’t pushy—it was professional and often necessary.

9. Dealing with Rejection Letters

Rejection letters started coming in about two weeks after I sent my first batch of queries. I had prepared myself for this moment, reading about how every successful author faced rejection. But nothing could fully prepare me for the pain of seeing those emails in my inbox.

Dealing with agent rejection was tougher than I thought. Each “no thank you” felt like a personal blow, even though I knew it wasn’t.

My First Wave of No Thank Yous

The first month of querying brought a lot of rejections. I learned that these messages came in different forms.

Most of the rejections were form letters. These brief emails thanked me and said my project wasn’t right for them. They used the same language for hundreds of writers.

Some agents didn’t respond at all. Their guidelines said “no response means no.” The silence was harder to deal with than a direct rejection because it made me wonder if they’d even looked at my query.

I found ways to cope with these rejections:

• Checking emails only twice a day
• Having a friend to talk to about disappointments
• Remembering that rejection doesn’t mean my manuscript is bad—it might just not be right for that agent
• Celebrating any response I got

Learning from Rejection Feedback

After the initial shock, I started looking for patterns in the rejections. This new perspective turned rejection letters into valuable lessons.

Most form rejections didn’t offer any specific feedback. They just weren’t a good fit or the agent’s list was full. These didn’t teach me much about my work, but they showed my query was reaching real agents.

Personalized rejections were rare but very helpful. One agent said she loved the premise but thought the pacing was slow. This feedback made me revise before sending out more queries.

Another agent said my story was too similar to one she already represented. This was disappointing, but it taught me that sometimes rejection isn’t about quality—it’s about timing and market position.

I started tracking rejection patterns in a spreadsheet. If many agents mentioned the same issues, I knew I had a real problem to fix. Even the silence was informative when I noticed certain types of queries got no response while others did.

10. Getting Feedback and Revising My Approach

After facing several rejections, I knew my manuscript needed more than just hope. It needed honest, critical feedback. Agents’ responses hinted at a problem, but I couldn’t pinpoint it. So, I decided to seek outside opinions from fresh eyes.

I learned a key lesson: feedback patterns reveal specific problems. If no agents asked for my manuscript, my query letter was likely off. If they asked for parts but not the whole, my opening chapters needed a tweak. And if they liked parts but not the whole, my work had bigger issues.

Building My Feedback Team

I gathered a small group of beta readers for honest feedback. This team included fellow writers, genre-specific readers, and publishing-savvy friends.

Choosing the right beta readers was critical. Feedback from those who loved my genre was more valuable than opinions from others. Their knowledge helped identify what would appeal to my target audience.

It was tough to decide which feedback to use. Not every suggestion was right for my work. I had to learn to distinguish between necessary changes and personal preferences.

Streamlining Collaboration with Technology

Handling feedback from many sources became overwhelming. I was lost in emails, document versions, and conflicting suggestions. Storyloft’s tools changed everything.

Instead of emailing back and forth, I invited my team into Storyloft. They could comment on passages, suggest changes, and track them all in one place. It kept everything organized.

The AI in Storyloft helped me make objective decisions. It ensured my revisions improved the story without losing my unique voice. This team effort made revisions less lonely.

Evolving My Query Through Response Analysis

I applied the same analytical approach to my query. When my first query didn’t work, I made it more compelling and specific. Each version was based on previous feedback and results.

My query went through five versions before it worked. I kept refining it based on feedback and results. This approach helped me improve continuously.

I tracked changes and their impact on response rates. This data-driven method helped me understand what agents liked.

In the end, I had to trust my instincts about when to revise or keep querying. External feedback guided my choices, but I was the final say on my work. Finding the right balance between critique and confidence was key to success.

11. The Request for a Full Manuscript

My querying strategy started to pay off when I got manuscript requests. After tailoring my queries and researching agents, I saw a big change. The silence and rejections turned into real agent interest in my work.

This change was a big win after months of hard work. It showed my manuscript had real promise. Each request was a victory, even though not all were the same.

When Agents Started Showing Interest

One Tuesday morning, I got an email from an agent wanting my first three chapters. My hands shook as I read it. That manuscript request changed my mood after weeks of rejections.

I learned about partial and full manuscript requests. A partial is 50 to 100 pages or the first three chapters. A full manuscript is the whole book.

My success rate went up when I improved my approach. Out of 12 targeted queries, I got 7 manuscript requests, a 58% success rate. This was a big difference from my earlier, less focused efforts.

Even one request shows your work is worth looking at. The type of request shows how interested the agent is. A full manuscript request means they’re very interested.

Preparing for Full Submissions

When I got requests, I needed a way to keep track. I made a spreadsheet for agent information, submission guidelines, and response times. This helped avoid mistakes and missed deadlines.

Before sending, I double-checked my manuscript’s formatting. I made sure chapter headings were right, page numbers were on every page, and the document looked professional. These details are important.

I struggled with how fast to reply to manuscript requests. I wanted to respond quickly but took 24 hours to review everything. This balance was key.

The wait after submitting was hard. Instead of constantly checking my email, I kept querying new agents. This kept me moving and didn’t put all my hopes on a few interested agents.

12. Connecting with the Right Literary Agent

The moment I got the representation offer was a turning point. It turned months of worry into a moment of pure joy. After sending out many queries and facing a lot of rejections, I opened my email to find a message that changed everything.

“I absolutely loved your manuscript and would like to discuss representation,” it said. My heart skipped a beat as I read those words over and over again. This was not just any agent offer. It was from someone whose client list I had admired for months.

The Moment Everything Changed

Just a week after getting my first offer, another agent reached out. I was faced with a choice I hadn’t expected: choosing between two qualified professionals who both wanted to represent my manuscript.

I quickly learned that there’s a right way to handle this situation. When you get an offer, you should tell any other agents who have your full manuscript. This gives them two weeks to respond if they’re interested.

This was a big moment for me. For the first time, I felt like I had control over my future.

Researching and Comparing My Options

I started researching both agents carefully. I wanted to find the best fit for me. My research was both emotional and practical.

I checked their sales records on Publisher’s Marketplace. This database showed me their past sales. I wanted to see if they had experience with books like mine.

Then, I looked at their current client lists. This helped me understand their typical work. I wanted to see if my book would fit well with their authors.

I made a list of questions for my conversations with each agent. I wanted to know about their editorial approach, submission strategy, and communication style. I also asked about their vision for my book in the market.

The Conversation That Sealed My Decision

The phone call with my agent lasted nearly an hour. From the start, her excitement was real and completely genuine.

She talked about specific scenes in my manuscript that moved her. She saw my characters as real people she cared about. Her feedback was detailed and thoughtful, showing she truly understood my work.

What impressed me most was her vision for my book. She had a clear plan for how to submit it. She knew the right editors to approach and why. Her knowledge of the market showed she was an expert.

We talked about her editorial process, and I appreciated her honesty. She said she asks for revisions before submission to make the manuscript strong. This showed she was committed to my success, not just a quick sale.

The other agent was also very qualified and professional. Both had impressive credentials and sales records. But this agent felt like the right partner for me.

Our communication styles matched perfectly. Her enthusiasm matched mine. Her feedback on my manuscript resonated deeply with my vision. I could see us working together for years.

When I hung up the phone, I felt absolute certainty. This was the person who would support my work, negotiate contracts, and guide me through publishing.

I accepted her offer the next day. That decision changed my writing career forever.

13. What I Wish I Had Known Earlier

Looking back, finding a book agent was a journey filled with lessons. Every writer makes mistakes, but some are more costly. I wish I had known certain things earlier to speed up my success.

Through trial and error, I learned valuable lessons. These lessons made me a more professional writer. They also helped me understand the publishing world better.

Mistakes I Made Along the Way

My biggest mistake was querying too soon. I was eager to start the agent selection process. I sent queries after just one revision, wasting chances with agents who fit my work.

I also didn’t research agents well at first. I queried agents who didn’t represent my genre. This mistake damaged my confidence when I faced rejections.

Rejection hit me hard. I took it personally, affecting my confidence for days. I learned that rejection is just part of the process, not a judgment on my worth.

Another mistake was not following up with agents. I thought silence meant they weren’t interested. But one follow-up email led to a manuscript request I would have missed.

Tools and Resources That Would Have Helped

The $25 Publisher’s Marketplace subscription should have been my first step. It gave me insights into deals, agent specialties, and trends. Waiting months to subscribe was a costly mistake.

Discovering Storyloft earlier would have saved me a lot of frustration. It would have streamlined my revision process. These resources became essential once I found them.

Books on query writing and the publishing industry helped me a lot. They clarified the process and helped me understand industry standards.

Realistic Timeline Expectations

No one told me finding an agent takes months, not weeks. Some writers search for years. Knowing this from the start would have eased my anxiety.

My journey from first query to signed representation took about seven months. This is relatively quick. The timeline varies based on manuscript readiness, genre, market conditions, and luck.

The best advice is to keep writing your next project while querying. Don’t wait for agent responses. This keeps your skills sharp and provides backup options.

14. Conclusion

My journey as an author showed me that finding a literary agent isn’t just luck. It’s a process that requires hard work and dedication.

I now have an agent who truly believes in my work. She gives me valuable feedback and has a clear plan for my book. This partnership has changed my career for the better.

The journey wasn’t simple. I faced many rejections, but each one pushed me closer to my goal.

Storyloft helped me make my manuscript shine. I spent a lot of time researching the right agents. I made sure each query was personal and showed I was serious.

The key takeaway is that quality is more important than quantity. Ten well-researched, personalized queries are better than fifty generic ones.

Your journey starts with a complete, polished manuscript. Look for agents who specialize in your genre. Write personalized queries that show you’ve done your homework. Submit in batches to improve your chances. Always learn from feedback.

This path requires a lot of effort. Many aspiring authors underestimate the work needed to succeed in book publishing. But, putting in the effort can greatly increase your chances of getting noticed.

Every author who found an agent was once in your shoes. They faced the same doubts and challenges. They wondered if success was possible.

By following this strategic approach, you can have the same chances they did. Your manuscript deserves the right agent. The agent who will support your work is out there, waiting to find you.

Begin today. Make your manuscript the best it can be. Research and reach out to your first batch of agents. Write a personalized query. Your journey to finding an agent starts with this first step.