Someone wrote to ask, “Can you tell me what a good author/agent relationship should look like?”
I can try. Keep in mind that there’s no “perfect agent style” that suits everyone. One writer needs an agent who is a strong editor-and-story-idea person, another writer needs an agent who is a contracts-and-negotiation person, and a third writer needs an agent who is counselor-and-chief-supporter. It’s why I always encourage authors to think carefully about what they need in a literary agent. I consider myself a good agent, having done this job for a longtime, contracted a lot of books, and developed a good track record of success. But I’ll be the first to say I’m not the agent for everybody. My style doesn’t fit every author, nor can I provide everything each author needs. So sometimes I’ll meet a writer whose work I like, but we’ll both feel the vibe is wrong. We have to get along personally as well as professionally. Other times the author has expectations I know I can’t meet (such as wanting me to edit their entire manuscript). So finding a “good” agent is like finding a “good” friend — what works for you might not work for your neighbor.
A good author/agent relationship is usually one in which expectations are clear, and the agent helps the author succeed in those areas they’ve decided to focus on. It might be story development, or editing and fine-tuning a manuscript, or support and encouragement, or career management, or contract advice, or… the list is as varied as authors want to make it. If you don’t really know what you need, you’ll find yourself just going toward someone you like, or someone your friends like.
Keep in mind that most working literary agents come from one of four backgrounds. They are either (1) a former editor, so they have strong words skills, or (2) a former writer, so they understand what it’s like to make a living with words, or (3) a lawyer or someone attached to a lawyer’s office, so they have good experience with contracts, or (4) a former agent assistant, who came up through the ranks of the agency and has never worked outside of the agency (this last category is relatively new, but over the last 15 or 20 years we’ve seen bright college grads hired as Junior Associates and work their way up to become a full-fledged literary agents). I suppose the most common type is “former editor” and the least common is “former writer.” I was a Senior Editor a couple places and an Associate Publisher with Time-Warner, but my real training for this job was as a freelance writer. Sandra Bishop, who works with me, is another longtime freelance writer. And Amanda Luedeke, who has just joined us, made her living as a writer the past few years. So perhaps one of the uniquenesses of our agency is that we all made our living at writing, and we understand what it’s like to cobble together a living by writing. (I’m sorry if that sounds like a commercial — it’s not meant that way.) My point is that you’ll be better off if you’ve done some research and figured out what sort of skills you may be looking for in an agent, as well as what sort of relationship you expect to have.
Of course, each writer has strengths and weaknesses, and each agent has strengths and weaknesses, and you try to match things up so that you’re a fit. My style may be a bit too blunt for one author, and too laid-back for another. But that’s part of what picking friends is all about — finding someone who fits. This is a business relationship, in many ways almost a partnership, and you don’t want to partner with just anybody.