Who Actually Gets a Book Agent? 🤔

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If you’ve ever dreamed of getting your book published by a traditional publisher, you’ve probably heard the same advice I did: “You need an agent.”

Today I’m sharing exactly how I landed mine. The steps I took, what I’d do differently, and the three things I wish I’d known before I started.

And if you’re not a writer? Think of this as a playbook for pitching yourself into any big opportunity — a job, a speaking engagement, a creative collaboration — where the answer is almost always “no” unless you make a compelling, strategic case.

Step 1: Decide on Your Path — Traditional, Self, or Hybrid Publishing

Before you get too far down the road with writing your book, take a moment to think about which route you want to take to get your work into the hands of your ideal reader. Why does it matter? Because the path shapes every decision that follows — how you write, who you partner with, and how you plan to market. Clarity upfront helps you set realistic expectations and avoid burnout midstream. Here are your three routes:

* Traditional Publishing – You sign with a publisher who covers editing, design, distribution, and some marketing. You get credibility and an advance, but the process takes longer and you’ll still carry much of the promotional work.

* Self-Publishing – You control the whole process, from editing to cover design to marketing. It’s faster and royalties are higher, but all costs and logistics are on you.

* Hybrid Publishing – You pay upfront for professional editing, design, and distribution services while keeping creative control. It blends traditional polish with self-publishing autonomy.

I knew I wanted to first go for traditional publishing for two reasons:

* Editorial partnership – I wanted to work with a seasoned editor who could help me reach the full potential of this book.

* Infrastructure and distribution – While publishers no longer invest heavily in marketing, they do have systems in place that I couldn’t (and didn’t want to) build myself.

If I don’t secure a traditional publisher, then I’ll most likely self-publish.

Step 2: Prepare Your Proposal (Nonfiction) or Manuscript (Fiction)

Nonfiction = proposal. Fiction = full manuscript. That was my first big lesson.

Since I’m writing a non-fiction book, I needed a book proposal to send to publishing agents. A book proposal is basically a sales pitch for your book: part summary, part marketing plan, part writing sample. It convinces an agent or publisher to say yes.

A publishing agent then submits to publishing houses on my behalf after I’ve done a rewrite of the proposal based on the feedback from the agent.

I found free proposal templates online, asked my network for examples, and quickly realized I needed more than a template. I needed accountability, guidance and mentorship. I was in over my head, but had confidence I could swim with some help.

I found my book proposal coach through a recommendation and knew after meeting her that she was the right fit. Her name is Patti Hall and I loved her energy, her immediate understanding of my vision and that she had worked with other first-time authors in my genre. We worked together for about nine months both 1:1 and in a group setting.

To be transparent: I missed every deadline I set for myself. Writing the proposal was harder than I expected. Without Patti and the group support, I would have quit.

Whether you’re writing a proposal or a manuscript, get super honest and clear about what will set you up for success in completing your work and go after it. (I found James Clear’s book Atomic Habits helpful in finding what motivates me: structure and the desire to be an A+ student.)

Step 3: Research and Target the Right Agents

Once I had my book proposal polished, I was ready to find a publishing agent. The two most helpful tools in figuring out which agents to submit to were QueryTracker (it’s free!) and my network. (Check out this blog about the value of “loose” connections in your network — a vast majority of people find help not from their closest connections.)

QueryTracker is a subscription app that allows you to search for publishing agents by genre, see who’s open to queries, submit a query based on the agent’s preferences, and track submissions.

Every agent has a different process. Some want an email submission with the proposal pasted into the body of the email. Others want it as a Word attachment (not a PDF which I found surprising). Some have a submission form that asks about the subject matter of your book, your social media profile, and your bio. From there, if they’re interested, they’ll request the full proposal.

When I researched agents on QueryTracker, I asked myself:

* Do they represent books like mine?

* Do I connect with their sensibility?Have they recently sold projects in my category?

When reaching out to my network, I didn’t discriminate because I had no idea who knew who. I said something like: “I’m looking for a nonfiction publishing agent, open to new authors, who works in the self-help space and might have an affinity for topics that are familiar but with a twist, like career grief.” About a dozen friends, or friends-of-friends, came back with recommendations and generously referred me so I had a soft landing as opposed to a cold email submission.

A third tool I used was a bit more pie-in-the-sky, but still valuable. I curated a list of about 20 books that were similar to mine in category, topic, and style, then researched who the publishing agent was for each one. (I both googled for the answer and checked the acknowledgements in the book.) Most of those agents weren’t accepting query letters at the time, but I don’t regret the exercise.

Step 4: Personalize Your Query Letters

Don’t spray and pray. Personalization matters.

I spent 20–30 minutes on each letter, even with a template that I created. I researched every agent and customized my pitch to reflect their recent deals or stated interests.

Yes, I made mistakes. I once sent an agent I’ll call Taylor Casey a query that began, “Dear Casey” instead of “Dear Taylor.” 🤦🏽‍♀️ In fairness, she does have two first names. I caught it the second I hit send, freaked out, and tried to unsend, but the window closed before I could. I immediately followed up with an apology. To her credit, she wrote back a few days later, very kind, and said it definitely wasn’t the first time someone had called her Casey.

I also used LinkedIn to see if I had direct or indirect connections to agents on my list, asking for introductions when I could.

A quick run-down of my stats:

* 137 total agents identified, but about ⅔ were not accepting submissions

* 48 submitted queries over a three week period of time (it took that long to do my homework and personalize all the letters)

* 29 non-responses

* 15 rejections (14 cited low social media presence, 1 cited the writing)

* 4 expressed interest

The non-responses didn’t bother me. Publishing etiquette is refreshingly clear compared to Hollywood: if you don’t hear within their stated window, it’s a pass. Simple. I was also delighted that some agents said that if I received interest to ping them, they would move my submission to the top of the pile.

Step 5: Choose Your Match

I know that I was incredibly lucky to have interest from four agents. I met with them and asked:

* What is your process? I was looking for someone who would do developmental work with me because I knew I still had so much to learn.

* What would be your submission strategy? I was ready to trust them completely — I’ve never taken a book proposal out and had no interest in second-guessing an expert. That said, I love to learn, and strategy is my jam.

* What creative notes do you have? This was the most important question. I wanted to be aligned on the direction of the book so we’d be working in tandem. Their feedback would also influence which editors and houses they targeted.

It was a hard choice, but I signed with Jude Marwa at Peters Fraser + Dunlop (PFD) because:

* Her creative feedback was sharp and specific

* She partnered with a more seasoned agent at PFD in my category for when it came time to build strategy and make submissions

* I could see her passion for the project and we have a mutual friend who trusts her implicitly.

The truth? All four were amazing and I could not have made a bad decision. Sometimes there’s more than one “right” answer.

Three Things I Wish I Knew Before I Started

* Logline and bio: Before you dive into the process — whether it’s writing, working with a coach, sending queries, or meeting with agents — take the time to write three versions of your book description: one page, one paragraph, and one sentence. You’ll need this information handy when asking your network for support, submitting to potential agents and as you begin your own promotion.

Your bio is just as critical. It’s what your network (and agent) will use when introducing you, what goes into your query, and honestly, what you’ll lean on so you don’t ramble when an agent (or editor) says, “Tell me about yourself.” Like the logline, have long, medium, and short versions ready.

* Comparable titles are critical: Agents and publishers want to know where your book fits on the shelf. This means recent comps (within five years) that show market demand and leave space for your unique angle.

* Expect the weather to change: Some days you’ll be stuck, blocked, or ready to quit. The clouds pass. The sun comes out. Clouds come back. The sun comes back.

The Career Strategy Trojan Horse

On the surface, today’s post is about getting a literary agent. But the same principles apply to any ambitious career move:

* Clarify your goal and path before you start pitching

* Do the research so you’re aiming at the right opportunities

* Get expert support to accelerate your learning curve

* Personalize your pitch to the decision-maker

* Accept rejection as data, not a verdict

* Choose partners for fit, not flash

Building my career as an author isn’t separate from my work as a coach, speaker, or workshop facilitator — it’s part of the same arc. I’m still growing, still pitching, still weathering the “no’s” and following the “yeses.”

I’ll keep sharing the behind-the-scenes because I know so many of you are on your own long, winding road toward a big goal. We can be in it together!

Bottom Line

Getting a literary agent is a mix of persistence, strategy, and luck — but it’s also a mirror for any big career leap. Decide on your path, do the homework, keep pitching through the weather, and trust that the right partner will show up when preparation and opportunity intersect.

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Here are four questions to help you reflect on your own “publishing path” — whether that’s a book, a career move, or another big opportunity: