Meeting the agents
A packed audience of writers at the Writers’ Guild Centre on 31 May 2007 heard four agents talking about what they look for, what they offer and how tough it is to get represented. The panel, chaired by Julian Friedmann (Blake Friedmann Literary, Film and TV Agency), and also consisting of Meg Davies (MBA Literary Agency), Howard Gooding (Judy Daish Associates) and Matthew Dench (The Dench Arnold Agency) took questions for almost two hours – here are some edited highlights.
Should I submit to one agent at a time?
Julian Friedmann and Meg Davies both argued that, despite what many agents say, writers should, in their opinion, submit to a number of agents at once. Otherwise, given that you might have to wait months for a reply, it will just take too long. The worst thing that can happen, Julian said, is that no one is interested. The second worse thing is that more than one agent is interested - and that would, in fact, be a good thing.
What should I submit?
It was pointed out that most agencies now publish their submissions policy online. Meg said that, for books, she likes to get a synopsis and three chapters. Julian said that he also liked to get a CV.
Which agents should I submit to?
This question arose several times in different forms, but the advice from the panel was quite straightforward: do your research. Find agents who represent writers doing similar work to you. If you can't find the information online, or using the Writers' And Artists' Yearbook, phone them up. If you have a real minority specialism, contact a relevant publisher and ask them who the agents are that they work with. The panel agreed that if you wrote for different media, it was usually better to approach an agent with only one type of work - otherwise it can look like you lack focus.
Julian mentioned the two trade associations for agents - the Personal Managers' Association (PMA) and the Association of Authors' Agents (AAA). If an agent belongs to one of those then they should comply with a code of practice and you have someone to complain to if you're treated badly. Never pay an agent up front, Julian added.
Do I actually need an agent?
Matthew Dench said that a lot of TV and film companies won't read an unsolicited script unless it comes from an agent, so having one gives you a way in. However, Meg Davies pointed out that in theatre and radio it's much easier to get work read and produced without an agent. The danger is, especially in books, that un-agented writers can get exploited.
Howard Gooding said that most of his time was spent managing writers' careers. Negotiating contracts, administering payments and dealing with legal issues are where agents earn their money, he argued.
All the agents stressed that even writers with agents are expected to put effort into developing their own careers. Julian said that all writers should read trade papers and attend industry events.
What should I look for from an agent?
All the agents on the panel agreed that the personal relationship between the writer and agent was key. The writer needs to be able to speak freely, even when they have concerns.
Will agents take on writing partnerships?
Meg Davies said that she would consider a writing partnership or team, as long as they really did work as a team. Julian added that he would want a contract between the writers making clear the nature of the relationship and who had rights to what.
Does being a senior citizen disqualify me from getting an agent?
Howard admitted that there was something of a youth fetish in theatre. Lots of new writing projects and competitions and only open to people under thirty (or younger). Julian felt there was similar ageism in TV, but less in publishing and, possibly, in film.
Should I put my work on YouTube in order to be taken seriously by an agent?
Matthew thought that unless you were a stand-up writer/performer there was little benefit in filming your work and putting it on a site like YouTube. If you're a writer people want to read your work. Plus, you would be opening yourself up to people stealing your ideas.
Which credits carry any weight when I'm applying to an agent?
This question arose in several forms, but the answer was similar. The panel agreed that relevant credits do carry weight, but the most important thing is the next project. Whether you have lots of credits or none at all, they will try to judge the quality of your writing and whether there is a market for it. Film option agreements, however, unless they are for a lot of money, do not carry much weight.
Julian added that he felt writers often sent out work too early. Be the best you can be in a particular niche, he advised.
How many clients do you have and how many do you take on?
The number of clients represented by the agents on the panel ranged from 30 to 50. In a normal year, they said, they will take on only a couple of new people. Some years they take no one. Julian explained that his agency get almost 9,000 submissions each year and will take on only about ten writers.
Once you've got an agent should you stick with them, whatever happens?
The panel agreed that no writer was obliged to stick with their agent if they weren't happy with the job they were doing. But, Meg said, if a client thinks I'm being crap I'd like them to tell me as soon as possible so that we can talk about it.
back to top