So, I asked my friends to read the proposal to get their feedback. I made it clear to them that if they disliked the final proposal or felt that it wasn’t ready to send along, that they would tell me with no hard feelings. But in asking for their insight, I was taking a risk that they wouldn’t like the work and/or wouldn’t be willing to make a call on my behalf.

Still, my asking them to read for me and talk about their agents wasn’t a tactic to get close to their agents–I really needed the help. They agreed and were enormously generous with their time and comments.

Note: If you ask people to read for you, be open to their feedback. Don’t get defensive.

After they read my work, two friends generously agreed to put me in touch with their agents. In both cases, they contacted their agents and vouched for me and my project.

After they made the introductions on my behalf, I contacted the agents directly. (I contacted one agent via email, and the subject line included the terms “at the suggestion of.”) NEVER, NEVER lie and tell an agent that one of their clients suggested you contact if they really didn’t. It’s too small a world for that. I called the other one and had to explain to her assistant that I was calling to speak to the agent at the suggestion of…

I found talking to agents to be very daunting at first. They wanted a series of thumbnail sketches of me, the book, everything.

The first three agents I contacted all agreed to read the proposal and all three turned it down.

Why?

They all agreed that I was a capable writer, but they all passed. In one way or another each agent said that the project was muddled. They didn’t give me very specific reasons for the rejection and they certainly didn’t tell me how I could improve the proposal or the project.

I was hurt by the rejection each time, but I also could see what they meant. I dug deeper, revised again.

When I couldn’t think of another thing to do to improve the proposal or the sample, I contacted the agent I’d met five years before. He agreed to read my work.

Notes: Agents are protective of their time, like any professionals. They want to see what you have on the page. They don’t want to chat. They want to SELL BOOKS!

The agent agreed to represent me and my project.

Here’s what I realize in retrospect: Agents can’t read everything so they are looking for a reason to say no, to pass on the project, to save their time.
Agents want to know that you can write and that you can deliver.

Also, agents are listening with an ear toward the sale of the book. Their primary relationships are with editors. So as they are listening to your pitch, they are thinking about which editors they know might be interested in such a project.

Take the No. If they don’t think that they can sell it, they won’t take it. They don’t want to waste their time. But you don’t want an agent who is lukewarm on your project.

Also, please remember that the agent who sells the book will profit from the project as long as you do. They get a percentage (usually 15%) of the advance and the subsequent proceeds.

Agents work hard. They earn their percentage. Unless you are feeling unusually gutsy, I wouldn’t quibble about their terms on the first deal. (But check that the terms they are offering are standard for the industry.) Let them sell the project for as much as they can. Don’t be cheap.

That old adage: “You only get one chance to make a first impression” is true with agents.

SO BE SURE THAT YOU HAVE DELIVERED THE HEAT BEFORE YOU MAKE CONTACT!