I’m halfway through the Writers League of Texas symposium series. The latest session focused on agent contracts and what to expect after you sign with an agent.

Presentation 5: “Between Signing & Submission: The Agent-Author Relationship” with Melissa Flashman, Janklow & Nesbit & Associates

Melissa has worked in publishing for over 20 years (she currently represents more nonfiction writers; only about 20-30% of her list is fiction writers). While her advice tended towards nonfiction projects, I concentrated my notes on what was relevant for fiction.

Here are my takeaways:

1. Not all agencies have formal agency agreements in place. Agency agreements can also be referred to as retainers or agency documents.
2. The document/agreement usually covers the manuscript under consideration, doesn’t/shouldn’t entitle the agency to represent subsequent books (generally, she would advise against it, although there might be special cases for series).
3. Agency agreements govern the terms of the relationship between the writer and the agent, including commissions and representation rights.
4. The more closely your project aligns with the agent’s interests and experience, the more elbow grease they are likely to put in. You can see this as a strength-finder for querying the right agent.
5. The one point Melissa wanted us to take away is about bandwidth. Since agents and editors have limited bandwidth, you need to polish your submission so that it is undeniable. Even the timing in which you submit comes into play as to whether they have the bandwidth to commit to take you on as a client.
6. Editors may have contracts for up to 10 books each year that require attention, including the marketing, sales, and launch meetings associated with each project.
7. There may be a gray area with an agent where they are providing feedback, yet there is no formal offer presented. This could be that although the agent sees potential in your work they aren’t convinced you can make it viable. Don’t be afraid to ask the agent (at any point) how close they think you are to having a sellable manuscript. Questions like: What is missing? How close are you? What does a finished project look like?
8. To get your manuscript ready for submission there are three components that your agent may have you focus on: editorial, positioning (comp titles/audience), and platform (For example, community from an MFA program, writers’ groups, mentors, readership from self-publishing and published short stories in magazines).
9. Substack newsletters show you have an ecosystem (community). They are a direct way to reach your audience. Traditional social media isn’t as important.
10. An agent should never submit your work without telling you.
11. You aren’t just competing with other submissions; you are competing with the agents, publishers, and editors’ time. Have you reduced all the hurdles to get your project moving forward quickly?
12. An agent will make a list of editors that they think would be interested in the project. They can only submit to one editor per publishing imprint.
13. Melissa has never had a manuscript that came in that she didn’t do any edits on.
14. When considering signing with an agent, ask about the timeline and what to expect in the process.
15. In a query letter, Melissa looks for answers that publishers will want to know. Such as what the book is and what it promises. She likes seeing that the writer has done their homework.

Bonus: If an agent is telling you your submission would benefit from work, trust their experience. They know all the questions that may arise from publishers. The fewer questions your submissions present, the better.

I turned this blog into a podcast. Have a listen:

Don’t forget to check out the upcoming WLT 2025 Agent Symposium sessions.