ts strike a balance between labor-of-love projects and bring-home-the-bacon projects, with that balance being about 15% to 85%. So if you're an unpublished writer, without serious connections at a publishing house, you need tI spent about five years of my life as an agent, representing both screenwriters and book authors. I wasn't a scumsucking bottom-feeder. Then again, I ultimately decided I wasn't cut out to be an agent. Agents, especially in today's book business, are essentially salesmen. Therefore, many of them are, to varying degrees, sleazy, slippery, or even unethical. On the other hand, most do what they do because they love books. People you'll come across in this business, whatever their faults, aren't in it for any other reason. One doesn't choose a career in the book industry to become rich.

Still, though many agents are literary types with excellent taste--and these days, many are former editors--business realities dictate that their choice of client isn't always merit-based. They can read great books in their spare time; during business hours, they need to make money. Most successful agents strike a balance between labor-of-love projects and bring-home-the-bacon projects, with that balance being about 15% to 85%. So if you're an unpublished writer, without serious connections at a publishing house, you need to

today's book business, are essentially salesmen. Therefore, many of them are, to varying degrees, sleazy, slippery, or even unethical. On the other hand, most do what they do because they love books. People you'll come across in this business, whatever their faults, aren't in it for any other reason. One doesn't choose a career in the book industry to become rich.

Still, though many agents are literary types with excellent taste--and these days, many are former editors--business realities dictate that their choice of client isn't always merit-based. They can read great books in their spare time; during business hours, they need to make money. Most successful agents strike a balance between labor-of-love projects and bring-home-the-bacon projects, with that balance being about 15% to 85%. So if you're an unpublished writer, without serious connections at a publishing house, you need t

in this business, whatever their faults, aren't in it for any other reason. One doesn't choose a career in the book industry to become rich.

Still, though many agents are literary types with excellent taste--and these days, many are former editors--business realities dictate that their choice of client isn't always merit-based. They can read great books in their spare time; during business hours, they need to make money. Most successful agents strike a balance between labor-of-love projects and bring-home-the-bacon projects, with that balance being about 15% to 85%. So if you're an unpublished writer, without serious connections at a publishing house, you need t

ays, many are former editors--business realities dictate that their choice of client isn't always merit-based. They can read great books in their spare time; during business hours, they need to make money. Most successful agents strike a balance between labor-of-love projects and bring-home-the-bacon projects, with that balance being about 15% to 85%. So if you're an unpublished writer, without serious connections at a publishing house, you need tts strike a balance between labor-of-love projects and bring-home-the-bacon projects, with that balance being about 15% to 85%. So if you're an unpublished writer, without serious connections at a publishing house, you need to take commercial issues into consideration when approaching agents.

You also need to take personal issues into consideration. Look at things from the agent's perspective: Who's their ideal client? A writer who:

• Is personable and easy to work with. You're entering into a partnership, and you'll be spending lots of time on the phone or in person discussing the vision you (we hope) share for your work and career. Neither of you wants to spend that time with someone not on your wavelength.
• Has some understanding of the business, or at least shows a willingness to learn. Unless you've got a bestseller or a National Book Award under your belt, "I am an arteest who will make no compromises" will get you nowhere but in agents' and editors' circular files.
• Is willing to self-promote. These days, for publishing houses, selling a book is largely about