What to do when an agent offers representation
An offer of representation — usually called "the call", even when it happens over video — is the point where the power in querying briefly shifts to you. Handled well, it gives you a choice between agents and a clear picture of what working with each would look like. Handled badly, it can mean signing with the first person who said yes without knowing what you agreed to.
First, don't say yes on the spot
When an agent emails to set up a call, they are almost always preparing to offer. On the call itself, it is normal and expected to thank them, ask your questions, and say you'd like time to consider. Agents know you have other queries out; asking for time is not rude and won't lose you the offer. A reputable agent who pressures you to decide within a day or two is giving you useful information about how they'll behave later.
Before the call ends, confirm two things: that the offer is for representation of this manuscript (and, ideally, your writing career in that category), and that they'll send their agency agreement so you can read it.
Notifying the other agents
Within a day or so of the call, email every agent who still has your query, partial, or full manuscript. Reply in the same email thread as your original query where possible, and change the subject line to make the situation obvious, for example: Offer of Representation: THE LAST LIGHT.
Dear Ms. Lee,
I wanted to let you know that I've received an offer of representation for THE LAST LIGHT, an 85,000-word literary horror novel, which I queried you on March 3. Because you've been considering the manuscript, I wanted to give you the chance to respond. I'd be grateful to hear from you by Friday, May 16, if you're interested.
Thank you for your time,
Alex Morgan
Common practice is to give everyone one to two weeks. You can also notify agents who have only your query; some will request the full and read quickly, others will step aside. Agents who step aside will usually say so — reply with a short thank-you. Keep a list (the submission tracker works for this) so nobody is missed.
Don't invent an offer to speed agents up, and don't nudge agents who have already rejected the manuscript unless they explicitly asked to hear about it.
Questions to ask on the call
You don't need to ask all of these, and many will come up naturally. Write down the answers; after three calls they blur together.
About the book
- What did you like about it, and what do you think needs work before submission?
- How much revision do you expect, and roughly how long do you think that will take?
- Which editors or imprints would you send it to? Would you start with a big round or a small one?
- How would you pitch it? What comps would you use?
- What happens if it doesn't sell in the first round?
About working together
- How do you prefer to communicate, and how quickly do you usually respond?
- Will you keep me updated on submissions — who it's out with and what feedback comes back?
- Do you represent the career or just this book? What if my next book is in a different genre or category?
- Who handles foreign, audio, and film/TV rights — you, the agency, or co-agents?
- If you left the agency, what would happen to my representation?
About the agreement
- Is there a written agency agreement? Can you send it?
- What are the commission rates for domestic, foreign, and film/TV deals?
- How does either of us end the relationship, and what happens to deals already made?
- Are there any costs passed on to the author?
Talking to current clients
It is normal to ask to speak with one or two current clients, and reputable agents expect it. Ask clients about communication, how submissions were handled, how the agent behaved when a book didn't sell, and whether they'd sign again. If you can, also find a client independently — through acknowledgments pages, social media, or writer communities — rather than relying only on the clients the agent picks for you.
The agency agreement
Most agencies use a written agreement. Read every line. Things to understand:
- Commission. The long-standing norm at US agencies is 15% on domestic deals and around 20% on foreign and translation deals (where a co-agent splits the commission). Film and TV commissions are typically in a similar range.
- Termination. A fair agreement lets either side end it with written notice (often 30 to 90 days). The agent normally continues to receive commission on deals they negotiated, which is standard.
- Scope. Whether the agreement covers one book, all your work in a category, or everything you write.
- Expenses. Some agencies pass on limited costs such as courier fees or copies of books for foreign submissions; these should be modest and itemised. Reading fees, editing fees, or "marketing packages" are not legitimate agent charges — see publishing scams and red flags.
If a clause confuses you, ask the agent to explain it. The Authors Guild offers contract review to members, and the Association of American Literary Agents publishes a canon of ethics its members agree to follow.
Deciding
If you end up with multiple offers, the agent with the biggest name is not automatically the right one. Weigh the editorial vision (do their revision ideas make the book more like itself?), their recent sales in your category, how they communicate, and how you felt on the call. Then tell every offering agent your decision promptly, thank the ones you're declining, and withdraw from anyone still reading.
After you sign
Expect revisions before submission, then a period of being "on sub" to editors that can take weeks to many months. The advances and royalties guide and rights and contracts guide cover what happens if an editor makes an offer.