Do You Need a Literary Agent? Here's How to Know

When I first decided to write a book, I just assumed I needed a literary agent. With tons of new books coming out every single year, I figured the only way anybody would ever pay attention to me was if I secured an industry professional to help me.

The problem was, I didn't know where to start. So I did what everybody else probably does — I Googled "literary agents near me." Which is absolutely ridiculous, by the way, because a literary agent doesn't have to physically live near you to represent you. Once I fine-tuned my search by genre (which is probably what I should have done from the get-go), I connected with an agent right away.

I later found out I was fairly lucky — it's not typical to get signed that quickly. I actually remember thinking, right before our first meeting, is this man going to try and sell me a timeshare? It seemed odd that someone would want to sign me so fast. But when you're writing about someone as high-profile as Kurt Cobain, you do tend to attract some attention.

We connected, I signed my contract, and he walked me through the entire book proposal process — even gave me a sample to follow. It took me a couple of months to actually put one together, because I had no clue what I was doing. I actually wrote a whole post on how to put together a book proposal if you want the full breakdown.

Going on Submission

Once my proposal was complete, my agent told me I was "going on submission" — which I learned is where they send your proposal out to editors at publishing houses they think might be a good fit. I didn't think I'd get a book deal right away, but hey, you never know — I was optimistic.

I'll also say this: the book my agent pitched is not the book I wound up writing. In hindsight, I don't think pitching an idea is as strong as pitching a finished product. My book came from a very organic, natural place. I didn't line up interviews ahead of time and say "I'm going to talk to this person, then this person." One interview led to the next. I was referred from person to person. If I'd waited until the book was actually done, it might have been a much easier sell — though I also didn't fully grasp yet how research- and interview-heavy this book would be, and how many years it would take.

In hindsight, it was for the best that it didn't sell on that first pitch.

Trying Again — and Learning the Industry Doesn't Agree on Everything

After about a baker's dozen worth of pitches, I realized maybe an agent — at least right then — wasn't the right fit. I talked to an editor at a publishing house I was friendly with, and she gave me some honest feedback on what could have been tightened in the pitch, and suggested I might consider going at it alone.

I still wanted to try connecting with another agent, though — I was still pretty attached to the idea of "the industry," and going it alone felt daunting. I ended up talking to two more agents, and it was after those conversations that I realized I was better off on my own.

The first agent was rude and dismissive — which, fine, every industry has people like that — but more importantly, the way he wanted me to structure the book went completely against how I wanted it structured. He wanted me to lean into the sensationalism around Kurt Cobain, which I'd sworn from day one I would never do. He also told me that under no circumstances should I write myself or my own experiences into the book, because "readers don't care." Naturally, I didn't work with him. Not because I think I'm super interesting, but because the "why" behind my book is the whole point, and not something I'd compromise on.

The second agent I spoke with was actually wonderful. We just didn't end up working together. He told me that leaving myself and my personal experience out of the book would be "to the detriment of the book."

I wanted to write it the way I wanted it written either way — but it was eye-opening that two people entrenched in the same industry could have such opposite opinions. It was actually a few of Kurt's friends who said to me, "Write what you want. Self-publish if that's what's best. We'll support you."

So that's what I did. I wrote that book that I'd want to read, even if no one else might. I wrote that book that reflected my experiences, regardless of what an agent thought. I wrote the book that I felt mattered, and knew that, if nothing else, I was following my own internal compass.

My obvious takeaway: I wanted to work alone, unagented. No matter who I talked to, I got a conflicting opinion, and I wasn't about to go grey over it.

A few months later, I signed with my current publisher.

Agents are human, and opinions vary wildly in this industry — they're working off statistics, not a crystal ball. That doesn't mean you should avoid working with one. It just means I wouldn't take any single person's word as gospel. Had I followed one agent's notes to the letter, my book wouldn't exist in its current form, and I'd feel a hell of a lot less fulfilled as a writer. I'd rather write the book I actually believe in than chase what someone else swears is the formula.

So, Do You Need One?

It depends on what you're trying to do.

If you want to pitch one of the Big Five publishers, an agent is non-negotiable. Unsolicited pitches simply aren't entertained. No way around it.

If you're planning to self-publish, you don't need one at all.

Then there's the sweet spot: working with an independent publishing house that's distributed by one of the Big Five. You get the perks of an indie — much more one-on-one communication with your editor — with the reach of a Big Five behind you.

Beyond that, it comes down to a few honest questions:

Are you comfortable taking direction on your work? Most agents will have opinions on how your book should sound, and some won't sign you unless it reflects what they want. That could be a good thing or a bad thing — depends entirely on you and the agent.

Are you comfortable giving up a percentage of your profits? Most agents take 15–20%. If keeping all your money matters more to you, that's worth weighing. On the other hand, if an agent can land you a strong advance or get your book in front of a bigger audience than you could on your own, that cut might pay for itself. We never really know what's going to become a bestseller — that's ultimately up to your audience and how the book is marketed. (Which, side note, is probably its own post too — marketing your book once it's out in the world.)

Do You Need a Literary Agent? That's Entirely Up to You

At the end of the day, my advice is simple: write the book you want to write. If you believe an agent will honor and respect your work, your morals, and your ethos — sign with them. If you feel like they're pushing you toward something that goes against what you actually want to write, don't.

But also remember — this industry, like any industry, runs on give and take. Ask yourself honestly whether what you want is reasonable, or what your goals are. And if you're okay doing this on your own, then stand your ground and pitch publishers that accept unsolicited manuscripts. I promise you, they're out there. Or self-publish if that's a better fit. Only you can decide what's right for your book.