Your agent's reputation and connections is absolutely key to getting your book into the right hands. If your goal is the Big 5, if your goal is a writing career, you must be strategic about your choices and research deeply.

We don't talk about agent reputation in terms of their reputation with the EDITORS. We just talk about agent reputation online/in regards to their clients. But we should be talking about agent's reputation with editors. I'll explain with examples.

My first agent was a former UK editor. This meant that she was pretty damn beloved over there. People prioritized when she came in with a book. This meant when my book hit the UK sub market, people JUMPED to get a pre-empt.

This also meant that my first agent wouldn't even let the US try to grab for world rights. Her strategy--because of her connections--was to do a DUAL submission in the US and UK. I ended up making 50,000 dollars more on FFY because of this strategy.

She was able to do this because of her connections in the US and across the pond and her reputation among all those editors. She also took great care to talk the book up in meetings and lunches BEFORE she went on sub. Everyone was waiting for it and wanting to read it.

Let's move onto Jim, my current agent. I actually don't think I ever queried Jim in my long 7 year slog of querying. In those days, I viewed him more as a SFF agent, though I knew many of his clients who adored him so I knew he was solid.

Jim is the vice president of Dystel, an agency that's been around since the 80's. Jim's worked there for 18 years. Jim has 18 years of connections. So when he went out with BWH, even though he's often viewed more as a YA agent, the adult editors were OVERJOYED to hear from him.

I can't tell you how many rejections I got for that book that ended with "I'm so sorry I couldn't take this one on, but I would LOVE to see more adult books from your clients!" Because of his reputation that he built and the legacy he's apart of with the agency.

We did not sell BWH in a grand big deal, y'all. It was a very hard sell and it was a book that didn't get prioritized. Jim could've given up. Honestly, I had kind of given up. And then: Jim brings in Steve, a film agent he's known forever, but not ever had a chance to work with.

Steve loves BWH. Steve takes BWH out to Hollywood. It sells at auction. Its option ends up giving me six figures of income so far. Never would've happened without Jim's connections and him thinking: "This one might be for Steve."

Connections are important in this business. It's a business built on privilege and nepotism, so of course connections are important. It may feel gross, but deeply considering a potential agent's connections means you're being strategic about your career now and for the future.

Also having connections and understanding of the editors as people and editors can be incredibly helpful, match-wise. There are totally times when Jim and I are putting together a sub list and he's like "This editor and you would drive each other crazy." & I value that hugely.

I am totally not for everyone. I'm a strong personality and deeply reclusive as a writer when it comes to my original work. Jim having insight into the editors working styles is SO important so I don't end up driving a poor editor mad by being in a writing cave for months.