Submission Rules for Working With a Publisher Directly
by Mary Kole | Former literary agent, now a freelance editor, writing teacher, and IP/story developer for major publishers and creators.
Recently, I’ve seen some questions about working with a publisher directly, without using a literary agent. One Good Story Learning member summed it up nicely:
Agents seem to praise my writing but turn my ideas down. They say there’s no market for what I write. And yet publishing house editors who hear about the idea seem to be a lot more positive. Does this sort of thing happen often? Who's correct in this situation? Should I be working with a publisher instead of trying to attract a literary agent first?
Working With a Publisher Without or Instead of an Agent
Let me try to address this thoughtfully, without ruffling any feathers. Whenever you're submitting work to publishers, it's important to remember that agents and editors serve different purposes and are part of distinct stages of the publishing journey. Agents can sometimes be accused of being attracted to the most "commercial" options in order to maximize their returns. (The literary agent career is commission-based, after all–anything else is a publishing scam.)
Agents also like to create competitive situations, otherwise known as a book auction or a bidding frenzy. They then use this momentum to sell additional book rights, like foreign and film, while taking a percentage of the sale as their commission. It behooves the agent to sell a project that’s going to make a big splash, in other words.
Seeing this, writers wonder whether working with a publisher directly is the better approach, especially if their work is more “niche” or less commercial. Editors have a different approach. They're typically sympathetic towards the more offbeat projects, paying less attention to publishing trends because they aren’t as responsible for their own bottom lines.
They understand that the publishers that employ them cater to many audiences, and they know there are plenty of opportunities for a prospective book. Ready to go beneath the surface, they have no problem taking a chance on something not so immediately or obviously profitable. Of course, they're always feeling the pressure from their bosses to bring in worthwhile projects. But they don’t live or die by commission.
Editors and Working With a Publisher
Though editors put in a lot of hard work, due to the stability of their positions within larger corporations, they are often able to take their time and provide more comprehensive feedback for submissions they receive, or at least to consider them in less of a hurry. (Literary agents will tell you that a lot of editors are “black holes” and take their time considering, so this is sometimes a negative as well.) Not to mention, the salary that comes with such job security provides them with a level of individual financial stability, too.
Admittedly, while working with a publisher directly sounds appealing, book editors are responsible to their own teams: their employers, editorial boards, finance departments, marketing teams, and so forth, who, in the end, may put an end to the project with a "no". (Though there have been a lot of conversations recently about low pay and high work expectations in all sectors of publishing, and how the whole system is under an incredible amount of strain.)
Before you jump to the conclusion that agents are mercenary art-killers and editors are starry-eyed idealists, let me add an extra layer of complexity: In the real world, it's no easy feat for any party to have all of their wishes granted. There are compromises expected at all levels of the publishing game. These blockbuster commercial projects, likely to sell for six or seven figures, are a rare occurrence. Everyone wants one and everyone will fight for it when it appears, but only one agent and then one publisher can take it home.
A Case for Working With a Publisher
When I was a literary agent, I had two different experiences. Sure, organizing a big auction was amazing, but in truth, nothing would beat selling a “quiet” book to the ideal editor who resonated with and understood a project right away. This task may require more effort for often fewer (monetary) gains, yet the gratification it brings is unparalleled.
Getting a book deal is a complex endeavor, especially when the project doesn’t have an overt "high-concept" commercial appeal. Agents often need to focus on more commercially viable ideas to survive, while publishing house editors need to be persuasive in order to get the team on board and make an offer.
Writers who want to start off working with a publisher instead of an agent can approach some publishers directly. Admittedly, unagented submissions are only accepted at smaller or regional publishers. But if you don’t think you have a project that will attract an agent, working with a publisher directly might be the right choice, especially as you strive to build publishing credits.
No matter how creative an idea may be, the publishing industry is highly competitive, and some ideas simply aren't viable investments. Understanding the ins-and-outs of the process, however, can give writers valuable insight into why agents and editors make the decisions they do. Contrary to popular belief, there is often much more nuance to these decisions than meets the eye.
There will never be a guarantee available that every book that’s written will be published, but we can offer guidance in navigating the ever-changing publishing landscape and help you strategize whether you should be submitting to agents or working with a publisher. Whether working with an agent or working with a publisher, you should keep learning and one day you will see your dreams come true.
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