Nuts & Bolts

Ask the Experts: An Inside Look at Agenting

By Wayne Henninger, WIW Member


"I've probably had as good an experience as any writer in history. It was not without difficulties. My book, Everything Is Illuminated , was rejected from several agents and several publishers, and there were many times when things felt quite bleak. Nevertheless, I was finally able to work with an agent, Nicole Aragi, who is better at what she does than anyone I've ever met."

—Jonathan Safran Foer


Nicole Aragi owned a bookstore in England, and, interestingly, she believes it was that experience that set the groundwork for her career as a literary agent. After years of success with the bookstore, Aragi closed that chapter of her life, moved to the United States and learned the diverse art of agenting. She worked for Watkins-Loomis, eventually becoming one of the respected agency's most elite representatives. At the tail end of her eight-year stint at Watkins-Loomis, Aragi brokered a lucrative deal for Jonathan Safran Foer , launching the unknown twenty-five-year-old into literary stardom.

Three years ago, Aragi hung her own shingle. Almost immediately she instrumented a two-book deal for Colson Whitehead and auctioned Monica Ali's first novel Brick Lane, which became a huge success in the United States and abroad.   

How important is it for authors to find the right agent, rather than just any agent?

Quite important. Authors should find an agent who has their same tastes. Chances are the agent knows the editors with those tastes. Authors and agents should certainly share reading preferences.  

In seeking representation, is it essential for an author to be referred to an agent?

It's not essential. Ultimately, it's the work that counts. I don't know about other agents, but half of my clients came from either my slush pile or I found them.

How did you find them?

Through reading their published articles or short stories. If I read something that really interests me, I'll seek out the author.  

What happens if an author you contact already has an agent?

Many of the authors I have approached were early on in their careers, so there has never been an unpleasant situation.

One of your most recognizable clients is Jonathan Safran Foer . I understand he had an agent prior to you taking him on.

Yes, but his first agent was originally from Denmark, I believe. Only when she decided to return there did I begin working with Jonathan.  

When you represent an author whose work has already been submitted to houses by another agent, are you concerned about reintroducing a work that has already been rejected?

No. Mainly it's because I only work with books that I have fallen in love with it. If I've fallen in love with them, then I'm confident I can sell them because I know what specific editor should see the work. Now, if that editor has already seen it, I'll make the suggestion that perhaps the book was overlooked for some reason and that there should be a second opportunity. I'm also confident in the group of editors I know. The prior agent may have sent it to a different pool of editors.

What is the culture like among agents?

It's civil. Actually, I don't know many agents. I'm more interested in being introduced to editors and authors.  

What is the best agent/client relationship?

That varies from author to author. Some clients keep in close contact with me and want to know everything—who I sent the manuscript, the editor's name. Some authors are more distant. Some want to know of the rejections, where others don't. Some just want to talk about their current work, and may ask for suggestions on a particular chapter. I think the most important thing for an author is to be very clear with his or her agent as to what is expected. As an author, do you want a lot of contact with your agent? Do you want to see rejection letters? Items like those need to be clearly addressed.

Does your relationship with authors change as they become more successful?

As authors grow, agents need to be even more honest with their clients. Once authors reach a certain level, people surrounding them will often tell the author what he wants to hear. An agent can't do that.  

It seems like agents wear many hats—editor, business advisor, friend and confidant .

All of the above.

Even a shrink?

Yes, even a shrink.

What role does the agent typically play in the marketing of a book and publicizing it?

It depends on how much the publisher will allow. For me, whenever possible, I try to work quite closely with the marketing of a book. Most times, the house's publicity department handles the media for the first three months as the book is coming out. It's important that an agent not step on the publicity team's toes. Within that three-month window, an agent should be careful about working with the media because of the possibility of double booking or communicating something that shouldn't be. An agent may mean well by trying to get press, but the publicity department has a game plan and an agent should never mess with that. After the three months, most media requests come to me.

Do you put your authors on a career path? Meaning, do you talk subject matter for their next book, give them deadlines for chapters and drafts?

Yes, of course. Agents have to do that. We have to nag and push. We give deadlines—deadlines that are usually never met.

Let's talk about selling to publishing houses. How fast was your fastest sell?

Almost instantly. Same day.

Longest?

Six months.

Six months isn't long at all.

It was agonizing.

Are there any current works that are giving you trouble selling, and if so why?

I wouldn't say trouble . Two are taking longer, but it is only because in one instance an author's track record with respect to sales is in question, and the other work is unusual and hard for houses to categorize.

True or False: It's harder to get an agent than it is to get published?

Unfortunately, that's true.

What was it like owning your own bookstore?

I loved it. My experience with the bookstore really helped me in becoming an agent. It taught me what a good book is, what sells, and things like proper positioning in stores and what makes for a wonderful book jacket. I also had to be aggressive with sales. All of that has helped with agenting.  

Do you represent fiction and nonfiction?

All fiction. I'm from England and have studied Arabic literature, so I'm well rounded, but I absolutely love American fiction.  

What puts a bigger smile on your face, selling the work of a deserving author or seeing their words about you on their acknowledgement page?

What an interesting and tough question! It's very nice to do my job and sell a book. It's also nice to see my name on the acknowledgement page or if an author dedicates a book to me. I'm on cloud nine when I see that. Let's just say I smile when both happen.  

Aragi's clients include: Rabih Alameddine, Monica Ali, Andrea Ashworth, Dennis Bock, Charles Burns, Pang-Mei Chang, Dan Clowes, Edwidge Danticat, Alain de Botton, Junot Díaz, Nathan Englander, Nuruddin Farah, Jonathan Safran Foer, David Francis, Maureen Gibbon, Paul Griner, Daniel Hecht, Aleksandar Hemon, Mia Kirshner, lê thi diem thúy, Amin Maalouf, David Masiel, Jane McCafferty, Tova Mirvis, Julie Otsuka, Victor Pelevin, Scott Phillips, Michael Rips, Joe Sacco, June Spence, Manil Suri, Hannah Tinti, Brady Udall, Chris Ware and Colson Whitehead.