How to Get a Literary Agent in 2026
- Vicky Weber
- Apr 22
- 17 min read
Updated: Jun 30
As an aspiring author, you're probably starting to wonder how to actually get your book published. How to get a literary agent. Most importantly...where to even begin!
If you've decided on the traditional publishing process, then your next step (after writing your book) is to get a literary agent.
While you can get traditionally published without one, there are real benefits to having someone in your corner. But before we get into the how, let's look at the what.
There's a lot that goes into this, so let's start at the beginning.
What is a literary agent?
There are a lot of misconceptions about agents and what they actually do. Think of a literary agent as a real estate agent. When you're trying to sell your house, a real estate agent gets it in front of the wider market. Notice how a "for sale by owner" sign tends to turn into an agent's sign in the yard after a while?
That's because an agent has connections and market knowledge that get your house sold faster and for more money. A literary agent does the same thing for an unpublished manuscript: they get it in front of the right buyers.
More specifically, a literary agent represents you and your work to traditional publishers, and sometimes to audiobook publishers, foreign publishers, film producers, and other interested parties too. They negotiate your contracts, manage the business side of your career, and offer guidance on improving your manuscript along the way.
The biggest reason most authors want one: the major publishers don't accept unagented submissions. If you want your book on a shelf at the Scholastic book fair, the only current path there is through an agent.
So how do agents pull this off? They've built relationships with publishing house editors over years. They know who's looking for a story like yours and who isn't, and they use that knowledge to negotiate the best deal they can get you.
For one of Chelsea Tornetto's contracts, her agent made over a hundred requests for changes in the contract, things Chelsea wouldn’t have even known to ask for!
A literary agent is your advocate.
The catch: agents are hard to land. It takes time, patience, and a genuinely strong manuscript. But if you want this to be your career, even eventually, it helps enormously to have someone in your corner.
Check out more about the traditional publishing process in this video:
First: Write (and Revise) a Really Strong Book
Before any step on this list matters, your manuscript has to actually be ready. Not good. Not pretty good. SO SUPER STRONG.
Agents read hundreds of queries a week. They are not in the business of taking a "promising" manuscript and turning it into a sellable one. That's not what they're for, and it's not what they're paid for. They're looking for something that's already there.
So write your book. Then put it away for a while. Then come back and revise it like you mean it: read it out loud, cut every word that isn't earning its place, and check whether the story actually does what you think it does on the page (not just in your head, where you already know how it's supposed to land). If you have critique partners or a writing group, use them. A fresh set of eyes catches the things you've read past a hundred times.
When an agent likes your picture book, they usually respond with "What else do you have?" Most of the time, agents are looking for career authors, so you'll want a few other manuscripts on hand. But the one you send first should be your strongest, most polished version of itself, not your first draft with the typos fixed.
One way to test whether it's actually ready: put your book beside similar titles already on shelves and pinpoint what makes yours special. If you can't find anything, that's a sign to head back to the drawing board, not to the query inbox.
Querying a manuscript before it's truly ready doesn't just cost you that one agent. It can cost you every agent on your list, since most won't reconsider a writer who queried them too early with something unpolished. Take the extra month. Take the extra five months, if that's what it needs. A strong book is the only thing on this entire list you have full control over.
What Querying Actually Means
A lot of people ask me: how do I hire an agent? What do I pay them?
Unfortunately, that's not how it works.
Firstly, an agent needs to accept you, not the other way around. It's comparable to a job application in a lot of ways. The process of "applying" for an agent to represent you is called querying, and there's a lot that goes into it.
To query an agent, you need to prepare a query letter, a manuscript pitch, and an unpublished manuscript. You follow the submission guidelines for the agent you're interested in, and then...
...you wait.
To help you stand out from the crowd, here are the tried-and-true steps to get you there, in order:
How to Get a Literary Agent - Query in 4 Steps
Step 1: Research Literary Agents
Before you send your query letter, it's important to do research on the agent you plan to contact. Look up literary agencies online, follow literary agents on social media platforms like Twitter, or use a website like Manuscript Wishlist or QueryTracker. Make sure you know the agent's submission guidelines, what type of books they represent, and if and when they're open to queries.
This matters more than it sounds like it should. It's important to look for agents who are seeking stories like yours; if an agent doesn't represent picture books and you've written a picture book… you're not a good fit. Don't just look at the genre, though. Some agents want nothing to do with rhyming picture books but will happily consider the same story in prose. Submission requirements vary by agent, too, so read carefully before you submit anything. Some agents use an online platform for queries, others prefer email, and a lot of the email ones don't want attachments. Get this wrong and your query may never even get read.
On top of that, what an agent is looking for changes constantly. An agent might have been looking for non-rhyming picture books about seasons one week, then received hundreds of queries for exactly that, and now they're looking for something different this week entirely. Their tastes are fluid, shaped in real time by what they're seeing, hearing, and learning from publishers about what's actively selling.
So how do you keep up with a moving target like that? It's best to look to the literary agents individually. Many will post their #MSWL openly on social media, so following them keeps you in the loop. Others regularly update what they're looking for on Manuscript Wishlist or on their agency website, but this varies a lot from person to person.
Where (+ How) To Find A Literary Agent
We EXPECT to get rejections. We KNOW it's going to take time. It's tough, but not surprising. But something that is surprising is how hard it is to even FIND agents to query in the first place.
With the rosters of literary agencies changing almost daily and Google full of scam artists and dead ends, just finding an agent who's open to submissions and looking for your particular genre feels like an impossible game of hide-and-seek, where you're the seeker and the agents have all the best hiding spots.
Luckily, Chelsea and I have played this particular game of hide and seek before, and we can show you where to look! So stop wasting time on Google. Here's the inside scoop 🍨 on how to actually find a literary agent for your book.
One note before you dive in: these are the best places to find a literary agent and their contact information. But that's just the beginning of the agent research process. Once you've found an agent that sounds like they might be a good fit, visit their agency website and carefully read their submission guidelines and any other information posted there. Changes happen frequently, so check the agency website when you're compiling your list of agents to query, and again the day you plan to send the query out.
Another note: put your best foot forward! Before you begin, watch this video about the top three mistakes querying authors make, so you can avoid them.
Query Tracker. Query Tracker is a database you can use to search for agents and publishers, as well as keep track of the queries you send and their responses. All agents and publishers are vetted by the Query Tracker team, so you know they're legitimate. It's free to create an account and search the database. But for just $25 a year, you can access premium features like seeing an agent's average response time and more.
SCBWI. If your goal is to become a traditionally published author, I highly recommend joining SCBWI: the Society of Children's Book Writers and Illustrators. Dues are $95 for the first year and $80 per year for renewal. Members get access to what's affectionately known as "The Book," a downloadable PDF that lists agents and publishers vetted by the organization, noting what genres each accepts, commission rates, contact information, and more. You'll also get a subscription to INSIGHT, SCBWI's monthly publication featuring a different agent each month, often with exclusive submission opportunities attached.
Publisher's Marketplace. Publisher's Marketplace posts the latest information on book deals, publishing jobs, and the movement of agents and acquisitions editors between agencies and publishing houses. Its primary purpose is helping the movers and shakers of the industry keep track of who's where and what's selling. For querying authors, it can be a bit overwhelming, but it's a good way to see what sales an agent has actually made. You can also search a specific author to see who represents them. Because it's used by major industry professionals, the cost runs higher than other services here, $25 a month, though you can cancel anytime, and there's a $10 Quick Pass if you just need a one-time search. Be warned: unlike Query Tracker, agents have to set up their own profile and report their own sales for their information to show up, so not every agent will be listed.
MSWL—Manuscript Wishlist. Manuscript Wishlist is a searchable database where agents and acquisitions editors can post a little about themselves and the types of manuscripts they "wish" they'd find in their inbox. Each agent or editor can update their wishlist whenever they want, and they're also encouraged to post updates on Twitter using #MSWL. The site is searchable by genre and keyword.
The Directory of Literary Agents. This database is maintained by former literary agent Mark Malatesta. Use the tabs at the top of the directory to quickly find agents and agencies accepting picture books. Sign up for free with your email and you'll get the same list, only with convenient links to each agent's website, social accounts, and more.
Blogs with agent interviews. There are many wonderful kidlit blogs out there that frequently interview agents. These interviews give you a valuable sneak peek into an agent's personality and can help you craft a query that appeals directly to them. They don't include huge databases of hundreds of agents, but they make up for it in detailed, personal information, and they're a lot less overwhelming.
A few of Chelsea's favorites: Literary Rambles posts monthly agent spotlights, kidlit only. Kidlit411 is worth signing up for just for the newsletter. Published To Death isn't kidlit-specific, but posts a weekly list of agents who are new or newly open to submissions.
Twitter/X. Twitter is traditional publishing's unofficial hangout spot, so a great way to get to know the people in the industry is to follow them there. A few ways to use it: if you don't know where to start, here's a list of kidlit agents created by author-illustrator Debbie Ridpath Ohi (Twitter lists let you follow everyone on them with a single click). You can also search #MSWL to see what agents are currently looking for. And last but not least, don't forget Twitter pitch parties: during these events, agents skim through people's pitches and favorite the ones they like, and that favorite is an invitation to query them. Even if you aren't ready to pitch yourself, reading other authors' pitches and watching for participating agents is a great way to see what kind of stories sell. But Twitter is a great tool outside of pitch events, too. It's the easiest way to network with authors, editors, and agents in this industry, for free. Follow a handful of literary agents and before you know it, your feed fills up with people from the book industry you can connect with and learn from.
Books. There are several trusted publications that list literary agents open to submissions. Children's Writer's and Illustrator's Market is published by Writer's Digest, and Book Markets Guide for Children's Writers is published by the Institute for Writers. Both are reliable, but keep in mind the industry changes quickly, and since these books are only updated once a year, it's extra important to double-check submission guidelines on the agency website.
Step 2: Personalize Your Query Letter and Pitch
Once you've found the agent(s) you're going to query, it's time to make your query letter a little more personal. Start with the agent's name, and while not mandatory, it's often helpful to put in a few lines about why you think this agent would love your manuscript. It could be as simple as: "I saw you were looking for picture books that focus on multigenerational families and have a manuscript that I believe fits that well." Then dive into the rest of your query letter.
The letter itself is like a cover letter. It should draw the agent in with your book concept and then reveal more about yourself and why you're the best person to tell that particular story. That does not mean you need to list awards or writing credentials. Your reason or experience for writing could be personal. What was your inspiration for writing the book in the first place? Lots of authors forget to talk about that, but it's powerful.
The purpose of a query letter is to get the agent to want to read more, about your book and about you.
Literary agents will usually ask for all or most of the following:
Author bio
Website/social media links
Book synopsis
Comparable titles
Target audience
Quick pitch
A sample of the story (or the full book if it's under 1,000 words, like a picture book)
Let's break each of these down.
Author biography
Be sure to include a brief description of your writing experience, any awards or publications you may have, and a few lines describing your current work. Keep the information concise and relevant; this helps agents get a better understanding of your writing style and potential. Add a few sentences about yourself and why you're passionate about writing too. It helps agents connect with you and your work on a more personal level.
Website and social media links
Agents fully recognize that not all authors will have a large following, let alone a website or social media dedicated to their writing yet, but if you do, it's a great insight into you as a person. Your website and social links can be used to connect with readers, share information about upcoming books, and promote new releases, and an active, engaging presence online helps build your brand and boost your career over time. You don't need them before querying literary agents, but you'll want them before your book gets published as part of your marketing plan.
Book synopsis
Start by reading your book carefully and noting down the main plot points and characters. Next, create an outline of the story, including the beginning, middle, and end. Then write a synopsis that clearly summarizes the main plot points and characters. This is different from the pitch, because you're just communicating the "what" rather than trying to intrigue the reader. Especially for picture books, this section should be brief.
Comparable titles
This is your evidence that the market wants what you're selling. Comps (comparable titles) are other books with similar elements to yours. Some authors get confused by this because they think that agents and publishers are looking for stories that are 100% unique. But that’s only half true.
Agents and publishers want to make money, which means they don't want to take risks. They want to know your book will sell. So the key is finding other successful books with elements similar to yours and presenting those as evidence that your book will be a hit. It's also proof to an agent that you've been investing time reading other picture books and learning about the industry. If you can't find any or many, you can always say: ______ meets ______, to pull specific elements from other titles.
Do NOT mistake strong comps for big-name authors. If your book rhymes, don't name-drop Dr. Seuss unless your book is similar to his in many ways. Instead, find other rhyming books with similar content and themes as yours. Strong comps = relevant to your book.
Let's take my own book, GINGERSNAP SNATCHER, as an example. This can easily be described as Who Took the Cookie From the Cookie Jar but with a rhyming, holiday twist, and a Latinx family. From that description, a reader knows exactly what to expect from the book, but also what makes it special. Comparable titles are not intended to detract from what makes your book original.
To find some, start by researching popular books in the same genre. Do any of them have similar themes, messages, characters, or content? Look at writing style too. Here are some tips for finding comparable titles:
Ask for recommendations. Ask family, friends, or even Facebook groups on social media: "Hey, I loved (insert book title) and would love to find something else like it. Recommendations please!" This helps you find additional comps that are well-loved by other readers.
Use online store recommendations. On Amazon, the "also bought" section under a book gives you insight into what other similar titles people are buying. If you already have one comp, this can be a quick way to find books with similar elements.
Go to the library or your local bookstore. Look at what's popular in the bestseller and new release sections, and start asking how your book compares. You're looking for evidence that your book will sell, so finding similarities is a GOOD thing.
Target audience
A target audience is a potential buyer or reader of a book. For children's books, the target reader and target buyer are different, because children ages 3-7 (give or take) aren't usually the ones buying their own books. Publishers care about target audience because they want to ensure their time and resources are being used to create a book that will be successful, and a well-defined target audience helps publishers narrow down the competition when it comes to getting books into retail stores and onto shelves.
Pitch
A great pitch should be attention-grabbing and convey the core message of your book. Keep it concise and focused on the core elements. Often, it shouldn't give away the ending, because the goal is to pique curiosity. Check out this video if you'd like to see some great examples of short pitches.
Book sample
This is the easy part. An agent will specify how much they want to see. Some will request just the first chapter, while others ask for the first few chapters. If you have a picture book, they'll usually want to see the full book, since they're so short.
While all literary agents are looking for something different, here are some quick insights from an agent:
Agents want something already polished and ready to send to a publisher. If your book is a first draft, it's not ready for querying just yet.
Even if your story is well-written and edited, it also has to be a good fit for what the agent is looking for. For example, if an agent already has a funny picture book with an animal main character, they're unlikely to take on another one, because then their clients' books would be in direct competition with each other. So sometimes, agents have to reject books even if they like them.
They have to feel like the book is something they can easily market. This speaks to the concept itself, the quality, and the intended target audience too. If the book is about something that doesn't interest children, it's going to be difficult to get a publisher onboard, and since literary agents don't get paid until they successfully sell the book, they might choose to pass.
Step 3: Keep Track of Everything
Make sure you develop some way to keep a log of who you've submitted to and what their response was. Most agents don't want to be queried by the same person more than once, but that's a loose rule. It's more about the impression you left on them.
Step 4: Wait. Rinse and Repeat.
After sending your query to an agent, expect to wait a while before receiving a response. Agents don't get paid for their time reviewing queries, so it could take anywhere from two weeks to three months (or more) before you hear anything. It's important to be patient during this time, as agents often receive a high volume of queries and take a while to respond to each one.
It's important to note that not all agents will respond to every query. They get hundreds, sometimes thousands, each week, so it's important that when you are querying, you stand out from the crowd. After a lot of queries and a lot of patience, you'll (hopefully!) find your agent.
If the agent is interested in your work, they'll contact you to discuss next steps. If they're not interested, they'll likely send you a standard rejection email. Either way, remember that the agent's decision is not personal, and remain professional at all times.
What to do if an agent rejects your book
If you receive a rejection, it's important to take some time to process the news and give yourself a break. It can be discouraging and disheartening, but remember it's part of the writing process. Rejection can also be a great opportunity to make revisions, edits, and changes to your work, so ask yourself if there's anything you can do to improve. Keep in mind, though, that not all rejections are because of the quality of the book. Sometimes it has more to do with timing, the personal reading preferences of the agent, or their confidence that they can sell your particular concept.
It's also important to remember that you are not alone. Rejection is a part of the writing process and something writers of all levels experience. There are plenty of resources and support systems available to writers who've experienced rejection. Reach out to writing groups, join online communities, and talk to other writers to get tips and advice about how to improve your work and get it accepted.
Finally, don't give up. Rejection can be discouraging, but it doesn't mean your work isn't good enough or that it will never be accepted. All you can do is keep trying and keep striving to improve. With enough dedication and hard work, you can make your book the best it can be and find the perfect home for it.
Reasons an agent might reject your book
An agent might reject your book for a number of reasons, including:
not finding the book's premise or characters compelling
feeling the writing style or voice doesn't quite fit the market
a lack of clarity in the plot, structure, or pacing
difficulty connecting with the characters or the story
simply not feeling the book is a good fit for their list
It's important to remember that all literary agents have different tastes, so what one agent rejects may be just the right fit for another. It's always worth shopping your book around to find the right agent for your work.
How long does it take to get agented?
It varies greatly from author to author, but generally, it can take anywhere from a few months to a few years. This timeline depends on the author's level of effort, how well they market themselves, how much they network, and how well they understand the process.
It's also important to note that the amount of time it takes to find an agent isn't necessarily indicative of a person's talent or success. It's more a reflection of effort and approach. Ultimately, the key to success is to remain diligent and patient and to keep learning and growing as a writer.
Querying can be a daunting process, but with the right preparation and research, you can make the most of your submission and get your work out there!
Do You Pay a Literary Agent?
No. And the actual arrangement surprises a lot of new authors.
Once an agent accepts you, it's their job to sell your manuscript to a traditional publisher. Then the publishing process begins: first editing, followed by illustrations from their in-house professionals. The publisher handles, and pays for, everything, including your literary agent.
Here's how that payment actually flows: the publisher sends a check to your literary agency. The agency deducts their earnings and then writes you a check for the rest. Most picture book agents get about a 15% commission on sales. Some people see that as a downside, since the margins in publishing are already small. I don't see it that way.
Agents are motivated to make sure the books they represent sell well, because they don't get paid unless they do. A good agent earns that 15% by getting you things you couldn't have gotten on your own: a better advance, contract terms you wouldn't have known to ask for, access to publishers who don't even look at unagented submissions in the first place. You don't pay a literary agent. They don't get paid unless they help you become a published author. Your success is their success.
I can tell you firsthand that the income side of agenting is not glamorous, especially at the start. I started at The Purcell Agency in mid-August 2022. Despite hours of work, pitching, and responding to queries, pending contracts in the new year meant I got paid $0 from 2022 as a literary agent. No matter how much an agent makes in a given year, they have to put in a lot of hard work to get their authors published and make sure the books they represent are successful. That's why literary agents need to be so selective about which books they take on.
Need Help Publishing Your Children's Book?
Want even more help putting all of this into practice? This entire process is exactly what we cover inside the Profitable Picture Book Program. It's designed specifically for children's book authors who want to do this right, not just once, but as a real career.
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