Jenny Bent grew up in a house full of books and always knew she wanted to be involved in publishing. So when she graduated from college, she got a job working for the Sagalyn Agency in Washington, DC, where she eventually became foreign rights manager. She later worked as an editor for a book packager, then as a bookseller, and now represents her own titles as a literary agent with the Harvey Klinger Agency in New York City.

Bent holds a B.A. and M.A. in English literature from Cambridge University in England.

Anna Olswanger: What's the best way for a writer to find an agent?

Jenny Bent: Most of my clients have been referred to me by other writers or by other industry professionals. If you don't know any writers or industry professionals, the answer is to network: attend writers' conferences, join a writing group, take writing classes. Work on making connections with people who can help you.

Otherwise, do your homework—check out the numerous reference books on agents and find out who accepts work in categories similar to yours. Go to bookstores and look at the acknowledgements in books. Often the writers thank their agents. You can then approach an agent by saying, "You were the agent for so-and-so, and I think my work is similar."

Olswanger: How should a writer contact an agent?

Bent: Always approach the agent via a query letter. Never call first unless one of that agent's friends or clients has referred you and told you it's okay to call. The query letter should contain a short synopsis and your biographical information. It's important for the agent to know about you and your writing credentials, and if you are submitting exclusively or simultaneously. Never forget the SASE because many agents won't respond without one.

Olswanger: What are some common mistakes you see beginning writers make?

Bent: I turn down most of the unsolicited submissions I get for the simple reason that they are not well-written. Beginning writers need to read everything they can get their hands on, and they need to take classes or join writing groups to practice and hone their craft. While I respect the artistic vision, I think many beginning writers would benefit from taking the writing advice of their agent or editor. And too many new writers assume that their publisher will sufficiently promote and market their books. In fact, writers have to work like crazy to make sure their book is a success.

Olswanger: What are some common mistakes established writers make?

Bent: Established writers don't get enough editing. I don't know if it's because they think they don't need it, or because editors are getting too busy to edit. If I were a successful, established writer, I would insist on being properly edited, even to the point of hiring an outside editor.

Olswanger: How have you changed as an agent since you started out?

Bent: It's a tough business. I've become more cautious about signing projects up, although I'm not sure that's a good thing—it's important to take some chances. I'm also more reluctant to take on clients on the basis of a partial, rather than a complete, novel manuscript.

Olswanger: What kinds of manuscripts are publishers signing up now?

Bent: Narrative nonfiction is hot. By narrative nonfiction, I mean wonderfully written nonfiction that tells a story. Health is another hot topic, but it's a crowded field, and writers have to be doctors with impressive credentials and new ideas. Within health, alternative health is big, especially nutritional cures.

Olswanger: How willing are agents to negotiate contracts with small publishers?

Bent: If there is no upfront money, the agent will be doing a lot of work for no money, and that's a deterrent. But I think some agents will negotiate a contract with a small publisher if they think the writer has long-term potential. If an author has an offer from one of these small publishers and is having trouble getting an agent, he or she should just hire a lawyer who specializes in publishing and pay the lawyer by the hour to negotiate the contract.

Olswanger: Is nonfiction or fiction easier to sell?

Bent: Nonfiction is easier to sell to publishers, even though fiction sells better to the public. That's because it's much easier for an editor to tell if nonfiction is going to work, as opposed to fiction which is subjective. It's also easier to break out an unknown in nonfiction—if you look at the fiction bestseller list, it's almost entirely made up of "brand name" writers.

Olswanger: What are some mistakes writers make in the author-agent relationship?

Bent: Authors are often too quick to sign with the first agent who comes along. Unfortunately, there are unscrupulous agents out there, so make sure you thoroughly check out anyone who wants you to sign an agreement. A good source for this is www.agentresearch.com. Get the list of questions that the Association of Authors Representatives gives out, and ask the agent all of them. If the agreement is confusing in any way, have a lawyer who specializes in publishing look it over. Try not to sign any agreement with a time limit. Get one which is open-ended and can be canceled at any time by either party.

Olswanger: What makes you want to work with new writers?

Bent: One word: credentials. In terms of fiction, it helps if they've published short stories, won contests, and have an MFA from a prestigious university. With practical, self-help type nonfiction, I like to see articles, lecturing, advanced degrees, and television appearances. The other thing that would make me want to work with unpublished authors is a glowing referral from another client who has read their work. But the most important thing is talent: great writing, tight plot, and compelling characters.

Text copyright © 1998 and 2003 Anna Olswanger and Jenny Bent. Illustration copyright © 2001 Deborah Zemke. Visit Harold Underdown's The Purple Crayon for other interviews by Anna Olswanger.