Technically, you don’t. However, unless you know the ins and outs of the publishing industry (or even if you do) my suggestion is to find one. Unless you are going along the route of self-publishing. Some people have good things to say about self publishing, and some do not sell any books at all. To be a success, it is almost imperative that you get an agent, your best advocate. It’s hard, but worth it.
Here is a brief overview of what WRITER BEWARE has to say about it:
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There are many views on the question of whether a writer needs a literary agent to make a first sale. Some people think a new writer’s energy is best spent on submitting directly to publishers. Others feel that, with the bigger publishers largely closed to unagented submissions, a new writer stands little chance without an agent. (For the record, I think that if you want to sell fiction to any large publisher, including the bigger independents, you’re best off looking for an agent.)
But there’s no disagreement on the fact that after that first sale is made, a good agent is a tremendous boon to a writer’s career. Agents have industry contacts and inside knowledge that most writers don’t possess. They keep current with editors’ tastes and needs, know when new imprints are starting up and when established ones are downsizing, stay abreast of changing corporate policies, keep track of who’s newly hired and who just got fired or laid off. They negotiate advances and publishing contracts to their clients’ advantage, and are experienced in marketing subsidiary rights. Just as important, agents serve as writers’ advocates in the increasingly complex and competitive world of publishing.
But there’s no disagreement on the fact that after that first sale is made, a good agent is a tremendous boon to a writer’s career. Agents have industry contacts and inside knowledge that most writers don’t possess. They keep current with editors’ tastes and needs, know when new imprints are starting up and when established ones are downsizing, stay abreast of changing corporate policies, keep track of who’s newly hired and who just got fired or laid off. They negotiate advances and publishing contracts to their clients’ advantage, and are experienced in marketing subsidiary rights. Just as important, agents serve as writers’ advocates in the increasingly complex and competitive world of publishing.
For a more in-depth reason, here is their response to that.
WHAT DO THEY DO?
Book agents are responsible for selling your book to a publishing agency. Your agent will tell you what publishing houses to send your book to. And if a publishing agency wants your novel, they will put in a bid for it. Book agents also go over the contract for you that publishing companies ask an author to sign to be in agreement with the money offer, what is expected of you, and the deadline you have to complete your novel(s). I’m not entirely sure what is in a contract, so please do not go exactly by what I’ve said. Agents will go over the contract for you so you will know if it is okay to sign.
DO I NEED TO PAY THEM?
No, nor should there be any stipulation that you should pay an agent to read your book. Agents get paid with the percentage of the profits made with the sell of your book. They will not need to get you to pay them to read your story for any reason. On the website, WRITER BEWARE it talks about it more in-depth:
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Dishonest agents prey on writers by charging fees, promoting their own paid services, engaging in kickback schemes, and misrepresenting their knowledge and expertise. These agents don’t earn their income by selling manuscripts to publishers, but by extracting money from their clients.
Dishonest agents may “represent” hundreds of writers, turning them over twice a year with a six-month contract that requires an upfront fee (reputable agents work on commission–they get paid only if you do). They may be fronts for editing services, charging inflated prices for substandard work and never attempting to sell the “edited” manuscripts. They may run fee-charging publishers (possibly under a different name, to conceal the connection), into which clients are funneled once they’ve racked up enough rejections to become desperate. They may refer writers to crooked critique services or dishonest pay-to-play publishers, receiving a kickback for their trouble.
Dishonest agents may “represent” hundreds of writers, turning them over twice a year with a six-month contract that requires an upfront fee (reputable agents work on commission–they get paid only if you do). They may be fronts for editing services, charging inflated prices for substandard work and never attempting to sell the “edited” manuscripts. They may run fee-charging publishers (possibly under a different name, to conceal the connection), into which clients are funneled once they’ve racked up enough rejections to become desperate. They may refer writers to crooked critique services or dishonest pay-to-play publishers, receiving a kickback for their trouble.
