Do Writers Need a Literary Agent

 

Writers rarely ask small questions. The most common one is, “How do I get published?” The second, and often the one asked with the most urgency, is, “Do I need a literary agent?”

The question usually comes when the manuscript is finished, or nearly so. The writer has labored over chapters, poured heart and history into words, and now stares at the looming wall of publishing. It feels like standing in front of a locked door without knowing if the key is in your pocket or in someone else’s hand.

Literary agents are often described as gatekeepers. They decide which manuscripts reach editors at major publishing houses. Some view them as advocates, while others see them as obstacles. The truth, drawn from decades of experience in publishing, is more textured than either caricature.

Agents are essential if a writer wants to be published by one of the so-called “Big Five” publishers—Penguin Random House, HarperCollins, Macmillan, Simon & Schuster, and Hachette. These companies rarely, if ever, accept unsolicited manuscripts. An agent is the bridge into their offices. Without one, the manuscript is unlikely to make it past the receptionist.

But not every writer needs to knock on those particular doors. Independent presses, university publishers, and regional houses often welcome direct submissions. They may actually prefer dealing with the author rather than an agent, since the relationship can be more personal and less transactional. Many fine books have found their way into print through this path. Angela’s Ashes by Frank McCourt began with small-press attention before climbing into the global spotlight. A River Runs Through It by Norman Maclean was published by the University of Chicago Press, hardly a commercial powerhouse at the time, yet the book became a classic.

Another reality: having an agent is no guarantee of success. Agents are human. They weigh projects against the market, their own connections, and their personal tastes. A rejection doesn’t mean the manuscript is without merit; it may only mean it doesn’t fit that particular moment in the industry. Writers sometimes forget this and confuse silence with failure.

I remember one author who spent years pursuing agents, sending query letters, rewriting pitches, and waiting for replies that never came. When discouraged silence set in, the author came to us. The book found its audience, not through a Manhattan office, but through word of mouth, readings at local libraries, and a community eager for the story. Success came only by another door.

Agents can be invaluable allies, no question. They negotiate contracts, protect rights, and often know the hidden currents of publishing no author could track alone. However, the need for one depends on the type of publishing path a writer wants to pursue. For some, the prestige and reach of the Big Five make the agent route a necessary option. For others, the speed, intimacy, and independence of smaller publishers make an agent optional.

The marketplace has also shifted. Self-publishing, once dismissed, now stands as a legitimate avenue. Writers who once would have depended on agents to open doors can now open their own—through Amazon’s Kindle Direct Publishing, IngramSpark, and other platforms. This doesn’t erase the work of marketing, editing, and design, but it does give writers more control than ever before.

So, when a writer asks if they need a literary agent, the answer isn’t a simple yes or no. It’s more a matter of direction. Where do you want your book to go? If you’re seeking the skyscrapers of New York publishing, an agent is necessary. If you’re looking for a faithful regional readership, or a niche audience, or even to manage the book yourself, then you may not need one.

The real question isn’t whether you need an agent, but what kind of writer you want to be. Do you want a career tethered to traditional houses, measured by national reviews and bookstore chains? Or do you want a career defined by community, by smaller but often deeper connections? Both are valid. Both require commitment. Neither can be built overnight.

And here is the irony. The energy spent chasing agents can sometimes eclipse the energy spent strengthening the writing itself. A well-written manuscript, clear in purpose and polished in craft, will eventually find its home. Agents, publishers, and readers alike still recognize a voice worth listening to.

That truth steadies the heart of any writer. Whatever path you choose, keep writing. Keep revising. Keep daring to put words in order until they carry more than just ink—they carry conviction.

Stories like these remind us how words shape lives—how they can steady us, stir us, and spark change. The Power of Authors, by Evan and Lois Swensen, carries this conviction to its core. It isn’t a manual on writing but a meditation on purpose, showing how every word—whether in a novel, a thank-you note, or a simple message—can echo far beyond its moment. This book invites readers to see authors not only as storytellers, but as builders of memory, guardians of truth, and quiet catalysts of change.

It’s available now on Amazon (http://bit.ly/3K6o8AM), at Barnes and Noble, and everywhere good books are sold.

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