By Don Schmidt, The Book Kahuna

After 40 years in the book publishing trenches—and I do mean trenches—I have seen the industry evolve in ways that are both fascinating and frustrating. From the halcyon days of typewritten manuscripts and padded manila envelopes, to today’s digital-first, algorithm-driven marketplace, one truth remains: authors still grapple with one age-old question… Do I really need a literary agent? It is a question that came up repeatedly in a recent survey I conducted among first-time authors. These are folks with stories to tell, passion in their hearts, and a burning desire to get published—but they are unsure how to navigate the gatekeepers that still (largely) control access to the upper echelons of the traditional publishing world. So today, I am putting on my publishing hat (again), and I am going to give you the straight talk on what literary agents do, why they matter, when you might need one, and when you might not.

Let us cut through the noise and dive into the core of the issue. A literary agent is, at the most basic level, a professional intermediary between an author and a publisher. But more than that, a good literary agent is a career strategist, a negotiator, a matchmaker, and—if you are lucky—a trusted partner who can help elevate your writing career to new heights. They know the editors at publishing houses. They know which imprints are looking for what. They attend conferences, shake hands, send emails, take meetings, and pitch books all day long. Their job is to sell your book, yes—but more importantly, to sell you as a viable, long-term investment to publishers who do not just want one book, but ideally, a brand and a voice that will generate consistent revenue.

Now, let us talk about why this matters. Publishing is a business. I have said this before, and I will say it again until I am blue in the face: no matter how romantic we make the writing process, at the end of the day, someone has to shell out cash to get your words into the marketplace. That means paper, printing, binding, editing, marketing, distribution, and now, digital conversions, metadata optimization, audiobook production, and on and on. All of that takes money, and traditional publishers are notoriously risk-averse. They want a sure thing—or at least a calculated risk that comes with upside potential. This is where agents come in. They curate the submissions. They function as a pre-screening mechanism. They develop relationships with editors over time and know exactly which editor might fall in love with your project. They help revise and polish manuscripts before they ever hit an inbox. In a way, they are like venture capitalists—placing bets on authors they believe in.

But let us talk turkey. You are an aspiring first-time author. Maybe you have finished your manuscript, or maybe you are working on your proposal. Do you really need to get an agent? The answer depends on your goals. If your dream is to be published by one of the Big Five publishers—Penguin Random House, HarperCollins, Simon & Schuster, Macmillan, or Hachette—then the answer is yes. Unequivocally yes. These major houses do not accept unsolicited submissions. In plain terms: if you send your manuscript directly to them without an agent, it is going straight into the slush pile—if it even gets opened. Most likely, it will get returned unread (if they still return anything at all). A literary agent is your ticket in. Without one, you are knocking on a door that no one is going to answer.

But—and this is a big “but”—if you are looking at smaller, independent publishers, or if you are exploring hybrid models, or if you are going the self-publishing route, then the role of an agent becomes less clear-cut. Many indie presses still accept submissions directly from authors. Some may even prefer it. And in the world of hybrid publishing—where authors pay for certain services but retain more control and royalties—the agent often is not part of the equation at all.

There is also the reality that the agent-author relationship is not always a bed of roses. Just because someone hangs out a shingle and calls themselves an agent does not mean they are qualified, connected, or even competent. I have seen some agents do more harm than good—sending out poorly written pitches, failing to follow up with editors, or just plain ghosting their clients. So if you are going to seek out an agent, you need to do your homework. Check their track record. Look at the deals they have made. Who are their clients? What kind of books do they specialize in? Do they have connections at the publishing houses that align with your goals? Ask around. Talk to their clients if you can. A good agent will be transparent and communicative. They will believe in your work as much as you do. And they will not charge you upfront fees—ever. Legit agents get paid when you get paid, usually taking a 15% commission on domestic deals and 20-25% on foreign and subsidiary rights.

Let us talk about timing. When should you start looking for an agent? This is one of the most common questions I get. The short answer: when your manuscript or proposal is ready to go. That means it is polished, professional, and formatted to industry standards. If you are writing fiction, you need a completed manuscript—beginning to end. If you are writing nonfiction, you can query with a proposal and sample chapters, but even then, it better be airtight. Agents get thousands of submissions a year. They are looking for any excuse to pass. Do not give them one. Edit your work. Get feedback from beta readers. Consider hiring a freelance editor to do a developmental or copy edit. Make your submission package shine.

Now, let me take a moment to dispel a myth. Some authors believe that if their manuscript is “good enough,” it will naturally find its way to a publisher, agent or not. That may have been true in 1975. It is not true now. The market is too crowded. There are too many voices clamoring to be heard. And while the cream does rise to the top, it needs help getting there. Agents are your megaphone. They amplify your signal. They increase your odds of cutting through the noise.

But what if you do not land an agent? Is all hope lost? Absolutely not. Let me be crystal clear here: plenty of successful authors have built careers without literary agents. Some start with self-publishing and build a platform so large that traditional publishers come knocking. Others go with small presses and gradually work their way up. Still others decide they like the control and higher royalty rates of self-publishing and stick with it. Your journey is yours. An agent is a tool—a valuable one, but not the only one in the toolbox.

Let us go back to the business side for a minute. Agents are not just matchmakers; they are negotiators. Once they sell your book, they handle the contract negotiations. And trust me, you want someone who knows what to look for. Publishing contracts are dense, complicated documents filled with legal jargon and clauses that can either help you or haunt you. Subsidiary rights. Reversion of rights. Out-of-print clauses. Territory definitions. Royalty escalators. These are not things you want to wade into blindly. A good agent will fight for better terms. They will push for a higher advance, better royalty rates, control over your IP, and strategic positioning within the publisher’s catalog. And if your book is successful, they will be your advocate when it is time to renegotiate or sell the next one.

There is also the long game. A smart agent is not just thinking about one book—they are thinking about your career. They will help you decide which idea to pursue next. They will guide your branding. They will help position you for foreign rights, audio rights, film and TV options, merchandising, speaking engagements, and more. A good agent thinks like a business partner. They invest in your success because your success is their success.

But I am not here to sell you on agents. I am here to help you make an informed decision. So here is the bottom line: If your goal is to go the traditional publishing route, especially with a large or mid-sized house, then yes—you absolutely need a literary agent. No way around it. If your goal is to publish quickly, retain creative control, or target a niche market that mainstream publishers will not touch, then you can absolutely go it alone.

Here is what I recommend to all the new authors I work with: Take a step back and define your publishing goals. Be brutally honest with yourself. Do you want a book deal with a Big Five house and a spot in Barnes & Noble? Do you want to get your book into readers’ hands as quickly and efficiently as possible? Do you want to maintain control of your IP? Do you want to build a business around your writing? Your answers to these questions will help you determine whether a literary agent fits into your plan.

And remember: publishing is a long game. Getting an agent can take months—sometimes years. So can getting a book deal. There are no guarantees. No magic bullets. But if you believe in your work and you are willing to treat your writing like a business, you have already taken the first step.

I have seen the industry from all sides: production, editorial, marketing, distribution, and yes—author development. I have seen good agents make careers and bad agents stall them. I have seen authors rise without agents and others flounder despite having one. The truth is, there’s no one-size-fits-all path anymore. The digital revolution blew the doors off that idea. What matters is that you understand your options, make informed choices, and commit to the journey—whichever path you choose.

So do you need a literary agent? Maybe. Maybe not. But you do need a plan. You do need to understand the business. And you do need to treat your writing career with the respect and seriousness it deserves.

Stay strong, stay strategic, and as always—keep publishing forward.

Don Schmidt
The Book Kahuna

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