An Australian Indie Author’s Guide to Literary Agents

One important note before we dive in: submission windows, agency openings, and individual agent preferences change regularly.

Use this piece as a framework. Always verify current submission status directly on agency websites.

First: Do You Actually Need One?

Not every author does.

This surprises people, but it’s true — and Australia is a slightly different market from the US or UK in this regard.

In the United States, getting past the front door of a major publisher without an agent is essentially impossible. The Big Five don’t accept unsolicited manuscripts. Full stop.

Australia operates differently.

Several reputable publishers here still accept unagented submissions, at least periodically. Allen & Unwin, University of Queensland Press, Fremantle Press, and others have at various times opened their doors to direct submissions.

The Australian market is smaller, more personal, and historically more accessible.

That said, an agent significantly improves your odds.

They have relationships with acquisition editors, they understand what a publisher’s list actually needs right now (not six months ago), and they’re expert negotiators who will almost certainly get you a better deal than you’d negotiate yourself.

For most authors targeting the major publishers — Penguin Random House Australia, Pan Macmillan, Hachette Australia, HarperCollins — an agent is the practical path.

So: not mandatory, but often the right move.

What a Literary Agent Actually Does (And Doesn’t Do)

There’s a lot of romanticised nonsense written about literary agents. Let me give you the plain version.

A good agent does the following:

• Reads your manuscript and provides editorial feedback before submission
• Identifies the right editors at the right publishers for your specific book
• Writes and sends submission packages to publishers on your behalf
• Negotiates your contract, including advance, royalties, subsidiary rights, and foreign rights
• Acts as a buffer between you and your publisher when things get awkward
• Manages rights sales — audio, translation, film, television
• Guides your career beyond the first book

A literary agent does not:

• Guarantee you a publishing deal
• Fix a manuscript that isn’t ready
• Make your book successful after it’s published
• Charge you money upfront for any of the above

That last point is worth repeating because it’s your clearest red flag for scams: a legitimate agent earns their income exclusively from commission.

In Australia, the standard is around 15% of domestic earnings and 20% on foreign rights deals, in line with industry practice globally. They don’t get paid until you get paid.

If someone is asking for money before they’ve sold anything, they are not a literary agent.

They are a problem.

“A legitimate agent earns their income exclusively from commission. They don’t get paid until you get paid. If someone is asking for money upfront, they are not a literary agent.”

The Australian Literary Agent Landscape

The Australian agency scene is small.

That’s not a criticism — it’s just the reality of a market of 26 million people.

There are fewer agencies here than in the UK or US, which means agents receive high submission volumes and are, predictably, selective.

The peak body is the Australian Literary Agents’ Association (ALAA), formed in 2003. Their members commit to a Code of Practice — including the prohibition on reading fees — and the ALAA website is a sensible starting point when researching who’s reputable (austlitagentsassoc.com).

The main agencies operating in Australia include some well-established names.

Curtis Brown Australia is the country’s oldest and largest literary agency, representing a significant roster of Australian and New Zealand authors. They open submissions in March and August only — and submissions received outside those windows are deleted without reply, so mark your calendar.

A4 Literary is a newer agency championing Australian and New Zealand voices, open to literary and upmarket fiction, narrative non-fiction, and memoir.

Alex Adsett Literary has carved out a strong reputation, particularly in genre fiction and hybrid publishing. However, their open submission periods are selective.

Zeitgeist Agency, Golvan Arts Management, Annabel Barker Agency, and Australian Literary Management round out a landscape where agents are careful, community-connected, and not impressed by cold form emails.

Most Australian agencies accept submissions only from authors residing in Australia or New Zealand.

If you’re an Australian living abroad, many will still consider you — but check each agency’s specific requirements.

A useful, regularly updated list of agents and their current submission status is maintained at lloydliterary.com by Virginia Lloyd, a former editor and literary agent who updates it quarterly.

“The Australian agency scene is small. Agents here receive high submission volumes, have deep publisher relationships, and are not impressed by cold form emails.”

What Agents Are Looking For (Right Now)

This changes.

That’s the frustrating truth of it.

But some things are consistent.

Australian agents are generally looking for finished, polished, market-aware manuscripts.

Not “nearing completion.”

Not “in its second draft.”

Finished.

The query process is competitive enough without adding the variable of an unready manuscript.

Genre matters.

Most Australian agencies focus on adult literary and commercial fiction, narrative non-fiction, memoir, and children’s or young adult fiction.

Science fiction and fantasy have historically been harder to place through Australian agents specifically — though this is changing, with some agencies now actively seeking these genres.

Self-help, poetry, and short story collections are rarely represented.

Comp titles (comparable books) are increasingly important. Agents want to know where your book sits in the market.

“Like nothing else out there” is not a selling point; it’s a red flag that you don’t understand your genre. Pick two or three published books from the last three to five years that share your audience, tone, or subject.

Be specific and be honest.

Word counts matter more than most writers expect.

For adult fiction, the broadly accepted range is 80,000 to 100,000 words. Literary fiction can run longer. Commercial fiction should generally stay tighter. Non-fiction varies significantly by category. A debut manuscript at 140,000 words is carrying extra weight going in.

How to Actually Find the Right Agent

Random querying is a waste of everyone’s time, including yours. A targeted, researched approach is the only sensible strategy.

Start with the ALAA member directory.

Then cross-reference with Australian Writers’ Centres (particularly Queensland Writers Centre and Writing NSW, both of which maintain useful agent resources).

The lloydliterary.com list is worth bookmarking and checking quarterly, as it tracks submission status in real time.

Look at the acknowledgements pages of Australian books you admire in your genre. Authors frequently thank their agents by name. That’s free market research.

Look up specific agents on social media. Many agents — particularly newer ones building their lists — tweet or post publicly about what they’re seeking. This is called a MSWL (Manuscript Wishlist) in publishing shorthand, and it’s a genuinely useful signal about what a particular agent wants at a particular moment.

Attend Australian writers’ festivals and events. Agents attend events such as the Brisbane Writers Festival, Sydney Writers’ Festival, Emerging Writers’ Festival, Byron Writers Festival, and Adelaide Writers’ Week.

Some events run pitching sessions or manuscript speed-dating events where you can have a brief in-person conversation with an agent. These introductions carry more weight than cold queries.

Build your shortlist carefully.

Five to ten well-researched agents is far more effective than blasting sixty cold queries to everyone with the word “literary” in their email signature.

The Query Package: What You Actually Need

Different agencies have different submission requirements, so read each one carefully. Ignoring submission guidelines is the fastest way to get deleted. That said, most Australian agents want roughly the same core components.

The query letter:This is your first impression, and it needs to be tight. One page maximum. Open with a one-to-two sentence hook that captures the essence of your book — genre, stakes, voice. Follow with a brief pitch paragraph (think back cover copy). Add your comp titles. Include a short author bio with any relevant credentials or publishing history. Close professionally.

Address the agent by name. Spell it correctly. Getting an agent’s name wrong is a small thing that signals you don’t pay attention to details — not a quality that recommends you as a writer. And personalise the letter slightly: mention a specific book they represent that you admire, or a recent interview where they mentioned what they’re looking for. One or two sentences is enough. It shows you’ve done your homework.

The synopsis:A full synopsis of your manuscript, usually one to two pages, including the ending. Yes, the ending. Agents need to know you can land a story. This is probably the most loathed document in the writing world to produce, and most writers are bad at their first attempt. Write it, then cut it in half, then cut it again.

Sample pages:Usually the first three chapters, or the first 50 pages, or the first 10,000 words — again, check each agency’s specific requirements. Format in standard manuscript format: 12-point serif font (Times New Roman is fine), double-spaced, 2.54cm margins.

Don’t include extras. No cover art mock-ups. No marketing plans. No lengthy author statements about why you wrote the book. Just what was asked for.

Red Flags: When to Walk Away

The publishing world has its share of people who prey on hopeful authors. Here’s what to watch for.

• Any agent who asks for money upfront — reading fees, evaluation fees, ‘handling’ fees, marketing contributions. The answer is no, always.
• Guarantees of publication or bestseller status. Nobody can promise this. Nobody.
• An agent who contacts you out of the blue, unsolicited. Reputable agents are buried in queries; they don’t need to cold-prospect for clients.
• Vague or unverifiable credentials. If you can’t find their agency on a professional directory, their sales history on a reputable site, or their name in an acknowledgements page, be cautious.
• Pressure to sign quickly. A legitimate agent will give you reasonable time to review a contract — the industry standard is around 2 weeks from the offer of representation. Anyone pushing you to sign within 24 hours is not operating professionally.
• An agent who also wants to sell you editing services. Editorial feedback from a good agent is part of what they do — not something you pay separately for. If they’re steering you toward a paid editing service before they’ll take you on, that’s a conflict of interest at best and a scam at worst.

The Writer Beware website (writerbeware.blog) and the Science Fiction & Fantasy Writers Association maintain excellent, regularly updated resources on predatory agents and publishers. It’s worth a read before you start querying.

The Call: What to Ask Before You Say Yes

Congratulations.

An agent has read your manuscript, loved it, and wants to hop on a call to discuss representation.

This is the moment you’ve been working toward.

Don’t say yes on the call.

Industry practice gives you roughly two weeks to consider an offer of representation — enough time to notify any other agents who have your manuscript (yes, you should do this), reach out to the offering agent’s existing clients for a reference check, and think clearly rather than in the glow of the moment.

Come to the call with questions. Here’s what actually matters:

About your book

• What specifically excited you about this manuscript?
• Do you see any revisions needed before going on submission?
• Which publishers are you planning to target, and why?

About working together

• How many clients do you currently represent?
• How do you prefer to communicate—email, phone, or both? How frequently?
• Will I be working primarily with you, or also with colleagues or assistants at the agency?
• How do you handle it if a manuscript goes out on submission and doesn’t sell?

About the business

• What are your commission rates for domestic and foreign rights?
• How do you handle subsidiary rights—audio, film, translation?
• What does your agency agreement look like, and what are the termination clauses?
• Are client funds held in a separate account?

That last one sounds odd, but it’s a sensible question.

In Australia, publishers pay your agent, who then passes your share to you. Knowing how the agency handles money — and what would happen to your contracts if the agency closed or your agent moved on — is basic due diligence.

The call is a two-way interview. You’re assessing them as much as they’re assessing you. A good working relationship with a literary agent can shape your career for years. A bad one — the wrong fit, misaligned expectations, poor communication — costs you time, energy, and sometimes money.

“The call is a two-way interview. You’re assessing them as much as they’re assessing you. A good working relationship with a literary agent can shape your career for years.”

What Happens After You Sign

The agent-author relationship begins before your book goes on submission. Most agents will want revisions first — sometimes significant ones. This is normal, and if your agent is any good, their editorial instincts will improve your manuscript. Listen.

Push back when something doesn’t feel right. But listen.

Once your agent and you both agree the manuscript is ready, it goes out for submission to publishers.

This is a waiting game.

It can take weeks.

It can take months.

Publishers move slowly, and agents are often managing multiple submissions simultaneously. Your agent should keep you informed—but “informed” doesn’t mean a daily update.

Ask at the outset how they’ll communicate news.

If you get an offer, your agent negotiates. If you get multiple offers, they manage that too. If the manuscript doesn’t sell, you’ll need to discuss options — revision and resubmission, shelving the project and moving to your next book, or reconsidering other publishing paths.

An agent who is honest with you when things aren’t working is worth more than one who tells you everything is fine when it isn’t.

One Final Point

The manuscript has to be ready.

I know I’ve mentioned this, but I’ll say it again because it’s the thing most writers skip past.

You don’t query an agent with a first draft.

You don’t query with a manuscript you finished last month.

You query when the manuscript is the best it can possibly be — after beta readers, after your own ruthless editing passes, after you’ve read it aloud and caught every clunky sentence.

Australia’s pool of literary agents is small. Agents talk to each other. Submitting before you’re ready doesn’t just get you a rejection — it burns a submission opportunity that you can’t easily re-open.

Most agents will not reconsider a manuscript they’ve already passed on, even if you’ve substantially revised it.

Get it right first.

Then go.

References and Further Reading

• Jericho Writers — ‘Australian Literary Agents: A Complete List.’ jerichowriters.com
• Australian Literary Agents’ Association (ALAA) — Member directory and Code of Practice. austlitagentsassoc.com
• Writing NSW — ‘Literary Agents’ resource page. writingnsw.org.au
• Writers Victoria — ‘Literary Agents’ and ‘How do I find a literary agent?’ pages. writersvictoria.org.au
• Virginia Lloyd / Lloyd Literary Services — ‘A list of Australian literary agents’ (updated June 2025). lloydliterary.com
• Curtis Brown Australia — Submission guidelines. curtisbrown.com.au
• A4 Literary — Submission guidelines. a4literary.com
• Alex Adsett Literary — Submission guidelines. alexadsett.com.au

• Creative Workplaces (Australian Government) — ‘Literature industry support.’ creativeworkplaces.gov.au
• Maria Vicente, Literary Agent — ‘What to Ask a Literary Agent During an Offer of Representation Call.’ mariavicente.com
• Writer Beware — ‘How to Spot a Fake Literary Agency.’ writerbeware.blog
• Science Fiction & Fantasy Writers Association — ‘Literary Agents’ (Writer Beware resources). sfwa.org
• IBISWorld — ‘Book Publishing in Australia Industry Analysis, 2025.’ ibisworld.com
• Slush Pile Mountaineering (Substack) — ‘7 questions authors should ask before signing an agency representation agreement.’