Lesley is a literary agent at Gillon Aitken Associates, who boast clients such as Sebastian Faulks, V.S. Naipaul, Pat Barker and Helen Fielding. Lesley handles the dramatic Film and Television rights for the agency, alongside her growing client list of mainly literary to literary/commercial crossover fiction and a range of well-written non-fiction, including memoir and travel writers.

The agent’s job
A large part of Lesley’s job is building up contacts. An agent must be able to match the author to the right editor, as well as negotiate the financial details of contracts. The agent ensures that the publishing process runs smoothly. In knowing all the people within the publishing machine, the agent can address any issues raised by the author.

Finding an agent

• With your first novel, Lesley advises that you approach an agent lower down the chain, rather than a director. They will have less clients and more time.
• It is also a good idea to look out for new agencies in The Bookseller: they will particularly encourage new writers. But don’t be put off by the better established names.
• If you detect similarities between your work and an established author's, approach their agent. You can find out a writer's agent simply by contacting the publicity department of their publishing house.
• Make sure your work matches the agent's interests. The Writer's and Artist's Yearbook contains this information. Alternatively, most agencies have websites which will detail the sort of writing they are looking for. A.P. Watt has a particularly good website.
• Phone the receptionist of the agency and find out who the junior agents are. Identify exactly who to send your work to.
• It is worth taking your time. Don't necessarily go for the first agent that shows enthusiasm. But then, don’t cut off your nose to spite your face either.
• Trust your instinct. As well as trying to judge a prospective agent from a professional angle, remember too that you will spend a lot of time with this person if you choose them as your agent. They will be summing you up in both a professional and personal way.

Submitting fiction
Send a cover letter:

• Keep it short. Be as simple and direct as possible.
• Don't include too much personal information about yourself.
• Don't try to be funny. It is wise to be as professional as possible.
• Mention anything relevant to your writing, eg. journalism published or writing courses completed or attended. A submission from anyone on a creative writing course will automatically be taken more seriously.

It is important that you only submit work to an agent that you feel happy with. Never forget that although some agents are happy to encourage new writers for several years sometimes, you don’t often get a second chance. Don't use a submission as a means of getting feedback.

Non-fiction
There are few areas of non-fiction you can break into without specific credentials. Lesley urges that you must have a unique style to be successful in the travel and memoir areas of the market.

On submitting non-fiction, your synopsis will need to be longer. Lesley recommends approximately 5 pages in which you give a sense of the book as a whole, and outline how you'd write it.

Breaking into TV writing
Soap operas are the best way of breaking into script writing. They provide invaluable experience and the chance to work your way into TV dramas.

You need to be very proactive. Look out for the various schemes, councils and TV channels which are on the prowl for new talent.

The good news...
On a final note of hope, Lesley urges that the industry is looking out for new talent. If you're a good writer you will be noticed.