Thriller 101
A podcast for readers and writers of thriller, mystery, suspense, and crime fiction.
Thriller 101
141 Literary Agent Vicky Weber on Why Most Writers Aren't Agent-Ready (And How to Fix It)
Ever wondered why it feels nearly impossible to land a literary agent these days?
In this episode, I had a chat with Vicky Weber, a literary agent, bestselling children's author, and marketing strategist, who pulls back the curtain on the harsh realities facing today's publishing industry.
Vicky reveals why the bar for getting agented has skyrocketed, how agents are making just $20 on some deals, and why editors no longer do the developmental work they used to.
But more importantly, she shares a few of the strategies that helped one of her books profit over $18,000 and explains exactly what agents are really looking for when they say a manuscript "isn't the right fit."
If you're serious about getting published, this conversation will fundamentally change how you approach querying, revisions, and building relationships in the industry.
What You'll Learn:
- Why developmental editing now falls on authors, not editors
- The marketing plan framework that can ensure your book doesn’t flop
- How to signal coachability and professionalism in queries
Click here to learn more about Vicky
Guest Bio: Vicky Weber is a literary agent, bestselling children’s book author, and publishing industry expert with years of experience helping authors navigate both traditional and self-publishing. As the founder of At Home Author, she has guided countless writers through the process of crafting, publishing, and marketing successful books. With a background in education, Vicky is passionate about breaking down complex industry concepts into actionable steps. Whether securing book deals for her clients or sharing insights on the ever-evolving publishing market, she is dedicated to helping authors turn their creative dreams into reality.
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Vicki thanks so much for being part of the Thriller 1 0 1 Podcast. I have a, a hard question for you first, which is, what's harder at being a writer or being a literary agent?
Vicky Weber:I think I would have to pick literary agent. Only because they're both hard, but being a literary agent means that I have to. Potentially crush other people's dreams. Whereas when I'm writing and doing my own projects, I can kind of power through or ignore or, you know, tamper put boundaries on my own dreams. It's different when your choices affect other people.
David Gwyn:Yeah.
Vicky Weber:but also there's things about being a literary agent that are kind of like a moving puzzle. At all times. One thing that a lot of authors don't realize is that when, when an agent is sending out submissions it's not one manuscript per author. an editor, it's one per agent. And
David Gwyn:Hmm.
Vicky Weber:because of that, that impacts our decisions and who we take on when we take on. And that's why when someone says something's not a fit for the list at this time, it quite literally means it doesn't fit, the puzzle piece doesn't fit right now. So that can be hard to, to tell people and to be so public. And then also manage. Open communication and things like that. Being a writer and dealing with so many manuscripts across your desk and making sure that everything is transparent and ethical it's a, it's a hard line to walk, but I wouldn't trade it for anything.
David Gwyn:Yeah. No, that makes a lot of sense. And we're, and we're gonna talk a little bit later here about what's, what's changed in the industry and, and how to, how hard it is to get a literary agent these days. But before we do, I want you to talk a little bit about your writing career because you have a nice career going on. So tell us about it.
Vicky Weber:Yeah, I started out on the author side, so I did not start out as a literary agent. I started out as a writer. I was an elementary school teacher for about six years and I did self-publishing of children's books while I was still teaching, and then COVID hit. I got pregnant with my firstborn and never returned back from my maternity leave. I just so much changed with schools and I knew I couldn't be the parent I wanted to be if I stuck around, so I dove into writing full-time. And I believe last I counted, I have about 19 children's picture books.
David Gwyn:Wow.
Vicky Weber:I've ghost written over 50. And I've done a little bit of work for hire, things of that nature. I've also written middle grade and Ya under a Pen name. And then I also have several works in progress in a horror thriller psychological thriller and suspense. So I am agented as a writer and I wear a lot of hats.
David Gwyn:Yeah, that's, that's intense. I mean, that's a wide range. That's about as wide a ranges as you can get. So talk a little bit about your, your journey as a literary agent. I mean, how, how did, so I imagine you, you know, you're writing, you're in this industry, you see, you obviously have an agent, you know, kind of what that's like. What made you wanna have that crossover to the kind of business side of publishing?
Vicky Weber:So when I started writing, I, my first three books actually flopped.
David Gwyn:Oh wow.
Vicky Weber:And so am really, really stubborn. I don't give up easily. I am, I'm super persistent sometimes to a fault working on that part, but, you know, so I started taking business classes to try and figure out what I was doing wrong.'cause again, I started in self-publishing.
David Gwyn:Hmm.
Vicky Weber:my fourth book, and remember this is a children's picture book. I. Finally figured out how to have a really strong launch and market well. And so that book profited over$18,000 in the
David Gwyn:Wow. Wow.
Vicky Weber:And so that launch strategy is something that I've implemented with every single one of my books since. And I had so much success that way that I had a lot of people asking, how did you do that? And how do I do that? So then I started doing coaching and blog posts and YouTube videos, things of that nature, because you could take the teacher outta the classroom, but you can't take the teacher outta me and it can be hard and overwhelming to learn all of those, those things. So I started doing that and what I realized very quickly is marketing is something that comes very naturally to me. It's something I'm good at. It's something I enjoy. And I also realized that there are a lot of stories out there that are incredible, but I am not the right person to Penn.
David Gwyn:Mm.
Vicky Weber:And so when I met the owner of a small boutique agency, she happened to live in my town.
David Gwyn:Oh wow.
Vicky Weber:looking to grow the agency ended up interviewing. So it was a little bit of falling into it by, by happenstance, but it worked out really well because that's exactly what it allows me to do. It allows me to pitch and be a part of bringing other people's stories to write that I am not the right person to, to, you know, literally write. So. That's probably the most fun part. But yeah, I didn't go into it wanting to be an agent or always dreaming of being an agent. But now everything blends together so nicely and supports the other. And I still do all of those coaching things, blog posts, YouTube videos, podcasts
David Gwyn:Yeah. Yeah. That's very cool. I, I, I feel like I always try to listen in on these conversations as a writer, you know, who's sitting here, listening to us, driving to work, taking a walk, cleaning, doing the dishes, whatever, whatever, wherever we've caught somebody's attention here. And they're listening. And I think whenever I'm talking to agents, I'm always like, what is the, what is the like thing that makes this agent stand out? And, and it sounds like to me, like the knowledge of the industry and specifically around getting your book in the, into the right hands, which I think is something that's often overlooked. And I'm sure you, you felt this way and it probably, it's, you know, it's what happened to your first couple of books and you thought like, wait, this is an industry that hasn't quite caught up yet to the marketing part of it. Writers still think that they write books and hand'em over to agents. And then they go write their own book. And like, that's just not the reality anymore. You know, it used to be like that, whatever, 50, 60 years ago, and it's just not that anymore. And I think your persistence and, and your kind of ability to, to understand, but also like willingness to learn that realm is really valuable for a writer who's sitting here thinking about, oh, you know, should I pitch Vicky or not? Like, like, this is valuable information that you have. That's really cool. I mean, I imagine it was like, was it a lot of trial and error to kind of get to where you were or was it more like you learned the steps and then were able to implement them right away?
Vicky Weber:Both well, the first three was absolutely trial and error. I like, I, I released the first book and was like, okay, okay, okay. The second one's gonna be better though, because now I've done it and now I know what I'm doing. so I did it and the second book, and that was still a flop. And I'm like, oh, okay, okay. But, but let me try this stuff over here. And it was still, it is still was, was not good. And so I was like, all right, I need to actually sit down and figure out what's happening. I took some like business classes online and at my local community college, to try and figure out how do I get all of this to fit in together? And what I found at the time, all of the information on children's literature out there was focused on craft. So I
David Gwyn:Okay.
Vicky Weber:strong about the craft piece,
David Gwyn:Yeah.
Vicky Weber:but all of the marketing things were. Strictly targeted at novelists but usually those very traditional storylines and genres.
David Gwyn:Yeah.
Vicky Weber:And so much of what I was seeing was people experimenting with genres or, you know, getting weirder quirkier storylines. Things that were called niche for a while that are not called that anymore. And so those subsets didn't really have a lot of information on how do you get those things out there? And I'll, I'll give you my little crash course because this does apply to both self and traditional publishing.
David Gwyn:Yeah, please.
Vicky Weber:You need a marketing plan,
David Gwyn:Hmm.
Vicky Weber:and a marketing plan look a lot of different ways. Some of my students have quite literally made a wall of sticky notes. That is their marketing plan. And as they complete a task, they pull a sticky note off. Some people create an Excel spreadsheet. Some people hand write something or draw something or get one of those old fashioned tri-fold projects for school and doodle that up. A marketing plan just needs to be marketing strategies you're going to do when you're going to do them, the frequency and how. That's the piece that most people forget is it's not just about doing a strategy, it's also about consistency with said strategy and you're actually reaching those individuals. Because if I were to walk outside right now you know, wave my book around, what are the odds that somebody who passes by is gonna be my, my target audience? Pretty slim to none.
David Gwyn:Yep.
Vicky Weber:So. You know, having your book available in a bookstore or on Amazon, it's just a digital bookshelf.
David Gwyn:Yeah.
Vicky Weber:don't know it's there, then they can't buy it,
David Gwyn:Yeah.
Vicky Weber:not buying it, they're not reading it. So you have to be the person that says, okay, who are my readers? Where do they hang out?
David Gwyn:Mm-hmm.
Vicky Weber:find them? How do I reach them? How do I get them to care?
David Gwyn:Yeah.
Vicky Weber:know about you, but somebody waving a book in front of my face and saying by my book has never worked.
David Gwyn:No, and I see that in social media a lot. I, I feel like in the, the days of Twitter, I'm not, I'm not really on anymore. But I used to see that all the time and I, I forget who it was. I was listening to a podcast, I think about writing, and someone said it so clearly, they were like, the, the barrier for someone buying your book is not the price, right? Like dropping a price or convincing, oh, it's 50% off, or the book's 99 cents, like that's. Not going. It's, it's the time. It's the, they're gonna spend eight hours with your book. They need to know it's worth it for them. And that's the thing that you have to convince them of. You're not selling a product that's price based. You're, you're selling it like entertainment based. And I thought that was really interesting. It kind of goes to your point of like, you have to find the people who wanna read your book, not the people who have.$15 in their pocket, if that's not something that they're gonna enjoy, they're never gonna buy it. It doesn't matter. You know, you have to know who you're, you're going towards. I think that's really smart. We're gonna have to have you back to talk about marketing, because this is really interesting. But we do have something I, I do wanna talk about.'cause I, I read this article that you wrote is a, I guess maybe a month, month or so ago now, maybe two months about why it's so hard to get a literary agent right now and what's changed. And I thought it was so well organized and like really succinct and to the point. I think sometimes people try to like, make it more than it is, and I thought that this was really well organized. So if you're listening to this, I will link it down below. But I wanna just hit a few points of this and kind of get your take on this. One is that there's, there's fewer agents and, and fewer editors, kind of like these two things are happening at once. Can you talk a little bit about how, with those two things going hand in hand, what that means for, for writers?
Vicky Weber:Yeah, so agents are always coming and going. That's always been the case, but traditionally, used to happen with agents and the reason why there was always such a, majority of, of a certain type of, of writer was because being an agent still is commission only, with very few exceptions. There are some bigger agencies that are salary based but a lot of times they'll have quotas that you need to meet and, and some other things there. But most agencies are commissioned based only. And so because of that. If I sell a book today and there's no advance, I won't see any money on it for two, three years.
David Gwyn:Yeah.
Vicky Weber:And if there is an in advance, that money, it doesn't always come in advance. Sometimes it's half on signing and half on publication or something like that. There are exceptions to every rule, but it means that the money coming in is very sporadic. And also a lot of people assume, at least I did. that, that 15% that the agency retains from a deal that it all goes to the agent, but it doesn't
David Gwyn:Mm.
Vicky Weber:agency has operation costs as well. Emails, you know, subscriptions gotta send out tax forms. All of those fund things, which
David Gwyn:Yeah.
Vicky Weber:your, the agent is only getting a portion of that 15%, which means that. some of these deals that they could be doing, they could be making 20 bucks on. I, I just did a deal the other day that I made$20. So because of that and because of just the general economy and also volume, there are fewer people that are able to sustain.
David Gwyn:Yeah.
Vicky Weber:Do, you know, to, to support their families in that regard. And so what used to happen is, is most agents were people who were, you know, trust fund babies or had a spouse with a really good job, or maybe their house was already paid off or something like that.
David Gwyn:Yeah.
Vicky Weber:Then we had a window where there was more opportunity because of all of the remote possibilities.
David Gwyn:Yep.
Vicky Weber:you know, not needing to be in person or live in New York was a very big deal, with so many people struggling financially. There are just only so many hours in the day. So more agents than ever before are leaving for personal reasons, for financial reasons for all of those things. And there are editors also, their positions are being cut at publishers purely for financial reasons and as well, which means editor lists are smaller. Which then means agent lists are smaller and because of all of the information out there now on how to write a book, how to get agented, how to do all of those things, have more queries and more people writing than ever before. So the statistics and percentages are way, way different than even five, 10 years ago.
David Gwyn:Yeah.
Vicky Weber:so all of that makes a huge difference and it's. Much more competitive overall.
David Gwyn:no, that makes a lot of sense. And it is this trend that I think I keep hearing from agents and, and writers as well, you know? It, it almost feels like I don't wanna say random because I think that there are some benchmarks you have to hit, which we're gonna talk about in, in a few seconds. Like to be considered that level that is able to be agented because I think that there is a, a certain bar you have to hit of like craft and structure, and you have to know a certain amount of things when it comes to writing. To kind of be there. But once you're there, it does feel kind of random as like where you end up with like what agent or what publisher. It does, it does feel like it has a lot to do with just the kind of the, the taste of, of the editor at the time. And and the other thing that, that kind of goes to this point, which is you mentioned in this article that the bar for what it means to be ready to sign with an agent is a lot higher than it used to be. Can you talk a little bit about that as well?
Vicky Weber:Yeah, well, what used to happen is a manuscript would come in and an agent would be able to look at it and say, I know who would love this concept. I can, I have a vision for how this would work editorially. They'd jump on a call, talk to the author, make sure they're on the same page, and then offer, and then they would dig in and they would do the editorial work, or agents would send it out as is
David Gwyn:Mm-hmm.
Vicky Weber:editors used to do a lot more developmental work than they're willing to do now.
David Gwyn:Yeah.
Vicky Weber:most editors that I know at publishing houses either do very little developmental editing or none at
David Gwyn:Mm-hmm.
Vicky Weber:It's more copy editing and fine tuning and tweaking,
David Gwyn:Hmm.
Vicky Weber:that the developmental side now falls on. or if you're not an editorial agent, it falls on the author prior to being signed.
David Gwyn:Yeah.
Vicky Weber:And that is not how the balance used to be. But the, the reason that happened is because the volume is so high. If you
David Gwyn:Yeah.
Vicky Weber:you know, so many manuscripts to choose from, you're going to PI pick the, the best one from the batch rather than the one that needs the most work.
David Gwyn:Yeah.
Vicky Weber:when you're drowning in emails and. You know,
David Gwyn:Yeah.
Vicky Weber:hours in the day.
David Gwyn:then you're doing deals for$20 and you're like, what? Like, like, how am I, how can I, you know, in increase my volume? You know, I think is is part of what it is. Being an agent, having talked to a bunch of agents is. How do I sign more writers? Sure. But not just sign writers. Sign writers who are then going to get publishing deals.
Vicky Weber:Exactly. Well, and writers who going to put the work in because there are some writers who are not open to editorial
David Gwyn:Mm-hmm.
Vicky Weber:And so then those conversations take a very different turn. Or there are some authors who think that their agent. Should or could or will act more like a developmental editor
David Gwyn:Hmm.
Vicky Weber:they'll send their manuscript to their agent 6, 7, 8 times before going on submission. Well, if each read through of a novel is 5, 6, 7, 8 hours. Much more. If it's fantasy,
David Gwyn:Yeah.
Vicky Weber:a lot of time investment for potentially$20
David Gwyn:Yeah.
Vicky Weber:potentially$0.
David Gwyn:Yeah.
Vicky Weber:so it, it can be worth it. But for me as an agent, what's really important, because the thing I cannot teach is at the want to be good at the craft.
David Gwyn:Hmm.
Vicky Weber:I can give a lot of tools. I can teach skills, I can brainstorm and help an author become better. But not if they don't wanna be better and they don't wanna put that effort in.
David Gwyn:Yeah.
Vicky Weber:that's something that I look for beyond genre and beyond where the manuscript is right now. I also wanna make sure, can I work with this person long term?
David Gwyn:Yeah.
Vicky Weber:would an editor want to work with this person long term?
David Gwyn:Yeah. And I, I think that's really interesting. And, and, and you've, you've outlined in the article some important information about how to make your book ready. So, like I said, for people who are listening, definitely go read it. I'll link it below. And, and, and I wanna dig in a little bit on this I idea of what you're looking for in, in first pages. And really just, I'm really interested in kind of how you, or if you try to assess someone's investment in their writing. Are you able to do that from a query and line level basis, or is that, does that happen more when you're on the phone with them? If you're thinking about offering representation?
Vicky Weber:Usually the piece about what it would be like to work with an author
David Gwyn:Yeah.
Vicky Weber:not apparent from the writing itself.
David Gwyn:Yeah. Mm-hmm.
Vicky Weber:the writing, you know, if it's, if it's already strong, it could support piece somewhere else, but usually my first introduction to that is the query letter.
David Gwyn:Yeah,
Vicky Weber:Even little things like I am a member of insert organization here, or I have critique partners. That in itself tells me, Hmm, this person is used to to hearing feedback.
David Gwyn:yeah,
Vicky Weber:You would not believe how many authors don't even have that
David Gwyn:yeah.
Vicky Weber:piece or
David Gwyn:it.
Vicky Weber:want
David Gwyn:Yeah.
Vicky Weber:So there are things that you can say that about your hobbies, your life, your home life, your personality, things like that, that help me read between the lines on what it might be like to work with you.
David Gwyn:Yeah.
Vicky Weber:Beyond that, sometimes I'll get people via referrals. referrals from authors I already represent, or here's the reason why I think it's so important to persisting. Keep putting yourself out there and really highlight what it would be like to work with you, because if I get something in my inbox and I can tell it's good, but it's not a fit for me, I'm not the right salesperson. will always, always try to refer them to somebody if it's within my power. If there's somebody I can think of
David Gwyn:Yeah.
Vicky Weber:you, just because it's not a fit for me, doesn't mean it shouldn't be published or it shouldn't be out there. And there's a lot of agents who have that mentality as well.
David Gwyn:Yeah.
Vicky Weber:Yeah, I guess that's. what I would, what I would do is focus on that query letter and then also don't be afraid to take advantage of other opportunities. Sometimes I meet people at conferences, or sometimes I'll have someone, I actually really love this. will have passed on their manuscript like a year prior, they will re-query me and they'll say first thing in the query letter, Hey Vicki, I sent this to you last year and you passed because blah, blah, blah. But I've gone back to it. It's gone through extensive revisions and here's why I still think it would be a good fit. I hope you don't mind taking a second look. That to me says this person is willing to put in the work for sure, but they're also willing to fight for their vision.
David Gwyn:Yeah.
Vicky Weber:and they're, they're taking that extra next step of. Hey, you sent, I sent this to you already, but hoping that you'll take a second look and, and I think a good handful of clients that I've signed have been ones who have done exactly that because
David Gwyn:Yeah.
Vicky Weber:can see their old query and see how much they improved.
David Gwyn:Yeah, it's so funny. I, I run a writing community of which you, you, you know, this, you, you were part of one of our pitch sessions and I, so I get con, I get, we have conversations like this all the time. I get questions like this all the time. Like, Hey, I queried this agent. Should I follow up? Should I, you know, these are things that are happening in conversation all the time and this in this group. And I always remind them, ha having had had the, the privilege and, and opportunity to talk to a variety of agents. I'm always like, yes, there are rules or guidelines, but they're wider than you think they are. Like every, I think every writer is afraid of stepping outta the guidelines. Like, oh, I already queried Vicki, and you know, she said I should fix this, and now I've done that and like, should I, and I'm, I'm always like, yes. Because at the end of the day, agents are people who really want to represent great books. If you think your book is a great fit for them. Then, no, you shouldn't query them five days after and say like, yeah, I fixed it. Like if you've, if you've done the work, like you're mentioning agents want to represent great books, like that's why you're in this industry. Like you're not in this industry to say no to people. You're in this industry to say yes to people. And I think to to your point, like there are guidelines, there are guide rails that are up, but like they're wider than, than a lot of writers are led to believe. And I think that that's part of it is like. If there's a good faith reason for you to re-query or reach out again, no agent's gonna like blacklist you because of that. Like, and I'd be like, no, you'll never have an agent now because you, you know, did extensive work on something that I suggested you work on and, and asked, had the audacity to ask me. Like, it's, it's not like that. And you know, I.
Vicky Weber:how you phrase that though, like a good faith reason. Is, is just a great way to put that because I have had some people who I say, you know, Hey, this is a past because the, I don't know what to do with this concept. I'm just not the right fit. And then they'll turn around and resend it to me a couple days later and I'll be like. I
David Gwyn:Still not.
Vicky Weber:not the right fit for X, Y, Z reason. I did have somebody do that to me eight times,
David Gwyn:Wow.
Vicky Weber:once. And so that person was, was the, the talk of some agent groups because I was like,
David Gwyn:That makes sense.
Vicky Weber:to understand? Am I not saying the right thing?
David Gwyn:Yeah.
Vicky Weber:But it
David Gwyn:Yeah.
Vicky Weber:positivity too. There's an author, actually there's several authors who. I do not represent, but I've had interactions with, and I've seen their stories and I have worked with them in a weird adjacent capacity or met them at a conference or something, and I rave about them to agent friends and some of them have gotten signed that way because, you know, they, because I won't stop talking about them.
David Gwyn:Yeah.
Vicky Weber:And that's
David Gwyn:That's awesome.
Vicky Weber:problem to have. And so I do wish more authors would. their query letters, in their writing in their interactions with agents to let their personality
David Gwyn:Mm. Yeah.
Vicky Weber:because I do think that more often than not, people think that they need to be overly formal or overly professional. You can be professional and still be you.
David Gwyn:Yeah.
Vicky Weber:can do all of those things and you can be, you know, kind and firm. All of those things that you should be, but still. Be you.
David Gwyn:Yeah.
Vicky Weber:and that's what really stands out a lot of the time is a, is a personality. And there's all kinds of those.
David Gwyn:Definitely in the writing industry too, that's for sure. So Vicki, I, I could, I could talk to you all night. This is so much fun and we're gonna have to get something else on the books, but I, I just have two more questions for you. One what genres are you looking for right now? And then I'll ask my second one after. After I.
Vicky Weber:So right now I'm really looking to grow my adult list a little bit more. I like to say that my taste is intensity based. So it, you know, when it comes to horror, I want like, all the eerie, creepy, spooky. I am not afraid of a good genre blend, so, you know, I love when thriller and horror fused together. I love suspense. I really like anything. that realm, speculative, magical realism is plot driven, but with very strong characters who are messy. I see a lot of characters that are just too perfect and I'm like, no, no, no. You don't understand. I'm reading to feel better about my own life and. And so I feel like, well, at least I don't have that problem. I don't wanna read about perfect people because then, then I'm the problem child. Like, no thank you.
David Gwyn:Love that.
Vicky Weber:so I really want that mess, but really across, across adult fiction, I want more. Weird things. The things where you can just say, oh yeah, it's this meets that, or it's this weird hook. and everybody goes, oh, well what does that mean? Now I wanna find out. I'm not afraid of those. In fact, I, I really like it. So the
David Gwyn:Very cool. No, that's great. And my last question for you is just where can people find you? Where can people look you up?
Vicky Weber:Sure. Pretty much everywhere. Google is your friend?
David Gwyn:Yep.
Vicky Weber:no, I'm on Twitter, X, whatever the heck it's called. I'm on blue sky. I run a blog called At Home Author with lots of writing tips. That's where you'll find the blog post that, that you mentioned on the CMA website. And yeah, really I'm, I'm a little bit of everywhere. I'm pretty easy to track down if you just punch my name in
David Gwyn:Nice. That's awesome. So Vicki, thank you so much for taking the time to chat. I will link to all that stuff down in the description, so if you want quick access to Vicki you can go down there and check it out. This has been really fun. Like I said, I, I could talk to you all night, so this was great.
Vicky Weber:Well, thank you for having me.
