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If I should be so lucky as to get an offer of a contract with a publisher, I would still absolutely look for an agent – I think it's important to have someone to not only negotiate the contract, but help me plan my long-term career. And just because I might sell one book on my own, doesn't mean I want to approach all my future book contracts that way. Researching publishers and editors is exhausting, and I don't want to have to focus as much energy on it as I have had to so far for the rest of my career as a writer. Agents do so much more than just negotiate the contract.

What I find fascinating about your comment is your assumption that literary agents don't know publishing contracts. Perhaps, as in any industry, there are some who aren't up to par in their knowledge. But overall, agents understand that their primary job is that contract, so the primary area of training and study is in contracts. I assure you, we know our publishing contracts.

You wrote: "Chances are, unless you luck out with a premo agent, the agent you get to sell your debut novel doesn't have 50 clients and a dozen mega bestsellers on his list."

A contract is a contract, so I'm not sure how "mega bestsellers" play into your argument. You are correct that the more practice we have with contracts, the better we get. I've been an agent less that three years and have done 45 contracts; I think this is fairly significant experience.

Newer agents without a lot of experience under their belts typically consult with their more experienced colleagues, mentors or business partners on contracts, at least for their first couple of years. So with most agencies, authors are getting highly skilled representation on their publishing contracts.

Chances are, if you get an experienced IP attorney, he/she knows as much about contracts or more than all but the best of agents. Chances are, unless you luck out with a premo agent, the agent you get to sell your debut novel doesn't have 50 clients and a dozen mega bestsellers on his list.

Instead, he needs 15% of your $5000 advance to buy groceries and keep the lights on. Chances that said agent knows contracts as well as a IP lawyer? You make the call.

I'll be spending my $4700 of my 5k advance after I pay my IP attorney 2 hours of pay. You give your agent 2.5x that and let me know how much fun you are having.

Ultimately, agents take 15% (or more for various other rights) forever. My attorney gets paid when I ask him to do something. If I already have a contract, a huge part of what a agent can do that the lawyer cannot is a moot point.

That means when you get French rights sold or a movie option or whathaveyou, your agent gets 15% or more of that. Your lawyer gets nothing.

15% adds up. Why give it to someone who didn't help you get the contract?

Thank you for sharing such good information, Rachelle.

Anyway, the long and short of it, I called to ask her if she'd have a problem with me getting an agent. She not only DID NOT have a problem, she referred an agent to me encouraged me to query. And waited patiently to be contacted. If someone really wants you on their list, they'll want you to go about business is the best way. I highly recommend getting an agents because mine suggested contract changes I'd NEVER have thought to make. Even with all the research I'd done. You really need one. At least for the first one.

Specialty houses, niche publishers and other small presses often work with unagented authors because they're unable to financially compensate an author enough to make it worth an agent's time; and in addition, with low advance and royalties, the author probably doesn't want to part with 15% of it.

By and large, the publishers that still accept (or even prefer) unagented authors are those that agents may not want to work with anyway, due to low pay and no negotiating room.