Is it common to only have your first agent for one book?

gbhike said:

who probably have trouble landing big-name agents at first

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Don't make this assumption. Most big-name agents still take cold queries. Everyone out there, agents and publishers alike, want to be the first one to stumble on the Next Big Thing - assuming you've got a quality, saleable property, being new is an asset.

I can't say what "most writers" do, but since finding an agent is no picnic no matter where you are in your career, I'd wager most of us are hoping our first agent is a good one that we can stick with.

lizmonster said:

Don't make this assumption. Most big-name agents still take cold queries. Everyone out there, agents and publishers alike, want to be the first one to stumble on the Next Big Thing - assuming you've got a quality, saleable property, being new is an asset.

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Seconding this. I got a big New York agent with my second book, and the agreement was for any and all work.

You can, of course, fire your agent if they don't perform, but that's an individual call.

I don't know anyone who's dumped an agent who has made sales for them just to go try to sign with a "bigger name" agent. If agent #1 is making sales you're happy with and you're both content with the relationship, why change?

Most agents are in it for the long haul. Look at it from their POV - they're going to help you be a better writer, help sell your book (hopefully a series) and network to try and get you as much work as they can. Why would they drop you after the first sale?

And back atcha - why would YOU if they're working out for you? If they're delivering on what they promised and you're good with it, why would you drop him/her?

Of course new writers can find themselves a big agent! All they have to do is write a brilliant book, and then submit it appropriately.

If you can only find a not-very-good agent then you have to work out why that is, and think about whether or not you want to work at that level--and if not, how you can change things for the better. It's usually a bad idea to work with a poor agent and accept contracts which are not very much in your favour, as that will have implications for your future career.

Old Hack said:

If you can only find a not-very-good agent then you have to work out why that is, and think about whether or not you want to work at that level--and if not, how you can change things for the better. It's usually a bad idea to work with a poor agent and accept contracts which are not very much in your favour, as that will have implications for your future career.

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Very much this. I was thinking about this thread this morning: suggesting a writer should get a "starter agent" is sort of like suggesting a "starter marriage." You should know what you're getting into, and who you're getting into it with, and you shouldn't sign anything unless it looks like it's going to work for both of you long-term. If you can't get the agent you want, keep looking (and keep writing).

That doesn't mean it always works out, but you should both be going into it with expectations of success.