A literary agent represents authors and their books, acting as the link between writers and publishing houses. Their role is to identify publishing opportunities, pitch manuscripts to suitable publishers, negotiate publishing contracts and advocate for their authors’ best interests.

Beyond securing book deals, a good literary agent has editorial experience, and can help refine and edit manuscripts to an excellent standard.

Literary agents typically work on commission, like Amy does, meaning they earn a percentage of the income generated from the publishing deals they negotiate, rather than charging authors upfront representation fees. The standard commission percentage is 15%.

Literary agents typically work on a commission basis, meaning there are no upfront fees for representation. Instead, agents earn a percentage of the income their authors receive from publishing deals they negotiate.

At The White Editorial, our standard commission is 15% for domestic publishing deals and 20–25% for international rights deals, depending on the arrangements involved.

This means our success is directly tied to yours. We only earn a commission when you earn money from your publishing agreements, ensuring our interests are aligned throughout your publishing journey.

Not necessarily! Whether you need a literary agent depends on which publishing route you choose.

If you’re pursuing a traditional publishing deal with a major publishing house, having a literary agent is highly recommended. Many of the world’s leading publishers, including Penguin Random House, HarperCollins and Hachette, generally do not accept unsolicited submissions directly from authors. Instead, they rely on literary agents to identify promising books and bring them to their attention.

However, some independent publishers accept submissions directly from authors, while self-publishing and hybrid publishing do not require literary representation.

Beyond opening doors, a literary agent can help you develop your book proposal, identify suitable publishers, negotiate favourable contract terms and protect your long-term interests as an author.

Ultimately, a good literary agent does much more than secure a publishing deal. They become a trusted advocate and strategic partner throughout your publishing career.

Literary agents receive a high volume of submissions and can only take on a limited number of authors, so rejection is a natural part of the traditional publishing process.

There are many reasons why an agent might decline a submission. Sometimes, the manuscript isn’t quite ready for publication, the book doesn’t fit their areas of specialism, or they already represent a similar project. Other times, they may love the concept but feel there isn’t a strong enough commercial market for it.

Literary representation is also highly subjective. An agent needs to feel genuinely passionate about a book and confident in their ability to sell it to publishers. Even an exceptionally well-written manuscript may not be the right fit for a particular agent.

Rejection doesn’t necessarily mean your book isn’t good enough or that it won’t find a publisher. It may simply mean you haven’t found the right advocate yet.

The key is to research agents carefully, follow their submission guidelines and ensure your manuscript and query package are as strong as possible before approaching them.

The main difference between independent (indie) publishing and traditional publishing lies in who takes responsibility for publishing the book, who finances the process and how much creative control the author retains.

Traditional publishing involves securing a book deal with an established publishing house, such as Penguin Random House, HarperCollins or Bloomsbury. The publisher typically covers the costs of editing, cover design, printing and distribution, and may offer the author an advance against future royalties. In exchange, the publisher acquires certain publishing rights and has significant input into the book’s production, positioning and marketing. Authors generally receive a smaller percentage of each book sale, but benefit from the publisher’s expertise, industry relationships and distribution networks.

Independent publishing is a broader term that can refer to publishing through a smaller, independently owned publishing house or publishing a book yourself (self-publishing). These are two distinct approaches. Independent publishing houses often operate similarly to traditional publishers, while self-publishing means the author takes responsibility for financing, producing and distributing their book, either independently or with professional support.

Self-publishing offers greater creative control, flexibility and potentially higher royalties per sale, but also requires a greater investment of time, money and effort.

Neither route guarantees commercial success, and one isn’t necessarily better than the other. The right choice depends on your goals, budget, timeline and how much control you’d like over your publishing journey.

A ghostwriter is a professional writer who creates written content on behalf of someone else, typically without receiving public credit for their work.

In book publishing, ghostwriters work closely with authors to transform their ideas, expertise and life experiences into professional manuscripts. This process typically involves in-depth interviews, research, outlining, writing and revisions, with the ghostwriter carefully capturing the author’s unique voice, personality and message.

Ghostwriting is particularly popular among entrepreneurs, thought leaders, public figures and individuals with extraordinary stories to tell who may lack the time, experience or confidence to write a book themselves.

Although the ghostwriter does much of the writing, the ideas, experiences and creative vision belong to the author, whose name appears on the finished book.

A skilled ghostwriter combines storytelling expertise, editorial judgement and an understanding of the publishing industry to create a professional, engaging manuscript that authentically reflects the person behind the story.

The ghostwriting process typically takes between four and six months, depending on the length and complexity of the book, the amount of research required and the author’s availability.

At The White Editorial, we generally recommend allowing at least six months for a full-length non-fiction book. This provides sufficient time for initial interviews, research, outlining, writing and revisions.

Ghostwriting is a highly collaborative process, and we work closely with each author to ensure their unique voice, ideas and experiences are authentically captured on the page. Our goal is never simply to write a book quickly, but to create an exceptional manuscript that’s up to a publishable standard.

The cost of hiring a professional ghostwriter varies considerably depending on their experience, the length and complexity of the book, the amount of research required and the level of collaboration involved.

Ghostwriting a full-length non-fiction book can cost anywhere from £10,000 to £100,000 or more, with highly experienced ghostwriters who have worked on bestselling books typically charging premium rates.

At The White Editorial, our ghostwriting fees are calculated based on the scope of each project, taking into account the manuscript’s anticipated word count, research requirements and editorial complexity. Every project is different, so we provide bespoke quotations following an initial discussion.

Absolutely! Ghostwriting is a widely accepted and established practice in the publishing industry, with many bestselling authors, celebrities, entrepreneurs and public figures collaborating with professional ghostwriters to bring their books to life.

Hiring a ghostwriter is much like working with an architect to build your dream home. The vision, ideas and direction come from you, while the professional brings the technical expertise required to turn them into reality.