Agents for Illustrators: What They Do and How to Get One

As you build your illustration career, you may be wondering whether you need an agent — and how to actually get one. I’ve been represented by both an illustration agency and a literary agency, and I can say with full confidence that having an agent has been one of the most valuable parts of my career.

But before we dive into the process, let’s start with the basics.

What Does an Agent Actually Do?

An illustration agency (sometimes called an art representative) or literary agent represents an artist and their work. A good agent will:

• Find and pitch you to clients (publishers, studios, brands, etc.)

• Negotiate better fees and contract terms

• Handle communication and logistics

• Advocate for your best interests

• Help build long-term strategy for your career

• Be your creative and professional cheerleader

  
  

Some agents are more hands-on than others, and every agency structure is different. But in general, having someone in your corner can be a huge help — especially as your client workload grows.

How Much Do You Pay an Agent?

You never pay an agent upfront.

Agents only earn money through commissions:

• Literary agents: typically 15%

• Illustration agencies: usually 25–50%, depending on the type of work

If an agent asks for upfront payments, “portfolio review fees,” marketing costs, or anything outside of standard commission, that’s a scam. A legitimate agent only gets paid when you get paid.

Why the Commission Is Worth It

Agents take on all the stressful parts of the job — contract negotiations, invoicing, chasing payments, pitching, and reading the fine print. They advocate for higher fees, better royalties, and stronger terms.

The more you earn, the more they earn — which means they are motivated to get you the best possible deals.

Do You Even Need an Agent?

Not every illustrator does. Plenty of full-time artists thrive without representation.

An agent may be right for you if:

• You want to break into publishing

• You want access to clients who don’t accept unsolicited submissions

• Contracts, rights, and negotiations overwhelm you

• You’re getting inquiries from publishers and want help evaluating them

• You want long-term projects, licensing opportunities, or book deals

If your work is more self-driven (commissions, zines, Etsy shop, Patreon), an agent may not be as necessary. But for illustration, licensing, or publishing — an agent can open doors you can’t easily access alone.

Art Representative vs. Literary Agent

Illustration Agents / Art Representatives

• Focus on commercial work: editorial, advertising, packaging, licensing, games, animation, and sometimes publishing

• Submit your work for a wide range of client-based projects

• Commission: 25–50%

Literary Agents

• Focus on book publishing projects only

• Represent illustrators, authors, or author/illustrators

• Pitch your books to publishers, negotiate deals, guide your publishing career

• Commission: 15%

If you want to write + illustrate your own books: a literary agent is your best choice.If you want a mix of editorial, commercial, licensing, and publishing work: consider an illustration agent.

How Do You Know You’re Ready?

Ask yourself:

• Does my portfolio match the quality of artists this agency already represents?

• Do I have a strong, focused body of work?

• Am I starting to get client interest?

• Can I clearly articulate the type of work I want to be hired for?

Being honest about your skill level is important — but don’t wait for perfection. Many artists feel “not ready” even when their work stands strong next to artists at their dream agency.

If you can hold your own, you’re probably ready.

When Should You Get an Agent?

I got my first agent right after graduating. It helped in many ways, but I rushed into the first agency that accepted me — and later regretted it. When I left and signed with my current agent later in my career, it was a much better fit.

Pros of Joining Early

• Help with contracts, pricing, and communication

• Access to new clients and opportunities

• Guidance from the very beginning

Pros of Waiting

• Stronger portfolio and clearer direction

• More confidence and understanding of your value

• Ability to attract stronger, more tailored offers

Many agencies prefer artists with some professional experience — but it’s not a requirement. A strong voice and great portfolio can open doors.

How to Research and Find Agents

This is the most important part. Ideally, an agent relationship lasts for years — so take the time to find the right fit.

Here are some methods to build your list:

1. Snoop on Your Favorite Artists

Look at their websites or social media bios to see who represents them. It’s one of the best ways to discover agencies that align with your style.

2. Explore Online Directories

• QueryTracker

• AgentQuery

• Publishers Marketplace

• AgentsForIllustrators.com

• Literary Agents of Color

• Directory of Illustration

3. Use Publishing Resources

• Publishers Weekly Rights Reports

• The Book (SCBWI membership required)

• Children’s Writers & Illustrators Market (updated yearly)

4. Search on Social Media

Use keywords like:

• “literary agent”

• “open to submissions”

• “illustration agent”

…or hashtags like #mswl, #amquerying, #illustrationagent.

Is This Agency Right for You?

Before submitting, check:

• Are they open to submissions?

• Do they represent illustrators or author/illustrators?

• Is your style a good match?

• Do they have reputable clients or recent deals?

• Do they represent artists from your country?

• Do they have wishlist items that align with your work?

You can also reach out to their current artists — most are generous and honest.

Submitting to Agencies

Always follow submission guidelines exactly. They’re usually listed on the agency’s website.

Illustration Agencies Usually Ask For:

• A strong, organized online portfolio

• 10–20 finished illustrations

• A short bio or artist statement

Literary Agencies (Illustrators Only):

• Portfolio only

Author/Illustrators for Books:

• Query letter

• Book dummy (full manuscript + rough sketches + 2–5 finished pages)

Graphic Novels Usually Require:

• Pitch or summary

• Character designs

• 15+ sample pages

• Detailed synopsis + chapter breakdown

If interested, the agency may schedule a call or send a contract. Take your time — ask questions and trust your gut.

Questions to Ask Before Signing

• What clients or publishers have you worked with?

• How do you promote your artists?

• What’s your commission percentage?

• Do you charge for anything outside of commission?

• How involved are you in career planning or portfolio development?

• What’s your communication style with clients and with artists?

• How often do you share opportunities or pitch work?

A good agent will be happy to answer these.

Red Flags to Watch Out For

• Paying for promotional costs (art directories, conventions, marketing)

• Lack of transparency with contracts or communication

• Pushing low-paying projects

• Rude, exclusive, or dismissive communication

• Promises of “exposure” instead of money

• Pressure to sign quickly

Trust your instincts — it’s far better to have no agent than a bad agent.

Final Thoughts

Getting an agent isn’t the end goal. It’s one step in your creative career.

The right agent can advocate for your worth, open new doors, and free you to focus on what you do best: making art. But the process takes time — and patience.

Don’t rush. Wait until your work is ready. Find the agency that truly aligns with you.

You deserve representation that believes in your talent and respects your career.

✸ Need personalized help navigating agencies? ✸

Book a 1:1 mentorship session with me and get guidance on:

• Finding the right agents for your style

• Strengthening your portfolio for submissions

• Approaching agents with confidence

• Understanding contracts and negotiations

  
  

I’d love to support you in this next step of your illustration journey.