How Literary Agents Help Authors with Steve Troha of Folio Literary Management
If you’re trusting your best friend, your mom, or a random Facebook group to tell you whether your book idea is “great,” you’re aiming your questions at the wrong people. For a traditional nonfiction book deal, the opinion that matters most is your literary agent’s —and you can’t get that opinion without understanding how agents really work, what they look for, and how to show up like a serious partner instead of a hopeful amateur.
This episode of Kind of a Big Book Deal, hosted by Meghan Stevenson and featuring veteran agent Steve Troha of Folio Literary Management, is all about that: what literary agents actually do, how they think about your book, and who you should (and shouldn’t) trust for feedback when you’re trying to land a traditional deal.
You get a traditional nonfiction book deal by treating your agent as a long-term creative and business partner, not just a gatekeeper — choosing someone you can live and work with for years, trusting their judgment over casual opinions, and bringing a mix of strong idea, platform, and realistic expectations to the table.
Steve’s role with entrepreneurs, experts, and creators:
In the early stages, he acts as a creative partner, helping figure out what the book should be and where to start — especially for first-time authors who want this book to be “the first of many.”
He works with authors (often in collaboration with Meghan) to shape and sell the proposal.
Once the deal is in place, he shifts into business mode: negotiating contracts and deal points.
During the writing and production phases, he’s available but lets the author, editor, and house lead creatively.
As publication nears, he re-engages around cover, publicity, and marketing, acting as advocate, sounding board, and sometimes therapist.
For you, that means:
You’re not just “getting an agent.” You’re choosing someone you’ll work with for several years, through highs and lows.
You should feel like you can ask them any question and not be afraid of them.
Meghan jokes that a good agent is a bit like a great real estate agent: someone you trust with your money and contracts — and also enjoy grabbing a drink with.
Why You Shouldn’t Trust Friends And Family For Book Feedback
The episode opens with a stark warning from Steve:
“Don’t trust people who you know and love to give you advice.”
He explains:
When someone says, “My friend/partner/mom thinks this is a great book idea,” he doesn’t put much stock in it.
Loved ones tend to protect you, lack industry context, and often don’t understand the market.
He goes further:
Even other authors aren’t always great sources of advice. They can be salty about each other’s success, competitive, and sometimes outright lie about money — inflating advance figures or results.
Meghan has seen clients send their manuscripts to 15 people, only to get pulled in contradictory directions, needing her to sift what’s useful and what’s noise.
Instead, Steve suggests:
Trust industry-experienced people — agents, editors, professional collaborators like Meghan — over your inner circle.
When you’re serious about a traditional deal, you need professional feedback, not just reassurance.
Why You Need An Agent (And Why Going Direct Costs You)
Some would-be authors hesitate to get an agent, thinking they can simply go direct to publishers and editors. Meghan asks Steve what he says to that.
His answer:
“You’re not gonna be able to create competition without an agent.”
He elaborates:
Competition between publishers is how advances get driven up.
Celebrity managers sometimes think they can bypass agents because they “know a few publishers.” Steve has tested this:
Other reasons you need an agent:
Big agencies like Folio have strong boilerplate contracts with publishers, so they start from better baseline terms than an unrepresented author would.
You need an advocate. When authors act as their own advocates, they often don’t get the emotional and strategic support needed.
Steve notes:
People inside publishing (including him, when he worked in-house) often work harder when they like the author — when they’re emotionally invested, not just financially.
His job as agent is to make sure publishers like the author, even if they’re mad at him as the “bad cop.”
Takeaway:
Without an agent, you’re likely to get weaker financial terms and less leverage.
You also lose a key ally whose job is to push and protect you while keeping the house excited about your work.
What Makes A Project A “Yes” For An Agent?
When Meghan asks what makes a potential client or project a “yes,” Steve highlights several factors.
Platform + Idea (Together)
He says:
Platform is “tied for first” with a great idea in what publishers look for, even though it’s frustrating and hard to define.
Platform can be:
Publishing math:
Meghan notes they’ve seen:
For obvious “yes” authors — those who attract multiple offers and auctions — idea and platform work together and align with big goals.
Excitement And Freshness
Steve adds:
Agents see a lot of similar projects; seeing something freshly presented is thrilling.
Fully original ideas are rare, but a new angle, voice, or framing can still feel very fresh.
Meghan agrees: they’re drawn to projects that shift narratives, especially in prescriptive nonfiction spaces.
What Makes A “No”? Red Flags And Bad Motivations
On red flags, Steve focuses less on checklists and more on gut feelings.
He says:
If he immediately senses the author will make it not fun — difficult, combative, draining — that’s a no.
He works from a “life’s too short” mentality; given how exhausting agenting can be (creative + business brain at once), he only wants true partnerships.
Specific red flags:
Authors whose motivation is only money:
Meghan nuances this:
Some clients want six‑figure deals partly for ego, but often because:
Still, both agree:
Best outcomes come when authors deeply believe in the book, see it as meaningful work, and want it to serve readers — not just as a cash machine.
AI In Proposals And Why “AI Slop” Is A Deal Killer
Meghan brings up AI and asks Steve what he thinks about using tools like ChatGPT to write proposals or even whole books.
Steve’s stance:
He’s a fan of the em dash, and he’s not giving it up — even if AI thinks otherwise.
AI can be helpful for:
But:
Using AI to write an entire proposal? He and publishers can sniff it out, and it turns him off.
He’s seen proposals clearly formatted and broken in ways that echo AI outputs, with no cleanup — a sign of laziness.
Meghan adds:
Many generative AI models are trained on stolen copyrighted works, which is problematic for an industry built on intellectual property.
She and her lawyers often add AI carve‑outs to contracts with big agencies so they can use AI for limited tasks like transcripts and research, without training models on client content.
She’s found AI suggestions about studies or data often wrong, reinforcing the need to read original sources.
Her analogy:
Using AI to fill forms or proposals without editing is like copying off another kid in class — teachers (agents, publishers) know, and they’re not dumb.
Takeaway:
Use AI sparingly and strategically.
Don’t outsource your entire proposal or book to a machine if you want serious agents and houses to take you seriously.
Publishing Timelines And Why Everything Takes So Long
When Meghan asks where he sees friction between authors and the industry, Steve mentions timeline frustration:
Authors often don’t understand why the process takes so long.
Deadlines aren’t respected the way they should be, even though publishers need 9–12 months to set books up for success.
He and Meghan explain:
Traditional publishers manage seasonal lists — dividing the year into three seasons, planning launches across many titles.
They’re selling books in to:
Physical logistics:
Books take time to print, ship to warehouses, then ship to stores.
Authors need early galleys/ARCs (advance reader copies) to:
Meghan notes:
This is very different from self‑publishing, where you upload a file and go live.
In traditional publishing, your book is one product among many, and the system is built to optimize long‑term, not speed.
If you want a traditional deal:
Expect long timelines.
Respect deadlines — they’re part of setting your book up to succeed, not arbitrary delays.
Publicity Reality And Why Investing Part Of Your Advance Matters
Another friction point: publicity.
Steve says:
In today’s breaking‑news environment, publicity is often disappointing.
It’s hard to break through constant news cycles; coverage is limited and unpredictable.
His advice:
If you can, take a big chunk of your advance and reinvest it into making the book work — especially via an independent publicist or strategic support.
Meghan agrees:
She encourages authors to invest in leverage, such as:
She shares an example:
Client Erica Jordan Thomas realized she was the only one who could:
Leverage takeaway:
If you’re a six‑, seven‑, or eight‑figure entrepreneur, writing your book yourself may be not the best use of time.
Hiring collaborators preserves your platform and lets you launch the book like a new product without gutting your business.
Why Collaborators Protect Your Platform (And Why “Ghostwriter” Isn’t The Right Word)
Steve encourages authors to be more forgiving of themselves and open to help:
Many people feel they “must” write the book themselves because it sounds better, but it may not feel better — or be realistic.
He prefers the term collaborator over ghostwriter, because:
He warns:
A big mistake is taking away time from what built your platform in the first place.
If you stop doing what made you visible (serving clients, creating content, speaking) to write, you can unintentionally hurt your platform.
Meghan adds:
A book “really works when a book is really good” — good enough that someone says, “This book changed my life; you have to read this,” triggering word of mouth.
If you want that level of quality:
You likely need other eyes — editors, collaborators, coaches — to help make your book as strong as possible.
Growing Platform And Getting Real Feedback (Without Losing Your Mind)
At the end, Meghan asks Steve for advice for entrepreneurs and experts who need to grow platform and develop ideas before pursuing a deal.
His advice:
On Platform
It takes time and can be frustrating; you’re competing for attention in a noisy world.
Don’t buy followers; publishers can spot fake growth quickly.
If you’re passionate, stick with it — but know algorithms and trends will change, so you must adapt.
Being known for your writing can really help; he sees Substack as a powerful platform:
He emphasizes:
Don’t give up if you’re committed to writing a book.
Don’t be discouraged by “no” — even the best projects get rejected by half the publishers they’re submitted to, often because of list fit or timing, not quality.
Questions Answered In This Episode
What is the real role of a literary agent in helping entrepreneurs and experts get a traditional nonfiction book deal?
Why is going directly to publishers usually a bad idea if you want strong terms and support?
What combination of platform and idea makes a project attractive to agents and publishers?
What red flags and motivations cause agents to walk away from potential clients?
How should authors think about AI when it comes to proposals and manuscripts?
Why do traditional publishing timelines stretch over many months or years, and what’s happening during that time?
How do galleys/ARCs, blurbs, and early media fit into the launch process?
Why is publicity often disappointing, and how can authors mitigate that risk?
How can hiring collaborators and publicists give authors leverage and protect their platform during book creation?
Who should authors trust (and not trust) for feedback on book ideas and drafts?
What practical steps can entrepreneurs and experts take to grow platform in ways that help future book deals?
How do agents themselves navigate the emotional and business demands of long-term author partnerships?
This week’s guest is Steve Troha. Steve is a partner with Folio Lit. He has a consistent track record of working with some of the world’s most prominent and pioneering voices. In the past 15 years, he has worked with more than 60 New York Times bestselling authors, including Dolly Parton, Loretta Lynn, Gabrielle Bernstein, Tracy Anderson, Amanda Kloots, Andrew Morton, Kris Carr, Misty Copeland, Vani Hari, Mollie Katzen, The Johnny Cash Estate, and The Grand Ole Opry as well as several of our clients here at MSB.
Steve is currently closed for submissions.
