In September, as part of the Lit-Quest project, a trio of literary agents from three different European countries visited us. Among them was the French literary agent Pierre Astier, who has been working as an agent in Paris for two decades and represents many French as well as international authors. We asked him about current trends on the French book market and about the role agents play on the French-language literary scene. As he says, both a love of reading and strong intuition are essential for an agent’s work.

How has the global book market changed since you first encountered it?

I started working as a literary agent in 2006, but my career in the literary world actually began in the 1980s. At that time, the main markets for translated fiction were Western Europe, North America, and Japan. From then until today, the book market has expanded significantly. Countries such as Brazil, Poland, North Korea, and China (for example), as well as Slovenia and Croatia, have become important in our industry. This development has created many opportunities for agents, especially due to the rise of new markets and new languages entering the world of translated fiction.

Could you describe the French book market at the moment? Do you notice any particular trends?The French book market has a long tradition and is supported by a strong network of bookstores. Although high market concentration has persisted over the years, a significant number of new independent publishers have emerged, some of them with particularly innovative translation programs. Young adult (YA) books and romance novels are gaining popularity.

How do you choose the authors you represent?

The first step is always reading. Then comes intuition—the feeling that an author has real potential and that their work is suitable for translation and/or adaptation. When working with foreign authors, we rely heavily on the insights of translators (among other things, we can read books in English, Italian, Spanish, Chinese, and Indonesian). The relationship with the author we represent must be good and built on mutual trust. If that trust is not there, we prefer not to continue.

How do you work with domestic publishers?

Fortunately, we have an office in the very heart of Paris, in a neighborhood where many publishing houses are located. This allows us to meet with them regularly and present the latest titles and the writers we work with.

What challenges do you face in your work?

For a long time, France was resistant to literary agents, and some of that reluctance still remains. However, there are currently around 60 active agencies in France, so this is no longer such a major issue. What concerns us more is the worrying decline in reading culture.

What do major French publishers focus on when selecting their translation programs?

They are attracted by compelling stories that are easy to market and, of course, by well-known names.

What are the main skills of a literary agent?

Patience and perseverance; a good memory when networking; the ability to read catalogs and understand what a publisher is looking for. A willingness to travel and to listen to authors, translators, and publishers.

“Representing authors or representing publishers are two very different things.”
Is it difficult for French authors to secure their first translation? Is it common for them to have their own agents, or are they represented directly by publishers who then sell the translation rights to their works?

Having an agent is a relatively new development, but authors have followed the Spanish, German, Italian, and Scandinavian models. A long-standing issue is the fact that French publishers usually seek rights for publication, translation, and film adaptations. Independent publishers, on the other hand, were highly dependent on agencies that began representing authors—this is how the Astier-Pécher agency also came into being. Representing authors and representing publishers are two very different things. The market for translations has shrunk, which poses a challenge for young authors, but there is still interest in new voices.

What can authors themselves do to promote their work internationally?

We prefer to work with professional authors who understand the market and how it functions. We spend a great deal of time communicating our role and our ambitions to them, which is why we ask authors for a bit of patience.

How has participation in the Lit-Quest project positively influenced your work?

I am very interested in Eastern European countries, including the former Yugoslavia—politically and culturally. I strongly feel a European identity and believe that the unification of Europe is a project that requires continued effort. Working with authors and publishers in these countries has been, and always has been, beneficial.

What did you like most about the project, and would you change anything?

Both the project and the overall organization were excellent, and I also had the opportunity to extend my trip to Croatia. Overall, it was very successful. Perhaps we could have had a bit more time to meet with individual publishers.

How can we act in a more connective way within the literary world? How can we promote the uniqueness of a particular book market?

This is a broad question. Europe is an extraordinary community of nations, and literature can play a key role in dialogue between people. Despite the noise and tensions across Europe, I remain cautiously optimistic that we will endure—and I try to contribute to that as well.