Revise and Resubmit From a Literary Agent: What It Means and What to Do

Is that good news? A rejection? Almost an offer? Free editorial advice? An opportunity you should immediately accept?

Let’s start here:

Did the agent actually invite you to revise and resubmit?

Literary agents sometimes provide feedback—including detailed feedback—without asking to see the ms again. Editorial comments aren’t automatically permission to resubmit.

When the invitation is genuine, don’t rush. Deciding what to do involves more than whether the suggestions sound intelligent.

The timing of the request is also important. So are the clarity and scope of the revisions, your commitment to the book, the agent’s relevant success, who developed the notes, your other query results, and what you would postpone to complete the work.

A revise-and-resubmit request or R&R can be an important step toward representation, but it can also consume months of your writing life without resulting in an offer.

So, evaluate it thoughtfully—don’t minimize the opportunity, exaggerate what it means, or revise automatically because an agent expressed interest.

Quick Summary

A true literary-agent revise-and-resubmit request—often called an R&R—includes an invitation to revise the project and send it back for reconsideration. Personalized feedback alone doesn’t necessarily give you permission to resubmit.

An R&R is more encouraging than a closed-door rejection but less concrete than an offer of representation. The current version has been declined, but the agent sees enough potential to keep the possibility alive.

Before accepting the invitation, consider the manuscript, your commitment to the project, the agent and source of the feedback, the timing and broader market response, and the time or conditions involved.

The best R&R revisions create a stronger book the author believes in—even if that particular agent ultimately says no.

An R&R is meaningful interest without commitment.

Key Takeaways

• A genuine R&R includes an invitation to send the revised project back.
• Helpful feedback isn’t automatically permission to resubmit.
• The current version has been rejected, but the door remains open.
• Not every R&R reflects the same level of agent interest or involvement.
• Timing, clarity, workload, author commitment, and opportunity cost can all be important.
• General agent success is relevant; success with books like yours is more persuasive.
• The agent should personally understand and support the notes, even if an assistant, intern, or AI contributed.
• Don’t merely follow a note; understand the underlying problem.
• An R&R also provides an early look at the agent as a possible editorial and professional partner.

The right question shouldn’t just be, “Will these revisions help me get this agent?” It should be, “Will they create a stronger book I believe in—and is this opportunity worth the investment?”

Table of Contents

1. What Is a Literary Agent Revise and Resubmit?
2. Did the Agent Actually Invite You to Resubmit?
3. Is It Good News—and How Serious Is the Interest?
4. Understand the Note Before Deciding Whether to Follow It
5. Should You Keep Querying—and How Should You Proceed?
6. What If the Agent Rejects the Revised Manuscript?
7. Warning Signs and Unusual Situations
8. Final Thoughts
9. Frequently Asked Questions

How I Evaluate a Revise-and-Resubmit Request

In my approximately 30 years in publishing—including my experience as a literary agent and my work since 2011 helping more than 450 writers receive offers from literary agents and/or traditional publishers—I’ve helped authors evaluate R&Rs involving fiction, nonfiction, and children’s books.

I don’t automatically tell writers to accept an R&R because an agent expressed interest. I also don’t assume it’s unreasonable for an agent to request revisions before committing to representation.

I weigh five groups of variables together.

1. The Manuscript

I consider:

• How clear the request is
• What problem the agent appears to be identifying
• How extensive the changes would be
• Whether they would genuinely improve the book
• Whether they preserve the book’s identity
• Whether the author can execute them successfully

A recommendation might identify a real weakness while proposing only one possible solution. It might also be directionally correct but too vague for the writer to act on confidently.

2. The Author

I consider:

• How much resistance the author feels
• What’s causing that resistance
• How enthusiastic and committed the author remains
• Whether the revised version sounds exciting
• Whether the writer has the energy and ability to complete the work
• Whether the changes would still feel worthwhile if the agent ultimately declined

A writer might resist because the revision will be difficult. That’s different from resisting because the proposed book is no longer one the author wants to write. I also distinguish commitment to the project from excitement about finally receiving significant agent attention.

3. The Agent

I consider:

• The agent’s overall success
• How recent and meaningful that success is
• The agent’s success in the author’s genre or category
• Whether the agent understands the book and readership
• The clarity and thoughtfulness of the communication
• Whether the agent seems like a promising professional partner
• Who developed the notes
• Whether the agent personally stands behind them

General success is encouraging but relevant success is more persuasive.

4. Timing and Market Evidence

I consider:

• Whether the R&R arrived early or late in the query process
• How many appropriate agents remain
• Whether other agents are reading the project
• The pattern of partial and full requests
• Whether similar feedback has appeared elsewhere
• Whether the request seems like one person’s taste or evidence of a broader problem

A major R&R received from one of the first agents queried may deserve a different response from the same request received after most suitable agents have declined. See How to Interpret and React to Literary Agent Rejections for more about what different response patterns might indicate.

5. Cost and Conditions

I consider:

• Whether the revision will require days, weeks, or months
• What other projects or opportunities will be postponed
• Whether the agent proposed a deadline
• Whether exclusivity was requested
• How long any exclusivity would last
• Whether the agent has already requested multiple rounds
• Whether the level of interest seems proportionate to the work involved

A two-week revision and a six-month rewrite aren’t the same just because they’re both R&Rs.

No single variable should decide whether an R&R is worthwhile. The factors should be weighed together.

1. What Is a Literary Agent Revise and Resubmit?

A literary-agent R&R occurs when an agent declines to offer representation for a project in its current form, suggests meaningful revisions, and invites the writer to submit the revised version for reconsideration. It usually involves more than correcting errors, changing the title, or polishing several pages.

An agent mightrequest changes involving:

• Character, stakes, structure, voice, pacing, point of view, length, or the ending
• A nonfiction book’s positioning, target audience, proposal, platform, sample chapters, or reader promise
• A children’s book’s word count, age level, page turns, repetition, protagonist agency, or read-aloud quality

Not all R&Rs represent the same level of interest.

Personalized Rejection

The agent explains why they passed and offers useful suggestions but doesn’t invite another submission. That’s feedback—not necessarily an R&R.

Soft Invitation

The agent says they would be open or happy to see the project again if you revise.

The door appears open, though the strength of the interest may be difficult to assess.

Specific R&R

The agent identifies substantial concerns and clearly asks you to address them and resubmit.

Collaborative R&R

The agent discusses the editorial direction, explains the priorities, and may answer one or two focused questions. This deeper engagement still isn’t an offer.

Conditional R&R

The invitation includes exclusivity, a deadline, or another condition.

Those terms deserve careful consideration before you agree.

2. Did the Agent Actually Invite You to Resubmit?

A true R&R is invited.

Former literary agent Mary Kole has explained that a revision invitation should be treated differently from an ordinary rejection and that writers shouldn’t assume they have permission to resend a project simply because an agent offered feedback. You can read more in Resubmitting a Revision.

An invitation might say:

• “I’d be interested in reconsidering this after revision.”
• “Please send it back if you decide to address these concerns.”
• “I’m not ready to offer representation, but I’d like to see a revised version.”
• “If you revise along these lines, I’d be happy to read it again.”

The following comments don’t necessarily constitute an invitation:

• “I struggled with the pacing.”
• “I wanted stronger motivation from the protagonist.”
• “The proposal needs a more focused audience.”
• “I hope these comments are useful.”
• “Please keep me in mind for future work.”

Helpful feedback isn’t the same as permission to resubmit.

When the language is ambiguous, a concise clarification request is reasonable:

Thank you for the thoughtful feedback. I want to make sure I understood correctly: if I undertake a substantial revision addressing these concerns, would you be open to reconsidering the manuscript?

That’s better than spending months revising and discovering that the agent never intended to read the project again. If the agent didn’t invite resubmission, you might still use the feedback to improve the book for other agents.

You might also pause querying if the comments confirm a problem you believe is real—or you might continue if the advice seems highly subjective.

Reapproaching the same agent later can sometimes be appropriate after a genuinely substantial transformation, sufficient time, and confirmation that re-queries are accepted. That’s different from an invited R&R.

Light polishing generally doesn’t justify resending a rejected project.

3. Is It Good News—and How Serious Is the Interest?

An R&R contains elements of both rejection and encouragement. The current manuscript has been declined but the agent hasn’t closed the door. That distinction is important because agents have limited time and aren’t obligated to provide detailed feedback or invite another look.

Two writer interpretations are usually inaccurate.

“It’s Only a Rejection”

That minimizes the agent’s time, thought, and continuing interest.

“I Practically Have an Agent”

That ignores the lack of commitment and the possibility of another rejection.

The agent might admire the concept, voice, prose, main character, subject, platform, or market potential while still seeing an obstacle that’s preventing an offer.

An R&R means the agent sees enough potential to keep the possibility alive—not enough certainty to offer representation yet.

Signs of Stronger Interest

These might include:

• A clear invitation to resubmit
• Specific observations about the full manuscript or proposal
• An explanation of why the requested changes matter
• Clear priorities
• A willingness to answer focused questions
• Discussion of positioning or likely readership
• A conversation about the editorial direction
• A defined process for reconsideration

Generic comments, vague encouragement, or observations based only on sample pages might indicate a lower level of engagement.

Who Developed the Notes?

The feedback may have been developed by:

• The agent
• The agent and an assistant or intern
• An assistant or intern reporting to the agent
• Some combination of those sources

Assistant or intern involvement isn’t automatically a problem. They can be perceptive readers, and many become successful agents or editors.

What matters is whether the agent:

• Personally engaged with the project
• Reviewed the recommendations
• Agrees with the direction
• Takes responsibility for the notes
• Genuinely wants to reconsider the revision

When substantial work is requested, a tactful question may be appropriate:

Before I begin such a significant revision, may I ask whether you personally read the manuscript and whether these changes reflect the direction you would want to pursue if you ultimately offered representation?

The key isn’t who typed the letter. It’s who developed, evaluated, and owns the recommendations.

An R&R also offers an early preview of the agent as a possible editorial partner.

Does the agent understand the book? Communicate clearly? Respect its central identity? Welcome reasonable questions? Identify problems while allowing you to find creative solutions?

The agent is evaluating you.

You should also be evaluating the possible relationship.

4. Understand the Note Before Deciding Whether to Follow It

An agent might identify a problem, a symptom, one possible solution, or an instinct they haven’t fully articulated.

For example:

• “Add more action” might mean the stakes or momentum feel weak.
• “Make the protagonist more likable” might mean readers lack emotional access.
• “Cut the backstory” might mean the present narrative isn’t compelling enough.
• “Change the ending” might mean the resolution feels too easy or unearned.
• “Make the book more commercial” might mean the audience, structure, or promise is unclear.
• “Narrow the nonfiction readership” might mean the positioning is too broad.
• “Reduce the picture-book repetition” might mean the repeated beats aren’t escalating.

If you follow the wording literally without understanding the issue, you might add activity without momentum, remove useful context, flatten a complicated character, or weaken what makes the book distinctive.

Don’t just follow the note. Be sure you understand the problem the note is trying to solve.

What If You Feel Resistant?

Resistance isn’t proof that the advice is wrong.

You might resist because:

• The revision will be difficult
• You’re attached to existing material
• You feel discouraged or exhausted
• You fear losing control
• The agent identified a weakness you already suspected
• You’re no longer excited about the project

But resistance can also mean that the proposed direction conflicts with the book’s identity.

Make sure you distinguish:

I don’t want to do this because it will be difficult.

from:

I don’t want to do this because it would become a book I don’t want to write.

The first concern might diminish once you understand the purpose and develop a plan.

The second deserves more serious attention.

Ask yourself:

Would I still want to make these changes if I knew this agent might ultimately decline?

A substantial R&R makes more sense when you remain committed to the project and want to create the revised book—not just get the agent’s approval. One or two focused questions might be a good idea when the request is unclear. But don’t expect an agent who hasn’t offered representation to provide a complete editorial plan or manage the revision.

What If Agents Give You Conflicting Advice?

Agents can read the same project and recommend opposite changes. One agent might want the conflict introduced sooner whereas another might prefer a quieter opening. One agent want a subplot removed whereas another might consider it essential. And one agent might want a nonfiction audience narrowed whereas another might see broader potential.

That doesn’t necessarily mean any particular agent is incompetent. They differ in taste, intended readership, category expectations, positioning, and their diagnosis of ms problems. Before deciding which solution is right, ask what each agent is reacting to.

Two opposite suggestions might arise from the same underlying weakness. One agent might recommend cutting several chapters while another suggests adding tension to them because both believe the middle lacks momentum.

Avoid automatically combining incompatible visions to try and please everyone.

When agents recommend opposite changes, ask what problem each believes they’re solving before you do anything.

5. Should You Keep Querying—and How Should You Proceed?

An R&R doesn’t ordinarily require you to stop querying unless you agree to exclusivity. Whether continuing is wise depends on what you now believe about the manuscript.

Continue Querying When:

• The feedback appears highly subjective.
• You haven’t decided whether to revise.
• The current version is attracting meaningful interest.
• The R&R arrived early in the query process.

Pause New Queries When:

• The feedback revealed a problem you believe is real.
• You’re likely to make substantial changes.
• You no longer want new agents evaluating the current version.

Leave Existing Submissions Active When:

• Additional feedback would be useful.
• You haven’t committed to a new direction.
• Promising agents already have the project.

Withdraw Existing Submissions When:

• You no longer stand behind the submitted version.
• The planned revision will materially change the project.
• You don’t want decisions made based on obsolete material.

Consider Exclusivity Carefully

If the agent requests exclusivity, clarify:

• What is exclusive
• Whether it applies to new queries, existing submissions, or only the revised manuscript
• How long it lasts
• When the agent expects to respond
• What happens when the period expires

Don’t assume exclusivity when it wasn’t requested, and don’t accept an open-ended restriction just because you’re excited.

Take Enough Time to Revise Well

Don’t rush to show openness and enthusiasm. Take enough time to understand the notes, plan the changes, revise the whole manuscript or proposal coherently, and examine how each change affects the rest of the project.

Save the earlier version in case the new direction doesn’t work, and let the revision rest before rereading it from beginning to end. Trusted feedback can also help. If the work will take much longer than the agent might reasonably expect, a brief update is a good idea. Frequent progress reports aren’t.

Keep the Resubmission Message Brief

When the project is ready, your message should:

• Remind the agent of the invitation
• Thank them
• State that the revision is complete
• Summarize the most important changes briefly
• Follow the requested submission instructions

Don’t send a long editorial essay defending every decision.

The revised project should demonstrate the work.

6. What If the Agent Rejects the Revised Manuscript?

An R&R never guarantees representation.

The agent might decide that:

• The revision didn’t solve the original concern.
• The changes created new problems.
• Your editorial visions remain too different.
• The agent no longer feels strongly enough.
• The agent’s list or circumstances changed.
• The market now appears less favorable.

That can be disappointing, but the central question becomes whether the book is now stronger and still aligned with your goals. If it is, you can query the revised version more effectively elsewhere. The work isn’t automatically wasted because one opportunity didn’t become representation.

At the same time, don’t assume every additional revision round is worthwhile.

Be cautious when:

• The agent’s requested direction keeps changing.
• The work becomes less clearly defined.
• The agent’s commitment never increases.
• Your enthusiasm continues to decline.
• The manuscript moves farther from what you wanted to create.

The revision can be valuable even if the opportunity doesn’t become representation—but that doesn’t mean every additional round is worthwhile.

7. Warning Signs and Unusual Situations

An R&R deserves greater caution when:

• The agent didn’t actually invite resubmission.
• The notes are generic, contradictory, or factually inaccurate.
• The agent hasn’t meaningfully engaged with the project.
• The agent won’t confirm that they stand behind extensive recommendations.
• AI appears to have shaped the feedback without thoughtful agent review.
• The agent requests open-ended exclusivity.
• You’re pressured to revise unrealistically fast.
• Multiple major rounds are requested without increasing clarity or commitment.
• The agent recommends a paid service in which they have an undisclosed interest.
• The requested direction undermines the book’s identity.
• You feel compelled solely because this seems like your only opportunity.

Most genuine R&Rs aren’t attempts to take advantage of writers. Agents also spend unpaid time reading, thinking, and offering feedback without knowing whether the author will revise or whether the result will work.

Appreciation doesn’t require surrendering unlimited time or creative control.

Don’t assume an agent is exploiting you because they haven’t offered representation. But don’t surrender unlimited time and creative control merely because they expressed interest.

8. Final Thoughts

A literary-agent R&R is:

• An invitation, not merely feedback
• Meaningful interest, not commitment
• Editorial guidance
• A possible market signal
• A significant use of your time
• A test of your commitment to the project
• A preview of the agent’s editorial thinking
• A possible first step toward a professional partnership

Take it seriously but don’t treat it like an order or a near-guarantee of representation. Make sure the invitation is real. Understand the concern beneath the requested changes. Consider the agent’s relevant experience and personal involvement. Look at the timing and evidence from your broader query process. Be honest about your commitment to the project and what the work will cost. Then decide whether you want to create the revised book—not simply whether you want the agent’s approval.

Get 1-on-1 Help Evaluating a Literary Agent R&R

A revise-and-resubmit request can be exciting, confusing, and difficult to evaluate objectively. I help writers assess the proposed changes, the agent and opportunity, the timing and broader query results, their continuing commitment to the project, and the time or creative compromise involved.

I don’t automatically tell authors to accept every R&R because an agent expressed interest—or reject one because representation isn’t guaranteed. The goal is to make the wisest decision for the book, author, and publishing career.

Learn more about booking an author coaching and consulting call here, and read reviews from authors explaining what it’s like.

About

This article, about literary agent revise and resubmits was written by a former literary agent turned author coach. Mark Malatesta is the creator of The Directory of Book Agents, host of Ask a Publishing Agent, and founder of Literary Agent Undercover and The Bestselling Author.

Mark has helped hundreds of authors get offers from literary agents and/or traditional publishers. Writers of all Book Genres have used our Book Agent Advice coaching/consulting to get Top Literary Agents at the Best Literary Agencies on our List of Literary Agents.

The Bestselling Author, LLC

Established in 2011, The Bestselling Author has helped 400+ authors get literary agents and/or traditional publishers. Writers who’ve worked with Literary Agent Undercover, a division of The Bestselling Author, have gotten six-figure book deals; been on the New York Times bestseller list; had their books adapted for TV, stage, and feature film; had their work licensed in 40+ countries; and sold many millions of books.

Notable authors include Nelson Johnson, author of Boardwalk Empire, which Martin Scorsese produced for HBO; Leslie Lehr, author of A Boob’s Life, which is currently being adapted for an HBO Max TV series by Salma Hayek; and Scott LeRette, author of The Unbreakable Boy, which was published by Thomas Nelson and is now a major motion picture by Lionsgate starring Patricia Heaton, Zachary Levi, and Amy Acker.

The founder of The Bestselling Author, Mark Malatesta, is a former literary agent, literary agency owner, AAR member, and Marketing & Licensing Manager for the gift and book publisher Blue Mountain Arts. He is now an author coach and consultant. Click here to see Mark Malatesta reviews.

About the Author

The founder of The Bestselling Author, Mark Malatesta, is a former literary agent, literary agency owner, AAR member, and Marketing & Licensing Manager for the gift and book publisher Blue Mountain Arts. Mark is now a highly regarded author coach and consultant, dedicated to helping writers obtain literary agents. Drawing on decades of industry experience, he works with writers across genres, offering personalized coaching to navigate the complexities of the publishing world.

Through The Bestselling Author, Mark provides practical tools, industry insights, and motivational support tailored to each writer’s needs to help them do so. In addition to coaching, Mark shares his expertise through speaking engagements and online resources. His dedication to empowering authors has made him a trusted mentor in the writing community, earning him a reputation as a knowledgeable and approachable guide for writers pursuing their dreams. Click here for Mark Malatesta reviews.