Ms Marysia Juszczakiewicz (pronounced yush-cha-ke-vich) has been a literary agent in Hong Kong since 2007 and set up her own Peony Literary Agency in 2010 to bring voices from China to a wider audience. When she started, she says: "Publishers wanted to deal directly with the author because that was how it worked historically in the Chinese book industry. Authors were tentative about dealing with an agent because they didn't want to damage relations with the publisher."
The first author she signed was Su Tong, whose novella was turned into the 1993 film Raise The Red Lantern by director Zhang Yimou. She was also the first to represent English rights for Mo Yan, the Nobel laureate for literature now signed with The Wylie Agency in the United States.
Today, she represents celebrity novelist and race-car driver Han Han - a translation of his essays will be published by Simon & Schuster later this year - as well as the sword-fighting novels of Wang Du Lu, which inspired the Crouching Tiger, Hidden Dragon movie in 2000 (a sequel produced by Netflix will be released next month).
Ms Jayapriya Vasudevan, who founded the Jacaranda literary agency in 1997, recently negotiated a $20,000 deal with Penguin India for Singapore-based novelist Krishna Udayasankar. She gave critically acclaimed Indian writer Anita Nair her start, selling her debut, A Better Man, to Penguin India, and also represents Singaporean author Suchen Christine Lim.
However, when she started in India in the late 1990s, she was regularly rebuffed during attempts to shop manuscripts. "I guess publishers were dismissive since they had no idea what an agent did. Especially one in India. It took them a while to understand the business and to trust me. That really is the core of the agency business, trust."
Publishers must trust the agent's taste and writers also have to trust the agent to do his job.
Many writers are surprised at how long it might take for their manuscript to be accepted by a publisher, let alone printed, says Ms Vasudevan. A book about being bipolar remained on her list unsold for eight years until last year. Another writer's book has been submitted 74 times without finding a home.
"It can take a year or three for an editor to read your book," she says.
Big publishers may be becoming more risk-averse as well. Mr Geller says. "At the moment, we're going through a phase where experimental or original novels are coming out from independent publishers." That worries readers like him who are always on the lookout for originality, instead of cookie-cutter bestsellers.
Even if a book goes from author to agent to publisher in record time, as in the case of Bedford's Acts Of Revision, that is no guarantee of immediate success. The day the novel was set to reach bookstores, Mr Geller says, the publisher called him with bad news. A gunman had entered a school and fired on students. "Selling a book about a student's revenge on his teachers was impossible. It was quite a sobering story."
In spite of all the odds against new writers, Curtis Brown welcomes unsolicited submissions via its online portal, which can get thousands of entries a week. "The only important thing an agent does is working with the new writer," says Mr Geller, bemoaning the fact that his managerial duties at the agency leave him less time to nurture new voices.
"The only thing we have stopping us is our inability to read them (the submissions)," he says. "If the writers don't have connections, at least they have a chance with us. I don't want to take away that chance."