Query. Sign. Submit. with Agent & Author Eric Smith!

Eric Smith is an agent with P.S. Literary Agency. He represents a little bit of everything. “On the adult side of things, I love accessible sci-fi and fantasy, as well as accessible literary fiction. Accessible is something I stress a lot, because I like books anyone can read. If the world building is too exhausting or the novel is impossible to understand… hard pass. I also work on Young Adult books across all genres and non-fiction (cookbooks, memoir, pop-culture).”

He only responds to the projects he’s interested in. Consider it a pass after 6 weeks.

Eric is also a young adult author and The Girl & the Grove,  is now available from Flux! He is represented by Dawn Frederick of Red Sofa Literary.

Connect with Eric …

Twitter (@ericsmithrocks) * website (which features his books as well as his authors’ - www.ericsmithrocks.com)

Get the book …

The Girl & the Grove (Available now!) * Reclaim the Sun (2020)

From an agent perspective …

QUERY

What advice would you give to querying writers?

To do your research, and to be patient. And when it comes to that research, make sure you’re reading where that research is coming from. Are you reading something from someone in the industry? A published author? Someone with an agent? It always shocks me to hear writers echoing back really terrible advice they’ve read on some misc. blog. Doing research is great. Making sure that research is legit? Even better.

Is there anything you see way too much of in the queries you receive?

I sometimes get the occasional query letter where the writer is trying to be funny, and it tanks. Humor is great. Being lighthearted, also great. But like, tread carefully. If I get a query that’s full of jokes and snark, I’ll assume the writing style is like that. And if you’re not making me laugh… we’re kinda done.

Is it okay for a writer to nudge concerning queries or partial/full requests?

Absolutely. You should never be afraid of doing that.

What does it take for you to offer representation?

Honestly, I just have to love the story and the writer. That’s it. There’s no magical equation to it all. Book has to be awesome, and the author has to be someone I’d want to work with for a long time. That’s all I need. Good book, good person.

SIGN

Are there any specific questions you’d recommend that a writer ask when talking with offering agents?

I think it’s always a good idea to talk about where they potentially see your book. Now, this isn’t you asking, “where are you going to sell my book.” Because that’s not an answerable question. This is just getting a feel for where they feel your book could potentially be. You want an agent who knows the marketplace and has a good sense of where they’d go with your project.

Also, maybe see if you can chat with the agent’s current clients. If they say no, my goodness, is that a red flag of the highest order. You should be able to drop a client a line and ask what their experience is like. But, just be respectful of the client’s time. If you send an email that’s a novel full of questions, you might not get an answer back, if they are on deadline or just, you know, living their life.

“But they don’t have any clients!” You scream. That’s okay. If they are a shiny new agent, ask them how their agency is going to support them. Do they have the ties needed to pitch your book around? Get a sense of their passion, if they lack the experience. Every agent was a new agent at some point.

How long do you prefer an author take to get back to you once you’ve offered?

I don’t really care. I’d love to hear back soon, but I don’t give deadlines. The publishing industry is too small to burn bridges and not take your time. Get back to me in a few months if you have to. It’s fine.

This does not mean if an agent gives you a deadline, that that’s a bad sign. Plenty of agents do give a deadline. That’s just a personal preference of mine.

What is it like waiting to hear back from a writer you’ve offered representation?

I get pretty antsy. I don’t think writers realize that agents get just as worked up as they do, waiting to hear back if we’re going to work together. And then, once you’re signed by an agent, it gets kicked up a level, and when an editor offers… then it’s THEIR turn to get worked up waiting to hear back.

Publishing is just a business full of anxiety. I don’t know why we do it.

How do you get to know editors and what they’re looking for?

It’s funny, I get asked this question a lot because I’m an agent based in the Midwest. The closest publisher to me is Sourcebooks, and they’re a solid three hours away in Chicago. I don’t get to do the fancy New York City lunches with editors, so writers tend to wonder how I’m able to get to know folks.

Hi, have you met the Internet?

I spend a lot of time emailing editors, introducing myself, talking to them on Twitter, hopping on the phone… all of that helps in a huge way, and keeps me in the loop. I do fly out to events like ALA or BEA, which is certainly a great networking opt. But with the joys of the Internet, it’s just a quick email, and sometimes, a pick-your-brain phone call.

Is it okay for a client to check in if there hasn’t been any news in a while?

Of course! An author should never be afraid of their agent. You need to have an open dialogue with them. Communication is SO important.

As an agent who is also an author …

QUERY, SIGN, SUBMIT

How is the process of querying and signing with an agent different for a writer who is also an agent?

This question is so funny, because I feel like I get asked if the process is easier because I’m an agent and like, know editors.

It’s not. It’s probably worse.

Because while my book is on submission, I’m actively pitching and talking to these editors and publishing houses, and some of them have my book. And it’s just terrifying. So that anxiety authors feel while on sub? Imagine your book is on submission to all these people… and you still have to talk to them every day.

How is the process of going on submission different for a writer who is also an agent?

It’s not. Though I do ask my agent to avoid pitching editors I’m actively working on things with. I’d like to keep things not weird. But that becomes impossible anyway, because I’m not going to micromanage my agent and have her run every editor by me. I’m not a monster.

How do you balance the work of both an agent and an author?

I don’t. I wrote my latest book, Reclaim the Sun, two years ago. Once it comes out, I anticipate I’ll just do a lot of crying in the shower when it’s time to write something new.

Thanks so much, Eric!

See other Query. Sign. Submit. interviews
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Learn about Tools for Writers- like Scrivener

* Posted September 2018 – Always check for current info and guidelines.

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Query. Sign. Submit. Debut! with Annie Sullivan

Annie Sullivan is a young adult author and her debut, A Touch of Gold,  is now available from Blink/HarperCollins! She is represented by Christa Heschke of McIntosh & Otis.

Connect with
Annie …

Website * Facebook * Twitter * Goodreads

Get the book …

Amazon * Barnes & Noble * Indiebound

QUERY

What advice would you give to querying writers?

Do not give up. Every writer’s career timeline is different. Some writer friends who got agents after me got published before me. Others who started at the same time as me (who are AMAZING writers) are still looking for agents. So much is out of your control—market conditions, agent moods, agent clients who may have written something similar to your work. There’s no shortage of reasons why an agent will reject you. But if you stay with it and keep writing, I really think you can make it.

What are some important things for querying writers to consider when researching agents?

Really narrow down your list based on what you want. Is having an agent in New York important to you? Do you want an agent/agency that handles movie rights? If you want to write outside your genre, will that agent represent that (or will another agent in the agency)? Is the agent editorial? Do you share the same vision for your career? Having no agent is better than wasting time with a bad agent. Look into their sales records. However, don’t dismiss newer agents outright (assuming they are with a reputable agency) because they may have more room on their client list and may be being mentored by other big name agents in their agency.

What resources and websites did you use when querying?

I loved http://www.literaryrambles.com/. It had so many great interviews with agents, and even if that particular agent didn’t represent what I wrote, I could research the agency and see if anyone there might be interested.

How did you keep track of your queries?

I had a massive color-coded spreadsheet that kept track of every agent I sent to, when I heard back from them, and what their response was. This was instrumental in making sure I didn’t query someone twice—and when my first book didn’t get me an agent, I had all the info on hand to know about when I’d hear back from agents on my second book based on their previous response time.

I treated looking for an agent like a job, and it really helped. I highly recommend this approach.

SIGN

Are there any specific questions you’d suggest writers ask an offering agent during “The Call”?

While an agent probably won’t tell you everything they’d like to see revised before you go out on submission, I think it’s good to ask for general ideas of what they think you might need to revise. This way, you can see if your visions match up. It’s not going to be a good fit if they want drastic changes that you aren’t going to want to make.

What was the week surrounding your offer(s) of representation like for you?

It was crazy. I had gotten two offers and was trying to decide between agents. I was researching like mad and reaching out to clients to see what their experience was with the agents.

How editorial is your agent? Is it what you expected?

My agent is very editorial, which I like. I’m great with plot, and she’s amazing with making sure my characters really shine—so we make a great pair. Having an editorial agent makes me feel like I’m presenting my best work to editors when I go out on submission.

It is to some extent what I expected. But overall, I just love that my agent never mandates I make a certain change. She’s always open to collaborating and discussing the direction.

Do you send sample chapters to your agent or do you wait until the manuscript is finished?

I pretty much just send her a draft when I’m done with it. Sometimes she asks me what I’m working on, but for the most part, I decide what I want to do next because I know if I’m not in the mood to write a certain story, then it won’t turn out well. I go where my imagination tells me to!

SUBMIT

What do you suggest a writer does while out on submission?

Always, always, always be working on the next book (unless it’s a sequel). There’s so much pressure to have a great follow up book that many writers freeze when it comes time to write their sophomore book. But, if you have something virtually ready to go by the time book 1 gets a deal, there’s a lot less pressure.

How much contact do you have with your agent when you are out on submission?

I like to know anytime we get news. My agent emails if I get a rejection and calls if I get an offer. Let’s just say I learned to hate the sound of emails coming through on my phone for a little bit there ;)

Is there anything you learned while being on submission that you didn’t know before?

Hearing back from editors can seem like it takes forever. I refreshed my email so often in the days after we went on submission only to learn that it could take months to hear back from editors.

Did you know there was interest in the book before you got an offer or was it a surprise?

I knew there was interest, so it wasn’t a surprise. But I felt oddly at peace as I advanced through the process because I felt like this was finally really going to happen.

DEBUT

What have you learned about being a debut author?

While it’s so exciting to have a book coming out, it doesn’t change your life as drastically as you might think it will. One day you don’t have a book on shelves and the next day you do. So the best thing to do is write book 2 and keep working hard!

Is there a lot of support among debut authors?

There is so much support from fellow debuts. We all tweet about each other’s books and give each other advice. I love the community aspect of it so much because you don’t feel like you’re competing with anyone. You just feel like you’re all on this journey together.

Have you done any conferences, book festivals, or events as an author? What was it like?

I went to BookExpo and BookCon this year, and I had the time of my life!!! Since I’m a reader at heart, I was right there in line with everyone else fangirling over Rick Riordan and Marissa Meyer and so many other famous authors. Gail Carson Levine even asked me to come sit with her. I was over the moon and didn’t want to leave. Also, did I mention free books? I felt like a kid in Willy Wonka’s chocolate factory!

What was it like to see your cover?

I nearly cried when I saw it! I love the gold coming down from the top, and the gold hand holding the rose really just highlights the story well.

Thank you, Annie!

See other Query. Sign. Submit. interviews
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Behind the Book with Jenn Bishop and her agent, Katie Grimm

For almost four years now—wow, time flies!—I’ve been represented by Katie Grimm at Don Congdon Associates. I found Katie the traditional way—good old cold querying—and now that two books are out in the world, we’re entering a new phase of the agent/author relationship.


JB: For many authors in their initial agent search, it’s all about getting that first book deal. But it’s what happens after that probably makes the difference between a career author and someone who publishes one book. How do you guide your authors to keep them in the game?


KG: There can be so much focus on and online support for getting an agent that I completely understand the inclination to post “success stories” about getting one, but it’s the very first step! And selling your book is another great accomplishment, but only the next one on a hopefully very long journey – things don’t magically fall into place for authors with agents or even with book deals (or three!).
First of all, it’s important to be proactive about finding the audience for your first book in ways you can control as well as staying receptive and thoughtful about what you can do differently next time. For example, you can’t control what PW or Kirkus reviewers say, but you can encourage your nearest and dearest to leave Amazon reviews. It’s so important (and hard!) to keep stepping back and analyzing the data your first novel presents. Regardless of where you are in your journey, you’re also part of a greater community and ecosystem, and you need to find a way to meaningfully interact with it in a way that gives you strength and hope, not just feelings of inadequacy and jealousy – which even the most seemingly successful authors experience at some point.
Beyond finding excitement in the community of peers and readers, it’s also vital that you tune out the noise of the business and keep tapping into the passion for what brought you here in the first place: writing. Whether you have several projects you’re juggling or just focusing on the next novel, you can’t grow your career without putting your butt in the chair to work on your next project. I also think it’s so helpful to keep seeking out critique groups and beta readers who will grow with you throughout your respective careers – even though you have your agent and editor, there’s so much value in fresh eyes and support from fellow authors.

JB: How do you find your relationship with a client changes as they move past their first deal or two?

KG: In a lot of ways I’m the “expert” in the relationship, and for things like handling submissions and negotiating contracts, that will remain my sole responsibility in representing a client. However, I do really enjoy ways that the agent/author relationship grows into even more of an equal partnership with both of us bringing our own expertise to the table. So as my authors gain experiences from things like book fairs to Skype visits (which I’ll never get to do myself, alas!), I look to them to communicate their new knowledge to me so we can both critically look at their careers and problem-solve together. Looping back to the original question, I think authors are most successful long term if they can gain competency if not mastery in areas that they initially needed help with (or if they can forge new ones completely!), as a sort of feigned incompetence or sense of entitlement for book two and three is a way to lose the goodwill of even their staunchest supporters.

JB: What challenges do you face advocating for your authors as they establish a track record of sales, etc.?

KG: There is a sort of (dangerous?) optimism that comes with debuts – this is how we’ve seen six and now even seven figure advances become more common, but the real answer is no one truly knows how well a book is going to do – books that changed your life don’t get the requisite attention while others somehow never budge off the bestseller lists. So the treatment of book two can feel sobering not because it’s necessarily worse, but because (with very few exceptions) there’s no way for true sales history to compete with the previously imaginative profit and loss statements editors create for calculating the advances for debuts. In other words, you will often have to push yourself even more on book two to catch up to reality. Many authors don’t break out until books three and four, and you best believe it’s because they used every book they wrote to grow as an artist and business person.

JB: What types of projects are exciting you right now?

KG: Recent favorites of mine have been THE HATE U GIVE and FEMALE OF THE SPECIES. I always talk about “necessary” fiction or “books with a heartbeat,” but I feel an even higher level of urgency to not just entertain and create worlds readers can get lost in, but to reflect reader’s own experiences as well as expand their understanding of those around them – inspiring them to be more empathetic, reflective, and arbiters of change in their own world.
This doesn’t mean I’m only looking for books that are political or socially pointed, just that I’m more cognizant of the level of responsibility and power we have to make truly lasting emotional change in young lives. I have been asking authors and myself about “takeaways” more than even before, and the books I’ve been excited about have helped me unpack emotions or see our current world in way that gives me both insight and hope.

JB: Has the role of agent changed since you first started at Don Congdon? How do you see it continuing to evolve in the coming years?

KG: Yes, just as so much of the publicity is now on the shoulders of the author, the agent must be there to at least guide authors initially if not help directly along the way. So I’m continuing to learn aspects of the business and gaining contacts in ways that weren’t necessary before.
To take this a step further, I’ve also watched agents become hype machines in their own way which I’ll admit I’ve had a harder time coming into (it’s also a much bigger phenomenon in kidlit than adult, for what it’s worth). To put it in perspective, once upon a time it was looked down upon to “advertise” as an agency as it was seen as predatory or just backwards to put the agent before the author. So we never used to announce our deals (and I do so now only sporadically), and we didn’t even have a website when I first started (the one we have now took a couple years of convincing on my part!). As much as that this has changed even in my time here, it’s also a friendly reminder that there are very good agents and agencies that are not online at all! Agents will always be advocates for their authors in whatever form that takes, and even as more of this moves towards online publicity, agents too are choosing their own style given their strengths and the type of books they represent.

JB: Realizing that there are some aspects of publishing that are not in our hands, what can authors do to put themselves in the best position possible to stay in this competitive industry?

KG: I always have the same advice: read every day and write every day – it’s the only way to become a better writer and remind yourself of the joy of the written word! Every one of us – author, agent, editor, publicist – can only enact change in very specific ways in our own sphere. The only thing we can’t do once the book is finished? To force readers to enjoy it and recommend it to friends. We can be personable online and publishers can give away crates of galleys, but the only thing that matters in all of this industry is readers’ actual level of enjoyment that happens when we’re not even in the room.
So while it is important to follow fellow authors and publishers and watch how they interact with their audience, truly the only way to stay competitive is to read and read widely. You might not like everything, but it’s your job is to understand what aspects of craft the author excels at to have made the book successful at whatever level – critically, commercially or both. Then get writing! It will always come back to the strength of your words and story, and (for better or worse!) it’s the one thing you do have control over and hopefully… it’s the thing you enjoy the most too!

JB: Thanks so much for taking the time, Katie. This has been enlightening for me. It’s so true that it all boils down to a person connecting with a book. (Or, hopefully, a lot of people forging individual connections with the same book.) Time to get back to writing!

Jenn Bishop is the author of 14 Hollow Road (Alfred A. Knopf/Random House). Her first middle grade novel, The Distance to Home, was named a Junior Library Guild selection and a Bank Street College of Education Best Children’s Book (2017). She lives in Cincinnati, OH.

Website * Facebook * Twitter * Goodreads

Get the book . . .

IndieBound * Amazon

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Query.Sign.Submit. with Alyssa Eisner-Henken

Alyssa represents picture books, middle grade, young adult fiction, nonfiction, and women’s fiction.

She tries to respond to all queries, but if you haven’t gotten a response after three months, you should consider it a pass.

To connect with and learn more about Alyssa . . .

Agency Website

 

QUERY

What advice would you give to querying writers?

I would urge a writer not to query before she/he feels the manuscript is complete and in the best possible shape. It can be tempting to want to pitch your gem to the world while you’re in the midst of working on it. But since editors seem to be more and more selective about the editorial quality of the works that they are acquiring, I, too, need to be selective about the books I choose to represent. Of course I’m always more than happy to do editorial work with an author to help the book make the best sale possible. But I feel I can do my job of selling most effectively once the manuscript is completed and has been through some critiques and revisions already.

What are some important things for querying writers to consider when researching agents?

Seek out agents who have worked on the books you love. Never feel that because an agent represents a huge bestseller or several bestsellers that he or she won’t have time for your book. If that’s the case, so be it. But don’t assume that will be the case. When someone tells me they are writing to me because he or she love a particular book that I championed, it’s very gratifying.

What WOWs you in a query?

For me, a query is most successful when it evokes the mood of the book much in the same way a movie trailer makes you want to see a movie. It’s important that the setting, voice, characters, and conflict are all present enough to entice the reader to read. Still, there should be a sense of mystery and subtlety, too, so not everything is revealed, and the story does not feel obvious of cliché at first glance.

What would you love to find in the slush pile?

I am very much on the lookout for middle grade fiction as well as a smattering of picture books and young adult fiction. Books in which the writing is inspiring and you can’t stop thinking about the characters and their dilemmas. Some particular ideas that excite me:

1) A YA reimaging of Mad Men in which gender politics and greed take center stage.

2) A middle grade novel in which the giant balloons from The Macys Day Parade are the protagonists.

3) An illustrated picture book about the s’more. I believe it’s the new cupcake!

SIGN

How editorial are you?

I am very editorial! I worked as an editor at Simon & Schuster Books for Young Readers for seven years before becoming an agent. I also read manuscripts with an eye for pacing especially because I find editors are very willing to work on character development and central scenes with a client, but if the pacing is too slow, that can kill a sale, even if the writing is otherwise strong.

How do you put together a list of editors to send to?

This is one of my favorite things to do. That, and writing pitch letters!

I enjoy reading Publishers Marketplace and Publishers Weekly to see who is buying what at this minute, so I have a very current perspective on what types of editors are drawn to what types of themes. I also read the bestseller lists and accolade lists religiously to see which editors are getting books on these lists. I like to have variety on my submission lists between more established editors who have great reputations and younger editors who have success to show for their earlier acquisitions. One can never predict the responses, but I find a balance between seasoned and hungry editors in every submission has worked well for me and my clients over the years.

At what point would a client share new story ideas with you?

I love to be part of the process as early as the author wishes to include me. Sometimes I am known to make big picture comments that can really influence the work in a positive way and help the author ground it further.

Do you want to see sample chapters as a client writes or do you prefer to wait until the manuscript is finished?

Whatever works for the client! Some people need privacy and others use me as a critique partner of sorts. There is no one formula. I do whatever it takes to help make the book successful.

SUBMIT

How much contact do you have with a client when he/she is out on submission? Do you send weekly updates or update as responses come in?

A lot of contact! When there is interest, I always let the client know right away. And when there are passes, I share those, too. When there are multiple editors interested or an auction situation, it’s especially important to be in constant contact with the client so he/she can decide which offer to accept. One of the nicest compliments I ever received from a client was that she felt she was “my only client” when we were fielding numerous offers for her books. Of course I have many clients, but in that minute, I was wholly consumed with making the best choice for her and her book. I try to make sure that each clients feels like my only client when we are selling a book together. But I always respond to my other clients promptly while helping the lady or man of the hour, of course!

Is it okay for a client to check in if there hasn’t been any news in a while?

Certainly. I feel if an agent is doing her job, there won’t ideally be painfully long stretches without news of any kind, though, that’s not always the case especially during the holiday season and the late summer when editors tend to take vacation. But usually editors decide within a matter of a few weeks when a book is going to be up for acquisitions. It’s important as an agent to keep in contact with all the editors in a submission round, so if one wants to take it to an editorial meeting, another has time to get his or her ducks in a row in order to make an offer.

What is it like to tell a client there’s an offer on the book?

It never gets old. It’s wonderful, affirming, exciting, and if I’m out and about and get news of an offer forthcoming, there is no better use for an iPhone than to extend this news!

Once a writer has sold his/her first book, how is the next submission process different?

It’s much different! Often after a book has been sold on a full manuscript, the next book is sold on a proposal. This can be wonderful in the sense that the client needn’t invest years of his or her life in order to make a sale. But once the book is sold, but not yet written, it can be overwhelming. To minimize a feeling of “oh, no, they paid me all this money and now I need to write the darn book!” I try to work with my clients to make sure they maintain a sense of calm throughout this process. This might mean reading partial drafts along the way, having long conversations about the plot and where to go with it. Of course, an editor, at this point, will usually do the heaviest lifting, but I’m always happy to jump in and make the process run smoothly.

Thank you, Alyssa!

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Query.Sign.Submit.Debut! with Ami Allen-Vath & Victoria Lowes

Ami is a young adult author and her debut, LIARS AND LOSERS LIKE US, is now available from Sky Pony Press! She is represented by Victoria Lowes of the Bent Agency.

Connect with Ami . . .

Website * Twitter * Facebook * Instagram

Get the book . . .

Signed/personalized copies of Liars and Losers Like Us can be purchased and shipped from Little Shop of Stories. 404-373-6300

IndieBound * B&N * Amazon

Victoria represents Historical Fiction, YA Literary Fiction, Romance, Thrillers/Suspense, Mystery, and Women’s Fiction

To connect with and learn more about Victoria . . .

Website

 

 

QUERY

Ami:

What advice would you give to querying writers?

The biggest advice I have is to make sure your manuscript is ready. If you’ve only done a few rounds of skimpy revisions and edits, it isn’t ready. If you haven’t had a critique partner or beta reader read through your ms, you are probably not ready. Also, a CP or beta should be another well-read writer within your category and preferably in your genre as well. Having more than one CP (but not too many) is a huge plus! As excited as you are about your work and the feedback you’re hoping to receive, my strong advice is DO NOT send it out until it’s been read by someone other than yourself and your biased friend or family member.

What are some important things for querying writers to consider when researching agents?

I think it’s important to find an agent that knows what they’re doing. If your agent doesn’t have a strong client list with sales under her belt, make sure she has the experience and guidance. In my opinion, it would be a big gamble to go with a new agent who is also working at a new agency. My agent, Victoria Lowes, was pretty new to agenting when I signed with her. However, she’d interned with another agency, assisted Jenny Bent with her clients and deals, and was still working with her. I also knew that when Victoria started sending out my submissions, even if she didn’t have a strong, working relationship with the editors, they would already know of The Bent Agency and the reputation it has.

How did you keep track of your queries?

The website QueryTracker was amazing. I was absolutely obsessed with keeping track of what I sent out and the responses I received. It was incredibly instrumental in researching agents as well. I highly recommend it and although it’s free, the upgraded service is well worth it.

If querying was a long time ago for you, what do you remember most?

I remember how exciting it was. I also remember the painful punches to the gut whenever a rejection would come in. The plus to all this is that it prepares you SO MUCH for hearing no and getting critiques later on.

Had you queried other books before the one that got you your agent?

I feel very lucky to have signed with my agent on my first novel.

What helped you get though the query trenches?

Posts like the ones you do are awesome. (Also see Amy Trueblood’s blog and Michelle Hauck’s blogs) I read getting my agent/pub deal posts like crazy. It was almost an addiction. They were so inspiring and made me feel like OMG IT HAPPENED TO HER---A REAL LIVE PERSON SO YES, IT COULD HAPPEN TO ME TOO! But the best thing for the query trenches, in my opinion, is writer friends. Writer friends are the best. They know the struggle, they know your pain. They will be there to commiserate and lift your spirits during the crappy times and they will be there to throw confetti and celebrate with you for the successes.

Are there any conferences you attended that really helped you move forward as a writer during this stage?

Conferences sound amazing but I have yet to attend one, so don’t feel bad if you can’t make it happen. I would’ve loved to go and make personal connections in the industry prior to getting my agent and deal, but it just wasn’t doable. But if you have the time, money, and or childcare to make it happen, definitely go!

Victoria:

What was it about Ami’s manuscript that drew you in?

The voice. I loved the concept and thought all of the elements were there but the voice was just so authentic and funny and just perfect—that’s what pushed it over the edge for me.

What does it take for you to offer representation?

Well first I need to feel confident that I know where the project fits in the marketplace and that I can successfully place it with a publisher. But I also need to fall in the love with the project as a reader—that subjective, just know-it-in-my-gut kind of love. There’s both the practical and the impractical.

SIGN

Ami:

Are there any specific questions you’d suggest writers ask an offering agent during “The Call”?

I think it’s very important to know what the offering agent thinks your book should look like when they start sending it out on submission to editors/publishers. What kind of work is ahead of you as far as revising and editing goes? Do they see the book the same way you do or would they want to change things that you wouldn’t be comfortable with? It’s better to know now than to be blindsided later.

What was the week surrounding your offer(s) of representation like for you?

It was a craaaaazy week. Knowing that someone loves your book is one thing but then to wait to hear who else might love it or who else is going to reject it, is stressful. And yet, still so exciting!

How did you know your agent was the right one for you?

I was so excited for the offer and felt like it was meant to be but there’s never a real way to know until you’re actually working together. Since signing, there have been so many little things to assure me that Victoria is the best agent for my career, my books and me.

Did you sign as a client of a career agent or on a book-by-book basis?

Career. I can’t imagine finding an agent for each book. I’m very glad (and relieved!) that Victoria was interested in repping future works as well as Liars and Losers Like Us, the book we signed on.

Once a writer has signed with an agent, what’s the next step?

For me, it meant doing two revisions to get my book nice and shiny! I believe it took about three months but I’ve known of others who’ve taken a couple weeks and others who have been close to a year. That’s probably why it’s good to know what sort of work your agent thinks the book will need before sending it off. ; )

What is the revision process like between you and your agent?

It’s pretty back and forth until it’s ready to go. I write it, she sends it back with notes, I do my best to revise according to the notes and then I send it back and hope I got it right! Right now I am working on my third revision for the book I’d like to go on sub next. I’m taking my time because I don’t want to rush but I can’t lie, I’m dying to have it done and polished so she can finally say “Yay! It’s ready! Let’s try to sell this thing!”

Do you send sample chapters to your agent or do you wait until the manuscript is finished?

I’ve done both. Victoria is pretty editorial, on point, and always asks the good questions so whether I’m sending her the first few chapters or the whole book, there’s going to be work to do.

Victoria:

What is the revision process like when you’re working with a client?

I usually do two phases of revisions. The first focuses on developmental editing—on the big picture stuff like character arcs and development, pacing and plot structure. The second phase is the line edits. How many rounds we do of each varies from project to project.

SUBMIT

Ami:

What is a typical first round like once a writer goes on submission?

I remember thinking “Oh my god. My agent believes in me and my book enough to be sending it to these amazing editors/publishers.” For me, it was exhilarating. And then you don’t hear anything for a while and then it’s pretty OMGWHATISHAPPENING?!

Do you see the feedback from editors?

Yes, because I wanted it. I’m the kind of person that wants to know the good—of course—and also the bad. I don’t know why, but I do!

What do you suggest a writer does while out on submission?

I know everyone says to write the next book and while I agree, I also say take a break if you want/need it. You’ve worked your butt off to get to this point. Enjoy a little celebratory free-time.

Can you check in with your agent if there hasn’t been any news in a while?

Absolutely. Victoria is awesome like this. She is very responsive and never makes me feel like I’m bugging her. I’m definitely not the kind of writer that is demanding or checking in every other day, though!

Is there anything you learned while being on submission that you didn’t know before?

I had no idea how excruciating and highly emotional the waiting could be. Being on sub is a lot like querying but the stakes are higher. If you get a no on your book from an agent, there’s always the hope that the next one might like it. There are SOoooooOO many great agents out there and so many more to research and look into. But with submission, there are only so many your agent is going to have on her list. There are WAY more agents than publishers out there. So when I got a no from an editor/publisher, it felt a lot more heavy. There are only so many “Nos” you can get before you’d have to shelf your book.

Did you know there was interest in the book before you got an offer or was it a surprise?

It was a total surprise. And honestly, I’m glad it was. My book did go to acquisitions during the submission phase with another publisher as well, and let me tell you, the waiting was AWFUL AWFUL AWFUL. Note to self/Note to Victoria: I like to know all the good and the bad. However, next time around, I think I’ll pass on knowing if my book is about to go to acquisitions. I would rather know at the end, when it’s a YES or a NO than to wait like that. I don’t want to experience that kind of slow death again.

How did you celebrate when you got the news about your book deal?

It was my son’s thirteenth birthday! My family was living in New Jersey and we all hung out at the boardwalk, shopped and then had a great dinner and cake. Yes, the day belonged my son, and yes, him becoming a teenager was a big deal, but OH MANNNN, what a high I was on. I can’t even explain it. It was this crazy beautiful mixture of shock and awe. I hope I never forget that feeling.

Victoria:

What do you suggest a writer does while out on submission?

Definitely keep busy! I usually tell my clients to either focus on the other aspects of their life that were put on the back-burner while we were working on the project or even start working on their next manuscript.

What is it like to tell a client there’s an offer on the book?

It’s just the best. I LOVE being able to deliver such amazing, life-changing news.

DEBUT

What is the best thing about being a debut author?

There are so many incredible things and feelings that happen from the time you get the offer to the day your book releases but honestly? I can’t lie; the very best thing is knowing that one of my dreams came true. It actually, actually happened. I didn’t truly realize this until after my book released but when I did, I was a sobbing mess!

What have you learned about being a debut author?

I’ve learned that SO MUCH more goes into being an author (debut author) than just writing the book!

What’s involved in promoting a book?

It can be as little or as much as you want, but obviously, you really should be doing what you can to spread the word about your book. For me, I’ve done a lot of interviews and guest posts. I’ve kept up with my social media sites and have done my best to reach out or respond to anyone that’s expressed interest in my book. I also was very lucky to participate in the NYC Teen Author Fest the week before my book released, and then had an amazing launch party at Addendum Books in St. Paul, MN. I’ve also asked my publicist to pitch me for certain events. In working with her, I’ll be signing copies of my book at B&N in Marietta GA for B-Fest and will also be participating in the Decatur Book Festival in GA this September.

What special things do you get to be a part of as a 2016 debut author?

Along with a few other debut groups, I’m part of the awesome group The Sweet Sixteens. If you’re about to be a debut author I STRONGLY encourage you to get involved with a debut group. There are so many different things to deal with in debuting (the highs the lows the awesomeness the stresses the small and large details!) that you really need a group of peers and friends to navigate this experience with.

What other 2016 debut books have you gotten to read? Did you get to read them early?

A huge perk in debuting with a debut group like The Sweet Sixteens, is getting to read ARCs of books! Some of my favorite reads this year from other 16ers have been AMERICAN GIRLS by Alison Umminger, SUFFER LOVE by Ashley Herring Blake, GIRL IN PIECES by Kathleen Glasgow, and UNSCRIPTED JOSS BYRD by Lygia Penaflor.

Is there a lot of support among debut authors?

So, so much support. I really don’t know how I could’ve made it through the past year (and then some) without these amazing authors and friends by my side and cheering me on.

What was it like to see your cover?

It was very surreal. I couldn’t believe that work was being done behind the scenes for something I wrote!

What was it like to receive your ARCs?

Still VERY surreal. Like, “Is this happening?” “What????!!” “This is MY book?” I did my best to hold back tears.

What was release day like?

It was my moving day so it was bananas. Yes, moving! We were leaving NJ to move to GA, however, we were going to MN first for my launch party that would happen a few days after. It was such a busy and exciting and stressful time. It was definitely not planned to happen at once, but it did. Honestly, I’m glad it’s over and it all worked out so well that I would not have it any other way. Release day was a day of every single emotion! And SO much wonderful support from readers, bloggers, writer friends and family.

What do you wish you had known about being a debut author?

I really wish that I would’ve known how much advance planning and scheduling I should’ve done. I really should have done better with pacing out and scheduling guest posts and interviews. I really love doing them but it got a little (A LOT) overwhelming when I had about 20 posts due in a 6-8 week time frame!

What advice would you give to writers who are working hard to get to their own debut year?

Please, please, please remember that you are not alone! If you only have writer friends who are already published or already agented or already finished with their firsts drafts or whatever, find another writer friend or a few that are in the same place you are. I just debuted, and if I look around on social media, it looks/feels/seems like everyone else already has another book coming out in 2017 or just secured a book deal. I am not one of those authors. I’m still working on revisions with my agent for the next book that will go on submission. And guess what? Behind the scenes I know SO MANY other authors who are in the same place as I am. Just knowing that I’m not alone helps to take a lot of the pressure off. Not all, but a good chunk of it. Keep working, keep learning, keep writing, support your writer friends, keep the ones that support you close, and YOU WILL GET THERE!

Thank you, Ami & Victoria!

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Query.Sign.Submit. with Melissa Jeglinski

Melissa represents Romance (contemporary, category, historical, inspirational) Young Adult, Middle Grade, Women’s Fiction and Mystery.

She responds to all queries within two weeks, although if you query her during the holidays it may be a week longer.  If you haven’t heard back from her in a month, you should resend your query.  BUT, please follow their guidelines.  If you send your query as an attachment it will not be opened and will not be responded to. Submission guidelines can be found at www.knightagency.net. 


To connect with and learn more about Melissa . . .

Website 
Twitter 

Now for Melissa's insight on querying, signing with an agent, and going on submission!

QUERY

What WOWs you in a query?  

If I can actually get a sense of the author’s style in the few paragraphs of a query, I’m usually wowed.  It’s in the way they tackle the synopsis, word choices, rhythm to their prose.  If I think the writing is compelling for just a synopsis, which can be terribly dull, then I’m all in. 

What should writers NOT do in a query?  

I have a few pet peeves for queries.  When a writer starts out with a series of questions.  When a query is written in the main character’s voice.  When the writer ends  the query with “if you want to know how the story ends, you’ll need to ask for the full manuscript.”  My advice is to not play coy with this document.  Come across as a professional and you’ll intrigue me more.

Do you ever offer a Revise & Resubmit? When would you do so?  

I have offered R&R’s in the past but only when I really think the project has strong potential.  I almost always offer representation when I’ve read a project from beginning to end except when I feel the project is maybe only 75% ready.  In cases when I think it needs significant revisions, I need to know that 1: the author is on board with my vision for the story and is willing to tackle the revisions and 2: is able to revise the manuscript.  When I’m looking at a project, I don’t know how long it’s taken the writer to complete the work so I also have no idea how long they’d take to revise it.  Some writers are great at revisions, others can’t or don’t want to make the changes so the R&R gives me the opportunity to see how well we’d work together.  

SIGN

What is it like waiting to hear back from a writer you’ve offered representation?  

I am just as nervous about hearing back from a writer as I’m sure they are waiting to hear back from agents.  I don’t offer representation lightly;  I’m always in love with the project.  And when I have a great conversation with the writer and we seem to really hit it off, I end the phone call happy but nervous. I’ve been turned down plenty of times, even when I was certain we were the perfect match…sure the writer loved me…positive I was their first choice.  I’m always on edge until I get that call or email that the writer has accepted my offer.

Once a writer has signed with you, what’s the next step?  

In almost all cases, the manuscript still needs work so we will do a final round of revisions.  While the author is working on that, I’m putting together a list of editors I’ll be submitting to.  The author and I discuss my list as I want the client to have a sense of where I’m submitting as they may have a relationship with an editor already.  I put a pitch together and submit the work to those interested.  I keep the client updated as responses come in.  If we get an offer than we move on to contract terms.  If that work doesn’t find a home, we move on to the next project.  I sign a client on for a career, not just for a project.

How do you get to know editors and what they’re looking for?  

I’m often asked how I connect with editors since I’m not located in NYC and able to meet with them in person.  Well, these days so much more information is available through social media. I follow many editors on Twitter and keep up with their wish lists.  I see what they’re buying from deals on Publishers Marketplace.  The Knight Agency invites various editors to our weekly email meetings to learn what they are looking for.  And my colleagues and I share information about what editors are seeking.  I have great resources.  

SUBMIT

Do you forward editor feedback to writers?  

Before we go out on submission with a project, I ask my client if they want their updates to include the editor’s response.  Some authors just want to know if it was a pass but the majority want to see the editor’s notes.  Most of the time the feedback will be helpful going forward so I do think it’s a good thing for the clients to review. 

What do you suggest a writer does while out on submission?  

I always want my clients to be working on their next project when their current project is out on submission. We hope, but don’t know, if a project will find a home so one always wants to be thinking of what is next.  Plus, it’s a nerve wracking experience, so keeping occupied with something new can help a great deal. 

Once a writer has sold his/her first book, how is the next submission process different?  

Usually the contract will have an option clause so the next project that meets the option criteria is submitted to their current publisher. And ideally we continue with that publisher, as long as the process has been satisfactory to this point.  However, the author may have  a new project that’s in a different genre and so we would be submitting it out to a new set of editors.  The process would be the same as the first time we submitted their sold project, only this time we can mention the author is published/under contract.  That usually means some faster turnaround times.

Thanks so much, Melissa!

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Posted May 2015– Always check for current info and guidelines.

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