Q & A With A Literary Agent
When I was a querying writer, I found myself wondering what in the world those elusive literary agents were thinking. So many questions, but no one to ask them to. I did try though. One time during a face-to-face pitch session at a writers conference, I asked the agent so many questions she finally said, “Are you even going to pitch your book to me?” Oh yeah.
Now that I am lucky enough to have an agent, I can finally ask away! Let me introduce you to Jacklyn.
Jacklyn Saferstein-Hansen is an agent at Renaissance Talent & Literary in Beverly Hills, California. She graciously took time out of her very busy day to answer six questions I thought might help the next querying writer.
1. What exactly does “building their list” mean and why is it something to look for when querying agents?
When an agent builds their list, they are looking to add new clients to their roster. These agents are typically the most open to receiving queries and the most responsive. Research what niche, genre or subject that agent is interested in, and if it lines up with your project, mention in your query why you think your project would be a good fit for them. Not only does this provide a personal touch, it also shows that you’ve done your research and are targeting specific agents rather than sending an impersonal email blast to as many agents as possible. And never open a query with “Dear Agent” or “To Whom It May Concern” -- take the time to address the recipient by name!
2. What is the first thing you look for in a query or opening pages? Are they the same or different?
The query and opening pages are two different worlds! I like to see queries that are short, sweet, and to the point. If a query goes on for several long paragraphs, it tells me the author hasn’t yet boiled down what the essence of their story is, doesn’t understand their audience or doesn’t know how to pitch it. When reading so many queries and manuscripts, the last thing agents want to do is read several paragraphs of plot summary. If an agent asks for a separate synopsis, use that to lay out the plot. But in a query, tell me what your story is truly about at its heart. What deeper human themes does it explore? How will your characters and plot illuminate those themes? What is the reader to take away from the story? I also like to see a few sentences about the author. What is your writing experience? Have you been published before? Why are you the perfect person to write this book?
When it comes to opening pages, I look for a distinct voice on the page that is palpable from the very first line. Can I feel the texture of the world you’re setting up? Can I hear the narrator’s or protagonist’s voice clearly in my mind? As in a query, agents (and readers!) don’t want to read several paragraphs of explanation or backstory right at the start. Opening a manuscript that way tells me the author doesn’t have a handle on how and when to reveal important information to the reader. Always show, never tell! Show us your characters’ quirks and flaws, introduce tension and conflict. Throw us right into the story.
3. Is word count, either too low or too high, a deal-breaker? Why?
Word count often depends on genre. Epic fantasy and science fiction can easily be over 100,000 words given the worldbuilding required. Romance can be as short as 65,000 words. For a debut novel, my sweet spot is between 70,000 and 90,000 words. If a general fiction novel is over 100,000 or 110,000 words, it’s not a dealbreaker, but it’s a sign that the author might not know what to cut or how to be more succinct. If a novel is shorter than 50,000 words, it’s getting into novella territory and novellas are a harder sell.
Flow and pacing are more important than word count. If a novel is 110,000 words but moves along swiftly without slow stretches where the reader might put the book down, then that’s an appropriate length. Are high-emotion moments balanced by quieter, more reflective moments where the reader can take a bit of a breather without getting bored? Put yourself in the reader’s shoes when editing and determining length. Where might you put the book down if you were reading it?
4. How important are comps and what kind of comps get your attention?
Listing comps in your query shows an agent that you know your audience and how your book fits into the marketplace. They are useful in demonstrating that your book taps into what audiences want but that it hasn’t been done before. I like to see an author list comps that have similar elements to their own story (the suspense of abc mixed with the lyric quality of xyz). Always aim to mention comps/authors whose writing style is similar – if you’re writing a commercial novel, don’t list literary comps, and vice versa. Don’t list books that are massive bestsellers as that is a hard standard to live up to, and don’t list books that are too unknown. In the end, fiction is all about the writing – you might have stellar comps, but if the agent doesn’t connect with your writing, those comps won’t matter. Don’t spend too much time finding the perfect comps – focus on the letter and the sample.
5. When reading a query or opening pages, what would you consider an immediate red flag?
Queries that do not address the agent or company by name have an impersonal feel, like you’ve put us on an email blast list going to a million other agents. Why should an agent bother reading your query if you don’t bother addressing it properly? Unnecessary platitudes like “I read your bio online” or “you have a great list of clients” take up space in your query that could be put to better use. Misspellings or grammatical errors show you haven’t proofread. The query letter is the first impression, so always put your best writer’s foot forward!
One of my biggest pet peeves in opening pages is when a character’s full name and title (such as “Sherriff’s Deputy John Smith”) or the full date (month, day, year) are mentioned in the opening lines to introduce the protagonist or establish a sense of time. This comes off as drab and dull – find a more creative way to engage your audience. There are caveats, of course – if the author is confident in their style and does this ironically, it can be endearing. Heavy exposition or backstory sucks the energy right out of an opening – don’t lull your reader to sleep on the first page. Hook them, entice them, invite them in!
6. What is currently on your wish list?
When it comes to fiction, I’m a sucker for an offbeat, vivid narrative voice. Think Disorientation by Elaine Hsieh Chou or Nettle & Bone by T. Kingfisher. Flawed and quirky female characters are also a must! I’m open to all kinds of genres – characters and story trump plot trappings – though I’m not the best fit for hard sci-fi. I love a thrilling story with a speculative element, like Mexican Gothic. I love older female characters maligned by society but who have tons of agency in their story, as in Killers of a Certain Age or The Change. Give me a story that makes me laugh and cry at the same time, like Corelli’s Mandolin, or stories that strike me with an overwhelming sense of wonder like Piranesi and Circe. I read all Greek myth retellings, but haven’t seen one that dives into the life of Cassandra. I’m also looking for myth retellings from non-European cultures. Kaikeyi was a fantastic read! I want a story rife with tension – put your characters through the wringer so I can see who they really are. And I’m never opposed to a happy ending. Like many things, I don’t always know what I’m looking for until I find it, so I’m always open to novel queries.
In the nonfiction space, I’m looking for writers who are experts in their niche and have a dedicated following, whether that’s culture, history, humor, health/wellness, food, etc. I’m looking for fresh, subversive takes and deconstruction of traditions and norms. Give me a new way to think about something, show me a new perspective!
Cheers until next time!