Podcasts about literary agents

Watch as a full video interview on YouTubeCamilla Bolton is a literary agent at Darley Anderson, having joined the Agency in 2007 and was named as a publishing Rising Star by The Bookseller in 2013 and shortlisted for Literary Agent of the Year in 2022. She has built the fastest growing new commercial brands in the thriller market with five of her authors having sold over a million copies in the UK alone. Her list includes many Sunday Times, New York Times and No.1 ebook global bestsellers. Her authors have been picked for Reese Witherspoon's Hello Sunshine Book Club, BBC 2 Between the Covers Book Club and she's had five Richard & Judy Book Club Picks. Multiple of her books have been adapted for the screen and shown on BBC 1, Channel 5 and Netflix.We loved having the chance to speak with Camilla about her career as an agent, hearing about how she deals with so many queries (over 200 a week), what matters and doesn't matter to her in a query package, and whether authors should write to market when trying to find an agent.Links:Query Camilla nowFollow Camilla on InstagramSupport us on Patreon and get the podcast early and ad-free, along with other great benefits, including a bonus episodes: https://www.patreon.com/ukpageonePage One - The Writer's Podcast is brought to you by Write Gear, creators of Page One - the Writer's Notebook. Learn more and order yours now: https://www.writegear.co.uk/page-oneFollow us on FacebookFollow us on InstagramFollow us on BlueskyFollow us on ThreadsPage One - The Writer's Podcast is part of STET Podcasts - the one stop shop for all your writing and publishing podcast needs! Follow STET Podcasts on Instagram and Bluesky Hosted on Acast. See acast.com/privacy for more information.

Season 10 is on hold because the rules for literary agents just changed, and not necessarily in the author's favor. This episode tells you exactly what questions to ask before you sign (or pay for) anything.

In the spotlight is Kate McKean, literary agent at the Howard Morhaim Literary Agency in Brooklyn, New York. She earned her master's degree in fiction writing at the University of Southern Mississippi, and her work has appeared in Poets & Writers, Electric Literature, and Catapult. She recently published her first book. The title is Write Through It: An Insider's Guide to Publishing and the Creative Life. She also writes the Agents & Books newsletter at agentsandbooks.com.   Learn more about Kate McKean here: https://www.katemckean.com/  McKean's book, Write Through It: An Insider's Guide to Publishing and the Creative Life, can be purchased here: https://snip.ly/nccjn7  Novelist Spotlight is produced and hosted by Mike Consol. Check out his novels here: https://snip.ly/yz18no     Write to Mike Consol at novelistspotlight@gmail.com 

In this episode of Risky Conversations, I interviewed my good friend and literary agent Kat Kerr about her unconventional path from Florida state government to championing marginalized voices in publishing. Kat shares how her childhood love of books, early encounters with racism, and a mid-career pivot led her into advocacy-driven literary agenting and involvement with programs like We Need Diverse Books. Together, we talk about some of our favorite Asian American authors, why representation in literature matters, the realities of the publishing industry (including agents, querying, and self-publishing), and what it really takes to take bold risks for your career, your values, and your family.You'll learn: Why diverse representation of marginalized voices is not a luxury, but foundational to empathy, identity, and genuine human connectionHow advocacy and self-advocacy are learned, practiced skills—and what mindsets make it possible to speak up when it feels riskyHow Kat's decision to speak up boldly against bigoted remarks in high school created a ripple effect that emboldened other students of color to advocate for themselvesHow traditional publishing, self-publishing, and hybrid models are different and how authors can make informed business choices that fit their goals and resourcesHow taking big, values-aligned risks (for your family, identity, and justice) reshape your career and your life, even when success isn't guaranteedWhy building or joining supportive communities—like We Need Diverse Books or identity-centered indie bookstores—matter so much for writers and readers from marginalized backgroundsFeatured: Kat's agency, Donald Maass Literary Agency: https://maassagency.com/Yu & Me Bookstore in NYC: https://yuandmebooks.com/Jamie's coaching practice https://www.JamieLeeCoach.com/Text me your thoughts on this episode!Enjoy the show? Don't miss an episode, listen and subscribe via Apple Podcasts or Spotify.  Leave me a review in Apple Podcasts. Connect with meBook a free hour-long consultation with me. You'll leave with your custom blueprint to confidence, and we'll ensure it's a slam-dunk fit for you before you commit to working with me 1:1. Connect with me on LinkedIn Email me at jamie@jamieleecoach.com 

Rachel and Simon speak with the literary agent Vicki Willden-Lebrecht. Vicki set up The Bright Agency in 2003; today the company represents authors and artists from across the world. Its clients include Benji Davies (the creator of the "Storm Whale" series and the illustrator of the "Bizzy Bear" books), David Litchfield (the author and illustrator of the "The Bear & the Piano" series) and the estate of Shirley Hughes (whose books have sold more than 11.5 million copies). For the past 22 years, Vicki has been the agency's principal author/illustrator agent and she has been nominated for Literary Agent of the Year at the British Book Awards three times - in 2016, 2021 and 2025. We spoke to Vicki about her early entrepreneurial efforts and setting up Bright in her 20s, representing children's authors and illustrators and the importance of getting youngsters to read. In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes.   We've also made (yet) another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added a further 70 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New Yorker, Bloomberg Businessweek, and the Guardian Long Read. The whole compendium now runs to a magisterial 230 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Turning a lifelong dream into a published reality.Marketing-consultant-turned-thriller-writer Michael Wendroff shares his fascinating journey of being raised within a literary family – surrounded by manuscripts and legendary authors like Robert Ludlum – before carving out his own successful career in marketing. He discusses how the pandemic finally provided the opportunity to overcome a lifetime of procrastination and pen his debut novel, What Goes Around. Michael offers invaluable insight into the traditional publishing process, the essential role of literary agents, and the importance of perseverance when receiving editorial feedback. We explore the 'self-actualising' power of fulfilling a lifelong creative dream and the positive impact it has on mental and physical wellbeing, while Michael also provides practical advice for aspiring writers, from exercising the 'writing muscle' daily to the necessity of self-promotion in the modern publishing landscape.Connect with Michael here.Buy books by Creativity Found guests here.You might also like:From Nomad to Novelist with Douglas RobbinsBlending Fact and Fiction with Shirley NovackMedicine and Mysteries with Tammy EulianoSupport the showFollow @CreativityFoundPodcast on InstagramWant to be a guest on Creativity Found? Send me a message on PodMatch, herePodcast recorded with Riverside and hosted by Buzzsprout

In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic. Middlemen rewrites literary history from the perspective of one of its most important but least visible figures: the literary agent. Chronicling the story of agents in the United States from the 1950s to today, Laura McGrath uncovers their critical role in the making of American literature. From the famed three-martini lunch to the Frankfurt Book Fair, Middlemen takes readers behind the scenes to show how agents influence what we read. Along the way, it explains why many debut novelists never publish another book, why agents champion short story collections even though they sell poorly, how agents advocate for writers of color in a system that values whiteness, and why there are so many New York novels. Weaving together original archival research, data analysis, and interviews with scores of agents and other publishing professionals, Middlemen demonstrates that agents—eighty percent of whom are in fact women—are much more than “middlemen.” As intermediaries between author and publisher, agents act as advocates, matchmakers, negotiators, and tastemakers, and they must balance artistic values with the commercial imperatives of publishing conglomerates. The book describes the decisive role agents have played in celebrated novels—from Jack Kerouac's On the Road to Colson Whitehead's The Intuitionist—but also in the creation of entire literary categories like the debut novel, the story collection, postmodernism, multiethnic fiction, and world literature. Featuring profiles of agents past and present such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and Andrew Wylie, along with perspectives from agents at all stages of their careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic. Middlemen rewrites literary history from the perspective of one of its most important but least visible figures: the literary agent. Chronicling the story of agents in the United States from the 1950s to today, Laura McGrath uncovers their critical role in the making of American literature. From the famed three-martini lunch to the Frankfurt Book Fair, Middlemen takes readers behind the scenes to show how agents influence what we read. Along the way, it explains why many debut novelists never publish another book, why agents champion short story collections even though they sell poorly, how agents advocate for writers of color in a system that values whiteness, and why there are so many New York novels. Weaving together original archival research, data analysis, and interviews with scores of agents and other publishing professionals, Middlemen demonstrates that agents—eighty percent of whom are in fact women—are much more than “middlemen.” As intermediaries between author and publisher, agents act as advocates, matchmakers, negotiators, and tastemakers, and they must balance artistic values with the commercial imperatives of publishing conglomerates. The book describes the decisive role agents have played in celebrated novels—from Jack Kerouac's On the Road to Colson Whitehead's The Intuitionist—but also in the creation of entire literary categories like the debut novel, the story collection, postmodernism, multiethnic fiction, and world literature. Featuring profiles of agents past and present such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and Andrew Wylie, along with perspectives from agents at all stages of their careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic. Middlemen rewrites literary history from the perspective of one of its most important but least visible figures: the literary agent. Chronicling the story of agents in the United States from the 1950s to today, Laura McGrath uncovers their critical role in the making of American literature. From the famed three-martini lunch to the Frankfurt Book Fair, Middlemen takes readers behind the scenes to show how agents influence what we read. Along the way, it explains why many debut novelists never publish another book, why agents champion short story collections even though they sell poorly, how agents advocate for writers of color in a system that values whiteness, and why there are so many New York novels. Weaving together original archival research, data analysis, and interviews with scores of agents and other publishing professionals, Middlemen demonstrates that agents—eighty percent of whom are in fact women—are much more than “middlemen.” As intermediaries between author and publisher, agents act as advocates, matchmakers, negotiators, and tastemakers, and they must balance artistic values with the commercial imperatives of publishing conglomerates. The book describes the decisive role agents have played in celebrated novels—from Jack Kerouac's On the Road to Colson Whitehead's The Intuitionist—but also in the creation of entire literary categories like the debut novel, the story collection, postmodernism, multiethnic fiction, and world literature. Featuring profiles of agents past and present such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and Andrew Wylie, along with perspectives from agents at all stages of their careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic. Middlemen rewrites literary history from the perspective of one of its most important but least visible figures: the literary agent. Chronicling the story of agents in the United States from the 1950s to today, Laura McGrath uncovers their critical role in the making of American literature. From the famed three-martini lunch to the Frankfurt Book Fair, Middlemen takes readers behind the scenes to show how agents influence what we read. Along the way, it explains why many debut novelists never publish another book, why agents champion short story collections even though they sell poorly, how agents advocate for writers of color in a system that values whiteness, and why there are so many New York novels. Weaving together original archival research, data analysis, and interviews with scores of agents and other publishing professionals, Middlemen demonstrates that agents—eighty percent of whom are in fact women—are much more than “middlemen.” As intermediaries between author and publisher, agents act as advocates, matchmakers, negotiators, and tastemakers, and they must balance artistic values with the commercial imperatives of publishing conglomerates. The book describes the decisive role agents have played in celebrated novels—from Jack Kerouac's On the Road to Colson Whitehead's The Intuitionist—but also in the creation of entire literary categories like the debut novel, the story collection, postmodernism, multiethnic fiction, and world literature. Featuring profiles of agents past and present such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and Andrew Wylie, along with perspectives from agents at all stages of their careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made.

In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic. Middlemen rewrites literary history from the perspective of one of its most important but least visible figures: the literary agent. Chronicling the story of agents in the United States from the 1950s to today, Laura McGrath uncovers their critical role in the making of American literature. From the famed three-martini lunch to the Frankfurt Book Fair, Middlemen takes readers behind the scenes to show how agents influence what we read. Along the way, it explains why many debut novelists never publish another book, why agents champion short story collections even though they sell poorly, how agents advocate for writers of color in a system that values whiteness, and why there are so many New York novels. Weaving together original archival research, data analysis, and interviews with scores of agents and other publishing professionals, Middlemen demonstrates that agents—eighty percent of whom are in fact women—are much more than “middlemen.” As intermediaries between author and publisher, agents act as advocates, matchmakers, negotiators, and tastemakers, and they must balance artistic values with the commercial imperatives of publishing conglomerates. The book describes the decisive role agents have played in celebrated novels—from Jack Kerouac's On the Road to Colson Whitehead's The Intuitionist—but also in the creation of entire literary categories like the debut novel, the story collection, postmodernism, multiethnic fiction, and world literature. Featuring profiles of agents past and present such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and Andrew Wylie, along with perspectives from agents at all stages of their careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic. Middlemen rewrites literary history from the perspective of one of its most important but least visible figures: the literary agent. Chronicling the story of agents in the United States from the 1950s to today, Laura McGrath uncovers their critical role in the making of American literature. From the famed three-martini lunch to the Frankfurt Book Fair, Middlemen takes readers behind the scenes to show how agents influence what we read. Along the way, it explains why many debut novelists never publish another book, why agents champion short story collections even though they sell poorly, how agents advocate for writers of color in a system that values whiteness, and why there are so many New York novels. Weaving together original archival research, data analysis, and interviews with scores of agents and other publishing professionals, Middlemen demonstrates that agents—eighty percent of whom are in fact women—are much more than “middlemen.” As intermediaries between author and publisher, agents act as advocates, matchmakers, negotiators, and tastemakers, and they must balance artistic values with the commercial imperatives of publishing conglomerates. The book describes the decisive role agents have played in celebrated novels—from Jack Kerouac's On the Road to Colson Whitehead's The Intuitionist—but also in the creation of entire literary categories like the debut novel, the story collection, postmodernism, multiethnic fiction, and world literature. Featuring profiles of agents past and present such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and Andrew Wylie, along with perspectives from agents at all stages of their careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Episode 229, Sarah talks with Laura B. McGrath about her new book, Middlemen, and the behind-the-scenes role literary agents play in publishing. They discuss what agents actually do, how they shape an author's career, the hype surrounding debut novels, and what Laura learned while researching one of publishing's least visible professions. Plus, Laura shares her book recommendations. This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Highlights Middlemen by Laura B. McGrath (April 28) | Amazon | Bookshop.org  Why a literary agent's most important job isn't what most readers think. What agents are really looking for when they decide to represent an author. The surprising amount of homework agents do before signing a new client. The hype surrounding debut novels — and some of the downsides that come with it. Why the publishing industry was initially wary of public book sales data. Laura's Book Recommendations Two OLD Books She Loves Housekeeping by Marilynne Robinson (1980) | Amazon | Bookshop.org [45:12]  Franny and Zooey by J. D. Salinger (1961) | Amazon | Bookshop.org  [47:59]  Other Books Mentioned   Gilead by Marilynne Robinson (2004) [46:36]  Two NEW Books She Loves London Falling by Patrick Radden Keefe (April 7) | Amazon | Bookshop.org[49:25]  Discipline by Larissa Pham (Jan 20) | Amazon | Bookshop.org [51:42]  Other Books Mentioned  Say Nothing by Patrick Radden Keefe (2018) [50:31]  One Book She DIDN'T Love The Ending Writes Itself by Evelyn Clarke (April 7) | Amazon | Bookshop.org[53:14]  Other Books Mentioned Erasure by Percival Everett (2001) [53:30]  The Wife by Meg Wolitzer (2003) [53:32]  And Then There Were None by Agatha Christie (1939) [54:16] The Mousetrap by Agatha Christie (1947/1952) [54:19]   Yellowface by R. F. Kuang (2023) [55:34]  One NEW RELEASE She's Excited About Music Against the Night by Yiyun Li (October 13, 2026) | Amazon | Bookshop.org [57:04] Sneak Pick: Miss Lambert Steps Aboard Danger by Kazuo Ishiguro (March 9, 2027) | Amazon | Bookshop.org  [57:04]  Other Books Mentioned Things in Nature Merely Grow by Yiyun Li (2025) [57:39]  The Unconsoled by Kazuo Ishiguro (1995) [58:43]  The Remains of the Day by Kazuo Ishiguro (1989) [59:27]  Books From the Discussion The Middle Man by Paul R. Reynolds (1972) [3:09] Talking at Night by Claire Daverley (2023) [10:40] Zone One by Colson Whitehead (2011) [11:20] Catch-22 by Joseph Heller (1961)  [12:36]  Mila 18 by Leon Uris (1961) [13:33] The Intuitionist by Colson Whitehead (1999) [14:18] Station Eleven by Emily St. John Mandel (2014) [33:52]  Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin (2022) [34:28]  The God of the Woods by Liz Moore (2024) [34:34]  Long Bright River by Liz Moore (2020) [34:36]  The Unseen World by Liz Moore (2016) [34:39] 

What's the key to choosing comp (comparative) titles that pique an agent's curiosity? Should you use films or tv shows? What about huge bestsellers — would those make good comps, and if so, in which circumstances? In today's episode, Kathleen and I discuss an upmarket speculative thriller and discuss comp title choices, killer opening lines and, you guessed it ... exposition! And if you want to read the query letters and first 10 pages writing samples we discuss in these Hook Your Reader episodes, be sure to subscribe to my mailing list. -V. Submit your query letter and first 10 pages writing sample at storynerd.ca.For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.To subscribe to Kat's Keynotes (Substack), click here.Watch us on YouTube!

Send Kevin a Text MessageBob Bookman, one of Hollywood's most respected literary agents, managers, and producers, joins host Kevin Goetz for a masterclass on the art of discovering stories that successfully make the leap from page to screen. Over a remarkable career, Bookman has represented authors and filmmakers including Michael Crichton, John Irving, Thomas Harris, Jonathan Demme, Cameron Crowe, and Tom Stoppard, helping bring to the screen films like Jurassic Park, The Silence of the Lambs, Hannibal, The Cider House Rules, A Beautiful Mind, and Jerry Maguire. In recent years he's brought that same eye for material to producing, including the Best Picture nominee A Complete Unknown.Running the Yale Law School Film Society (06:54): Bookman recalls building an underground film education out of 16mm prints borrowed from historian Bill Everson, bringing legends like Frank Capra, Fritz Lang, and Miloš Forman to campus for free screenings.Landing the Job, and Skipping the Mailroom (18:26): Bookman shares how a chance introduction from agent Jack Gilardi led to interviews with legends like Abe Lastfogel and David Begelman, before he landed at IFA and bypassed the mailroom.Becoming "The Book Guy" (23:24): Bookman describes how agency head Marvin Josephson handed him ICM's entire literary publications franchise,launching his decades-long reputation as Hollywood's go-to book agent.What Makes a Book Cinematic (27:09): Bookman breaks down why great novels rarely make great films, and what he actually looks for: three-act structure, character conflict, and a story that takes audiences somewhere new.The Secret to a Great Adaptation (29:15): Using John Irving's Oscar-winning adaptation of his own novel The Cider House Rules as the gold standard, Bookman explains why most authors shouldn't adapt their own books, and why Irving was the exception.The Best Adaptations, and a Hawks-Hemingway Bet (33:00): Bookman names The Silence of the Lambs and A Beautiful Mind among the best adaptations he's seen, then tells the story of how Howard Hawks turned Ernest Hemingway's self-described worst book into To Have and Have Not.Rapid-Fire on the Legends (37:43): Bookman gives quick, candid impressions of the writers and directors he's worked with — Michael Crichton, Jonathan Demme (including his own cameo in The Silence of the Lambs), Cameron Crowe, Tom Stoppard, and Paul Greengrass.Originality, AI, and What's Next (40:24): Bookman argues that algorithms can imitate stories but not replicate the human heart, and discusses his new venture producing low-budget original films.Host: Kevin GoetzGuest: Bob BookmanProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more information about Bob Bookman:IMDb: https://www.imdb.com/name/nm1023283/Website: https://www.bobbookman.com/For more information about Kevin Goetz:- Website: www.KevinGoetz360.com- Audienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678- How to Score in Hollywood: https://www.amazon.com/How-Score-Hollywood-Secrets-Business/dp/198218986X/- Facebook, X, Instagram, TikTok, YouTube, Substack: @KevinGoetz360- LinkedIn @Kevin Goetz- Screen Engine/ASI Website: www.ScreenEngineASI.com

Send us Fan MailLiterary agent Ann Rose (Marsal Lyon Literary Agency) returns to Writers With Wrinkles for a candid, funny, and reassuring conversation with Beth and Lisa about the current state of publishing—and how writers can keep going anyway. Ann is also the author of The Seemingly Impossible Love Life of Amanda Dean and A Hexcellent Chance to Fall in Love.The episode opens with a frank look at an industry in flux. Ann and the hosts dig into why publishers have grown so risk-averse, why "branded" and name-recognition titles are crowding out fresh voices, and why debut authors and previously published writers alike are finding the trenches tougher than ever. They also tackle the hard truth that marketing has largely shifted onto authors' shoulders—and that, post-Twitter, no one has cracked the code on selling books online.From there, the conversation turns practical and hopeful. Ann shares exactly what hooks her in a first chapter, what makes her stop reading, and how to push past the "messy middle" of a draft. If you're querying, pivoting genres, or rebuilding after a book that didn't sell, this one's for you.In this episode:Why publishers are playing it safe—and what that means for debuts and option booksHow the marketing burden has shifted to authors, and why there's no magic bulletThe two things Ann needs in a first chapter: voice and character agencyWhy "starting with action" can backfire if we don't yet care about the characterThe power of the unexpected: write down your first idea, then find your seventhRed flags that make Ann stop reading, and the "and then" trap that kills momentumTrusting the reader and leaving space on the page (a lesson from Brian Selznick)Advice for authors dropped after a disappointing option—and how to shake off imposter syndromePivoting genres and riding the pendulum: why what's "dead" always comes backAnn's midpoint challenge: move your ending to the middle and raise the stakesHer #1 piece of advice for writers: stay in your own lane and stop comparingWhat's at the top of her wish list: feminine rage, women doing bad things for good reasons, and gripping, feminist-leaning suspenseWhether you're a debut writer, a seasoned author starting over, or somewhere in the messy middle, Ann's message is one to hold onto: control what you can—your writing—and don't be afraid to get gritty.Learn more about Ann and find the full blog at writerswithwrinkles.net. Next time: an Ask Beth and Lisa episode—send us your questions! Until then, happy reading, writing, and listening. Support the show Visit the WebsiteFind Full Episodes on YouTube!Writers with Wrinkles Link Tree for socials and more!

“Just 25 literary agents represent more than half of all prizewinning novelists in the 21st century. The agent is the unacknowledged legislator of the literary field.” — Laura McGrath We think of publishers and editors as the ultimate tastemakers. As those godlike gatekeepers controlling what we read. But if you're looking for literary gods, Laura McGrath argues, then you need to look at literary agents rather than publishers or editors. Her ten-year project, Middlemen: Literary Agents and the Making of American Fiction, is the first serious scholarly account of the literary agent's astonishingly powerful role in shaping what America reads. Except, of course, the Middlemen are actually Middlewomen — since 80% of literary agents are women. The numbers are striking. Just 25 literary agents represent more than half of all prizewinning novelists in the 21st century. McGrath interviewed 75 of them over ten years. Shelley called poets the unacknowledged legislators of the world. McGrath's agents are the unacknowledged legislators of the literary field. They shaped postmodernism (Candida Donadio and Pynchon, Heller, Gaddis). They launched the debut novel as a literary form. They made the short story collection viable. And 25 of them control more than half of the prizes. So will AI replace the agent? In operations, perhaps, McGrath acknowledges — the slush pile is overwhelming and smart machine assistance is welcome. But in creative work — in the business of writing, editing, translation, cover design, and above all taste — she thinks not. No algorithm will ever learn the Catch-22 of publishing — separating the Thomas Pynchon or Joseph Heller from all the dross. And no bot (male or female) is ever going to host a three-martini lunch in Manhattan. Five Takeaways •       The Literary Agent as the New Gatekeeper: Replacing the Publisher: In the early 20th century, publishing was shaped by the taste of individual publishers: Bennett Cerf at Random House, Alfred and Blanche Knopf at their imprint, Max Perkins at Scribner's. Those days are over. Publishers are now conglomerates where individual editors may have excellent taste but no single figure shapes the house. Into that vacuum has come the literary agent — who now operates, McGrath argues, exactly as the great publishers once did: as the primary tastemaker, the person whose aesthetic and commercial judgment shapes what America reads. •       25 Agents, Half the Prizes, 80% Women: The Numbers: McGrath's most striking statistical finding: just 25 literary agents represent more than half of all prizewinning novelists in the 21st century. Twenty-five people. The field is 80% women — hence the tongue-in-cheek title — and 73% white. Agents tend, McGrath found, to represent authors who resemble themselves. One answer to the question “why is contemporary literary fiction so white?” is: because agents are. And agents, because they work on contingency fees rather than salaries, face severe financial pressures that concentrate power at the top of the profession. •       The Unacknowledged Legislators: Agents Shaped American Literary History: McGrath's book is full of literary history rewritten from the agent's perspective. Sterling Lord persisted past dozens of rejections to place On the Road for Kerouac. Candida Donadio — Pynchon's, Heller's, Gaddis's, and early Philip Roth's agent — championed maximalist, experimental writers whom no one was interested in, and built the social network of editor relationships that made postmodernism possible. The debut novel as a cultural form, the persistence of the short story collection despite poor sales, the rise of the New York novel — all are, in McGrath's account, partly agent-made. •       Can White Male Writers Not Get Published? No: Andrew raises the complaint he hears from white male writers: that they can no longer get published because of diversity initiatives. McGrath's answer is flat. No. She thinks it's silly. The number of books published each week is staggering. Being able to see some success on the part of writers of colour does not diminish the work white men are doing. The complaint, she notes, circulates every ten years, typically after a boom in support for writers of colour. We are in another round of this cycle. There will be another one in a decade. •       Will AI Replace the Literary Agent? In Operations, Maybe. In Taste, No: Andrew's closing question: will AI replace the middlemen? McGrath draws the distinction she heard at the US Book Show: AI in operations (slush pile management, contract tracking), yes, possibly. AI in creative work — writing, editing, translation, cover design, and above all taste — she hopes not. An algorithm is built on priors. It narrows the window of possibility endlessly, replicating itself. That is not what a good literary agent does. A good literary agent is looking for books that surprise, frustrate, and thrill. No algorithm has learned to take an author out for a three-martini lunch. About the Guest Laura McGrath is an assistant professor of English at Temple University and a National Endowment for the Humanities Fellow. She was formerly the associate director of the Literary Lab at Stanford University. She is the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, April 28, 2026). She writes the textCrunch Substack on literary and publishing culture. References: •       Middlemen: Literary Agents and the Making of American Fiction by Laura McGrath (Princeton University Press, April 28, 2026). •       Earlier on KOA: Gayle Feldman on Nothing Random: Bennett Cerf and the Publishing House He Built — the companion episode referenced at the opening. •       Sterling Lord (agent for Kerouac), Candida Donadio (Pynchon, Heller, Gaddis, Roth), Andrew Wylie — agents profiled in the book. •       Andrew Keen, Cult of the Amateur (2007) — referenced as Andrew's own defence of gatekeepers. About Keen On America Nobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 3,000 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting. WebsiteSubstackYouTube

What kind of story are you writing? That question is actually much trickier to answer than it seems, and that's because writers and agents look at genre differently. What happens if, after reading the query letter, an agent isn't clear on your story's genre? What role do comp titles play in explaining genre? We answer these questions and many more in today's Hook Your Reader episode. Enjoy! -V. Submit your query letter and first 10 pages writing sample at storynerd.ca.For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.To subscribe to Kat's Keynotes (Substack), click here.Watch us on YouTube!

My humble plea for representation.

Reviewing the latest Sherlock & Co., casting an adaptation of "Speckled Band," seeing what Watson's Literary Agent was doing in 1896, and trying to drum up engagement, it's the Watsonian Weekly for July 15, 2026. 

Want to get your short stories published? In this episode of The Fantasy Writers' Toolshed, host Richie Billing sits down with Benjamin Davis, co-founder of Chill Subs, for a comprehensive, no-nonsense guide to submitting short fiction to literary magazines, navigating the submissions process, and using it as a genuine route toward landing a literary agent.Chill Subs is the platform 50,000+ writers use to discover, track and submit to literary magazines, contests and agents — so Ben sees the short-fiction publishing world from the inside. He shares the latest shifts and trends in the literary magazine market, then gives honest, insider answers to the questions writers agonise over most:Do cover letters actually matter — and what should (and shouldn't) go in them?How should you format a short story submission?Are simultaneous submissions acceptable, and how do you keep track of them?Can you submit reprints, and where will editors accept them?How do short story credits actually help you get a literary agent?Where are the best places to submit right now, and how do you find them?Whether you're submitting your first short story or trying to build a publication history that opens doors to agents and book deals, this is a practical, market-leader's view of how short fiction publishing really works in 2026.In this episode, you'll learn:How to find the right literary magazines for your work using Chill SubsWhat editors really think about cover letters and formattingThe rules (and etiquette) around simultaneous submissions and reprintsHow short-story publication credits feed into querying literary agentsThe current trends reshaping the literary magazine and submissions marketAbout Benjamin Davis: Benjamin Davis is a writer and the co-founder of Chill Subs, a submissions platform used by over 50,000 writers to discover and track literary magazines, contests and agents. He also runs Sub Club, a top-selling Substack newsletter on literary publishing opportunities, and is connected with Write or Die Magazine. His own fiction and poetry have appeared in journals including Booth, Hobart and Maudlin House, and he's the author of The King of FU and Things We Do While Waiting to Die.

What happens when a story is pitched in the query letter as a mystery, but doesn't read like one in the opening pages? Where did the confusion creep in and how can you avoid a genre mismatch? We discuss this and much more (including writing unnamed protagonists and passive characters) in today's Hook Your Reader episode. Enjoy! -V. Submit your query letter and first 10 pages writing sample at storynerd.ca.For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.To subscribe to Kat's Keynotes (Substack), click here.Watch us on YouTube!

In this episode of Hope Prose, Tara has the joy of speaking with one of her favourite literary citizens: not a writer, but a voracious reader, friend, husband to Ruth, father, and her beloved agent, Don Pape. Don is the founder of Pape Commons, a collaborative and creative community that leans into each other and embraces one another's gifts. Bringing over thirty years of experience from publishers such as Doubleday, the Random House imprint, and WaterBrook, Don pairs his passion for excellent stories and ideas with a mission to bring those voices to the readers who need them. Listen in as they discuss what makes a story stand the test of time, which stories have resonated most closely with Don, how stories can serve different purposes for us across our lifespan, and why we need to continue creating. You can find out more about Pape Commons at www. papecommons.comA Reading List of books Don mentioned: Whale Island, Mary Beth KeaneStone Angel, Margaret Lawrence What the Fireflines Knew, Kai HarrisThe Hobbit, C.S. LewisThe Hope Prose Podcast's InstagramAlex's Instagram Tara's Instagram

Since Sherlock & Co. introduced its Mycroft Holmes this week, we're all about that, and joined by Johanna Draper Carlson to discuss her favorite Sherlockian character. And if you hold on for all of that, get ready to turn off the podcast, as Watson's Literary Agent gets a bit naughty . . . or does he?

Stephen Fraser is senior literary agent with The Jennifer De Chiara Literary Agency, after having worked as an editor for over 25 years before becoming an agent. He represents children's books in a wide range of genres. We talked about his experiences in the worlds of editing and agenting, his do's and don'ts for submissions, his thoughts on the current state of children's literature, and the importance of the story. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Stephen Fraser is senior literary agent with The Jennifer De Chiara Literary Agency, after having worked as an editor for over 25 years before becoming an agent. He represents children's books in a wide range of genres. We talked about his experiences in the worlds of editing and agenting, his do's and don'ts for submissions, his thoughts on the current state of children's literature, and the importance of the story. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Stephen Fraser is senior literary agent with The Jennifer De Chiara Literary Agency, after having worked as an editor for over 25 years before becoming an agent. He represents children's books in a wide range of genres. We talked about his experiences in the worlds of editing and agenting, his do's and don'ts for submissions, his thoughts on the current state of children's literature, and the importance of the story. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Stephen Fraser is senior literary agent with The Jennifer De Chiara Literary Agency, after having worked as an editor for over 25 years before becoming an agent. He represents children's books in a wide range of genres. We talked about his experiences in the worlds of editing and agenting, his do's and don'ts for submissions, his thoughts on the current state of children's literature, and the importance of the story. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Stephen Fraser is senior literary agent with The Jennifer De Chiara Literary Agency, after having worked as an editor for over 25 years before becoming an agent. He represents children's books in a wide range of genres. We talked about his experiences in the worlds of editing and agenting, his do's and don'ts for submissions, his thoughts on the current state of children's literature, and the importance of the story. Learn more about your ad choices. Visit megaphone.fm/adchoices

Can you write a killer opening line? Can you define what a killer opening line is? In this week's episode, we give our professional advice on the opening pages of a story described as upmarket with suspense elements, starting with a debate about the opening line. Don't get me wrong ... the first 10 pages are quite good, but we've got suggestions for how to make them great! Don't miss this episode! -V. Submit your query letter and first 10 pages writing sample at storynerd.ca.For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.To subscribe to Kat's Keynotes (Substack), click here.Watch us on YouTube!

Send us Fan MailWhat do literary agents look for in a book proposal? Do nonfiction authors need a finished manuscript before approaching publishers? And how important are comp titles and author platforms when it comes to landing a traditional publishing deal?In this episode of Talking Book Publishing, Kathleen Kaiser and Adanna Moriarty welcome book proposal expert Debra Eckerling to demystify the proposal process. Debra shares her Three C's framework—Concept, Context, and Content—and explains why a book proposal is far more than a publishing requirement. It's a sales and marketing document that helps agents, publishers, and editorial boards evaluate both the book and the author.The conversation explores what makes a nonfiction book marketable, how authors can strengthen their platforms, why comp titles are critical to positioning a book, and the opportunities available to writers pursuing traditional publishing. Debra also shares insights from her own publishing journey and discusses the growing category of "memoir-plus" books that combine personal stories with actionable guidance.Key Takeaways A successful book proposal is built around Concept, Context, and Content.  The overview, audience analysis, and comp titles are among the most important sections of a proposal.  Most nonfiction books do not need to be completed before they are pitched to agents or publishers.  Comp titles help prove market demand while demonstrating how your book fills a unique need.  Publishers evaluate the author as much as the book itself.  An author platform includes both online visibility and real-world credibility.  Time spent waiting on submissions can be used to strengthen your platform and visibility.  Memoir-plus books often have broader market appeal because they combine storytelling with practical takeaways.Connect With UsKathleen: kathleenkasier.comAdanna: abmoriarty.comPodcast listeners receive a special 20% off all ProBookLaunch products. Use code TBPLISTENER20 at checkout.Have a topic or guest suggestion?Email us at podcast@talkingbookpublishing.todayJoin the conversation on Instagram: @writerspubsnet

In the wreckage of a fateful Thanksgiving reunion at their Nigerian-American family's table, four siblings are forced to reckon with the past, take stock of what really matters, and find a way back to each other. On the Book Biz we talk with Laura McGrath, an English professor at Temple University and the author of the new book, "Middlemen: Literary Agents and the Making of American Fiction" about the role of agents in publishing today and whether we still need them.

Steve Laube and Thomas Umstattd, Jr. answer questions from authors about publishing and discuss Steve's new book for writers called Sacred Margins.Support the show

In this episode, we cover the main red flags to watch out for when it comes to book editors & literary agents.  ---------- - Click here for ways to work with me + a free character profile template: www.thekatiewolf.com/info   - The last Tuesday of the month is a Q&A episode! Submit your questions for me HERE and I'll answer them on the podcast.  - TikTok: https://www.tiktok.com/@katiewolfwrites - Instagram: https://www.instagram.com/katiewolfwrites

It's AMA time! When is the best time to query an agent? When is the best time to go out on submission? How on earth does a writer choose comp titles? Literary agent, Kathleen Foxx, answers these questions and more on today's Hook Your Reader episode. If you want our feedback on your query letter and first 10 pages writing sample, visit storynerd.ca for details on how to submit. We look forward to reading your work! -V. Submit your query letter and first 10 pages writing sample at storynerd.ca.For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.To subscribe to Kat's Keynotes (Substack), click here.Watch us on YouTube!

Prof. Laura McGrath joins Jeff to talk about her new book, Middlemen: Literary Agents and the Making of American Fiction. Literary agents try to stay out of the spotlight, but they shape what you read. We talk about why agents came into being, how they have developed over time, and how American fiction wouldn't be the same without them. Follow the podcast via RSS, Apple Podcasts, and Spotify. Join The Book Riot Podcast Patreon for bonus content and ad-free listening. Subscribe to The Book Riot Newsletter for regular updates to get the most out of your reading life. The Book Riot Podcast is a proud member of the Airwave Podcast Network. This content contains affiliate links. When you buy through these links, we may earn an affiliate commission. Use code THEBOOKS for 20% off at Cozy Earth. Go to quince.com/bookriot for free shipping and 365-day returns. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the first episode of our brand new HOOK YOUR READER series! In these episodes, literary editor Kathleen Foxx and I review query letters and first ten pages writing samples from you, our listeners! While we're getting this off the ground, and to give you time to prepare your work, we've devoted this week's show to answering your questions about AI, writing and publishing. It's a good one! And, to find out how you can send in your work for review, be sure to stick around to the end of the episode. -V. Submit your query letter and first 10 pages writing sample at storynerd.ca.For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.To subscribe to Kat's Keynotes (Substack), click here.Watch us on YouTube!

We're speaking with Temple University assistant professor of English, Laura McGrath about literary agents and academics. McGrath's extensive knowledge about literary agents is the result of her research for her new book: Middlemen: Literary Agents and the Making of Contemporary American Literature, (Princeton University Press), and her own unexpected path to working with an agent. We talk about the crucial role of agent's love for a project and interest in an author's future works; the benefits of being a first-time author; the truth about author advances; why it's not a great time for nonfiction, and why that might change; what the “comparable works” section of your book proposal can do for you; misconceptions about agents; and why it's important to show that you will hustle for your own book. Don't forget to rate and review our show and follow us on all social media platforms here: https://linktr.ee/writingitpodcast Contact us with questions, possible future topics/guests, or comments here: https://writingit.fireside.fm/contact

This week, Danielle is joined by Alex Aster, the prolific, Romantasy Queen of Booktok. Coming out of 2025, in which she published four novels, Alex is back with Starside, her first foray into adult fiction – and, later this year, Barbie: Dreamscape, a YA retelling of the beloved Mattel doll. Alex and Danielle talk perseverance in publishing, the power of storytelling, and which romantasy tropes give Alex the ick (spoiler: hardly any of them do). BOOKS MENTIONED: A Guide to Literary Agents by Robert Lee Brewer Lightlark Series by Alex Aster Starside by Alex Aster Curse of the Night Witch by Alex Aster Curse of the Forgotten City by Alex Aster Summer in the City by Alex Aster Barbie Dreamscape by Alex Aster See omnystudio.com/listener for privacy information.

Send us Fan MailImprint closures, layoffs, and reorganizations are rattling the publishing world. Literary agent and At-Home Author founder Vicki Weber joins Beth and Lisa for a candid conversation about what's driving these changes—and what writers can do about it. From the surprising role Harry Potter played in the decline of middle grade to building an audience before you have a book deal, Vicki delivers practical strategies for navigating today's shifting landscape.About Our GuestVicki Weber is a literary agent, bestselling children's book author, and founder of At-Home Author. She helps writers craft, publish, and market books across traditional and self-publishing, and shares industry analysis on her popular Substack.What We Cover•       The wave of imprint closures (Roaring Brook, Dial) and editorial cuts at Simon & Schuster•       How Harry Potter's escalating length contributed to middle grade's long-term decline•       Why acquisitions are harder than ever—and why an editor loving your book is just the beginning•       The industry push toward commercial fiction and what that means for querying writers•       Vicki's #1 querying tip: write another book and build a portfolio•       Reading between the lines of agent wishlists to craft standout queries•       Self-publishing vs. traditional: rising standards and honest pros/cons•       Overcoming bad sales track with pen names, pivots, and reframing your story•       Building an email list pre-publication with free stories, newsletter swaps, and cheap ads•       Vicki's wishlist: adult psychological horror, horror-tinged thrillers, genre mashups with social commentaryLoved this episode? Subscribe wherever you listen, visit writerswithwrinkles.net, and send your questions for the next Ask Beth & Lisa episode. Until next time—happy reading, writing, and listening! Support the show Visit the WebsiteWriters with Wrinkles Link Tree for socials and more!

Learn how to write a query letter for literary agents, including the correct structure, paragraph-by-paragraph breakdown, submission strategy, and proven techniques to increase your chances of getting representation.Writing a query letter is one of the most important—and most misunderstood—steps in the traditional publishing process. It's your first impression with a literary agent, and it determines whether your manuscript gets read or rejected.In this episode, I'm joined by bestselling author Stephen Aryan, who secured representation with literary agent Juliet Mushens, to break down exactly how to write a query letter that stands out in a competitive submissions inbox.This is a detailed, practical deconstruction of query letters, designed to give you a clear, repeatable framework.We cover every stage of the query process, including:What a query letter is and how literary agents evaluate submissionsThe standard query letter structure (opening hook, synopsis paragraph, author bio, closing)A step-by-step walkthrough of how to write each paragraphKey query letter terminology and industry expectationsHow many agents to query before revising your approachWhether you should follow up with agents—and how to do it professionallyHow to get feedback on your query letter (including services like Stephen's Write Advice)Real-world insights from Stephen Aryan's successful query letterThis episode combines craft, strategy, and industry knowledge to give you a complete understanding of how querying works.If you're preparing to submit to literary agents and want to improve your chances of securing representation, this episode provides a clear, actionable guide to writing a query letter that gets results.ABOUT STEPHEN ARYANhttps://stephen-aryan.com/https://stephen-aryan.com/2014/07/31/how-i-found-an-agent-part-2/https://fantasy-hive.co.uk/2024/06/the-write-advice-4-common-mistakes-in-query-packages/https://www.mushens-entertainment.com/blog/the-perfect-cover-letterJOIN OUR WRITING COMMUNITYhttps://www.patreon.com/TheFantasyWritersToolshed⁠LEARN MORE ABOUT FANTASY WRITINGTo join our writing community, access exclusive interviews, discussions, fantasy writing classes, books and more, head over to our ⁠Patreon⁠ page - ⁠https://www.patreon.com/TheFantasyWritersToolshed⁠

Literary agent Juliet Mushens on what makes her offer representation, how she builds bestselling careers from debut to long-term success, and why writers need a life outside of publishing. We discuss Why tension is the single most important quality an agent looks for in any genre of fiction. How personalized feedback from an agent signals you're closer than you think. The editorial conversation that happens when an agent offers representation. What to consider when choosing between multiple agent offers, and why gut matters more than questionnaires. How some of today's biggest bestsellers had their first and second books rejected — and what changed. Why writing for the market rarely produces the best books, and how to hold the tension between passion and positioning. The publishing myths that refuse to die, from social media requirements to green book covers. How agents negotiate contracts and why an escape clause matters. The concept of inconvenience over convenience and what it means for writers in the age of AI. Why building a sense of esteem outside writing is essential to surviving the highs and lows of publishing. Resources & Links

[This interview was conducted online and there may be some audio variation.] "Platform alone will not persuade an editor [to acquire your book]." --Alia Hanna Habib During pub week for Take It From Me: An Agent's Guide to Building a Nonfiction Career from Scratch, VP & Literary Agent, Alia Hanna Habib and Jenn discussed the plethora of information detailed for writers, particularly nonfiction writers, in her new book and in her Substack, Delivery & Acceptance. Consider this another great demystifying episode that explores the day-to-day realities, dispels assumptions about industry expectations, and provides guidance/help on how to approach the page, submissions, and publication with an open mind & heart.  [You can sign up for the MiP monthly newsletter with job listings, guest news, transcripts, and new eps on the MiP website here. A transcript of this episode will be available in the coming weeks.]

Send us Fan MailIf you've ever felt overwhelmed by the querying process—you're not alone.In this episode of Talking Book Publishing, Kathleen and Adanna sit down with Patrick McDonald, the creator of QueryTracker—the platform that has become the gold standard for querying literary agents. What started as one writer trying to organize his own submissions has grown into one of the most trusted tools in the publishing industry today. This conversation pulls back the curtain on the business side of writing—what's really happening when you hit “send” on that query, and how authors can approach the process more strategically instead of just guessing.In this episode, we cover: How QueryTracker became an essential tool for authors  What data can tell you about agent behavior and response times  Why querying feels so difficult (and how to make it more manageable)  The biggest mistakes authors make with query letters and comp titles  How QT Critique is helping writers get real, honest feedback  Why persistence—and patience—matter more than you think Patrick also shares insights from his upcoming book, The Modern Guide to Querying Literary Agents, built from 20 years of answering authors' most common questions.

We talk with Max Perry Mueller, associate professor of religious studies in the Department of Classics & Religious Studies at the University of Nebraska-Lincoln about why he made the move from academic press, for this first book, to a trade press for his second book, and what that involved. We talk about finding an agent, the agent-author relationship, writing a trade press book proposal, creating your own peer review, how Max writes differently for trade versus academic, why we don't always get the book title we want, why shorter is better, getting tenure and promotion credit for your trade press book, the role of an academic mentor in writing, and the money reality for first-time trade press authors. Don't forget to rate and review our show and follow us on all social media platforms here: https://linktr.ee/writingitpodcast Contact us with questions, possible future topics/guests, or comments here: https://writingit.fireside.fm/contact

Michael Carlisle is a co-founder of Inkwell Management, one of the most respected literary agencies in the business. Born of publishing parents, he became a human rights lawyer first, before he found his way to the William Morris Agency, then built his own agency before forming Inkwell Management. From William Styron to Elin Hilderbrand, Michael has been in at the beginning on an amazing set of authors and books. This episode gives you a look inside the life and career of a fascinating literary agent.

What does a literary agent look for in the sample writing pages of a query? In this special bonus episode, I speak with agent Kathleen Foxx (The Rights Factory) about the 4 criteria she uses to evaluate a submission, her 21-point checklist (which you can get for free), and the importance (or not) of a novel's opening line. This is an episode you're going to want to bookmark and share with your writer friends! https://kathleenfoxxagent.com/ Acquire the power to write a bestselling story at storynerd.ca/courses For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.

The UnXplained: Nightmares and Dreams Teaser- Are Nightmares and Dreams just random firing of the sleeping brain? Or much more? Kat Kanavos was interviewed on the History Channel's The UnXplained: Nightmares and Dreams, Season 8, Ep 2, to discuss her life-saving nightmare, which made it a dream come true. "The producers of the TV show UnXplained contacted me through my Literary Agent. I know dreams are Sacred Doorways to Divine Intervention during times of strife or danger. They can be Precognitive Warnings of health to save your life. So, what are dreams? They are so many things!"   Bio: Kathleen (Kat) O'Keefe-Kanavos, aka The Queen of Dreams, Syndicated Columnist, PR Guru, VIDEO Pod-caster/Show Host Dreaming Healing, 3-time Breast Cancer Survivor,  multi-award-winning author, and Dream Expert seen on Dr. Oz, DOCTORS, NBC, & CBS & History's The UnXplained. Divine Dreams diagnosed her illness and saved her life. Kat and  Duke U Radiologist Dr. Larry Burk co-wrote  (2018 Nautilus Award Winner) Dreams That Can Save Your Life. Kat's an Author/Lecturer Keynote who promotes patient advocacy and connecting with Divine guidance through Dreams. “Don't tell God how big your problems are. Tell your problems how big your God is.” Learn more @   www.KathleenOKeefeKanavos.com Video Version: https://youtu.be/klHkmw3s1E0?si=iS_bHpEHJfRpKy08 Chat with Kat during Live Show with Video Stream:  write a question on YouTube Have a Question for the Show? Go to Facebook– Dreams that Can Save Your Life Facebook Professional–Kathleen O'Keefe-Kanavos http://kathleenokeefekanavos.com/

If you're querying—or even thinking about it—this episode is going to change how you approach your pitch.In this episode of the Write It Scared podcast, I sit down with literary agent and author Ann Rose to talk about what actually makes a query stand out. (Spoiler: it doesn't have to be perfect. It has to be clear.) We dig into hook, stakes, market realities, why “Dexter meets Legally Blonde” works, and what happens after an agent requests a full.We also talk about imposter syndrome, the slower publishing climate, why publishing is product (even though writing is art), and why you might want to write your query—and your synopsis—before you finish your book.If you've been overthinking your pitch letter, this one will ground you fast.Timestamps 00:00 Queries Need Clarity (Not Perfection) 03:30 Ann's Path to Agenting 07:15 Her Novels + Hook Examples 19:29 The Current Publishing Climate 23:57 What Makes a Hook Work 27:46 From Full Request to Offer 30:53 Writing Is Art, Publishing Is Product 34:50 Why You Should Write the Query First 36:45 Why Synopses MatterTobias website - www.thetobiasagency.comAnn's website - www.amroseauthor.comInstagram/Threads/TikTok - totally_anntasticBooks By Ann RoseThe Seemingly Impossible Love Life of Amanda Dean A Hexcellent Chance to Fall in Love www.annroseauthor.comHave a comment or idea about the show? Send me a direct text! Love to hear from you.Support the show To become a supporter of the show, click here!To get in touch with Stacy: Email: Stacy@writeitscared.co https://www.writeitscared.co/wis https://www.instagram.com/writeitscared/ Take advantage of these Free Resources From Write It Scared: Download Your Free Novel Planning and Drafting Quick Start Guide Download Your Free Guide to Remove Creative Blocks and Work Through Fears

Maybe you've thought about it. You love books, you love reading, and somewhere in the back of your mind, you've wondered if there's a way to turn that passion into a career that uses your legal skills without actually practicing law.Lilly Ghahremani knew on day one of law school that it wasn't the right fit. She called her mom from a pay phone and said she'd made a mistake. Her mom convinced her to finish the semester, then the year, then the whole degree. Lilly graduated from UCLA Law in 2002 and stumbled into a job with a small practitioner who worked in publishing. That random job listing became the foundation for a 20-plus year career as a literary agent.See show notes at formerlawyer.com/250