Kelly Van Sant

I'm on instagram today posting about mundane "day in the life of a lit agent" sort of stuff but I think there will be some cool things popping into my inbox today and I'm doing an #askagent there so feel free to come hang. instagram.com/agentkellyvans…

It's always exciting and nerve wracking to take something out on submission! I try never to pitch cold, so I usually speak with all the editors on my sub list before sending them anything. Placing a book is really about match making!

I have 7 clients and I got 6 of them through the regular querying process, and 1 of them through a call I put out on Instagram. Querying is still the most common and effective way to get an agent.

You'll know in your gut, is all I can say. 20 passes is WAY too few. You gotta kiss a lot of frogs.

Nudge after 3 months. It can take a LONG time. I'm not proud of this but I have absolutely dropped the ball on my requests before, and most agents will at some point.

Agenting is already one of the most flexible parts of the industry (I started in NYC but now in MN). I only hope the entire industry embraces this flexibility and creates more opportunities for disabled people and people of color and folks who otherwise experience access barriers

When I love the way they see and explore the world, so I know that I'll be interested in anything they write, because their viewpoint and expression and fascinations are endlessly appealing to me.

It is rough out there for New Adult. As for content (violence, drugs, swearing) this comes down to the brand identity of the imprint, really. Some imprints will published edgier, gritty, dark YA. Some won't. That will be an important part of submission strategy.

I’d send, but mention this info at the top of the query.

Character development!

When the manuscript is finished to the best of your ability. Before you query, sometimes before you sub, and often after contracted. It depends on the book and the stage of your career, as well as the subject matter.

Personally, I want to work with my clients for the long haul and grow as they do, so I would work hard to get the necessary contacts to pitch whatever they write. If it’s truly beyond my skill, I’d loop in another agent in house with that expertise. Other agents might not do this

I’m biased but I definitely think all creators should have an agent before entering into a publishing contract of any kind! I’d query and mention the editors interest. Subrights are a whole ball of wax and not sure I can do them justice in a single tweet!

First ask yourself why you feel the need to write in a voice that’s not your own. Then do your research, and recognize that it’s likely that you’ll do harm even if that’s not what you intend. Be prepared for that and be willing to learn and do the work.

I think it is useful. If not in the query then definitely on an offer call.

I mean, we are all doing our best. Some people cope by throwing themselves into work. Some people are reading less right now. No one knows how long this will last. I really think you have to make the choice that is best for *you* because the other factors are too unreliable.

You need to write the book you want to write, and you need to figure out your category and audience before you query. An agent might suggest changing it, but you need to come in with a clear point of view. Don’t leave it open ended.

I can’t imagine requesting something I hadn’t read (outside of live pitches, pitch contests, etc), so if you sent 5 sample pages then it’s safe to assume I’ve read them if I’ve requested the full. I imagine this would be true for everyone but maybe not?

I want you to take as long as you need to revise. A few months is probably average, but I’ve had R&Rs take a year before. If you’re querying though your MS should be finished and ready to send ASAP.

When querying, market your book as what it is, period. Don’t set up false expectations to fit a market trend. It will backfire. I see a lot of projects that are pitched incorrectly.