Lori Galvin
Aevitas Creative Management
DOSSIER: Since agents are often seen as gatekeepers into publishing, they often have a lot of sway on getting a writer discovered. We know you work hard so that your writers succeed, but where is the line for you in determining a writer’s potential and whether you feel it’s worth it to develop that person to a point where you both can find success with a submission? Writers want to know if you’re thinking only about that manuscript or if you’re looking at what the writer might be capable of down the road.
GALVIN: I imagine that most agents (as well as editors) aim to work with writers who will write many books over the course of their career. It’s tough breaking out debuts. But then, I just can’t say no to a manuscript that I become obsessed over. This is what I look for in determining whether I am going to work with a writer—whether they write one book (or many).
1. The work—does it blow me away, am I obsessed on how it can be even better, can I see it in the market, am I thinking of editors to send it to as I read it, am I writing the pitch letter in my head. Do I drive my husband crazy talking about it?
2. The writer— do I feel confident that we are a match, are they collaborative, are they willing to put in the work required, do they build their own community or are they willing to do so because (I cannot say this enough) support matters so much in this business.
DOSSIER: What are some of the things you find writers worrying about that aren’t really a big deal? On the flip side, what do writers need to be aware of that can hurt them when it comes to finding representation or getting published?
GALVIN: I don’t think authors should worry about things they can’t control. Amazon rankings, best of lists, the New York Times, NPR, Oprah, Reese, Jenna, BOMC, whether you get optioned, whether your film project is greenlit. Don’t get me wrong—if you get good news, by all means, celebrate it, but don’t measure your success by things you can’t control. This is something I remind myself of all the time. Early in my agenting career, I did not heed this advice and was constantly on an emotional rollercoaster. I offered representation to an author who turned me down. I was devastated. I said to my husband–I KNOW that I would have been the BEST agent for her. He said he knows the feeling because he’d once come face to face with the model Stephanie Seymour at the NYU bookstore and for a brief moment, thought maybe he’d be the BEST boyfriend for her–but alas, she kept on walking. In short, pick yourself up and move on.
In terms of things to be aware of that can hurt writers in finding representation or getting published—don’t test the waters by self-publishing and think that will make it easier for you to find an agent, or get a traditional book deal—in fact, it’s quite the opposite most of the time. (Although kudos to the successful self-published authors out there!)
I can’t remember who said this and I’m paraphrasing but if you’re not willing to tattoo a social media post on your face, don’t post it on social media.
DOSSIER: Agents have different preferences when it comes to query letters e.g., citing comps, or going over one page. There’s a ton of advice and guidelines out there, but what do you definitely want to see in that first paragraph? Is there at least one do or one don’t you have? Anything you’ve been dying to tell the writing community?
GALVIN: I like to see all the housekeeping in that first graph—the title, genre, word count, pitch or logline, comps. It makes it so much easier for an agent to see at a glance, if it’s for them. I follow this rule myself when I submit to editors. Also, ask a trusted writer friend to read your letter and give feedback before sending it out.
One item many authors forget include, which should be the LAST graph in the letter is who they are and how that might relate to their book. Are they a lawyer writing a legal thriller? Have they been part of a writing group and workshopping this book with them? Do they belong to any writing organizations, however casual? It helps me determine whether I they are serious about their writing career.
DOSSIER: Is there anything you’ve been dying to tell the writing community?
GALVIN: 1. Your agent will do their best work when you do your best work. Take your time with revisions. Use beta readers. Read your manuscript aloud. Any tiny little thing that might nag you is exactly the thing that’s going to nag your agent or editor—so again, take your time to do your absolute best–note that I said ‘your best’ not perfection–that’s what the next draft is for.
2. Writers should think about finding the right agent for them and their work, not just an agent. I’ve had a number of writers especially in the last year, submit to me and then a few days later tell me they have an offer of representation and they need to know that week or the next. Why the rush? If it’s the agent who’s pressuring you, that’s not good business.
3. Lastly, read. Read in your genre and outside of it. I have to remind myself to do this—it makes me a better agent and helps me stay on top of the market and has led me to seek out stories in a similar vein. One example: I read Tim Johnston’s DESCENT and was just stunned by his prose, the complexity of his storytelling, the deep character development of not just family members affected by a haunting crime but also the people around them—peripheral characters, yet still essential to the story—it was pure magic. A year or so later I received a query for a novel that was very different plot-wise, but shared many of the same elements of Johnston’s novel—and she used Johnston has a comp! I signed up the author, Tamara Miller, and her debut, INTO THE FALL will be coming out in January 2025 with Thomas & Mercer. To be honest, I likely would have signed her up anyway but because I’d read something previously that was so masterful, it primed me to understand what she was going for. I can’t wait for the world to read this this novel!
Learn more about Lori at: Aevitas Creative Management | X | Instagram