In Part 4 of this series I went back to the drawing board and worked with a writing mentor. You can read about that and my tribute to a wonderful writer, Sarah Tinsley, here:
Making connections
I’ve been told many times that much about getting a book published is down to luck. The “being in the right place at the right time” scenario. But I believe you have to create your own luck and for me it’s all about making connections, firstly with other writers but also agents, publishers and booksellers.
So, I support events at local bookshops, libraries, and festivals. It’s fascinating to hear about an author’s experience of writing a book and getting published (no two are ever the same).
I follow people on social media – like, share and comment where I can and if I meet an author face to face, I will always buy their book.
I joined the Hampshire Writers' Society who have monthly talks from writers, agents and industry professionals.
It can feel a bit like preparing for a job interview, but if I wanted to be published I needed to know as much about the process as possible.
Authors talk a lot about the importance of finding the right agent. The one person who ‘gets’ your book. It’s a tough industry – only around 1-2% of books received by traditional publishers will get published, so having someone who shares your passion for your story is helpful.
I would often look up an author’s agent and see if they might be a good fit for me and my novel. Being able to say you’ve met one of the authors they represent is a great way of making a connection with an agent.
Let’s wind back – again!
I did say this was a winding road.
Back in Part 3 of this series, I mentioned connecting with Sarah Maxwell on Twitter. This was a chance encounter, but one I made because I joined social media and was looking to connect with other writers.
Sarah had Jane Austen’s writing table as her profile picture and I commented that I’d visited her home in Chawton, Hampshire on many occasions. We bonded over a shared love of this iconic writer.
Sarah had nothing but praise for her agent, Anna Klerfalk from Intersaga Literary Agency, and when she posted that Anna was offering feedback on your submissions package and a 1:1 zoom call, I knew it was an opportunity not to be missed. I’ve written about that experience here.
That was just the start.
Sarah is a londoner living in Tasmania, but she was coming to the UK in the October for the release of her second YA novel What the Knocker Upper Woke Up (which is just the best title). Luckily, the book launch was to be in Woking, not too far away, and so, after lots of Twitter chat it was time to finally meet in real life.
By this time I’d started working with Sarah Tinsley on the rewrite of my book (I know – two Sarah’s. If this was a novel I’d have to change one of their names). I hoped Anna might be at the book launch so I could let her know that I was taking her advice, and she was!
We had a quick chat and I asked if she’d be happy for me to send her my submission again once I’d finished the rewrite. Her response was – absolutely, yes.
Best laid plans
This was exactly the encouragement I needed to finish the editing. But, as in any good drama, there was a twist.
Anna announced in November that she was pregnant with twins, due the following May, and would be on maternity leave for the rest of 2023.
Of course it would have been silly of me to wait, so in August 2023, once I felt the novel was ready to start sending out again, I did just that – to a further 25 agents.
From those, I had one personal response (which was encouraging), five form rejections, and heard nothing from the rest. It was incredibly disheartening, especially as I’d worked so hard on the rewrite. But I was determined to keep going.
Keeping the connection
Having made a connection with Anna, it was important to nurture that whilst she was on maternity leave. I was ready to submit to her as soon as she returned to work and I needed her to remember who I was.
I already followed Intersaga Literary Agency on Instagram and Twitter, but I ensured I liked, shared and commented where I could. I kept the connection going and I’d like to think it made a difference.
Finally!
Anna opened to submissions once more in January 2024 and I sent mine straight to her. Within a few weeks she’d asked to read the full manuscript. Her response had me dancing around the kitchen.
“I absolutely loved The Year Without a Summer. It’s excellent, I think, and deserves to be published.”
A couple of weeks after that she offered me representation and on 21st March 2024 I signed a contract.
But the book journey doesn’t end here.
Now to find a publisher.
Until next time…
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And
If you want to support my writing, you can always buy me a coffee