Ask the Agent:

As things wind down in 2025, what are your thoughts about the 2026 marketplace across kidlit categories? Do you have any advice for writers? Thank you!

Hello—if an agent has requested a few people’s fulls around the same time other authors sent theirs, does this usually mean they won’t request more from that time, presuming they rejected others from the same time but not all authors? And for an offer of rep, is it very unlikely others will have an offer if their fulls are out to the same agent because someone accepted? Hope that makes sense?

Hi Jenn, What goes through your head when an author has submitted a new query and you can see on QueryManager they queried you like three times in the past couple of years with different projects? I refuse to give up writing after a few submissions amounted to nothing but don’t want to cross over into stalker territory! Thank you.

Is it common for publishers to cancel the 2nd book in a 2-book deal if the first one flops? I recently heard about this happening to another author in my crit group and it sounds like a nightmare for the author. It’s so jarring because when they first signed the editor was saying things like I want to invest in your career, we want to be your publishing home. How can you trust someone who treats authors like that? I want to tell my agent to never sub my stuff to that editor.

Hi Jennifer! What’s your mental checklist when you go through queries? Voice, prose, MSWL/personal interests, bio, personalization, hook, marketability, etc. Do you have stronger preferences for any of those?

What are your observations about writers and mental health? Do you have any helpful advice for managing the emotional challenges of being a writer? Thank you!

Hi, Jenn. I’ve been writing, but sometimes, when I’m drafting, this little voice in my head goes “Nobody cares. Nobody cares. No one will ever want to read this. EVER.” What do I do to stop it? Or should I just give up?

Hi Jenn! I’m the one who asked about writing more in a series when the first is still on sub. (Thank you for answering!) These are CBs, and I love writing them. The main character just… has my heart! Nothing makes me happier than writing about them. I want to keep writing, but I know it’s a bad idea… I’m thinking about writing… other genre CBs or different age books with the same main character. Would that be advisable? I just want to write about them forever.

Hi Jenn! What are some examples of hard / upsetting / scary conversations?

A lot of aspiring writers talk about agent rejections and often not being given feedback, or being given actionable (at least to them) feedback that they could use to fix their work, but the agent didn’t offer an R&R. I picked up a book, thought it was good but for some reason didn’t really LIKE it, if that makes sense. It was nothing I could pinpoint, it was just a feeling. Is that kinda how agents feel about manuscripts sometimes? Aside from tangible reasons, like the writing needing work, or something being too close to something you already rep?

What’s the easiest and the hardest part of being an agent?

Hi Jenn! My agent and I are on sub with something now. It’s meant to be a series, but we obviously don’t know if it’ll be picked up. I’ve written a ton of other stuff, but at this point, I feel like writing this series is the only thing that makes me happy. I’m so tired of writing other things. Can I keep writing my series, even if I don’t know if it’ll sell? What advice do you have? Thank you!!

Hi Jenn! How much work do debut books usually require from the client once they’re signed by an agent before going on sub?

Would publishing be more equitable/fair if publishers got rid of the complex formulas for advances and just had fixed amounts or tiers? Like, a new author with no prior credentials? 40K. New author but publishing credentials: 45K-50K. Established and successful authors would obviously get more. Why don’t publishers just do that?? It’s obvious from that Schuster and Simon Trial that publishing has no clear handle on what they’re doing. Unless they lied (totally possible). Do publishers.. I don’t know— prefer not having to pay out royalties? Or is it better to pay a smaller advance and have to pay out royalties?

Let’s say you’ve read a query you like, you requested more work or the full and like that, too. What is your next step? Do you email right away to ask for a call. Or do you think it over for a day or two?

How involved are authors with their submission before any offers are made? I know some like to request editors they like, and want to help with the pitching, but some agents don’t allow that—or worse, make the author do majority of the work. Any insight would be much appreciated!

Do some agents ever feel 100% satisfied with their list of clients and no longer feel the need to open for queries again?

Hi Jennifer, In August, an editor said they were going to show my middle grade graphic novel text only manuscript to their editorial colleagues. I haven’t heard anything since then (and they’re not responding to nudges). So I don’t know if they decided not to take it and are ghosting me, or if they’re still waiting to hear from their colleagues, or even if they’re going to take it to acquisitions and just aren’t telling me that. Or anything else! Are these all likely scenarios? How would you interpret this? I know publishing is slow, but this feels like a long time to just be waiting to hear from editorial colleagues on something. Thank you!

Hiya! I’m a querying illustrator with author ideas. So far my query includes my portfolio (with some books I’ve illustrated prior) and one MG graphic novel pitch(thanks again for your help on this!!). I’m interested in PBs but my ideas aren’t as polished as my GN and portfolio. Should I omit them? I have two PBs I’d love to include but honestly I know they need some work and guidance. I don’t want an overly long query!

Hello Jenn, how much time do you spend on a client’s book on average? I saw you mention potentially years re-reading in a recent answer. Is that for a try to sell again later situation, or one where you’re working on a sequel or series?

I got some agent interest in my manuscript during an online pitch event about 10 days ago. My pages are ready, but I’m still trying to make improvements to my query letter. I obviously want to make it as good as possible, but I’m concerned that I’m letting too much time pass. How long is too long to wait before figuring “this is as good as it’s going to get” and submitting?

I’ve had my ms out on submission with an agent for two months now and if an agent was truly enthusiastic about the project and wanted to make an offer wouldn’t I have heard from her by now? Have you ever offered representation even after 2-3 months? Thanks, Jenn. You have helped me so much with your Q&A here. I truly appreciate it.

Hi Jennifer. I’m struggling with a question and I hope it isn’t too heavy. I was disheartened by a Reddit post from an author of color who was describing their challenges in the industry and other redditors agreed. Few were saying they stopped centering their identity and were getting better results in the query trenches, one was saying they were signing with an agent. So I guess my question is.. am I doing myself a disservice if I tailor my query depending on the agent’s background? Like if the agent discloses a racial or other identity, I mention mine. If they don’t, I’m letting my query letter itself be the force that pulls them in. I do mention my character is multiracial, but we’re running around in a secondary world, so it isn’t exactly relevant to the story. Am I wrong for this? Is it.. misleading? I’m So confused rn.

Hello! Aside from “I’m not feeling passionate or connected enough to take on this project”, what does “I have no editorial vision” mean?

What are the most common problems or issues or mistakes, etc, you’ve seen in your query inbox?

Hi Jenn! I saw you mentioned authors being pills earlier—can you please give us general examples of this?

Hi Jennifer, When independent bookstores purchase books, is it usually by the case? And are they always returnable? Thanks!

Hello Jennifer, I accidentally forgot to update my word count in my query letter (roughly 2k difference) after I edited my MS when I didn’t get any requests from my first batch. Is this a big deal to agents? Should I let agents know about it if my recent batches receive more requests? I normally add my query to any fulls as the first page and would want to update it there, but should I do more than that?

Random (maybe?) question- I’m an illustrator and I love doing ‘dot’ style eyes. I love the simplicity look of it personally but my agent told me generally publishers prefer more detailed eyes. I get that, they show expression and you can convey diff eye types etc. but I see a pretty even mix of eye styles in PBs. what’s your take on this?

Jenn, Q about the ABLA submission policy. I understand you can query one project to one agent only (then try the second chance inbox) but one of your agents is requesting 3 PB texts together for the initial submission. If she passes, does that mean all three are burned for any of the other agents? Or just the lead one? I would love a clarification on this so as not to break any rules. Thanks for your time.

Is it bad if you need your agent to contact your publisher when your book isn’t listed in their social media marketing but pretty much everyone else being published at the same time with them is?

Hello Jenn! Does having a previously traditionally published book, or previously being agented (and parting on amicable or neutral terms), or agency or author referral, or having big 5 editor interest make any difference for cold querying? Thanks in advance!

I want to write a sequel to my already published book, but I really don’t want to work with the same editor again (won’t go into details here). Is it possible for authors to switch editors within the same publisher/imprint?

If a new client’s first project dies on submission, how long will you keep trying to sell other work for that client? Is this becoming more common in today’s marketplace? What is the longest it’s taken you to sell a new client’s work? Thank you!

Hi Jenn! If an author/illustrator queries with a dummy and portfolio that you like, do you typically ask for more work? Or do you decide based on the dummy and portfolio alone? And if you do ask for more work, what kind of work do you like to see? Manuscripts?

Hi Jen! I’m getting ready to query my MG GN. Is it helpful to include anything else beyond the script, chapter synopsis, and first ten pages? I’d love to include character sheets, potential sequel ideas, and other fun world building art but I don’t want to go overboard and make it seem like I’m not willing to make edits to anything. Thanks in advance!

Hello Jenn! What’s your opinion on adding a logline or elevator pitch to a cold query letter?

Jennifer, What is the best practice for breaking up with an agent or vice versa? Is an email acceptable or is that rude and a phone call is the right thing to do? A friend got dumped by email by her agent out of nowhere and it just seemed a bit harsh to me, but maybe that is totally acceptable? And as an agent, would you expect a call or an email would be okay? (not that anyone would dump you like ever:) Thanks

I have a question about author platform. I have major ethical and moral issues with several of the platforms (you can probably take a guess what ones), to the point that signing up for them to get “audience” would make me feel very icky inside. If I’m querying a fiction book, do you think this stance would be a deal breaker? I have a website and do happily engage with the platforms that don’t actively make me feel sick, but they’re often not the big ones. The publishing world seems to be relying more and more on authors marketing themselves and having platforms, but I want to know just how badly I’m probably shooting myself in the foot.

follow-up to the AI Q (not OP)- I can’t stand the AI slop, nor do I like AI being forced into every aspect of our lives. I always prefer to see things made by a real person. BUT I find it helpful to use it as an additional critique partner for quick things in my stories, such as grammar, but also suggesting paths for the characters and plots when I feel stumped. I never use these ideas exactly how the AI suggests it but more as a jumping-off point or an inspiration spark. Is this problematic?

hi, can I ask what’s reasonable vs unreasonable for agent response times with client manuscript notes or edits or critiques? If an agent takes at least a week (or 2+) to respond to a nudge each time, is that a reason to find another agent?

What would happen if a publisher or agency found out an author used generative AI? I don’t use it. Just curious.

I have two related questions. When a querying author notifies you of an offer, are you more likely to drop everything and jump in the ring or step aside? Same question for an acquiring editor. Thanks!

Hi Jenn. Just curious…1. If an agent normally rejects authors within a day or two, but she hasn’t gotten back to me and like 4 others in 3 months can I nudge even though she said after 8 weeks it’s a no? 2. Do you think some agents read submissions in the order in which they received them or just jump to the ones they thought were promising right away?

Hi, Jenn! I’ve written a whole lot of manuscripts. I don’t have to tell YOU this, but publishing is sooo slow. I have some things in the works, but I want to create more. Just… not books. Not when I have so many. I’m interested in video games and TV and anime, and I would love to do something in one of those things… but… how? I don’t know where to start!

Hey Jenn! I know you’ve mentioned how you don’t want to compete with yourself, but are things that count as “too close”? Could an author try to make a career publishing MG horror in the fall and MG fantasy in the spring? Or even, ideally, a MG fantasy series in the spring and slot in MG horror standalones in the fall? Or are all of those too close? Thx!

How often do agents share a query or full with other agents in their agency? How rare is it for agents to share them with an agent outside of their agency?

I’m a new tutor with a local literacy org. Right now, I’m working with young adults on capitalization, punctuation, and parts of speech. Can you think of any picture books that do a good job with these topics (or anything related for future lessons) that don’t come across as insultingly childish? And, for when they’re ready to take on a full book down the line, do you have any recs for ones around a 5th grade level that would hold the interest of 19-year-old women? (The only one I’ve thought of that they might enjoy is The Outsiders but surely there’s something more recent?)

Hi Jenn! I had to find new rep recently and I love my new agent! But a book just sold with my old agency, and contract stuff is still going on. For the option clause, if my publisher buys whatever we submit for the option, does that mean the sale is under my old agency? And does that mean if it sells, the next option clause will still let the publisher buy something under my old agency? Am I basically tied to them forever?

I write contemporary YA. Should I take the curse words out of my novel? It’s less than 10 in a 60k book. Does that block schools from ordering them? F@{%!

Do agents look at each other’s QM forms or MSWL?

Hi Jenn, I was recently listening to a writing podcast and one of the authors mentioned she’s hesitant to make new friends in the industry because you never know if someone is just trying to use you. She mentioned how annoying it can be when someone she’s just met at a conference takes up too much of her time. I respect that. But as a socially awkward, neurodiverse person, I’m feeling even more anxious about an upcoming writers’ conference. Do you have any suggestions on how to know which authors are okay with socializing with nobodies?

How do agents/editors/librarians/educators explain the difference between upper and lower MG from the same author? What if an author has some MG books that are more upper/literary but also some that are shorter, easier to read, and more geared toward younger readers? Does that get confusing, since they’re all by the same author and all MG, but they’re different reading experiences?

When you have a client completely green to submission, do you walk them through what to say and what to expect if they sell? Is there anything special a client has to do when going on a call with an editor? Are those also an hour on average? Can an agent be connected to other important editor calls when the author asks for it?

What situations normally warrant a phone call for an agent and client instead of email?

Jenn, some different programs like word vs. scrivener count hyphened words separately or together and that sometimes adds up to hundreds of words more or less than the word count of our manuscripts. Would agents have an issue with the word count not matching exactly what our query says it is?

Hi Jenn, Do you have any personal recommendations for a mg novel or graphic novel that deals with the grief of losing a sibling? Bonus points if there are any humor or fantasy elements. It’s for an 11 y/o advanced reader. I’ve googled and found a few options for her but nothing feels quite right. Just curious if you knew of anything off-hand. Thank you!

Is it still possible for new authors to become insanely rich like Stephen King and that awful transphobe lady or does that just no longer happen? I understand how unlikely that was even then, but I’m just curious if that level of success is even imaginable for anyone these days since the media landscape has changed so drastically.

What are the current evergreen things in publishing? And conversely, what is less likely to sell nowadays?

Hi Jenn! Can you please define ‘lightning in a bottle’ for traditional publishing? Do you have examples?

Which would you say is more difficult for a new author? Querying and (hopefully signing with) an agent? Or having a book on sub?

You responded to an earlier question-asker that you had books that reliably helped you out of reading slumps. I’m guessing I’m not alone in wondering what they are (not to invade your privacy, but because I have yet to find or re-read anything that can get me out of my current slump). Would you be willing to share a few of yours? Thank you from Slumpsville. :)

Dear Jennifer, Can you please dispel the idea that all Authors of Color writing their own experiences get a huge leg up or signed? This idea is floating around the internet again and it’s such a disservice to us. I am one of many AOC who have queried a lot only to get nowhere. In my case, I’ve queried 6 meticulously polished books over the years—3 intimately about my direct-lived experience up front—and out of hundreds of form rejections only ONE agent was kind enough to give me a tiny amount of actionable feedback. Publishing is tough on all of us.

Most people I know are struggling to read because of all the horrors going on in the world. I’ve spent the entire year zoning out to my comfort reads on audiobook, but it feels impossible to engage with any new material. Does this sort of problem ever happen to you or other agents that you speak to? If so, how do you deal with it? I’m supposed to beta read a friend’s manuscript, but it feels like an impossible task right now.

Hello Jenn, can you please clarify how the publishing side categorizes Romantasy? Romance Fantasy vs. Fantasy Romance vs. Romantasy? Or is there basically no difference?

I would love to get your perspective, because you are definitely more in touch than I am! I grew up in the 90s, and from my perspective, the kids horror genre was small, but expanding. There were movies, books, tv shows that were horror and billed as such, for a young audience. I thought that genre would expand and gain more variety and popularity with time, but now Im in my thirties and I feel like its shrank? I worked at a book store for years and never saw kids horror that was more recent than what I grew up with (goosebumps, fear street etc), and I think the last kids horror movie I saw advertised was Coraline in the aughts. But that said, I dont have kids, and dont intend to have kids. I like to keep up with pop culture, so I dont think Im entirely out of touch, but I realize my passing curiosity might have holes in it. So what would you say? Is the genre of kids (and also teenagers) horror shrinking, expanding, or remaining the same? Im particularly interested in your thoughts on kids horror that isnt a high fantasy setting as well. Thanks in advance!

I was thinking about this, but aren’t most people in the publishing chain sales people in a sense?? Hear me out. The writer sells an agent on their book, right? The agent sells an editor on their client’s work. The editor has to take the book to acquisitions which means selling a team of people on your book. Once the publisher acquires it, they (and the writer) sell the book to its target reader. Im not crazy right?

Do you browse pitch events? What about your colleagues at ABLA? #DVPit is coming up, KidLitGN is happening right now, and I’m sure there are others. They are very exciting on the author side, but I’m curious what agents think about these events.

Sorry, math-adjacent question: When you said selling lower 5 digits number of copies is ok/very good, etc etc etc—over what time period do you mean? Lifetime of the book, or the first year or 2 years or something? Just clarifying, thanks Jennifer!

Hi Jenn, I saw the ABLA art fest on bluesky- is that only for illustrators represented by your agency or everyone?

If you had to guess, what percentage of your clients are full-time authors/illustrators? Are they usually paid on time? Thanks!

Hi Jenn, What happens to an agent’s clients if the agent leaves the profession? Are they just left without representation? Thank you.

On submission, what makes some manuscripts get an offer in a week, while others take much longer? One of the editors my agent submitted to is the same editor for a friend’s book, same genre, and they got an offer in 6 days (granted, this was in 2023, so maybe things have changed). Trying to gauge any and all patterns on sub!

Hello! I tried searching but couldn’t find an answer to: when do you suggest giving up on querying a novel? Also, when do authors give up during submission?

For traditional publishing, what do you consider good sales numbers in the various kidlit categories? Overall, what percentage of kidlit authors earn out their advances? I’m sure the time frame varies, but would you share your observations? How much does an author’s track record influence future potential editors? Thank you!

Hi Jenn, As a treat, I want to hire a developmental editor who’s worked on some of my favorite books to help me revise my debut ya novel. I know it’s expensive and unnecessary, but I see it as an educational and entertainment expense. I know this isn’t a magical ticket to getting published, and I’m okay with the idea that this might just be a fun, personal project for me. However, it is my goal for my work to be traditionally published. When I query, should I mention I worked with this developmental editor? The editor seems to be highly respected in the industry and has glowing recommendations. Thank you! I think you’ve answered this question before but now I can’t find it.

How do your illustration deals progress after an editor makes an offer? Does the editor send a synopsis of the text for your client to review? How do advances compare between PB authors and illustrators? Thanks!

I just read about the settlement amount individual authors will split with their publishers in the Anthropic lawsuit. $3000. That…seems measly? Will it be split with an agents, as well? But I lack context you have: How much does this amount compare to compensation authors get in other circumstances (or would get, if full copies, or portions, of their books had been disseminated in a more traditional format, such as excerpts published in magazines or as a reading sample in a test like the SAT?)

Hi Jenn, can we talk about the publishing patriarchy? Why is it that men (who make up a smaller % of kidlit creators) win more than half the major awards? Why do they seem to get more marketing spend and attention? There was a recent Slate list of the ‘25 Greatest PBs of the past 25 years’ and 2/3rds of the books they selected were authored by men. I’ve also noticed that 'manels’ (all male panels) are creeping back in. It’s depressing and there seems to be little discourse around it.

Hiya Jen! Are board books hard to sell? I’m interested in writing out some board book ideas but I never hear others talk about them (despite there being plenty of them in bookstores!) does it make a difference in selling them when the author is also illustrating them? Thanks for reading!

Hi Jenn! I know I’m not your client, but I would really appreciate your advice. I have a book that could be either an MG or adult (depending on how I frame it). I feel more called to MG, but I haven’t had a lot of luck in MG. I’ve been more successful in adult, and pub professionals keep saying there are more opportunities in adult. So should I try to pursue adult, just because MG is hard to break into and I haven’t been able to get in yet? Thank you!!

This is just a nosy question. When you’re open to queries, your assistant does a lot of the first reading. When you’re not open, what does your assistant do? And how do you also work at a bookstore?? Are you magic?