Tag Archives: Finding an agent

How to find a literary agent

Next month on Saturday 6th May in London, I will be taking part in a Guardian Masterclass on How to find a literary agent. The masterclass is being led by my agent, Juliet Mushens, and both Peter Newman and I will be there for part of the event.

If you’re a new writer, the process of getting your book into print might seem a bit daunting. This class will demystify the publishing process and reveal what agents look for in fiction submissions.

In the space of three hours, you’ll learn everything from how to prepare the perfect submissions package to how to edit your manuscript and pitch your novel to an agent.

More information and how to book a ticket is available on the Guardian Masterclass website for 6th May, but there are also other dates available later in the year in September and December.

I hope to see some of you there!

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Guardian Masterclass – How to Find a Literary Agent

Next month in London, I will be taking part in a Guardian Masterclass all about How to Find a Literary Agent. The event is being led by my agent, Juliet Mushens, on Sunday 18th September.

Below is a snippet of information about what to expect during the event, but there is a lot more information on the Guardian website. I will be one of the guest speakers alongside Elodie Harper, another of Juliet’s clients. If you are interested I would book early as places are limited.

“If you’re a new writer, the process of getting your book into print might seem a bit daunting. This unique masterclass with leading literary agent Juliet Mushens will demystify the publishing process and reveal what agents look for in fiction submissions.

In the space of three hours, you’ll learn everything from how to prepare the perfect submissions package to how to edit your manuscript and pitch your novel to an agent. On the evening, Juliet will be joined by two of her most exciting authors, who will discuss their journey to publication. With plenty of time for questions and some practical activities, this is a class budding authors won’t want to miss.”

If you are serious about wanting to know how to find an agent and what they are looking for, and you are getting close to submitting your novel, then I would definitely consider it.


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How I Found an Agent – Part 2

As mentioned in Part 1, this is a history of how I found an agent and later a publisher. One of the reasons for writing this is to try and dispel the myth that continues to circulate that in order to succeed in getting published you need to have connections and friends in the business. This is not true and I am proof of that. There are many other examples out there as well. I was picked out of a slush pile.

This post will focus more on my specific approach to contacting an agent, detailing our initial messages back and forth, my initial submission email, and what happened after.

Part 1 details my long history of the many years I spent trying to get an agent and the many rejections I received from agents. What I didn’t mention or highlight, but if you are a writer who has been rejected then you know it already, is the agony. The pain of rejection, the fear, the constant questioning of self and your ability, the depression, the misery, the ups and downs and the tears. You’ve poured countless hours into something only for someone to say no. It hurts. It hurts a lot. If it doesn’t hurt then I would be worried because it suggests you don’t care about it.

Also if you are a friend, family member or partner of a writer then you’ve gone through all of this with them, usually for years. I sympathise and I thank you all for your patience and understanding, as it is not easy. Being rejected a lot takes a toll, sometimes physically, sometimes mentally, but it always hurts and it is incredibly difficult to get back up, dust yourself off and try again. But I did it because the alternative was to stop writing and stop trying, and that was never really an option for me.

So, all of that brought me to a point in my life when on 28th April 2013 I sent out an email to an agent with the first three chapters of my epic fantasy novel.

Writing a synopsis is painful. I hate it with a passion. Trying to sum up 130 thousand words in a page or two is difficult. I still don’t like it. Now I had to take that and cut it down even further and try to explain what the novel was about in a short email. I didn’t tell her what happens in the novel and list the events, e.g. Jim goes on a quest to find a magic sword, going from Blahdeblah-land to Zibbleland, because that doesn’t tell her what the story is actually about, only what happens. Is it a coming of age story? Is it a revenge story? Is it a romance? Sometimes you may not even know what the novel is about until you’ve written it. You may have an idea, somewhere in the subconscious part of your mind, or you may not. That may come out during the writing process.

In my email I described some of the world, gave very brief info on the points of view, highlighted that I’m deeply embedded in the fantasy genre, so if there is something that looks like a trope, it’s probably there on purpose because I want to take it and do something new with it. Tropes can be twisted, remade, repurposed. For example, if I said the novel included a grumpy and powerful wizard, a dangerous warrior and a noble, all tropes in themselves, am I talking about Lord of the Rings, or Joe Abercrombie’s First Law trilogy?

Below is a copy of my original email to Juliet Mushens of The Agency Group. I’ve taken out a couple of bits, to avoid spoilers and because the title has changed several times since.

Dear Ms Mushens,

Please find attached for your consideration the first three chapters of my epic fantasy novel, [title].

It is a story about power and the death of magic. I wanted to explore how different people react to power, be it sovereign or magical, and look at how they cope; from people who inherit it against their will, to those who covet it and will do anything to keep it.

Set against the backdrop of what is in essence a first world war, the story is told from three main viewpoints, the leaders of the defending nation, which allowed me to explore the politics and strategy, the front line squaddies and their daily challenges, and the Battlemages, powerful magical outsiders who are both feared and respected. A fourth minor viewpoint focuses on espionage and attempts by undercover agents to unravel the war away from the battlefield.

The title of the novel references several strong themes in the story, including [removed to avoid spoilers].

I’ve been a fantasy reader all my life, and have knowingly used several fantasy tropes, but have hopefully given them an interesting and often tragic twist. The story contains strong women, black humour and it subtly looks at several issues.

[title] is 130 thousand words long, the first in a planned series of three, but each novel is a standalone story, with some threads that carry over into the next.

Below is a short blurb, and if you require any more information please do not hesitate to contact me. Thank you for considering my work.

Yours sincerely

Stephen Aryan

 [Below are Juliet’s comments]

Stephen’s covering letter was succinct, punchy and interesting. He summed his book up in a brief way, he nodded to some things I like – realistic portrayals of women and black humour – and his blurb really made me want to read the book. Battlemages! Spies! A psychotic and powerful magician!

People often think they have to make their cover letter whacky and show their personality, but often those can come across badly. Stephen’s letter was professional and told me everything I needed to know.

I was hopeful when I turned to the first three chapters and he had me from the get go. He had drawn his world well – it felt familiar yet fresh – and his characters were intriguing and well-rounded. Often I feel that novels start before they should: you get pages of the character on a journey, or waking up, or starting their morning routine. But the novel threw us right into the action, meeting a battle-scarred man named Vargus and managing to convey a lot about the backdrop to the novel through action and dialogue. It was polished and compelling.

On 16th May 2013 I received the following response from Juliet.

Hi can you email me the full ms please?

I was excited and nervous and scared. But this wasn’t a yes. This was a request for a bit more. I’d read countless stories from people who have sent in full manuscripts and still been rejected. I’d read there are lots of reasons for this, including the first three chapters are sometimes the best and most polished and the rest of the book isn’t ready. Another reason for rejection is that sometimes people send in a submission and have only written the first few chapters in full and none of the rest of the book. This is a horrible and stupid thing to do.

I can sort of understand the logic, the fear of time wasted writing a whole book only for it to be rejected. So why bother? Therefore, only writing the first few chapters saves time, right? Because if they like the first three chapters, then you can write the rest once you get a thumbs up and that will be fine, right? Wrong. Totally wrong. Finish the book. Doing it this way will piss people off, and it may burn bridges in the future. The industry is small, the odds of being picked up are smaller and there isn’t an endless supply of agents, so don’t piss them off and reduce your odds even further by doing something stupid.

I kept my email back to Juliet short, professional and to the point. She wasn’t my friend because of one email and this is still business, so I treated it like any other email for my day job with a new correspondent. If she needed anything else I asked her to let me know.

Below is a copy of the email that I sent on 16th May 2013. I sent it off, knowing it could be months before I received another reply, so I tried not to check my email every ten seconds and get on with my life.

Dear Ms Mushens,

As requested, please find attached a copy of the full manuscript for [title].

If you require any more information, please let me know.


Stephen Aryan

[Juliet’s comments]

When I get to read manuscripts depends a lot on my schedule. Some days I get absolutely no reading done, sometimes I have lots of plans in evenings and weekends which also puts me behind. But luckily for Stephen, I fell ill with a nasty cold and couldn’t go to work. I didn’t feel well enough for daytime TV, so I thought I’d have a quick flick through the full manuscripts I’d been sent, and Stephen’s caught my attention.

Something unfortunate happened which turned out to be lucky for me. A few days after I sent in my full manuscript Juliet became ill which meant she had to stay at home. As it happens it meant that she read my novel in one day. On 20th May, just four days later I received a reply from Juliet, posted below. Again a few bits have been removed to avoid spoilers.

Hi Stephen,

Thanks so much for sending me this. I really, really enjoyed it. You have created a richly imagined fantasy world, which pays homage to many of the greats yet still feels fresh and original. I loved a lot of the characters too (Vargus is my favourite) and the idea of [spoilers].

I think it needs work – the pacing lags in places, your women need depth and more prominence, and Balfruss needs to be fully realised – but I’d be keen to represent you and work with you to sell this. You show a gift for storytelling that I see only rarely, and this kept me occupied on a day of being in bed ill which is no mean feat!

Are you able to come to London at all this week or next? I’d like to chat in person about my editorial thoughts for shaping the book and answer any questions you have.

All best,


[Juliet’s comments]

I don’t call in many full manuscripts a year, but those I do call in are often passed on for similar reasons – a lack of pace, a story that plateaus, characters I stop caring about, or just feeling very rushed compared to the first three polished chapters. But Stephen showed a real gift for storytelling. Through a 130,000 word manuscript he sustained my interest, he made me care about the characters and he made me invest in the stakes of the novel. I found myself noting down my thoughts as I read, where it needed depth, where I thought he needed to slow down, or cut, or expand. I only ever do this if I am very engaged with a book. By the end of the novel I felt very excited about the book. I could already visualise who to submit the novel to, and was confident in placing it with a publisher.

I always like to meet an author before we start working together. If I had sat down with Stephen and said, ‘I think it needs x, y and z’ and he had said ‘no way!’ then we would not have been the right partnership. I wanted to make sure that we would get on well together and have a shared vision for the book. Luckily, we were very much on the same page – Stephen was receptive to my comments and we came up with a plan of action to start work on them. I also liked Stephen, which helps! I felt we’d get on well. Working with an agent has hard times as well as good, and it’s important to feel like you are a team.

I took a day off work and went down to London to meet Juliet. We met at her office and talked through her comments. We went back and forth on the ideas, I made notes and came away feeling energised and keen to make the novel better.

In January 2014, Juliet and her assistant Sarah felt the novel was ready to go out on submission. By this point I had revised it several times.

[Juliet’s comments]

Stephen worked really hard on the novel, and in the meantime I’d been pitching it to a couple of publishers. One in particular, Jenni Hill at Orbit, was very excited to see it, and she ended up buying the trilogy. But that’s a story for another day…

Battlemage, the first in a trilogy, will be published next year by Orbit. It will have been fifteen years since I started trying to get an agent and I will be 38 years old.


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How I Found an Agent – Part 1

Sadly the myth continues to circulate far and wide around the internet that in order to get anywhere in publishing you need connections. You need to know people who can grease palms, open doors, give you the secret handshake that will get you an agent and then a publisher. This is complete and utter nonsense. It is not true at all. I can’t stress how much crap it is without using a lot of swearing to emphasise my point in the strongest possible terms. I had zero connections in the industry. I was picked from a slushpile. Also, the myth cheapens all of the hard work and effort each writer has put into their work over the years and that offends me.

Below is my two part history of how I found an agent.

I started submitting to agents in 2000. Yes, fourteen years ago when I was in my early twenties, I’m now 37. I had written an epic fantasy novel. I thought it was good, I edited it, had a couple of friends read it that encouraged me and I sent it off. Back then the internet was in its infancy. Agents were not online, there was no social media, no instant way to communicate as we have now, and if you were lucky an agency might have a website with an email address but they didn’t accept online submissions, it was a paper only world.

Every year a weighty tome, The Writers’ & Artists’ Yearbook, was and still is published which lists all agencies, agents, genres they accept and their submission guidelines, such as number of chapters or words, and you always had to include return postage for your material with a self-addressed envelope. I found the few agencies that accepted fantasy, because there were not that many, followed the instructions and sent it off. Then comes the awful waiting for three or more months. Initially the instructions said it was bad practice to send it to multiple agencies, so I followed the rules and sent it to one at a time with three months or more wait every time. Then they eased the rules slightly and you could send to multiple agencies at the same time as long as you mentioned this in your letter, so I did that. I received a lot of rejection letters over the course of a couple of years.

However, during that time I remained undeterred and I started work on a sequel. I received more rejection letters in the meantime for the first book. Now I had a book no one was interested in and a sequel that no one had ever read.  I never knew why they didn’t want the first book because the material was returned without any comments. There was just a standard printed slip with my name typed or hand written at the top and they returned my first few chapters. Not knowing was sometimes worse than the rejection itself. If I knew what needed improving then I could work on that, but I didn’t.

I’m not going to document every aspect of my writing, but briefly, in addition to writing  novels I attended writing events, joined writing forums when the internet grew up a bit, took part in online communities, reviewed other people’s submissions in return for a review of mine, did everything I could to try and improve my work. I also attended a lot of events and keenly listened to all of the advice from writers and those in publishing.

After the two fantasy novels went nowhere I wrote a science fiction book about genetic manipulation and designer babies. I had friends read it. I edited it a lot and then sent it out to agents, after buying the new W & A Yearbook. I received more rejections over the course of many months. So I wrote a series of horror short stories and a connected novella focusing on vampires and werewolves. On a whim I wrote a fantasy short story, posted it online on a writing forum and received feedback so ridiculous I immediately left the forum. Online communities are sometimes a really bad and unhelpful place and this was one.

In 2006 I wrote another epic fantasy novel, I worked on it, then sent it out. I was rejected. Again I never found out why. I wrote screenplays and sent them off to competitions that had an open door policy. I co-wrote episodes of favourite American TV shows that also had open door policies. My friend and I received words of encouragement and praise from those involved for our efforts, but we were ultimately rejected. I pitched comic book ideas to a US company, got my first paid bit of comic book work and then a little more. It seemed to be going well, then the company went into an internal spiral and it went nowhere. So I wrote and self-published a superhero comic, a pastiche and callback to some of the older comics I loved that was self-aware of its heritage. The comic book writing has continued, but I’ll leave that for another post.

In 2008 I started work on a contemporary horror novel with strong Lovecraftian themes. I revised it, had trusted people read it, posted the first few chapters online on a writing community and received good feedback and useful criticism. I revised it again and again. I left it alone for a few months then I came back, chopped out about 30,000 words and tightened it up. I reposted it and received positive feedback from new people. I sent it off to agents that accepted horror, using the new W and A Yearbook, and I was rejected, sometimes with silence, as some no longer returned material and just recycled it, sometime with a standard rejection slip.

In 2009 and 2010 I wrote a modern day crime thriller, seat of your pants, action novel. I saved up my money and even though it was expensive I attended the first Festival of Writing in York in 2010. I was scheduled to have two 1 to 1 meetings with people at the event. The first was with an author who told me the novel was good and I should send it to her agent with her recommendation. The other sadly didn’t happen as the agent cancelled his attendance at the last minute. I felt encouraged. I sent it off to a few agents, including the author’s agent, as she continued to encourage me. Sadly it didn’t land anywhere, I was told in person by one agent that it was too vanilla, it was rejected a few times and nothing happened.

I returned to my first love, fantasy, and wrote another fantasy novel in a brand new world. I did everything the same as before. I rewrote it several times, I edited it, then I let it sit for months, then came back fresh and rewrote it with fresh eyes.

In the meantime the internet and the world had moved on. You could find individual agents online. You could see what they looked like, speak to them via social media, listen to them speak at events, find their individual (not the whole agency) requirements for the genres they liked and send submissions electronically. No more self-addressed envelopes, no more half a tree going out the door every time, no more postage costs.

I did my homework. I looked at which agents were online, what they wanted, what deals were announced on The Bookseller website, what the agents asked for, how they prefer to receive the content and how to address them (Dr, Mrs, Ms, Mr, Miss, Rev etc). I was on social media so I eavesdropped on a few of them online, tried to work out what kind of person they were and get a feel for them. I attended more events and listened to them on panels. Based on my research I scratched a few off my list of potential agents. For the first time ever in my life, if successful, I could choose who I wanted to work with, possibly for decades. I needed someone on the same wavelength. Someone that was hungry, passionate and someone I thought I could work with and, very important to me, someone I thought I could get on with personally and have a long professional relationship.

After another edit, I carefully read her submission guidelines. I jumped onto one of the several #askagent things that crop up on Twitter and asked her preferred form of address (it was Ms). Then I wrote my email submission and triple checked my spelling and that I had met her submission requirements.

On 28th April 2013 I sent out an email to an agent with the first three chapters of my epic fantasy novel.

On 16th May 2013 I received a reply.


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