How does a writer get an agent or publishing contract? Persist, adapt, understand the publishing industry

On Creative Writing co-founders Emma Woodhouse and Sheelagh Caygill discusses Emma's experiences writing a novel, finding an agent, and eventually getting a publishing contract in episode 001 of the On Creative Writing podcast. Emma, a new and prolific author of poetry, non-fiction, and fiction, delves into her writing process, distinctive style, and experiences through the agent and publishing landscape in the UK.

Author Emma Woodhouse

Emma began writing long before COVID, and the process of seeking an agent and publishers, along with more writing, took on a whole new level of commitment from Emma during the COVID pandemic. If you're a writer asking "How does a writer get an agent or a publishing contract?" this podcast episode is for you. It takes a close and candid look at the dedication, commitment, and self-belief needed to bring books to life.

The genesis of Emma's current writing style began with The Crimson Petal and the White by Michael Faber

Emma’s debut novel, The Prendergast Watch, a work of historical fiction set in Victorian London, emerged from an unexpected source: her desire to read a particular book. Emma had spent years immersed in classic literature, predominantly written in the past tense. When she encountered Michael Faber’s The Crimson Petal and the White, a book she knew was critically acclaimed and popular, she was “freaked out” by its present tense narration. “I looked at this book and I thought I can't read it in the present tense. It blew my mind and I just couldn't get my head around it,” she recalls.

Determined to overcome this hurdle, Emma decided to try writing a short piece in the present tense, deliberately aiming for a "Dickensian" feel. This experimental endeavor blossomed into the first few thousand words of The Prendergast Watch. The manuscript lay dormant for several years until the COVID-19 lockdown provided the perfect opportunity to revisit it. Emma recounts she had "pretty much forgotten what it was about" but upon rereading, she recognized its promise. The COVID lockdown allowed her to fully immerse herself in the story, which she describes as an organic process.

The Prendergast Watch, Emma's first book to be published.

“I didn’t plan the story,” she notes, but instead let the characters and plot unfold as she wrote, often discussing developments with her partner during daily walks. This period of unexpected free time during COVID, a stark contrast to her busy schedule while being physically present at school as a teacher, proved instrumental in completing the novel.

Emma's commitment to this style meant navigating a conscious effort to maintain the present tense. She admits that she "did find myself slipping back into the past tense," which subsequent edits rectified. This intentional embrace of the present tense, initially a challenge, ultimately became her signature fictional writing voice. “It became my way of writing,” she says, highlighting how her initial reluctance transformed into a defining characteristic of her work.

How does a writer getn an agent or a publishing contract? Navigating the agent landscape requires a game of persistence

A milestone in Emma's goal to getting published was securing a literary agent for The Prendergast Watch. She approached seeking an agent with a strategic "game plan": submitting her manuscript to numerous agents and, for every rejection received, submitting to two more.

“I think I submitted it to 30 agents,” Emma says. Persistence paid off when an agent, not among her initial 30 submissions but one of the subsequent two, requested the full manuscript. This led to an R&R, a revise and resubmit, a term Emma was initially unfamiliar with but quickly learned was a common step in the agent-author process. After refining her manuscript based on the agent's feedback, Emma asked if the agent was interested in representing her. The agent's response was affirmative, stating, “I wouldn’t put this much effort into somebody I wasn’t interested in.” Emma worked with this agent for three years, describing the experience as “fantastic.”

'Give up or carry on' after agent went on maternity leave

When Emma's agent went on maternity leave, Emma and other writers were still at what's called the submission stage and without a publishing contract. Emma was told to go it alone to see if she could find a publisher and she recalls feeling that it was crunch time - that she could either "give up or to carry on." She'd come this far, so it made sense to keep going.

During this time, Emma learned that large publishers have a limited appetite for authors within niche genres. For example, with Victorian fiction, a publisher might only want one of their authors to be writing in this style to avoid competition.

“I think we can be quite naive about the world of publishing,” says Emma, explaining that her experiences in the last five years or so have revealed how publishers invest significant hours in editing, cover design, and marketing, making every acquisition a gamble.

Emma learned that a manuscript's quality alone isn't always enough; a book is ultimately a “product,” and authors themselves can be viewed as products. For example, a writer needs a strong online media presence to increase their chances of getting a publishing contract. (This is why so many celebrities get book deals). Emma says her experiences have revealed that “in this day and age, a lot of success comes from being seen and being heard,” especially in what episode host Sheelagh refers to as "the attention economy."

A cheeky pitch and a passion for forgotten women

Emma's perseverance eventually led her to a publishing contract. She submitted The Prendergast Watch to several smaller presses. One of them said the manuscript wasn't the right fit for them, but did point Emma to Holand Press, and they accepted The Prendergast Watch. Then, in a "very cheeky" move, Emma offered them a second manuscript, which they also accepted.

This second book, Simple Twists of Fate, was written in response to feedback on The Prendergast Watch, which suggested a single female main character would appeal more to the historical fiction readership. While writing it, Emma discovered a fascination for historical research, specifically the story of Mary Carr, a Victorian female gang leader of Forty Elephants. Mary Carr and her gang have recently been dramatizatized for TV and, in Emma's view, inaccurately portrayed. Mary Carr sparked a deep obsession with Emma, leading her to write a third book, Mary, Queen of the Forty, a novelized version of Mary Carr’s life.

Emma's research for Mary, Queen of the Forty involved extensive work with British newspaper archives and numerous trips to London. She described these trips as self-guided "Mary Carr tours," where she would visit locations Mary Carr frequented, visualizing her presence and life in those spaces. “My daughter says that I stalk dead people and I kind of do,” Emma admitted, embracing her passion for uncovering the lives of "forgotten women," particularly those from poorer backgrounds, who have been overlooked by history. This dedication to factual accuracy is paramount in Mary, Queen of the Forty, with Emma ensuring that any poetic license taken is clearly noted in the book’s back matter.

Emma’s experiences becoming an author and her insights into the publishing world offer a valuable lesson for aspiring writers. Talent and passion are essential, but persistence, adaptability, and an understanding of the industry's business realities are equally crucial for navigating the path from manuscript to published work.

Listen to Emma in Episode 001 of the On Creative Writing podcast.