The importance of investing in your writing 📈

Today's guest is agent Lori Galvin.

In publishing, success rarely comes overnight.

Often, the authors who are most successful are those who recognize publishing as a long game — one that requires dedication, patience, and continual investment in their craft. And, as with any long-term investment, these authors understand that they’ll need to weather the highs and lows along the way.

For them, it’s not just about a one-time lottery win, like landing at the top of the New York Times bestseller list or becoming a book club pick. It’s about persevering through the ups and downs, celebrating every small win, and staying the course, even when the road ahead seems uncertain.

Focus on slow and steady growth.

By investing your time and energy wisely as an author — in building relationships, understanding the market, and consistently honing your skills — you position yourself not just for one win, but for a sustainable career. It’s this commitment to the long game that will ultimately sets you apart and keep you resilient through every twist and turn of the publishing journey.

In today’s interview, agent Lori Galvin shares exactly what she looks for in a strong query letter, why authors need to define success on their own terms, and how playing the long game in publishing will pay off in the end.

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OUR SPECIAL GUEST TODAY IS…

Lori Galvin

Agent

Lori is currently open to queries on QueryTracker. She is looking for crime of all stripes (especially psychological and domestic thrillers and mysteries) and upmarket book club novels. She also represents cookbooks whose authors have an established platform, and food writing and food memoir.

What separates a strong, successful query from one that you pass on?

First, I sometimes pass on a query because it’s just not for me, so there’s no set formula.

That said, here’s what I want to see in a query letter:

• A strong title (Keep in mind that at least half the time, the title changes before the manuscript goes on submission or once it’s with a publisher—but still better to go in strong)

• Word count (it’s so important that the word count is within the range of adult fiction today, and with crime writing, 60k-110k).

• A clear, compelling pitch (and see below on fresh angles on tropes)

• 3 comparable titles from the past 3 or so years (avoid titles that are mega bestsellers or unicorns like Gone Girl)

I also like to see a short bio as it relates to your book or your writing—for example, I like to know if you’re in a writers group, belong to writing organizations, attend conferences or webinars—whatever it is that you’re doing to show that you are engaged in writing. I would also encourage writers to have a website—nothing fancy, but some way for an agent to reach out to you, especially if you write short stories. I once read a short story I heard about on Twitter (X) while I was eating my lunch—I was blown away and discovered the author had a website—contacted her and we’re now working together to sell her novel.

What's the biggest challenge facing debut authors today, and how do you help your clients overcome it?

Discovery, especially if you’re a genre author, say in the thriller/mystery category where I have many clients. It’s a very crowded category with a lot of very good writers, some of whom are long established with a loyal audience. To that end, I’m looking for:

1. An author whose work reminds me of the work of an author I admire, yet they’ve made their work their own. I signed a client last year whose work reminded me of the great Tim Johnston—and she used him as a comp, which caught my eye. But more importantly, although there were similarities, it was distinctive in its own way, and this case focused on the female experience. It’s a debut, INTO THE FALL by Tamara Miller, and it’s coming out in January 2025—I can’t wait for the world to read it.

2. A fresh angle on a trope. This can be hard because too often I see manuscripts that don’t go far enough—they really need to be distinctive in their own right. In the past few years, there have been a few serial killer novels that basically redefined the space brilliantly—Danya Kukafka’s NOTES ON AN EXECUTION and Jessica Knoll’s BRIGHT YOUNG WOMEN. And I have two client examples: Wanda M. Morris’s debut ALL HER LITTLE SECRETS is like Grisham’s THE FIRM with a Black female attorney, but it is so much more—I don’t want to spoil anything for those who haven’t read it! Also, Nishita Parekh’s THE NIGHT OF THE STORM—a locked room mystery, not unlike Agatha Christie but with a little Knives Out and steeped in the Indian immigrant experience in Houston during Hurricane Harvey. There’s much more but I don’t want to give any more away!

3. The novel fills a hole in the market. There has been an increase in BIPOC authors in the crime writing market and other genres—though there’s still a ways to go. Setting can be another area that fills a hole—I read something recently that was set in Fort Worth, Texas, and the setting added so much to the story. One of my clients set her debut in Hawaii—Jennifer Morita’s GHOSTS OF WAIKIKI (coming in November 2024) and what I loved so much of it is that it’s not the Hawaii of tourists or what’s on Hawaii Five-O. It feels authentic because it is—and the food!—man, this book will make you hungry.

What is one thing you wish emerging authors knew about the publishing industry or the traditional publishing process?

Book publishing is not a meritocracy. You can write the most amazing novel and it will not hit the New York Times list or be picked by Reese Witherspoon or Jenna Bush Hager or any book club—those are lotteries. I always recommend that authors define their own success. Sure, you can aim for the stars—and I want that too for my clients, but I also want them to identify what else is meaningful to them as they achieve wins in their writing career.

Can you share a client success story or a motivating anecdote for writers who feel may discouraged about publishing?

Agents are always looking for great writers. As I mentioned, I signed a client after reading her short story online, setting up a meeting, and reading a manuscript for her first novel. Most of the writers I sign up are from cold queries on QueryManager. You don’t have to have an MFA or ‘know someone’ to get an agent. And because I get this question a lot, there are no age restrictions on debut authors!

What traits or qualities do you look for in a potential client?

I enjoy working with writers who are serious about their work, and by that I mean that they prioritize their writing. They know the market in which they’re writing. They understand that writing is a muscle that needs to be kept in shape and they will always need an editor. They also have a support network of other writers. And this is also important—authors are their own best publicists, so it’s always a very good sign to me when they can speak clearly, confidently, and enthusiastically about their work.

What is one piece of advice you would give to a writer who aspires to be published?

Book publishing is a long game, so play it that way by investing in your writing, by building relationships with other writers, and by staying on top of the market. And like life, there will be ups and downs, but you’re playing the long game, so move on when the business gets you down and celebrate EVERY win.

What tips would you give authors who are trying to determine if their manuscript is agent-ready?

Get feedback from seasoned, unbiased readers before submitting to agents. The #1 mistake I see writers make is submitting work that is not developed enough for an agent. If you don’t know where to find these readers, look online. I believe there is a beta reader matching program with The Shit No One Tells You About Writing, and I am sure there are other resources available. Yes, most agents work editorially with clients, but it’s to guide the reader toward strengthening and polishing the manuscript so they can get you the best deal.

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