The Manuscript Academy

Out of the 200 stories that land in an agent’s inbox, why should yours be the one she reads? Agent Fiona Kenshole of Transatlantic Agency joins us from our Presentation Party to share what she looks for in a query, and why there are really no hard rules, only what works. Before agenting, Fiona was a publisher in the UK (think Mary Poppins, Paddington Bear, and The Giver) and made films like Coraline and The Boxtrolls. Now she’s on the hunt for animal books, funny picture books, and stories she can’t wait to share with every editor she knows. In this episode, you’ll learn: ****The three questions every query should answer: why read this book, why read it now, and why only you can write it ****Why you should keep a Post-it note of your original “light bulb” idea and use it as the jumping-off point for your pitch ****How to find your book’s story question (with examples from Where the Wild Things Are and Pride and Prejudice) ****The bowling pin rule: how much of your plot to reveal, and why most queries only cover the first 25% of the story ****Why your bookseller and librarian are your best sources for recent comps ****How to let your voice shine (without opening with “Hey, dude”) ****What belongs in your bio, and how much platform really matters for fiction and picture books ****How to avoid the generic, cliché pitch that could describe any fantasy novel ****Why you only need one agent to love your book Writing your pitch can even reveal something new about your story. If your query is pulling in lots of directions, Fiona suggests checking whether your main story question is running all the way through. Celebrate with us: It’s our 10th anniversary season! See what we’re up to at anniversary.manuscriptacademy.com. Watch more: Video versions of the podcast, mini classes, events, and agent interviews are on our YouTube channel, @manuscriptacademy. Get one-on-one time with agents: Book a consultation and join our amazing community of writers at manuscriptacademy.com. And get on our mailing list for an invite to the next Presentation Party!

Julia Alexandra knows rejection. After querying in high school and again in graduate school, she hit a wall of passes on a book she now admits wasn't ready. Worse, she spent years self-rejecting, holding back books that were probably ready long before she sent them. In this episode, Jessica Sinsheimer and Julie Kingsley talk with Julia about her debut YA fantasy, Midnight on the Celestial, the story of a girl with the rare power to raise spirits of the dead who fails her realm's trial and must serve aboard a magical--and dangerous--cruise ship to earn one last chance to save her magic. Julia breaks down how just a few precise words (a color-changing lagoon, sea dragons you can ride, hallways that come alive) transformed her query, why she queried in rounds of only five to seven agents, and why a revise and resubmit turned out to be a gift. She also shares the moment she got the offer, and her advice for any writer thinking about giving up. Connect with Julia: https://www.juliaalexandrawrites.com/about and preview her next book at https://us.macmillan.com/books/9781250380241/huntthewildnight/ In this episode ****Why "a magical cruise ship" isn't specific enough, and how two or three vivid words can set your book apart ****Swapping vague stakes ("her world turned upside down") for the actual choice and the actual disaster ****How self-rejection can hold you back more than agent rejections ever will ****Small querying rounds as a strategy for protecting your energy ****What a revise and resubmit reveals about working with an agent, for both of you ****Why your demeanor and openness to feedback matter alongside your pages ****Why a temporary pause isn't giving up Timestamps 00:00 Querying again after years of self-rejection 00:26 Meet Julia Alexandra 00:43 What Midnight on the Celestial is about 01:01 Knowing her final querying round felt different 01:46 Why specificity matters in your query 03:05 Swapping vague stakes for the real choice and the real disaster 03:18 How images in a query signal an immersive book 03:55 Get your cinematic pages into your query 04:08 Keeping your love of writing alive 04:37 Confidence, feedback, and being someone agents want to work with 05:44 Small querying rounds and why it only takes one 06:50 The story of her agent offer 07:37 Why a revise and resubmit can be a gift 08:46 The moment she got the offer 09:36 Hearing from her future editor 10:06 Advice for writers thinking about giving up

It's one of the most common questions in our inbox: what's the difference between commercial, literary, and upmarket fiction, and which one is my book? (Video version here https://youtu.be/AMGl98NhtT4?si=mGcpIWTloL_HgMms) This week, agent Kaitlyn Sanchez of Bradford Literary finally makes it make sense. She explains what defines each category, plays a game of "commercial, literary, or both?" with real books from picture books to adult fiction, and shares how to strengthen your manuscript once you know where it fits. Plus, she tells us what she'd love to find in her inbox (hint: mysteries with heart). Want to see the book covers? Watch the video version on our YouTube channel, @manuscriptacademy. We're celebrating our 10th anniversary season! Head to anniversary.manuscriptacademy.com to see how we're celebrating, and visit manuscriptacademy.com for one-on-one consultations with agents and editors, classes, and our amazing writing community.

How does an author go from 1,000 rejections to New York Times Bestseller? Tune in to find out! Senior editor Ruqayyah Daud (LBYR/Requited/Hachette Book Group) and her author Jordan Stephanie Gray sit down to talk about what actually happens between "I love this manuscript" and a book on shelves: what really goes on in an acquisitions meeting, why a "no" is almost never about your writing, the call that changed Jordan's career while she was at Disney World — and how an author who got 1,000 rejections ended up a New York Times bestseller. Whether you're drafting your first manuscript or waiting on submission, this one's for you. 0:00 Meet Ruqayyah and Jordan 1:58 The call that changed everything 7:09 Inside an acquisitions meeting 9:44 The real reason most manuscripts get rejected 13:02 Do editors still edit? 14:21 How to handle reviews and get off Goodreads 16:32 Advice for every writer still in the query trenches JORDAN STEPHANIE GRAY is the New York Times bestselling author of the young adult paranormal romantasy Bitten and the adult mermaid romantasy The Wicked Sea. When she isn't lounging by the pool and typing away at her computer, she is likely cuddling her pugs in sunny Florida. Follow her on Instagram, TikTok, and Substack @jordanstephaniegray, and visit her website jordanstephaniegray.com. RUQAYYAH DAUD is a senior editor at LBYR and Requited. She acquires everything from middle grade through New Adult. Some of her titles include the #1 New York Times bestseller Immortal Dark by Tigest Girma, the critically acclaimed As Long as the Lemon Trees Grow by Zoulfa Katouh, and the buzzed-about romantasy Bitten by Jordan Stephanie Gray. Learn more about Manuscript Academy: https://manuscriptacademy.com Find your agent match: https://manuscriptwishlist.com Book a 1:1 consultation with a literary agent: https://manuscriptacademy.com/consultations Enjoyed this episode? Leave us a rating and review on Apple Podcasts — it helps other writers find the show.

Comp titles are second only to platform as the most feared part of a writer's journey--but they don't have to be scary. In this episode, editor and author coach Hannah Robinson breaks comp titles down into something writers already do instinctively every day: describing an unfamiliar thing by connecting it to something familiar. Hannah walks through her "Magic Madlib" formula — [Your Title] meets [Comp A] meets [Comp B], perfect for readers who love [detail] of [Comp C] — and explains the concept of triangulation, why your comps don't need to be exact matches to your book, and how to balance a big "category killer" comp (think Harry Potter or The Body Keeps the Score) with something more realistic to your own platform and sales track. You'll walk away with a repeatable framework for finding comps that make agents, editors, and readers lean in — plus real examples pulled straight from published book descriptions and jacket copy. Hannah is a freelance editor, collaborator, and author coach specializing in practical nonfiction. Before going independent, she worked in-house at HarperCollins, Simon & Schuster, and Hachette Book Group. IN THIS EPISODE: — Why comp titles feel so intimidating (and why they shouldn't) — The Magic Madlib formula for building your comp title — Real comp examples from published books and jacket copy — Triangulation: using comps as a known baseline, not an exact match — The 4 basics every strong comp should hit: genre, format, sales track, and recency — How to responsibly use a "category killer" comp — What to do when your best comp is older than 3 years — Listener Q&A: What exactly is a category killer? LINKS & RESOURCES: Manuscript Academy: https://manuscriptacademy.com Meet Hannah: https://manuscriptacademy.com/faculty-members/hannah-robinson Timestamps: 00:00 Introduction 00:20 The Magic Madlib formula, previewed 01:00 Warm-up: describing things using comps 04:10 Why comp titles matter 04:40 The Magic Madlib formula explained 05:00 Real comp title examples from published books 05:40 Triangulation: comps as baselines, not exact matches 06:10 The 4 basics every strong comp should hit 09:30 Make it your own: advanced comp strategies 10:10 More real comp examples 11:50 Wrap-up & Q&A: What is a "category killer"?