Like our workshop, these faculty interviews focus on youth novels. To read all years’ faculty interviews, see our Directory. For additional information about Hannah, see her bio page.

HANNAH MANN

Agent

Writers House

Agent Hannah Mann loves multiple aspects of agenting, and particularly at Writers House. She describes her journey: “I originally went into my publishing job search seeking an editorial role, as I have always loved writing and critique. When I learned more about agenting and its intersection of that creative evaluation with business, it felt like an even more exciting fit. I also love being behind the scenes—seeing where a project starts and figuring out a way to frame it for publishers while advocating for my clients’ vision and interests.

“I do feel that Writers House’s aim to be an agency that combines ‘passion for managing a writer’s career with an integrated understanding of how storytelling works’ is an apt description of my own agenting philosophy (though I also represent artists). I majored in Narrative Studies in college, and while I didn’t know how I’d end up using it, I knew I would. In retrospect, it feels quite written, if you can forgive the cheesy pun to take my literal meaning and sense of belonging in my work, which I wish for all people.”

We are delighted to have Hannah join us at our virtual workshop this year, as international enrollees explore full and partial novels—as well as engaging in discussion about what we all love: stories!

I. GENERAL TOPICS

Hannah, approximately how many MG and YA novels do you sell per year? What percentage (or how many) are debut authors?

This varies of course, and I’ve been agenting since 2017, but on average, 4-5, including graphic novels. Eighty percent are debut authors.

Name a few MG and YA novels that you’ve sold. What aspects of each appealed to you from the query and/or manuscript’s first lines?

The Curse of the Werepenguin by Allan Woodrow (August 2019, Viking): While agents and publishers tend to love things that fit neatly into bo,xes, this MG “gothic horror comedy” novel certainly did not. The wacky humor compelled us to pitch this series as “Mel Brooks for middle graders,” and I absolutely loved its shamelessly absurd voice. So even though it was outside-the-box, it has all the components of greatness to me: strong original voice, wonderful humor, unique but authentic-feeling characters, and a world I’d never been to (and frankly, never want to go to!).

The Swag is in the Socks by Kelly Baptist (October 2021, Crown): Quite simply, the tough love voice of protagonist Xavier Moon’s Aunt Kat got me on this one. Xav is a 12-year-old with a stutter, and seeing the way his filter-free great aunt speaks to him (and how he reacts) was such a masterful way to characterize both people immediately. Great dialogue is huge for me, and these characters leapt off the page because of it. Beyond what is spoken, we get Xav’s internal dialogue reacting to his guardian, which gives us a sense of what he cares about—and doesn’t care about, and gets us right in his head. As soon as I met these two on the first pages, I knew there would be many more folks I needed to meet in this story, and I was right.

Eventide by Sarah Goodman (October 2020, Tor Teen): I’m going to start sounding like a broken record, but it was totally voice, once again, in both the query letter and opening pages of Eventide. This is the book that shattered my belief that I wasn’t a historical fiction or fantasy person. Turns out I’m both when the voice is just right! Verity Pruitt is a relatable teenage girl—and a 1900s orphan. I love when I wish I could be friends with a narrator, and that is totally the case here. I think I read this one in one setting, as everything its opening lines promised was delivered—and more. So much prideful banter and romance—it was so accomplished, and I could really tell the author was a reader (which all authors should be!). It felt like a classic even as a first draft.

What’s the outlook on MG and YA novel trends—or are there trends?

I think after the 2020 we’ve had, a lot of publishers and readers want “happy”—hopeful, upbeat, and funny or romantic stories. I try not to invest too heavily in trends, since by the time one is recognizable, it’s usually too late. Plus, I tend to think well-rounded stories feature many elements—and therefore find themselves satisfying a trend in some regard, as it’s happening. The evergreen trend, in my opinion, is fresh and authentic voice.

II. SUBMISSIONS

Queries, Craft and Critiques

a) Queries

Many publishing houses are closed to unsolicited submissions. Do you consider unsolicited queries; i.e., those without a referral (not a workshop attendee, etc.)? What are your usual response times—to queries and to requested manuscripts?

I certainly do consider unsolicited queries. I aim to respond within six weeks and invite queriers to follow up at that time if I have not. Inboxes can get crazy, and I try very hard not to miss anything, but it happens.

Are query letters peripheral for you, or are they an important reflection on the author and manuscript? What makes a query irresistible to you—or not? 

Query letters are important to me. It’s the first indication of professionalism, authenticity, and even voice in an author. I like a personalized/unique query, or a very polished query—both reflect well on an author and their personality and work ethic. It’s nice to see effort and intention in who and why someone is querying. I put effort and intention into my submissions in the same way. It’s a cycle! I definitely don’t mind a little humor or something out of the ordinary if it feels organic to you as an author. So, I guess a balance of honesty and professionalism is irresistible to me. Too much of either can backfire though.

How many pages do you usually read in a manuscript before deciding to continue reading, request a full, or reject the manuscript? (At what point will you quit reading if a manuscript doesn’t appeal?)  

I request a 10-page sample in my submission guidelines, but if I love the first lines, sometimes I’ll request the full before I even finish those pages. On the other hand, if I don’t love the first lines, it’s unlikely I’ll keep going or request a full. It’s quite a quick decision for me.

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