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

LAUREL SYMONDS

Agent

The Bent Agency

Here on the West Coast, we’re lucky to have several top-notch agents in our midst. Among them, Laurel Symonds brings a strong literary background to her role at The Bent Agency, which has both New York and London offices. The agency has a top-notch reputation among both authors and publishers. From the agency website: “We’re known for our work ethic, for our responsiveness, for the quality of our client list and for the results we achieve. We are passionate about our clients and love the work we do on their behalf…

“We are dedicated to fostering and creating a space for creativity and inspiration that enriches the lives of our agents, clients, and communities… We pride ourselves on nurturing and discovering authors whom we can help propel to the top of their category.”

Laurel is seeking new clients, including debut authors. More of her information can be found on our home page. At PCCWW, we’re pleased to welcome Laurel Symonds to our first virtual workshop, to share our full novels and partials—along with stimulating craft discussions—in a new format!

I. GENERAL TOPICS

Why did you become an agent; what do you enjoy most about the work? What’s your personal (and/or publisher’s or agency’s) philosophy or mission?

I started in the publishing industry nearly a decade ago as an editor at HarperCollins Children’s Books/Katherine Tegen Books where I worked on projects from Jodi Meadows, Mackenzi Lee, Terry Pratchett, Katherine Applegate, Melissa Marr, Merrie Haskell, and many more. My career continued to develop and allowed me to also work in the marketing department at a small publisher, in a library, and as a bookseller at one of the nation’s best independent bookstores. I realized that my favorite aspect in these various roles was being an author’s cheerleader.

I made the transition to agenting in September 2018 as I had long admired The Bent Agency. The team has a long history of successful sales—both domestic and foreign—and a supportive, collaborative outlook that echoes my own agenting philosophy. This career switch came about when I realized as a literary agent I was able to wear my editor hat and my marketer hat and my bookseller hat at different times, bringing my expertise from those different roles to guide an author through the often unpredictable publication process.

My personal philosophy is that one book can change a life and I am honored to be part of this complicated ecosystem that helps the right book reach every reader. We have so much work to do in terms of diversifying both the books that are published and who works in the industry itself, but I take my part seriously. I believe in open communication, honesty, and steady support to help my clients achieve their publishing goals and reach readers.

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

As a relatively new agent, the books I represent are just beginning to reach the market. Fleur Bradley’s Midnight at the Barclay Hotel publishes on August 25 from Penguin/Viking Children’s Books. When Fleur queried me, I was immediately drawn to her perfect middle grade voice that really understood the reluctant reader. Plus, there was a spooky hotel setting, inspired by The Stanley Hotel (from The Shining) and mystery elements that reminded me of The Westing Game and Clue the movie. Fleur’s editors, Kendra Levin and Aneeka Kalia, recognized the reluctant reader appeal and suggested pairing Fleur’s text with illustrations by Xavier Bonet. The overall package is so gorgeous and a good fit for more reluctant readers, an audience that’s really important to reach and keep hooked on reading.

II. SUBMISSIONS

Queries, Craft and Critiques

a) Queries

Many agents and publishers 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 am currently open to unsolicited submissions. I read and respond to all queries within two weeks, give or take. Requested manuscripts take longer to consider, of course, and my response time varies depending on what else in on my plate at the time. In most cases, my response time is between 8-12 weeks.

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 helpful tools to establish where the author sees the project fitting within the market and my own list, but the sample [manuscript] pages included in the query are far more important to me.

How many pages do you usually read in a manuscript before deciding to continue reading, request a full, or reject the manuscript?

This varies widely. For queries, I often know within a few paragraphs whether or not it’s right for me. Some of this comes down to receiving submissions that don’t fulfill my wish list or the types of projects I represent (getting sent adult novels, for example) or it might be too similar to something I already represent. If I find the concept compelling and the writing strong, I’ll request the full manuscript. Given the quantity of submissions I receive, I need to prioritize the ones that really stand out for me.

As for how far I read on those requested manuscripts, it depends on if the manuscript holds my interest and if I can see a place for it in the market. I always read at least 10% of each requested manuscript, which is easy to keep track of since I read the vast majority of requested manuscripts on my ereader. I often read more than I probably need to, but I often give the project the benefit of the doubt because my editor brain always considers potential revisions to address any issues.

Next page »