{"id":25768,"date":"2023-02-07T11:13:29","date_gmt":"2023-02-07T11:13:29","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/?p=25768"},"modified":"2023-02-07T11:13:29","modified_gmt":"2023-02-07T11:13:29","slug":"spotlight-feature-emily-glenister-from-dhh-literary-agency","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/spotlight-feature-emily-glenister-from-dhh-literary-agency\/","title":{"rendered":"Spotlight Feature: Emily Glenister from DHH Literary Agency"},"content":{"rendered":"\n

Good morning, everyone!<\/strong><\/p>\n\n\n\n

Emily Glenister is a Director and Literary Agent at DHH Literary Agency. Prior to agenting, Emily trained as an actress and worked as a theatrical agent and assistant.<\/p>\n\n\n\n

In fiction she represents female-led commercial and book club fiction, smart and quick-witted historical fiction, and original horror novels\/ghost stories. In non-fiction she represents history, pop culture, memoir, and true crime.<\/p>\n\n\n\n

Some recent and upcoming books Emily represents include: The Truth About Her<\/em> by Annie Taylor (June 2023), Eighteen Seconds<\/em> by Louise Beech (April 2023), She Had It Coming<\/em> by Carys Jones (January 2023), So Pretty<\/em> by Ronnie Turner (January 2023).<\/p>\n\n\n\n

Emily can be found on twitter at @emily_glenister<\/a>.<\/p>\n\n\n\n

\n\n\n\n
\"\"
Emily Glenister<\/figcaption><\/figure>\n\n\n\n

\u201cIf you are meant to be doing this, then you will get there; I firmly believe that.\u201d<\/em><\/strong><\/p>\n\n\n\n

Hi Emily, thank you so much for speaking with us today! We\u2019re excited to hear about your role as an agent and what you\u2019re looking for in submissions.<\/p>\n\n\n\n

Q. What brought you to agenting?<\/strong><\/p>\n\n\n\n

I\u2019ve always been a voracious reader and knew I wanted to do something related to the written word, so I decided to try and be an actress and went to drama school. I graduated in 2010, and worked steadily in both theatre and television, before realising it just wasn\u2019t for me. I then became an agent for actors, before finally landing a PA job with David Headley of Goldsboro Books, a beautiful independent first edition bookshop in Covent Garden. This was in 2016 and for the next four years, I worked alongside David, reading submissions, helping pitch books \u2013 basically doing everything and anything I could legitimately stick my oar into. Towards the end of 2020, David asked me if I\u2019d consider starting my own list, and of course I jumped at the chance and have managed to build up a successful list of very talented authors since. I count myself very lucky!<\/p>\n\n\n\n

Q: What is a day in the life of an agent like for you?<\/strong><\/p>\n\n\n\n

I\u2019m at my desk between 9.30 and 9.45am, coffee in hand and catch up on the emails that have come in since I downed tools the night before. This can be anything from catching up with clients who have sent in their manuscript for edits or a once-over before it goes to their editor, emails from foreign publishers or scouts asking about a manuscript and its rights status. I tend to spend the morning doing the admin side of my job (aforementioned emails, paperwork, invoicing for clients etc) and then, after lunch, I will edit and \/ or read client manuscripts, read submissions, or prepare a pitch for a book I am soon going out with on submission. This usually takes place with a hot water bottle on my lap, a cup of tea and a plate of biscuits, and my dog, Lola, at my feet. It sounds serene, and quite frankly, it is lovely to be able to do this \u2013 but I\u2019m also a firm believer in your surroundings affecting one\u2019s productivity, so I try and make it as \u201czen\u201d as possible. If I\u2019m in the office however, it\u2019s totally different as this is when I have the opportunity to have meetings with editors, clients and of course, my colleagues. When I get home (or indeed if I\u2019ve WFH), I tend to edit and \/ or read until bedtime (breaking for dinner) and then try and sneak in a few chapters of a \u201cnon-work\u201d book before lights out.<\/p>\n\n\n\n

Q. What do you want to see in a query letter? And what do you hate?<\/strong><\/p>\n\n\n\n

My name, for starters! I know it sounds a tad pompous, and the lack of an agent\u2019s name doesn\u2019t indicate bad writing; but it does indicate a lack of care \u2013 and one has to think \u201cif you can\u2019t be bothered, why should I?\u201d. It\u2019s not a deal-breaker, but certainly something I notice \u2013 though that being said, \u201cDear Sirs\u201d is an instant no from me, and I\u2019m not sorry about it!<\/p>\n\n\n\n

I like query letters to be short and snappy \u2013 let your writing do the talking for you. For me, the best query letters come in three parts: short paragraph about why you\u2019re writing to me (your name, title of book, genre, word count and why me \/ the agency; then another paragraph, slightly longer, pitching the book \u2013 and I love it when these start with a hooky, elevator pitch; and then, finally, a short paragraph about you as a writer, including any courses you\u2019ve done, or awards you\u2019ve won \/ been shortlisted for \u2013 this last paragraph isn\u2019t crucial. I\u2019m just nosey).<\/p>\n\n\n\n

And in terms of what I hate, there\u2019s nothing I specifically \u201chate\u201d, but if I do have to regrettably turn down your work, I\u2019d really appreciate not being called horrid names in return<\/p>\n\n\n\n

Q. Same question when it comes to the synopsis. What should writers do? What should they avoid?<\/strong><\/p>\n\n\n\n

It\u2019s a pain in the a*** but I would really try keeping the synopsis to one page, and one page only. \u201cBut my book needs more than one page!\u201d I hear you cry, and while I totally understand that reaction, it is a really good discipline in pitching your book succinctly, as opposed to waffling, which is a common pitfall when describing the book\u2019s storyline. Agents have to practice this, too! If you can get it to 2.0 spacing even better! But that\u2019s not too important\u2026<\/p>\n\n\n\n

Really focus on the key points that push the narrative forward, rather than filling the synopsis with inconsequential instances that don\u2019t contribute to the plot. If it helps, make a bullet-pointed list prior to writing your synopsis, using all of these key points and then build your one-page synopsis around them.<\/p>\n\n\n\n

Q. What are you looking for in the opening pages of a novel? What really excites you?<\/strong><\/p>\n\n\n\n

I am an absolute sucker for a hooky first line \u2013 I feel like in commercial fiction, it\u2019s almost a requirement to get the reader immediately invested. But then one can run the risk of it sounding clich\u00e9d and mass-produced, so choose your words carefully!<\/p>\n\n\n\n

I\u2019m also not a huge fan of world-building within the first few pages of a novel, especially as the first three chapters (along with the synopsis and cover letter) are one of your three tools with which to get the agents\u2019 attention. All of the world-building can come a little later in the novel. Focus on introducing me to the protagonist and I want a firm hint as to what this book is going to be about and what potential struggles the protagonist faces. For instance, if the book is about trouble within a marriage, and our MC was the wife, then it would be useful to see a snippet of her relationship with her husband (be it in person, or over text etc) that hints to this \u201ctrouble\u201d. It\u2019s called a \u201chook\u201d for a reason \u2013 throw that reel out and catch a fish!<\/p>\n\n\n\n

Q. Tell us about a recent deal (or three) that really delighted you.<\/strong><\/p>\n\n\n\n

There are a few I\u2019m not able to talk about yet, as they haven\u2019t been announced, that I am so happy with \u2013 these authors are disgustingly talented.<\/p>\n\n\n\n

The ones I can talk about, more recently would be Suzie Edge\u2019s second non-fiction book, Vital Organs<\/em> (Wildfire, September 2023) which delves into the body parts belonging to some of history\u2019s most notorious characters; bestselling author Becca Day has just re-signed with current publishers, Embla, for another two psychological thrillers, the first of which, The Secrets We Buried<\/em> (Embla, summer 2023) is about to be delivered and is just astonishing; finally, Talia Samuels\u2019 joyous queer Christmas rom-com, The Christmas Swap<\/em> (Michael Joseph, October 2023), which is absolutely everything you\u2019d want it to be. Talia was the winner of a competition I judged, along with Michael Joseph, and she is a real find!<\/p>\n\n\n\n

Q. Any final words of advice for authors in the querying process?<\/strong><\/p>\n\n\n\n

DON\u2019T GIVE UP.<\/p>\n\n\n\n

You have to have a really thick skin in this business, and I am under no illusion that that\u2019s actually quite a big ask. But it\u2019s also a marathon and not a sprint, and if the first, second or even third book you query doesn\u2019t get picked up by an agent, persevere until you really think you\u2019ve exhausted each option and variation of what you are capable of. It rather feels like new agents are popping up all the time, and we all have different tastes. If you are meant to be doing this, then you will get there; I firmly believe that.<\/p>\n\n\n\n

Before you go out on submission, have beta readers \u2013 that aren\u2019t your friends or family \u2013 read your work and give you honest, constructive feedback. Friends and family are great champions and supporters, but famously \u201cnice\u201d, when what you actually need is frankness.<\/p>\n\n\n\n

Finally, don\u2019t send out submissions to everyone you come across on in the Writers\u2019 & Artists\u2019 Yearbook \u2013 be selective, study agents\u2019 lists and work out how \/ if you fit on to them. This is your career; you\u2019ve got to take it as seriously as applying for a dream job, and that means not using scatter tactics, and sending your work to anyone who will take it. Have a few different tranches and go out in waves \u2013 give yourself the best possible shot.<\/p>\n\n\n\n

The full interview will be posted to Emily’s AgentMatch profile, which you can find here<\/a>.<\/p>\n\n\n\n

\n\n\n\n

In the meantime, if you\u2019re struggling with your\u00a0query letter<\/a>\u00a0and\u00a0synopsis<\/a>, do check out our free resources on our website. We have lots of info to help you on your way. Or, better still, if you\u2019re a member with us, our lovely Writers Support team will be happy to offer you a free\u00a0query letter review<\/a>!<\/p>\n","protected":false},"excerpt":{"rendered":"

Good morning, everyone! Emily Glenister is a Director and Literary Agent at DHH Literary Agency. Prior to agenting, Emily trained as an actress and worked as a theatrical agent and assistant. In fiction she represents female-led commercial and book club fiction, smart and quick-witted historical fiction, and original horror novels\/ghost stories. 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