{"id":39394,"date":"2023-09-19T12:00:00","date_gmt":"2023-09-19T11:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/?p=39394"},"modified":"2023-09-19T12:00:00","modified_gmt":"2023-09-19T11:00:00","slug":"spotlight-feature-jane-chun-from-transatlantic-agency","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/spotlight-feature-jane-chun-from-transatlantic-agency\/","title":{"rendered":"SPOTLIGHT FEATURE – Jane Chun from Transatlantic Agency"},"content":{"rendered":"\n

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

This week, we’re joined by Jane Chun who recently moved to the Transatlantic Agency after spending four years at Janklow and Nesbit. Jane previously interned at Writers House and Maximum Films & Management.<\/p>\n\n\n\n

Jane is open to fiction from MG to YA to adult across commercial and literary genres. She also enjoys fantasy, sci-fi, speculative and historical fiction with rich settings and lyrical writing. Across genres, Jane would love to see stories about communities, time periods or locations that are often overlooked. She is also open to some nonfiction including memoir, narrative nonfiction, cultural criticism, food and travel. Jane loves art and design and is interested in graphic novels, though she is only open to picture books by referral.<\/p>\n\n\n\n

You can follow Jane on Twitter at @janechunlit<\/a> or view her agency profile here<\/a>. She is also participating in our Agent One-to-One<\/a> service this autumn\/winter, so don’t miss out on a chance to hear from her! Read highlights from our interview with Jane below…<\/p>\n\n\n\n

\n\n\n\n
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Jane Chun<\/figcaption><\/figure>\n\n\n\n

Hi Jane, thanks for speaking with us today!<\/p>\n\n\n\n

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

When I decided I wanted to work in publishing, there were several different positions I was interested in. Mainly, I couldn\u2019t decide whether I wanted to be an agent or an editor, and at one point I even considered a career in book-to-film scouting. <\/p>\n\n\n\n

But it was through my internships at Writers House and Maximum Films as well as my freelance work for HG Literary that made me realise there was a lot of crossover between what I was drawn to in an editorial or scouting role and what an agent does day to day. What pushed me along the agenting track were the differences between the roles: the type of editorial feedback an agent typically gives versus what an editor might focus on, when each person gets involved in the publication timeline, and what the scope of their job is. I learned through experience that I really wanted to roll up my sleeves and plunge my hands into the inner workings of a manuscript \u2013 and you don\u2019t get to do that as a book-to-film scout.<\/p>\n\n\n\n

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

Every day is different. I\u2019ve just started at Transatlantic so right now I\u2019m settling in and making sure I understand the processes here while also handling my usual work: keeping up with clients, touching base with writers I\u2019ve been corresponding with, etc. There are a lot of emails and a lot more admin work than someone outside of publishing might expect. You cover a lot of ground, too. You can jump from discussing a marketing plan for a book, to rounding up editors for an auction, to giving feedback on a cover, to reading client manuscripts or submissions in the slush pile \u2013 all within one day, sometimes within minutes or hours.<\/p>\n\n\n\n

What\u2019s your favourite thing about being an agent?<\/strong><\/strong><\/p>\n\n\n\n

Everything gets more exciting the closer you get to publication, once everything starts to pull together. I\u2019m a highly visual person so getting a book cover is a big thrill \u2013 it\u2019s fun seeing what type of art or design the publisher thinks captures the vibe of the book and will make it stand out in a bookstore. It\u2019s a tiny part of the publication process but an important one and something I really love.<\/p>\n\n\n\n

What\u2019s at the top of your fiction wish-list?<\/strong><\/p>\n\n\n\n

I\u2019m interested in a broad range of fiction, but I\u2019m currently craving very lyrical, folkloric or mythic fantasy that feels intimate, where the conflict is mostly contained to the protagonist and maybe a close circle of people. Or at least something that starts out that way, rather than an epic world-ending war or a huge rebellion. It\u2019s hard to describe, but I\u2019m looking for stories set in worlds that are old or feel old, where it feels like the ground and the buildings and the environment are drenched in history.<\/p>\n\n\n\n

On the children\u2019s side, I\u2019m in the mood for upper YA that features protagonists dealing with serious struggles, like Yolk<\/em> or Patron Saints of Nothing<\/em>. I\u2019m open to anything from literary to some commercial middle grade and YA through adult fiction, though!<\/p>\n\n\n\n

What\u2019s at the top of your non-fiction wish list?<\/strong><\/p>\n\n\n\n

If we\u2019re looking at specifics, I\u2019m seeking memoirs or narrative non-fiction featuring underrepresented or marginalised communities, especially in ways they\u2019re not typically depicted in media and ways that open conversations that haven\u2019t been delved into much yet. That\u2019s something I\u2019m interested in across genres, but I\u2019ve recently been speaking to a non-fiction writer with a project in this sort of vein and I\u2019m keen to see more of it.<\/p>\n\n\n\n

For example, stories about the Asian immigrant experience are important to me personally for obvious reasons, but I\u2019d love to see more works focusing on Asian Americans who have been in the US for decades or Asian immigrant communities outside the coastal states and urban areas. I feel like a lot of the stories that we do see occupy a similar space and I\u2019d like to see more variety.<\/p>\n\n\n\n

As for other projects I\u2019m interested in\u2026 I love cultural criticism. I love pop culture. I love books about travel and food. Check my wishlist \u2013 that usually has an in-depth overview of the types of non-fiction I gravitate towards.<\/p>\n\n\n\n

Is there any genre you\u2019d rather not receive?<\/strong><\/strong><\/p>\n\n\n\n

This can always change but right now, I\u2019m probably not the right agent for prescriptive non-fiction, self-help, or religion and spirituality. In fiction: romance, commercial thrillers and hard sci-fi that delves too heavily into the technicalities of the world. And even though I love poetry and short story collections, I don\u2019t think I\u2019m familiar enough with those genres to properly give feedback and champion your work. That being said, if the right project comes along, I won\u2019t say no!<\/p>\n\n\n\n

What makes for a successful author-agent relationship? How can both parties get the most out of the relationship?<\/strong><\/strong><\/p>\n\n\n\n

I think an author-agent relationship is most fruitful when a writer is paired up with an agent who loves the work they do and has the expertise needed to navigate the submission and publication process with the writer. In any relationship, trust is an essential foundation, and that goes for author-agent relationships too. You don\u2019t need to be best friends with your agent, but you need to feel like you\u2019re the right person for each other \u2013 that you\u2019re a team.<\/p>\n\n\n\n

Transparency really helps with building that trust. On both sides, you want to make it clear what you\u2019re doing every step of the way so your partner in the agent-author relationship has as much knowledge as possible and is equipped to address any problems that might come up. No one likes to be the bearer of bad news and no one likes to admit they\u2019re in a bind, but being honest and upfront is important, even when it’s awkward or embarrassing.<\/p>\n\n\n\n

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

There\u2019s no single correct way to write a query letter because as agents, we all prefer different things, but as a general rule, succinctness is appreciated. 200 to 450 words is the sweet spot, I think. What I want to see is a captivating and clear plot summary \u2013 and I\u2019ll often skip to that section after skimming the first few lines.<\/p>\n\n\n\n

We\u2019re aware you\u2019re querying multiple agents at one time and that it takes a tremendous amount of effort and time to personalise the letter for each agent. Some people may disagree, but personally, I don\u2019t mind if a query letter isn\u2019t tailor-made for me, just as long as I don\u2019t get the sense you\u2019re emailing dozens of agents at once. I often see authors trying to personalise their query letters by pulling information directly from my bio or wishlist. I do appreciate that this is because authors so often hear advice telling them to try making a personal connection with the agent, and they\u2019re trying to show me they\u2019re not just querying any random agent. That\u2019s not bad advice, but I don\u2019t think it helps your case to copy and paste lines directly into your letter – because that means you\u2019re likely using the exact same lines as a lot of other writers. I\u2019d much rather you use that valuable space to explain what\u2019s unique about your query: the story you\u2019re pitching and what it\u2019s about. Unless you\u2019re superbly witty or you\u2019ve somehow seen straight into my heart, I prefer a brief introduction: the title, genre, word count and the name of anyone who might have referred you to me.<\/p>\n\n\n\n

How do you feel about synopses? Any tips?<\/strong><\/strong><\/p>\n\n\n\n

I want to see that the author can distil the plot down to its essence. Every line of a synopsis should move the plot along. It\u2019s hard to do, but you need to keep it focused. What\u2019s the story about? What conflict does the protagonist face? What journey does the protagonist take over the course of the manuscript, and where do they end up? Those are the details that are going to get me hooked.<\/p>\n\n\n\n

Is there anything that would grab you in the opening pages?<\/strong><\/strong><\/p>\n\n\n\n

It\u2019s such a vague thing to say, but for me, it\u2019s the voice or the sensory experience. I don\u2019t necessarily need a high-stakes opening, and I don\u2019t typically like gimmicks. I can tell when a writer is worried that they only have a limited amount of time to keep an agent\u2019s interest when they thrust us into an action sequence or some terrible dilemma faced by the protagonist immediately \u2013 sometimes a writer can pull that off, but more often than not, that method falls flat. Another example that I don\u2019t see as often now but was common a few years ago: writers using flashbacks or prologues to give a teaser about where the story ends up. Again, I don\u2019t really need that.<\/p>\n\n\n\n

If you can get me deep in the narrator\u2019s head and the way they communicate is intriguing and intimate, or if the story is so rich in sensory detail that I can see it playing like a movie, you\u2019ll manage to hold my interest for longer, even if I don\u2019t know exactly where the story is headed yet.<\/p>\n\n\n\n

What have you been reading recently?<\/strong><\/strong><\/p>\n\n\n\n

I\u2019ve been very busy with moving agencies so my \u2018to read\u2019 list has only grown longer. I\u2019m catching up on a bunch of old manga and graphic novel series that I never managed to get around to reading. I grew up with comics and they make me happy and help de-stress me regardless of what the story is about \u2013 Slam Dunk<\/em> and Monster<\/em> because I\u2019ve been craving old-school \u201880s and \u201890s manga. I read some of Akira<\/em> too but took a break, so I need to get back into it. I\u2019m also reading The Unbeatable Squirrel Girl<\/em> and a few more recent graphic novels; I loved Himawari House<\/em> and Frizzy<\/em>, and I wish I represented both of those books.<\/p>\n\n\n\n

In terms of prose, I\u2019ve been looking to escape either to another time or place in our world or to an entirely fictional world. A Gentleman in Moscow<\/em> was great \u2013 it has fantastic humour and a really elaborate world even though it was contained to one hotel across decades. I just finished Demon Copperhead<\/em>, which has to be my favourite book I\u2019ve read this year so far; it hits so many of the things I want in a book \u2013 rich worldbuilding, cinematic language, and prose that makes you feel like the narrator is speaking to you like they\u2019ve known you for years.<\/p>\n\n\n\n

In non-fiction, I\u2019ve really enjoyed two works that came out this year: Master Slave Husband Wife<\/em> and Rough Sleepers<\/em>. Both are the kind of non-fiction I would love to represent. The first is a fascinating historical narrative that I was unfamiliar with and frankly couldn\u2019t believe I didn\u2019t know about until now. It\u2019s about a husband and wife who were enslaved in the US and fled the South pretty much in plain sight. You can tell how much research went into it and it was so vividly described; I could imagine how the characters looked, how their shoes sounded on the ground, what the weather was like\u2026 It\u2019s a great example of a book I could easily see as a movie. The second, Rough Sleepers,<\/em> is the sort of on-the-ground, intimate journalism I\u2019m drawn to, where it feels like I\u2019m shadowing the narrator and watching over their shoulder. It explores the unhoused population of Boston, their individual stories and the struggles they face.<\/p>\n\n\n\n

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

It\u2019s very basic advice, but you\u2019d be surprised at how often it\u2019s not followed. I understand the desire to stand out, but stick to standard formatting. You want your writing to speak for you, not how eccentric your letter is.<\/p>\n\n\n\n

Don\u2019t get too disheartened. It\u2019s hard to get even one rejection, let alone multiple, but try to think of it optimistically: every rejection narrows down the pool of agents to that one agent who\u2019s right for you. By all means, if you\u2019re getting lots of rejections, take a step back to evaluate your query letter and manuscript, but don\u2019t stop writing \u2013 it could be that second or third book that lands you an agent.<\/p>\n\n\n\n

Lastly, don\u2019t write alone. It\u2019s a lonely process, but finding a community can really help.<\/p>\n\n\n\n

Check out Jane’s AgentMatch profile<\/a> for the full interview.<\/strong><\/p>\n\n\n\n

\n\n\n\n

If you\u2019re struggling with your\u00a0query letter<\/a>\u202fand\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>! Finally, we have plenty of fantastic agents offering Agent One-to-One Sessions<\/a> in September and October – book your session now to hear their feedback on your submission pack.<\/p>\n","protected":false},"excerpt":{"rendered":"

Good morning, everyone! This week, we’re joined by Jane Chun who recently moved to the Transatlantic Agency after spending four years at Janklow and Nesbit. Jane previously interned at Writers House and Maximum Films & Management. Jane is open to fiction from MG to YA to adult across commercial and literary genres. She also enjoys<\/p>\n","protected":false},"author":19935,"featured_media":39444,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29299],"tags":[29300],"class_list":["post-39394","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-agent-interviews","tag-jwspotlightoninterview"],"acf":[],"yoast_head":"\nJericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/spotlight-feature-jane-chun-from-transatlantic-agency\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"SPOTLIGHT FEATURE - Jane Chun from Transatlantic Agency – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"Good morning, everyone! This week, we’re joined by Jane Chun who recently moved to the Transatlantic Agency after spending four years at Janklow and Nesbit. Jane previously interned at Writers House and Maximum Films & Management. Jane is open to fiction from MG to YA to adult across commercial and literary genres. 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