SPOTLIGHT FEATURE: Introducing Catherine Cho & Paper Literary
Good morning!
Today’s feature is all about the founder of a brand new agency with unbounded potential.
Catherine Cho launched Paper Literary in May of this year to create an ideal space for storytellers—to ‘champion writers from the first edits, to the best deal, to finding readers and beyond.’
After a successful segue into the world of law and public affairs, Catherine returned to her love of literature and began her publishing career at Folio Literary. With experience gained at Curtis Brown and Madeleine Milburn, she has built an impressive list of mostly debut authors that only continues to grow. Catherine’s aptitude in dealmaking in both the US and the UK leave her poised to lead a thriving agency of her own.
Well-travelled between New York, London, and Hong Kong, US-born Catherine is now based in the UK. She became a published author last year with her debut Inferno: A Memoir of Motherhood and Madness.
Check out the interview highlights below, and follow this link to read it in full on Catherine’s AgentMatch profile.
“I understand how vulnerable it is to present your work, and how personal it feels, even as much as you try to separate yourself from your work. I try to remember that behind every submission is an individual.”
Hi Catherine, and thanks so much for taking the time to talk with us! We’re grateful to learn more about yourself and your new agency. The Paper Literary website is set to launch fully soon, and we are very excited to see all the authors and projects that are going to find a home there.
Q. How do you view fiction that straddles multiple genres?
My favourite works of fiction are the ones that straddle genres—I think writers like Kazuo Ishiguro, Margaret Atwood, and Kate Atkinson defy genre. And even books that may traditionally be considered as within ‘fantasy’ like the ‘Red Rising’ series or ‘Jonathan Strange & Mr Norrell’ or Robin Hobb—underneath are stories that extend beyond genre. I do think that it’s more challenging to find a home for these books in a practical sense, but when it works, I think they can be some of the most powerful stories.
Q. What are you looking for in the opening pages of a novel?
The opening pages are the most important part of a submission. I look for pacing, I look for a strong sense of voice—I am always excited by an unusual voice or an opening that hooks me. I think one of the most difficult parts of writing a first novel is knowing where to begin; I heard that you should begin as close to the action as possible, and I think I agree with this. Often a book will begin too early, and I think having the confidence that a reader will be able to follow you if you drop them in the story is something to learn. Storytelling is an art, it takes practice, and so I would look at the openings of books you admire to analyse and deconstruct them.
Q. What would you change about the publishing industry if you could?
I don’t know how to do this, but I would love to find a better way of querying. I think there’s a mistaken impression from writers of agents as gatekeepers, and I know that it’s frustrating to submit work without receiving a response. I think sometimes agents are seen as a way of receiving feedback, but this is the where things like ‘Pitchwars’ and writing forums / groups and mentorships are really brilliant.
Q. Tell us about some recent deals that really delighted you.
I recently sold my first novel from my new agency. Unfortunately, I can’t announce it until later this summer, but it was an exhilarating experience. Last summer I sold two debuts that I was very excited about, as they had come through submissions, and I worked with the writers editorially before submitting in the US and UK. The first was ‘When We Fell Apart’ by Soon Wiley, which I sold for a major deal in the US and at auction in the UK, it’s a really moving novel set in Seoul, about identity and love. It’s stunning. The other was ‘Wahala’ by Nikki May, which I sold for seven figures in the US and at auction in the UK. It’s a wonderful novel about three friends in London whose lives are blown apart when a stranger enters their lives. It is going to be adapted by BBC One, which is just so exciting. It’s so rewarding to work with writers; I love the last stage editorial process and then finding a great home for them is a thrill.
Q. As someone who has had their own writing published, how does this inform your work as an agent?
I think that it has helped me a great deal as an agent. It’s given me a stronger sense of empathy. I feel a strong sense of responsibility to my writers and clients; it’s not a typical business relationship—the author / agent relationship is more than that.
Thanks again, Catherine!
If you‘re in need of some support and advice in regards to your query letter and synopsis, please do check out our resources on our website; we have lots of information to help guide you on your way. Or, if you’re a member with us, our lovely Writers Support team will be happy to offer you a free query letter review! Login to access the service here.
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