A lot of the time when talking to writers at the start of their journey towards publication, the focus is on the importance of a honed pitch, synopsis (if it’s a novel), submission letter and – of course – manuscript, for catching the attention of agents. But understanding what happens next can help demystify the process, and also give some insight into why these things really are so important. Hopefully this little run-down will fill in some gaps for you, and be inspiring…

Let’s start from the point that I read a manuscript I’m excited about, and the author and I agree to work together on it. I will almost always have made some notes while reading it, and these will form the basis of an editorial conversation, whether that’s a call or a detailed email, or sometimes I’ll add comments directly on the text. The aim at this point is to address any elements I feel could potentially be off-putting to commissioning editors, not to make the manuscript ready for publication – but the bar is necessarily high, given how much competition there is for editors’ attention.

My notes could reflect market trends, or delve into plot or world-building questions, or relate to character, motivation, voice etc. But they really are just suggestions, and this should feel like a collaborative process. I wouldn’t be working with this writer if I didn’t already love their writing.

So then we embark on a round or two of edits. This can take a few weeks or many months. I always say, there’s no rush and it’s best to take time over edits (which is true, though of course there’s also a bit of me that’s excited and impatient to get the manuscript into editors’ hands).

In the meantime, I will also be thinking about who I want to send the manuscript to, and I’ll likely be mentioning it to editors at meetings to build interest. By the point that we have a final draft ready to submit, I’ll have a list of usually between 10 and 20 editors, depending on the project.

Then I’ll start working on my submission. This is where the author’s pitch paragraph (including any great comps) – which has already fulfilled its primary job of getting me excited in the first place – comes into its own again. It will likely form the basis of my pitch to the editors. I’ll often include the author’s synopsis in the submission package as well (along with a series overview and any sequel ideas, if relevant). I keep the biographical paragraph brief and pithy, flagging anything directly relevant and linking to the author’s page on my website.

As soon as the submission has gone out, I’ll be sure to let the author know, and then we both have an anxious wait. The first responses may come in very quickly (maybe even the same day if it’s a picture book text), or it may take a month or more till they really gather pace. It’s hard not to read into this, but it’s often just a case of no news being no news, rather than bad news. I’ve sold projects many months after initial submission.

Once an editor has read and loved the submission, they will need to share it with others in-house with a view to taking it through the acquisition process. (The pitch and synopsis are crucial again here, of course.) Often at this point I’ll also set up a meeting or call so the editor and author can each ask questions and talk about their vision for the project.

Then, if the publisher’s rights and sales teams are on board, the editor will get the go-ahead to send an offer through – cue happy tears all round!

(It is important to understand, though, that not all projects that go to Acquisitions end up with offers. It’s especially disappointing to have a near-miss like that, for everyone involved, including the editor – but obviously most of all for the writer. Supporting clients through moments like this is of course something agents have to be ready for.)

Offers vary widely with regard to the terms on offer and rights to be granted, and an often complex negotiation ensues (especially if more than one publisher ends up offering) – always in close consultation with the author. And then, once the headline terms are agreed, the contract itself will need working through in detail. This back and forth can, frustratingly, sometimes take many weeks or even months.

But eventually the contract will be ready for the author to sign – this is the point that it really sinks in that their book is going to be published! And they will receive their first payment from the publisher.

The author and editor will then start a whole new editorial journey, with several more rounds of notes and drafts going back and forth between them.

In the meantime, I will be thinking about any rights that have not been granted to the publisher. This could be translation rights, US rights, audio rights and/or dramatization rights. When the time is right (usually when we have an edited manuscript), I will submit the project to appropriate contacts in those areas, or discuss it with the brilliant subagents I work with.

I’ll also keep track of progress on the manuscript, the cover and any illustrations, make sure payments are made promptly, and that conversations are happening about publicity and marketing ahead of publication. I’m of course generally on hand to discuss anything else that arises, however big or small. Then all that remains is to celebrate publication!

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