The One With the "How I Got My Agent" Post

If you’re querying right now and being ghosted or getting “There’s a lot to love but…” responses, you probably see this title flit across your screen and roll your eyes. Maybe think “Wow… so happy for you… bitch.” Maybe wonder what kind of connections I have that got me an agent. 

I’ve been there. 

So I’m going to be really matter of fact about it, tell you the bad along with the good. And be really up front that luck and timing play into a lot of it. If that’s the kind of thing you want to read, carry on.

Book 1 - Fail

This book is a modern rewrite of Much Ado About Nothing. It’s dual timeline, four POVs (down from six!), and 94K words. In retrospect, it’s doing WAY too much. 

I started querying this in November 2023 and queried it for about a year, but in a very limited run. I also did two in-person pitches at the Women’s Fiction Writer’s Association conference in Fall 2023 to small press publishers. I got a request for three chapters from one publisher, and an editor provided some great feedback about the story that I incorporated into some edits between query rounds. 

That was the only request this book had. I only queried this to ~12 agents over the course of the year. It was a fail but I learned some valuable lessons: 

1. Classes on pitching and querying can be really valuable. Honestly, the only way to learn here is by doing, and having others read, and re-doing. 

2. I’m glad I queried something that was probably too early and too much as my first project. It helped build up rejection tolerance. 

3. I went waaaaay too narrow with this. I was being hyper targeted to only query the agents who had something in their MSWL that fit this almost exactly. That’s why there were only 12 queries. 

I don’t necessarily think this book is dead, and it’s actually with a developmental editor right now. When I was getting no bites on book 2, I was considering self-publishing this one this year (and still may). 

Book 2 - Win!

This book is a sapphic, second chance, Formula 1 romance. I’d had a vague concept of “What if F1 - female driver?” bopping around for a bit, but one weekend during the Azerbijan Grand Prix, 90% of the story came to me in a practical fever dream and I started plotting it out and writing random scenes.

The drafting of this one went pretty quickly, largely due to running it through my critique group while I was drafting. I had a first draft done by end of February (~5.5 months). 

General Lesson 1: Have a critique group. Go to them early and often.

While I was drafting, I got my first full request. WHAT? HOW? Well, I went to the Rocky Mountain Fiction Writer’s conference at the end of September and I’d completely forgotten that my ticket included a live agent pitch. I found out at noon on Friday that I’d be pitching at 8am Saturday. Oops. I had my pitch for my first book, but when I looked at the agent’s profile, she was looking for sports romances, with a preference for LGBTQ+. Now… there are two rules when pitching agents: have your pitch memorized and only pitch finished projects. 

I broke both those rules. 🫣

I ran the idea by a few folks I’d met at the conference or before and the general advice was “It’s risky, but give the agent an option and see.” So I did. I said “I can pitch this finished project but I don’t think it’s what you’re looking for, or I can pitch this WIP with about 10K words that is a sapphic F1 romance.” She said “Pitch me the F1 romance.” I read from my phone the pitch I’d written the previous afternoon and she requested the full manuscript whenever it was done. 

Querying Lesson 2: Take the opportunities when they come and don’t be afraid to break some rules… just do it smartly. 

(This is where I sheepishly admit that I lost the slip of paper with the always open query link and was too embarrassed to email and admit that so I never actually sent her the full, I’m sooooo sorry.)

That request was a huge confidence boost – I knew I was writing something that not only was I loving the process of, but that clearly had some commercial potential. It was full speed ahead there to the first draft in February, second draft in April, having small sets of beta readers in between (in addition to my critique group). Toward the end of edits on the second draft, the first season of F1: The Academy dropped on Netflix. The show is similar to Drive to Survive (one of my comps), but focused on the feeder series for women. I made the choice to start querying before all the revisions were done because a) it takes a while to hear back, b) only the first 50 pages max are requested at the time of querying, and c) if the agent heard buzz about F1 Academy, I wanted to be top of the query queue when they did. I also had a friend from a writer discord give me feedback on my query letter that made it SO much better (thank you, Hannah).

Querying Lesson 3: Yes, you want a polished work, but timing is also important.

Around this same time, I started jumping into some Threads and Instagram pitch events and creating graphics about my novel. Now, I can’t credit those events with any direct requests or interest in my MS, but I did find it fun to start engaging with people about my story and continuing to build my fellow writer network. 

My first rejection came in on June 2nd and my first request (a partial that turned into a full) came in on June 3rd. I finished the third draft in late June and through the summer, I slogged away on queries. I’ve written up a whole post on my query methodology, so I won’t go into that here, but basically, I started with a narrow target, widening as I went (and using the QT watch notifications for high priority agents). 

My first revise and resubmit came in on July 16th (just under 3 months into querying). A revise and resubmit means the agent overall likes your story and your voice and sees promise in it, but doesn’t feel strongly enough about taking it on to make you an offer yet. They may make some suggestions of specific elements they think could be improved, or could give you more general feedback like “X character’s stakes need to be clearer/more dramatic.” One agent returned an annotated PDF for the first ~third of the MS. As much as these responses are about your novel still needing some work, I’ve heard they’re just as much about seeing how you respond to feedback. Do you take every suggestion word for word? Do you take some and leave some? Do you extrapolate higher level notes (removing filter words, for example) and find the other spots where you’ve used them? Do you balk entirely at the concept that your perfect baby of a novel could be improved? 

I’d also submitted my first pages and synopsis to a contest and paid for written critiques. The feedback was SO enlightening, especially on the synopsis. The judges really kind of hated one of my main characters. A friend had just been telling me about Michelle at Sanctuary Editorial, and I worked with her editor to refine my synopsis at that point.

Overall, I had 4 R&Rs. As I worked on this batch of edits (bringing new scenes to my critique group), I also created an agent guide. This is basically a visual pitch for your novel. I’d seen other writers using them as supplements to pitch events. This and the poster-style image from #PosterPit got pinned to my instagram profile. I continued to receive full requests while I was working on these revisions. I responded to these agents letting them know I was working on some R&R edits and asked if they wanted the old version or to wait for the new version. All were happy to wait for the revised MS. 

Querying Lesson 4: Communicate, but most agents are happy to wait for a better product. 

I also experienced my second (of, I’d say, four) non-standard querying experiences. An agent who’d been on my list already but closed to queries the whole time I’d been sending them, posted from the Frankfurt book fair that she was hearing editor interest in F1 romance, female drivers especially, so she was looking for MS that fit those criteria. I (along with many other scrappy folks) replied to her post. The following Monday, I got a DM from her asking me to email her my query, which she then turned into a full request. The funny thing about this is, not only did I see it (thanks algorithm), I had two fellow writers send me the post, as well as getting mentioned in a discord by someone at seeing it. All because they knew that I was working on something that fit the bill.

Querying Lesson 5: Be vocal with your network and community about what you’re working on – most people know this is not a zero sum game and are happy to spread the opportunities.

I wrapped up my R&R edits to finish the fourth draft in late October and had a small group of writer friends who were open to doing a quick turn around read in about a week. I asked them to look specifically for the things I’d tried to bring out more (though, all comments were welcome). I got that feedback, went through and made some tweaks, and sent the resubmits (and the new requests) back out on November 3rd. 

And then the waiting game started for real. This is the month or so that felt like absolute agony and molasses. I’d stopped sending out new queries by this point (except to agents I’d had watch notifications on that just opened). I felt like I’d mostly exhausted the pool of strong possibilities. I’d pretty much decided that the only new querying I’d do would be virtual direct pitch sessions (as part of conferences) and I’d start considering self-publishing for my book if I got no more bites. 

On December 5th, I got a reply from Tianna Kelly at Neighborhood Literary: 

Now. One of the first steps of building my query list was looking at my favorite authors and authors writing in similar spaces, and making note of their agents. Rebecca Podos was high up on that list (as Ashley Herring Blake’s long time agent), but had been closed while I’d been querying. Not uncommon with some of the most in-demand agents. This was too good to be true. 

Only… it wasn’t. On December 16th, I see an email from “Becca.” I’ve been emailing with my friend and fellow writer Becca Funke about querying stuff recently, so I thought it was from her at first. But no. It was from Becca Podos. They liked my book – no, sorry, they “absolutely loved” it. And wanted to know if I could talk before the holidays. 

I’m not even going to try and be cool about it. I literally screamed and called my husband to tell him the news. I started looking up all the “What to ask on THE CALL” articles and jumping to that part in Before and After the Book Deal to see what Courtney advises. I had the call with Becca the next day and felt such a great vibe from them. They described my book as “Atmosphere meets Heated Rivalry” and had suggestions for improvement that made total sense and I could already conceptualize how to incorporate. We ended the call with them offering to connect me with a couple of their clients to get their thoughts on working with them, and agreeing to reconnect after the holidays. 

Before the call that day, I got my first cold outreach from an agent on Instagram, who messaged me from my Agent Guide post. I credit Heated Rivalry and the discourse on book threads wondering where the sapphic HR is. Thanks, Rachel Reid, Jacob Tierney, and everyone who made the tv show! I let the agent know that I was possibly getting an offer, but I had a friend with a rally romance with similar themes and could I pass on their info to her? 

Querying Lesson 5: Timing, timing, timing. Also, pay. It. Forward. 

That night, after my senior dog had another bad evening not keeping food down, my husband and I started seriously talking about whether it was time to make the hardest decision we’ve had to make. 

Life Lesson 6: Fucking timing, man. 

The next day, an agent on my watch list reopened. She’d been in the top priority bucket in my list and hadn’t been open in months. The way I saw it, I couldn’t not query her. I sent my query and followed it up immediately after with the “Notice of Offer” message. They let me know they were very interested and asked me to send the full MS. I also starting sending the Notice of Offers to the other agents who still had the full, as well as some of the high priority agents who hadn’t responded to queries yet. 

On Friday, December 19th, my husband and I helped our sweet Bichon, Elphaba, pass on to a place where she could run and jump again, could see and hear perfectly, didn’t have pains or stumbles, could keep all the food down she wanted, and could see some of her friends again. I might write more about this after I’ve processed it more. But it was, and still is, devastating. And a true polarity of emotions for the last few weeks. 

Fucking. Timing. 

We went away for Christmas and I followed up with agents after New Year’s as everyone was coming back to the office. Since I already had an offer, most agents chose to pass, wishing me the best of luck and saying they hoped to see it on the shelves in the future. That last minute, shot over the fence query, however, did want to have a call and make an offer. On Jan 5th, I took that call. The agents (it was a pairing) were so nice and enthusiastic about the story. They did want to explore some significant changes, though – namely, cutting down on some of the sports elements to shift the balance to more romance, ideally through making it a true dual timeline story. 

It was a lot to think about. Going into querying, I thought my choice might end up being between a newer agent without sales record or no agent/keep querying. Now I was deciding between two amazing options that any writer would be lucky to be represented by. I called in two writer friends to talk through it with me. One is unagented and published through a small indie press while the other signed with an agent and is currently on sub (submitting her book to publishers). Having both their perspectives was crucial to making this decision. Here’s what it came down to for me: 

• Editor relationships. I’d already done research on Publisher’s Marketplace to see where both agents (and agencies) had placed books in the last few years. I also asked both agents if they already had potential editors/publishers in mind for submitting my book to. The agent I signed with had concrete names of imprints that aligned with the shortlist of imprints I wanted to target, as well. And had the sales record to back those relationships up. 

• Suggested changes. Not that I’m opposed to significant changes. But my friends made two good points. One said that she’d seen multiple writer friends take similar agent feedback, make sweeping changes, and then either the book still doesn’t sell or an editor likes it, but ends up suggesting changes that take it back to its original form. The other friend said the thing that really made the choice clear for me. Roughly, she said “It sounds like Becca sees the story you’re trying to tell and has a vision for how to bring that out more. Agent B sees an opportunity to replicate what’s worked for her clients in the past and has a vision for how you can mold yours to fit that model.”

Querying Lesson 6: This is why you have that community. See how many times I reached out to other people throughout this? Those people are also the ones cheering for me now. Build that community.

(Thank you Melissa, Javi, Lainey, Amanda, Erik, Kellan, Ellie, Misty, Roy, Emmy, Annika, Megan, Amy, Zhila, and my husband Chris (and if I forgot anyone here, I’m sorry!). )

I took a beat to think after that second friend call and then I sent Becca an email letting them know I’d be delighted to be represented by them. Shortly after that, they posted this to threads: 

I think I made the right choice. 

It’s still a long way from being a book I can hold in my hands and sign for my friends and see on the shelves. Next step is working through those suggestions my agent (MY AGENT!!!) has to do another edit pass. When it’s ready, they’ll start sending it out to editors and a whole new part of this journey will start. I hope you’ll keep following me along for the ride.

If you want to see the journey in bullet point form, here it is:

Full Timeline: 

• Sept 15, 2024 - Conceptualize story, start writing

• Late September 2024 - Pitch to agent at RMFW conference with only 10K words written, get first full request.

• Feb 28, 2025 - First Draft done!

• April 14 - Second Draft done!

• April - Start joining pitch events and really start showing it off on instagram

• Early June - Start querying because F1: The Academy dropped and I wanted to be fresh in agent’s inboxes

• June 25 - Third Draft Done

• End of June query tally: 50 queries sent, 8 rejections, 1 partial request and 2 fulls. 

• July - Publish Agent guide on insta; get first rejection from a sub.

• July 16 - First Revise and Resubmit!

• Mid August query tally: 78 sent, 30 rejections, 3 open full requests, 2 R&Rs

• September - Commission some art to boost my spirits

• October 17 - See post from agent saying she has editors who want F1 romance. Reply to her promoting mine.

• Oct 20 - Hear back from that agent and send her query. Receive full request (hold off until revisions done)

• October 23 - Nov 2 - Finish R&R edits, have friends do quick turn around reviews, incorporate edits

• Nov 3 - Send resubmits

• Dec 5 - Reply from Tianna letting me know MS was forwarded to another agent at Neighborhood. 

• Dec 16 - Becca Podos wants to TALK TO ME?!?!?!?!?

• Dec 17 - Call with Becca

• ALSO Dec 17 - Receive first cold outreach from an agent as a result of my agent guide. 

• December 19 - say goodbye to my furbaby of 16 years 🙁

• ALSO Dec 19 - Get notification that a high priority agent has opened. Send her query, notice of offer, and full MS all in the same day. 

• Dec 20 - start sending notice of offer emails to outstanding fulls and high priority outstanding queries. 

• Jan 1, 2026 - 3 agents still in running (in addition to one offer). Ask them to let me know by Jan 5th

• Jan 5 - 2nd offer call; other two agents pass since I have offer in hand already

• Jan 6 - Make decision to go with Becca!

• Jan 8 - Insta official with announcement on agency’s thread.