How does a writer get an agent or publishing contract? Persist, learn, adapt

On Creative Writing co-founders Emma Woodhouse and Sheelagh Caygill discuss Emma's experiences writing historical fiction, seeking an agent and acquiring a publisher in the UK. She also discusses her own imprint, Havisham and Webb. If you're a writer asking "How do you get a publishing contract?" this podcast provides a candid look at the dedication, commitment, and self-belief needed to bring books to life.Emma's debut novel, The Prendergast Watch, historical fiction set in Victorian London, emerged from an unexpected source: her struggle with the present-tense narration after being inspired by The Crimson Petal and the White, by Michael Faber. Initially uncomfortable with writing historial fiction in the present tense, Emma challenged herself to write a short piece in that tense, aiming for a "Dickensian" feel. This experiment grew into The Prendergast Watch.The COVID-19 lockdown gave time to revisit the manuscript. Emma describes the writing process as organic and unplanned. She let characters and plot unfold as she wrote, often discussing ideas with her partner. This free time was instrumental in completing the novel. Emma notes she sometimes "slipped back into the past tense," but edits solidified her signature present-tense voice.A key milestone was securing a literary agent for The Prendergast Watch. Emma used a strategic "game plan": for every rejection, she submitted to two more agents. She submitted to around 30 agents. Persistence paid off when an agent, from her subsequent submissions, requested the full manuscript. This led to an R and R (revise and resubmit), a common step in the agent-author process. After refining her manuscript, Emma secured representation and worked with this agent for three "fantastic" years.When Emma's agent went on maternity leave, Emma found herself without a publishing contract. She faced a critical decision: "give up or carry on." She chose to keep going.This period offered insights into the realities of publishing. Emma learned that large publishers have limited interest in multiple authors within niche genres, to avoid internal competition. She emphasizes that authors can be "naive about the world of publishing," noting publishers' significant investment in editing, cover design, and marketing, making each acquisition a gamble.Emma also realized a book is a "product," and authors themselves are viewed similarly. A strong online media presence is often crucial for securing a contract (explaining celebrity book deals). Emma's experience revealed that "a lot of success comes from being seen and being heard," especially in "the attention economy."Emma's persistence led to a publishing contract. After submitting The Prendergast Watch to smaller presses, one pointed her to Holand Press, who accepted her debut. In a "very cheeky" move, Emma then offered them a second manuscript, Simple Twists of Fate, which they also accepted. This book responded to feedback on The Prendergast Watch, suggesting a single female main character for historical fiction readers.While writing Simple Twists of Fate, Emma developed a deep interest in historical research, particularly the story of Mary Carr, a Victorian female gang leader of the Forty Elephants. This obsession led to her third book, Mary, Queen of the Forty, a novelized version of Mary Carr’s life. Emma's research involved extensive work with British newspaper archives and "Mary Carr tours" in London. She aims to uncover the lives of "forgotten women," especially from poorer backgrounds, often overlooked by history. Factual accuracy is paramount, with any poetic license noted in the book's back matter.Emma's experiences highlight that talent and passion are essential, but persistence, adaptability, and understanding the industry's business realities are equally crucial for navigating the path from manuscript to published work.