ERICA MCGRATH – WRITERS HOUSE
Erica McGrath is a junior agent actively growing my list of adult and children’s books at Writers House. She started working at Writer’s House as an intern in 2018. Since then, she’s worked closely with the contracts department, and has supported Senior Agents Stephen Barr and Susan Cohen. Under their mentorship, Erica has had the opportunity to work closely with a range of award-winning authors and illustrators including Maggie Thrash, Anna Walker, Mark Leiknes, Jared Dillian, F.C. Yee, Jeanette Winter, Stacy Innerst, and Emily Hughes.
Before joining Writers House, she studied Visual Arts and English at SUNY New Paltz and interned at not-for-profit art organizations like The Center for Photography at Woodstock and Musee Magazine. Now, she combines her literary and artistic passions with her business sensibilities, and she is dying to read your work! As a Cancer sun, Virgo rising, and the eldest daughter of four siblings, she comes well-equipped as an intuitive, organized, and dedicated advocate. Erica is a passionate collaborator eager to support authors on this emotional journey to create lasting and inspiring projects.
Fiction:
Children’s, Contemporary, Family Saga, General, Gothic, Graphic Novel, Horror, Humor, LGBTQ, Literary, Middle Grade, Mystery, Picture Books, Young Adult
She is looking to work with authors and illustrators across all age ranges, in genres ranging from picture books to middle grade and YA, to adult literary fiction and nonfiction. Her tastes are wide-ranging but below you’ll find some specifics from Erica.
Middle Grade
Growing up, I must have read INKHEART by Cornelia Funke cover to cover no less than fifty times. I’m seeking stories that inspire a similar insatiable, unputdownable, desire. And I want books that grow up with their readers, that they can return to even in adulthood – I’ll never forget that gut-punch feeling of reading LOVE THAT DOG as a kid; the brilliance of Sharon Creech’s verse, and the story returning in on itself. Most recently, I loved Daniel Nayeri’s EVERYTHING SAD IS UNTRUE and KING AND THE DRAGONFLIES by Kacen Callender . My taste here ranges from contemporary to fantastical to mysterious, to anywhere in between . I love writing with a ton of humor and heart (like the QUEST KIDS series by Mark Leiknes). Unforgettable characters are a must (the inimitable Clover Elkin in Eli Brown’s ODDITY), and I’m a sucker for unconventional friendships (PAX by Sara Pennypacker). Highly illustrated and inventive hybrid styles are most welcome.
Young Adult
I’m picky when it comes to Young Adult and tend to favor literary and voice-driven fiction. (Or more to the point, when I was in high school, I named our family cat Holden Caulfield.) I’m interested in contemporary stories that reflect the emotional complexities and thorny realities of adolescence. I want to fall in love with a character and be put through the wringer via the depths of their emotional despair but feel reassured that there’s a light at the end. Note: I am highly selective about YA speculative or supernatural texts.
Select favorites: I AM THE MESSENGER by Markus Zuzak, BABY & SOLO by Lisabeth Posthuma, ARISTOTLE AND DANTE by Benjamin Alire Saenz, DIG by A.S. King, FIREKEEPER’S DAUGHTER by Angeline Boulley, WE ARE OKAY by Nina LaCour, anything by Laurie Halse Anderson, WILDER GILRS by Rory Powers.
Graphic Novels
I have a soft spot for graphic memoirs. In graphic novels (in everything from adult to highly illustrated MG, and YA), I’m looking for inventive storytelling and meta depictions of how reality is often stranger than fiction.
Select favorites: HONOR GIRL by Maggie Thrash; LAURA DEAN KEEPS BREAKING UP WITH ME by Mariko Tamaki; HEY, KIDDO by Jarrett J. Krosoczka; DUCKS by Kate Beaton; IMPOSSIBLE PEOPLE by Julia Wertz; NEW KID by Jerry Craft; THIS WAS OUR PACT by Ryan Andrews.
Picture Books
I’m seeking picture books that overfloweth with wonderment, curiosity, and humor. Memorable characters, visually expansive art, and smart and humorous writing. In this space, I want a book that demands to be read over and over and one where readers can spend hours (days, years!) poring over the artwork. Keywords: transformative, bold, heartfelt, and hilarious. I am open to fiction and nonfiction, text-only, and author/illustrator submissions.
Dreaming of working with the next: Eliza Kinkz, Emily Hughes, M.B. Goffstein, Monica Arnaldo, Rilla Alexander, Zachariah O’Hara, Balint Zsako, Ruth Chan, Matthew Forsythe, Brendan Wenzel, Carson Ellis, Shawn Harris, Kevin Henkes, and Mariachiara Di Giorgio.
Adult Fiction
I gravitate toward ambitious voice-driven literary novels. Stark and straightforward prose, and anything that dips into a territory that could be labeled subversive, strange, out-there, darkly humorous, disquieting, or Lynchian. Despite the darkness—or because of it—I’m also seeking writing that makes me laugh. More specifically…
-Genre bending horror and folklore (WHITE TEARS by Hari Kunzru, A CHILDREN’S BIBLE by Lydia Millet, PATRICIA WANTS TO CUDDLE by Samantha Allen, OUR SHARE OF NIGHT by Mariana Enríquez)
-Propulsive stories about family, gender, and complex friendships and relationships (MARLENA by Julie Buntin, DETRANSITION BABY by Torrey Peters)
-Explorations of how structural violence breeds interpersonal violence (RAINBOW BLACK by Maggie Thrash, THE RABBIT HUTCH by Tess Gunty)
-Subversive and experimental literary mysteries (THE LIKENESS by Tana French)
-Character studies where the writing feels cerebral and interior (THE SARAH BOOK by Scott McClanahan, STEPHEN FLORIDA by Gabe Habash, CHEMISTRY by Weike Wang, THE IDIOT by Elif Bautman)
-Explorations of desire and obsession (LUSTER by Raven Lelani, I’M A FAN by Sheena Patel, BIG SWISS by Jen Beagin)
-Cultural critiques wrapped up in vivid storytelling (FRIDAY BLACK by Nana Kwame Adjei-Brenyah, THE MARS ROOM by Rachel Kushner, THE SWALLOWS by Lisa Lutz)
-Interconnected stories with ambitiously cast characters, where lives unexpectedly collide (SKIPPY DIES by Paul Murray, THE GLASS HOTEL by Emily St. John Mandel, A VISIT FROM THE GOON SQUAD by Jennifer Egan )
Adult Nonfiction
Overall, I’d love to work with passionate writers and journalists who aren’t afraid to stir the pot. I’m looking for narrative non-fiction (SAY NOTHING by Patrick Radden Keffee), microhistories about cultural histories (OUR BAND COULD BE YOUR LIFE by Michael Azerrad), issue-driven hybrid-memoirs (MONSTERS by Claire Dederer), and obsessive and honest essay collections (GO AHEAD IN THE RAIN & A LITTLE DEVIL IN AMERICA by Hanif Abdurraqib). I’m especially interested in working with multidisciplinary creators, subculture-history buffs, and those with uncommon voices explaining important or untold events. I’m also seeking original investigative pieces on humble subjects (RAW DOG: THE NAKED TRUTH ABOUT HOT DOGS by Jamie Loftus), and any topic that explores the gray areas where finance and artistry collide (SELLOUT by Dan Ozzi ).
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PART TWO INTERVIEW WITH ERICA McGRATH
Which do you lean more towards: Literary or Commercial?
Literary! I’m well versed in the market and have a strong sense for commercial projects, too. But my heart gravitates towards “literary” writing.
What do you like to see in a submission?
Ambition, a distinct voice, and surprise! (Weird is very welcome. Just don’t be bad weird, you know?)
How important is the query letter?
Important! At least to me. But I think querying authors tend to overstress and overthink the small parts. (Please don’t worry about font size, sample pages as attachments vs body of email, or even misspelling my name.) Just tell me about your book (a little about yourself) and we’ll go from there. And I love reading queries. Even if it doesn’t ultimately pan out as intended, I’m honored by every author that shares their work with me, and grateful to see every piece of writing that crosses my desk. I’ll never take that for granted.
Would you have a sample of a good query letter or a link to one you saw on the Internet that would help writers?
I often find myself referring to Eric Smith’s (incredibly detailed and helpful) query resource sheet! https://www.ericsmithrocks.com/perfect-pitch
Do you have any tips on how to find comps to use in a submission query letter?
Picture yourself walking into a bookstore (or actually, just go do it!)…where do you envision your book sitting on the shelf? It takes some legwork, but think of your influences, what authors inspired you along the way when writing your book? If you’re a debut author, don’t be shy in comparing your work to other published authors. Comp titles should be thought of in terms of published books first and foremost, but influences can stretch far and wide outside of publishing! Perhaps there’s a particular song, movie, director, screenplay, (perfume smell!?) that inspired your book. I like to hear the details.
Any tips on how an author who thinks you are their dream agent can get you to read a sample of their writing?
I cannot be bribed. (Unless with tickets to Bruce Springsteen.) Query me! I read and responded to every query that lands in my inbox so no hand wringing, or dream-inception tricks required! If you make me laugh, half the job is already done.
Once you do read and request more, how long does it take to respond?
It varies, but I do my best to respond within 12 weeks. Please check in with me if I haven’t responded by then!
Do you have any pet peeves?
People who don’t recycle. Skipping out on tipping. Fluorescent lighting!
What are your feelings about prologues?
That the hinting better live up to (or defy) the anticipation!
Do you have a place where you keep writers up-to-date on what you would like to see? Blog?
My MSWL or Publishers Marketplace page!
https://www.manuscriptwishlist.com/mswl-post/erica-mcgrath/
https://www.publishersmarketplace.com/members/emcgrath/
Which do you lean more towards: Literary or Commercial?
Literary! I’m well versed in the market and have a strong sense for commercial projects, too. But my heart gravitates towards “literary” writing.
What do you like to see in a submission?
Ambition, a distinct voice, and surprise! (Weird is very welcome. Just don’t be bad weird, you know?)
How important is the query letter?
Important! At least to me. But I think querying authors tend to overstress and overthink the small parts. (Please don’t worry about font size, sample pages as attachments vs body of email, or even misspelling my name.) Just tell me about your book (a little about yourself) and we’ll go from there. And I love reading queries. Even if it doesn’t ultimately pan out as intended, I’m honored by every author that shares their work with me, and grateful to see every piece of writing that crosses my desk. I’ll never take that for granted.
Would you have a sample of a good query letter or a link to one you saw on the Internet that would help writers?
I often find myself referring to Eric Smith’s (incredibly detailed and helpful) query resource sheet! https://www.ericsmithrocks.com/perfect-pitch
Do you have any tips on how to find comps to use in a submission query letter?
Picture yourself walking into a bookstore (or actually, just go do it!)…where do you envision your book sitting on the shelf? It takes some legwork, but think of your influences, what authors inspired you along the way when writing your book? If you’re a debut author, don’t be shy in comparing your work to other published authors. Comp titles should be thought of in terms of published books first and foremost, but influences can stretch far and wide outside of publishing! Perhaps there’s a particular song, movie, director, screenplay, (perfume smell!?) that inspired your book. I like to hear the details.
Any tips on how an author who thinks you are their dream agent can get you to read a sample of their writing?
I cannot be bribed. (Unless with tickets to Bruce Springsteen.) Query me! I read and responded to every query that lands in my inbox so no hand wringing, or dream-inception tricks required! If you make me laugh, half the job is already done.
Once you do read and request more, how long does it take to respond?
It varies, but I do my best to respond within 12 weeks. Please check in with me if I haven’t responded by then!
Do you have any pet peeves?
People who don’t recycle. Skipping out on tipping. Fluorescent lighting!
What are your feelings about prologues?
That the hinting better live up to (or defy) the anticipation!
Do you have a place where you keep writers up-to-date on what you would like to see? Blog?
My MSWL or Publishers Marketplace page!
https://www.manuscriptwishlist.com/mswl-post/erica-mcgrath/
https://www.publishersmarketplace.com/members/emcgrath/
Do you give editorial feedback to your clients?
It’s my favorite part of the job, getting to play a small role in the life of a book and connecting with another person through their art in this collaborative manner. The thing is, sharing your writing or art with another person is an intensely personal and vulnerable thing to do, and I have the utmost respect for the ritual and process of it. When I give feedback, I always aim to speak to the author’s vision and intent, not to change it. We’ll go back and forth until we both feel the project is ready to be submitted to editors. In a way I’m just supervising, I point to what the author/artist is already doing well and suggest where they can use their talents to strengthen other parts. (I see what you’ve accomplished here, and I see you where you got a little lost over here…maybe try what you did in A with C?) And then what comes next feels like bearing witness to real magic.
What do you always add digital and audio book rights to a book contract? Are they part of every sale these days?
Digital and audio rights are part of just about every standard book contract. When you land a book deal part of the negotiation process is about who gets to retain those rights, publisher or author? Writers House is a full-service literary agency with a Global Licensing department. We always do our best to retain certain rights on behalf of our authors in order to maximize the full potential of those rights.
Do you handle all foreign/film rights contracts or does your firm have someone else who handles those contracts?
As I mentioned above, we’re a full-service agency, which means we have a fully staffed Global Licensing, Business Affairs & Contracts, and Media Rights departments. It’s a team of experts! We work together and I’m always involved in the contracts/negotiations process (for foreign/film, etc.)
Does Writers House have someone who works on pushing books to the film industry?
Yes! Cecilia de la Campa and Tom Ishizuka lead our Media Rights team and they’ve helped negotiate hundreds of major film, television, stage, and podcast adaptation deals for our clients’ work. We also work closely with a network of valued partners and film co-agents in the book-to-film world.
Do you see any new trends building in the industry?
Booktok will let us know soon enough! I’m not really one for playing into trends. (Especially because they come and go so quickly, often without warning!) I care more about the quality of an author’s work than whether it might be deemed “trendy”.
Any words of wisdom on how a writer can improve their writing, secure an agent, and get published?
If there’s a book you want to read and no one has made it, be the person to make it. Write every day (even the stuff that doesn’t feel “serious”; your daily observations, new words, inspiring quotes from interviews/podcasts, etc.) Reach out to other writers that you admire to forge connections, (if you sense a connection, it probably exists), find your people and writing community. Explore avenues outside of publishing and see where your interests overlap, you never know where inspiration might strike!
Are you open to attending in person and/or virtual conferences, workshops, writer’s retreats?
Absoulety!
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BELOW ARE THE SUBMISSION GUIDELINES FOR MARCH FIRST PAGES:
IF YOU WOULD LIKE A CHANCE TO HAVE YOUR FIRST PAGE, HERE ARE THE FIRST-PAGE CRITIQUE SUBMISSION GUIDELINES :
PLEASE name the Word document file using 2024 MARCH FIRST PAGE – Your Name – Title of first page.
- You must include at the top of the page your name, the title, and the genre. Do not use a header for this.
- Make sure you include the genre. This will help the agent give you a better critique.
- This is not an anonymous submission. So please include your name at the top of the page.
- I still need everyone to use their name, title, and genre in the file name of the attachment.
REMEMBER: I DO NOT OPEN ATTACHMENTS WITHOUT HAVING THE FIRST PAGE PASTED DIRECTLY INTO THE EMAIL THEN THE WORD DOCUMENT ATTACHED. PLEASE PUT 2024 MARCH FIRST PAGE IN THE SUBJECT BOX AND SEND IT TO: kathy(dot)temean(at)gmail(dot)com.
Your First Page Word document should be formatted using one-inch margins and 12-point New Times Roman font – double space – no more than 23 lines – only one page. Remember to indent your paragraphs. When Dialog is used “Quotation marks” should be used. When a new person speaks a new line should be used.
PLEASE DO NOT USE A HEADER. Place everything directly on the page. Remember a first Page should have a title, your name, and the genre on the first line. Thanks!
USE WORD OR A PDF – I CAN’T OPEN PAGES
Send to: kathy(dot)temean(at)gmail(dot)com.
DEADLINE March 22nd – noon EST
RESULTS: March 29th
CHECK BACK NEXT FRIDAY FOR PART TWO OF ERICA’S INTERVIEW.
Talk tomorrow,
Kathy
Writing and Illustrating 
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