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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INTERVIEW WITH ERICA McGRATH
Did you grow up in the NY/NJ/PA area?
I did! I grew up on Long Island and made my way up to Hudson Valley for undergrad, then journeyed back down to Queens where I’m currently living. (The NY hero’s journey?)
How did you choose to attend SUNY New Paltz to study English and Visual Arts?
I was standing in New Paltz’s college gift shop with my mom, and she wouldn’t let me buy the sweatshirt I wanted until I made my firm commitment to the school. Sometimes a weird ultimatum is all you need to help push you in the right direction. But seriously, I was your classic bookworm as a kid (not a great student but I did love showing up to my sixth-grade class with The DaVinci Code in hand, much to my teacher’s chagrin!) and knew that I would study English. Reading was all I cared about up until I took a darkroom photography class in my junior year of high school, and something about the creative process immediately clicked…sure, books and photography are vastly different mediums but they’re both ways of seeing. New Paltz allowed me the chance to study both and explore how and where they intersect…not to get too cerebral, but I value writing and photography in how they’re both a means of collection and recording. (I love to consider how memory changes through that process.) I do miss being a student, though I think my natural curiosity for how a thing gets made ultimately lead me to agenting. Especially in working with picture book makers and illustrators, I still get the best of both visual and literary worlds!
When did you decide you wanted to become an agent?
It was through the Writers House internship, for sure. I think a lot of people enter publishing thinking house editorial is their only option (just like me!) Once I was exposed to the agenting side it was like unlocking a whole new world…the internship itself was nothing short of a life-changing experience. I think we all need someone in our corner (whether that be a friend, spouse, pet, or creative partner) so when I saw that being an agent meant the opportunity to work in that capacity with authors—supporting their book dreams, creative careers, and helping push good art into the world—well, I wanted to be an agent more than I ever desired anything.
How did you get the job at Writer’s House?
I started out as an intern at Writers House back in 2018, thanks to Michael Mejias (our amazing internship director) and Senior Agent Andrea Morrison taking a chance on me. From there, I was hired in our contracts department. I had gained so much knowledge about the agent-author relationship through the internship, but I wanted to be equipped on the business side before fully sliding over to the agent side. (Publishing is a business, after all.) From there an assistant position opened and Senior Agents Stephen Barr and Susan Cohen hired me. I just feel stupidly grateful—not to mention ridiculously lucky—to everyone who has supported me along the way.
Did you move to NYC when you started working at Writer’s House as an intern in 2018?
I moved to the city once I started working in our contracts department. Truthfully, I was still living with my parents on Long Island while I was an intern. (They were kind enough to wait to kick me out until I got hired full-time.) But luckily the Long Island Rail Road exists for a reason. (Other than to shepherd Long Islanders to and fro Billy Joel’s MSG residency.)
Do you ever work with the other agents at Writers House when placing a book?
Yes, all the time! It’s a collaborative workplace and I often rely on my colleagues and their expertise to help with placing a book. I feel lucky to work with such knowledgeable and successful people. (Some of the best in the business!) I think a strong and supportive community is vital to any one person’s success, you can’t be at this alone!
Do you work from home or go into the office?
Both! And I miss my cat dearly on those office days.
Did Covid affect how you worked at Writer’s House?
It is surreal to think back to 2020. So much of this job is about creating and fostering relationships, so adjusting to that full remote life was a bit jarring at first (especially with the raging killer virus going around!) though, ultimately, I think going remote meant connecting in ways we hadn’t previously considered. For instance, our internship program is now fully remote allowing candidates to apply from literally all across the globe. Publishing can be a bit stuck in its ways and New York-centric, I’m just glad that having this remote option means giving the opportunity to those who don’t have the advantage of living close to or in the city or the financial or physical means to make a big move.
Do you limit the number of clients you represent?
I don’t work by a limit. What’s important is that I connect with an author’s work and that we share an understanding of how I can best support their vision and help place their work. This requires careful time and consideration, so I am discerning how many clients I can take on at any given point. I don’t ever want to overextend myself, that’s not fair to anyone involved in the relationship.
Any story or themes you wish someone would submit?
This can all be found on my MSWL! But at this moment I do have a desire for a road trip picture book! Or any sort of “road trip” in a non-traditional setting seen by transportation means an alternative to a car. In general, I love stories that get kids excited, which means being in tune with kid’s logic and knowing how to speak their language.
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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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