Agents & Editors Recommend

A dependable source of professional and creative advice, this weekly series features anecdotes, insights, tips, recommended reading and viewing for writers, and more from leading agents and editors.

Susan Antolin of Acorn

4.17.24

As the editor of Acorn, a specialty journal that publishes only haiku and recently celebrated twenty-five years in print, the range of things I look for in submissions is both specific to haiku and universal to what makes great literature in any genre. Shorter than any other form of poetry, haiku often appear effortless, as if they were dashed off in a moment of sudden inspiration. In reality, evocative and understated haiku are harder to write than you might think. With so few words to work with, attention to nuanced connotations, sound, and syntax are especially important.

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Max Pasakorn of Kopi Break

3.13.24
“I’d likely warm up to a poem that is aware of its potential synergy with other poems in the magazine or with contemporary global conversation.
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Dana Isokawa of the Margins

2.7.24

When I edit a piece, whether it is an essay, article, or poem, I latch on to a writer’s transitions and section breaks. In these leaps, I often detect the joints in a writer’s logic, hear their voice, and observe them negotiating the said versus the unsaid. I find that a strong transition leaves space for the ideas of the preceding stanza or section to bloom in a reader’s mind. It can be a stretch of quiet before shifting to a different register, time, or phase of an argument.

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Maya C. Popa of Publishers Weekly

1.24.24

Whenever I am asked to speak publicly on editing, I sense the audience’s hope for a formula or key: as straightforward as how to write a winning cover letter or as inscrutable as which week of the submission period to hit Send. However, so much of what I teach in my courses and write about in my newsletter comes down to mindset, not craft, and certainly not insider information.

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Gabriel Fried of Persea Books

12.27.23

Poetry anthologies are gratifying to publish. While the focus of our poetry program at Persea Books has always been books by individual poets, we have also published wonderful poetry anthologies including the recent We Call to the Eye & the Night: Love Poems by Writers of Arab Heritage, edited by Hala Alyan and Zeina Hashem Beck.

But poetry anthologies also present some particular editing and design challenges. Here are some things to keep in mind if you plan to propose one to publishers:

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Lucinda Halpern of Lucinda Literary

12.6.23

To capture an agent’s or publisher’s attention with your query letter, begin with the end in mind. The best queries irrefutably answer the most critical question for any book published today: Why should someone pay up to $28 for your book?

With this end result in mind, you can reverse-engineer: First identify, then highlight the key components of your book that will stop a reader (or agent!) in their tracks.

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Francisco Márquez of the Adroit Journal

11.22.23

One key lesson I’ve learned from working with the Adroit Journal is that the taste of any given editor is never universal. Our team of poetry editors consists of five people, and our discussions of submissions also include the editor in chief and the executive editor. When we review the list of submissions that have made it to the final step before publication, we have active, passionate conversations about each poet’s work. We often disagree, argue, and even attempt to convince one another that our favorite work should be accepted.

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Michelle Brower of Trellis Literary Management

11.8.23

One thing I’ve learned in my time as an agent is that there is only one thing that an author can truly control: the work. Editors leave, publishing houses merge, trends shift, and—in the middle of that hurricane—there’s always the work. No writer can control their reviews, how many copies bookstores order, what awards they might win. Even the best books do not always get the accolades they deserve.

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