Today’s guest for the SHIT is Dana Alison Levy, author of several acclaimed books for younger readers. Above All Else is her YA debut. She lives in Massachusetts, at sea level, and really likes air with lots of oxygen in it. Dana loves traveling to Nepal and has stood in the shadow of Mount Everest, but she will never ever climb it.
How much did you know about the submission process before you were out on subs yourself?
I was lucky in that I worked for a literary agent in my twenties, and also have family members who are authors, so I went into the process with open eyes. My path to publication was pretty straightforward and typical: I queried one book that went nowhere, queried a second book and got an agent, she sold that book in a decent but not major one-book sale, and then I kept writing and selling middle grade books. But then I got to my YA…
Did anything about the process surprise you?
After writing a selling a few MG novels, I felt moderately confident that I knew how to write, and how publishing worked. But then this book damn near killed me. My 2020 book, Above All Else, is my debut YA, and it took over five years of revising and shredding and sewing it back together, sometimes with my agent’s help, often with my (incredibly patient) critique partners’ help.
When we went out on submission I got a lot of really wonderful rejections, most with a very optimistic frame (“I’m sure another editor will snap this up and I can’t wait to see it on shelves.”). But no takers. I kept revising, and kept feeling unsure that I had reached “the end” of the revision, and the rejections I got didn’t help me articulate what I wanted.
(It’s worth noting that sometimes rejections can be really helpful. If you get five rejections from editors who all say some variation of “I liked it except for XX” then you have some good feedback and something to work with!). In this case, however, there was no clear line. So I kept going back to the drawing board, fussing and revising and trying to figure out what the heck I was missing. I wrote and sold a few other books, but couldn’t quit this one.
Did you research the editors you knew had your ms? Do you recommend doing that?
Usually when my agent and I talked editors, I would ask what they’d published recently, or check Publisher’s Weekly to see recent sales. There were a few times I asked my agent about a certain editor, because I knew another writer who worked with them, but mostly I trust her to find a good match and try to stay out of the way. I definitely think authors can and should do a little research, but the specifics probably depend a lot on your relationship with your agent and how much you trust their judgement.
What was the average amount of time it took to hear back from editors?
Hah! Too long for a neurotic writer to wait! Honestly I think wait times have been increasing, and it’s more common for editors to semi-ghost, where they don’t reject something but don’t pursue it. Then if another editor bites they can still engage. Editors really vary; some respond within weeks and others let things hang out for months.
What do you think is the best way for an author out on submission to deal with the anxiety?
I try really hard to forget all about a project that’s on sub. The truth is that while some books sell in fast and furious auctions, the vast majority take a long time to sell, and there’s no point in staring at the phone, hoping your agent will call with news. A long wait doesn’t mean it won’t sell. It’s a cliche, but I do try to immerse myself in something brand new, something that’s hopefully in an early stage so it can be weird and messy and ugly and I don’t even have to think about anyone reading and judging it. Basically I try to stay away from publishing (reading about book deals, marketing campaigns, sales, etc.), and instead focus on writing.
If you had any rejections, how did you deal with that emotionally? How did this kind of rejection compare to query rejections?
Rejections always suck, but I’m also always super-curious, so typically I’ll ask my agent to forward them along as she gets them. That way I can see where we are and what kind of feedback we’re getting. But there are times I’ll ask her to hold off, because I know it will derail me. It feels better to practice a little intentional avoidance.