Kathleen Glasgow

And I didn't know this at the time. And I would tell writers this now. So you don't have to stay with an agent for your entire career. Like some people, they move to different agents because maybe you want to write fantasy, but your current agent is like, I don't, I don't do fantasy. Right. Right. It just happens like you evolve and your relationship with your agent evolves.

And I didn't know this at the time. And I would tell writers this now. So you don't have to stay with an agent for your entire career. Like some people, they move to different agents because maybe you want to write fantasy, but your current agent is like, I don't, I don't do fantasy. Right. Right. It just happens like you evolve and your relationship with your agent evolves.

So I parted ways with that agent and everything was very amicable. And so I went I went on the Internet and I looked up literary agents based on the books that I liked because everyone thanks their agents in the acknowledgements. And I thought, well, if they like that book, they might like mine because it's similar.

So I parted ways with that agent and everything was very amicable. And so I went I went on the Internet and I looked up literary agents based on the books that I liked because everyone thanks their agents in the acknowledgements. And I thought, well, if they like that book, they might like mine because it's similar.

So I parted ways with that agent and everything was very amicable. And so I went I went on the Internet and I looked up literary agents based on the books that I liked because everyone thanks their agents in the acknowledgements. And I thought, well, if they like that book, they might like mine because it's similar.

And I got, you know, you send it to them and you send like a little excerpt and you describe your book. And I got mostly rejections. Some people never responded at all. Some people responded with, this book is a beautiful book. No one is going to publish this book. They're not going to think this is a suitable subject matter. I don't know where I would place this, like teen or adult. I can't.

And I got, you know, you send it to them and you send like a little excerpt and you describe your book. And I got mostly rejections. Some people never responded at all. Some people responded with, this book is a beautiful book. No one is going to publish this book. They're not going to think this is a suitable subject matter. I don't know where I would place this, like teen or adult. I can't.

And I got, you know, you send it to them and you send like a little excerpt and you describe your book. And I got mostly rejections. Some people never responded at all. Some people responded with, this book is a beautiful book. No one is going to publish this book. They're not going to think this is a suitable subject matter. I don't know where I would place this, like teen or adult. I can't.

Writing is beautiful. I'm sorry. I wish you the best of luck. And then I got this really great email from Julie Stevenson, who is my agent now. And it was really long. And she had notes in the email about small changes she wanted to make to the book. But she also wrote about the book and how she felt reading the book. And she got the book. She understood the book.

Writing is beautiful. I'm sorry. I wish you the best of luck. And then I got this really great email from Julie Stevenson, who is my agent now. And it was really long. And she had notes in the email about small changes she wanted to make to the book. But she also wrote about the book and how she felt reading the book. And she got the book. She understood the book.

Writing is beautiful. I'm sorry. I wish you the best of luck. And then I got this really great email from Julie Stevenson, who is my agent now. And it was really long. And she had notes in the email about small changes she wanted to make to the book. But she also wrote about the book and how she felt reading the book. And she got the book. She understood the book.

And we talked on the phone and we got along right away because I really like people who have kind of a dark sense of humor. And I thought, well, this is the person. And she was the champion for the book. And she had a plan and she knew who to send it to. And she had a timeline. And we worked on it for, I think, maybe two months. And then she sent it out.

And we talked on the phone and we got along right away because I really like people who have kind of a dark sense of humor. And I thought, well, this is the person. And she was the champion for the book. And she had a plan and she knew who to send it to. And she had a timeline. And we worked on it for, I think, maybe two months. And then she sent it out.

And we talked on the phone and we got along right away because I really like people who have kind of a dark sense of humor. And I thought, well, this is the person. And she was the champion for the book. And she had a plan and she knew who to send it to. And she had a timeline. And we worked on it for, I think, maybe two months. And then she sent it out.

And then a week later, we had multiple offers. And some of them were, they were from adult editors and some were from YA editors. And I ended up going with Krista Marino at Delacorte because, again, when I talked to her on the phone, she got the book. Right. Like other editors had said, we're going to, we would probably edit out some of these more graphic descriptions of self-harm.

And then a week later, we had multiple offers. And some of them were, they were from adult editors and some were from YA editors. And I ended up going with Krista Marino at Delacorte because, again, when I talked to her on the phone, she got the book. Right. Like other editors had said, we're going to, we would probably edit out some of these more graphic descriptions of self-harm.

And then a week later, we had multiple offers. And some of them were, they were from adult editors and some were from YA editors. And I ended up going with Krista Marino at Delacorte because, again, when I talked to her on the phone, she got the book. Right. Like other editors had said, we're going to, we would probably edit out some of these more graphic descriptions of self-harm.

And I was like, I think those have to be in there because I think that if anyone reads this book and this is happening to them, they need to see those parts. They need to know that like the person who's writing it understands and gets it. And then, you know, the rest is history.

And I was like, I think those have to be in there because I think that if anyone reads this book and this is happening to them, they need to see those parts. They need to know that like the person who's writing it understands and gets it. And then, you know, the rest is history.

And I was like, I think those have to be in there because I think that if anyone reads this book and this is happening to them, they need to see those parts. They need to know that like the person who's writing it understands and gets it. And then, you know, the rest is history.