Unlocking a Literary Agent's Wishlist: What Kathleen Foxx is Eager to Find in Your Manuscript

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EPISODE INFO:
Today, we have another agent interview! I’m so excited to share this conversation with a brand new agent who has a resume that will make you take notice. 

She gives a masterclass on opening pages!

Kathleen Foxx is a new agent at The Rights Factory. She shares some absolutely priceless information for writers.

BIO:
Kathleen is a new literary agent at The Rights Factory, representing clients from anywhere in the world. She’s also a freelance fiction editor, podcaster, and co-founder/host of #MoodPitch, helping connect writers with agents and publishers around the globe. Kat is most interested in thrillers/suspense, gothic/supernatural horror, light romance and romcom, pre-20th century historical fiction/fantasy, and select nonfiction topics. Her submission guidelines and detailed MSWL can be found at kathleenfoxxagent.com/mswl or on Manuscript Wishlist.

Tweet me @DavidRGwyn

Transcript

T105-K Foxx

Kathleen Foxx: [00:00:00] If you're serious about wanting to get your work out there, you have to be open to that feedback and you're coming to me to sell your book. I'm going to an editor to book.

to buy the book. So you, you've got to be open to making suggested changes. 

David Gwyn: Hey friends today, we have another agent interview.

I'm so excited to share this conversation with a brand new literary agent who has a resume that will blow you away. Stay tuned because she gives a masterclass on opening pages. This is the second agent interview I've done, where we've looked at a submission together. The first one was with Carleen Geisler at art house. 

Carleen Geisler: What I wanna see in a manuscript a lot of the time is some sort of balance.

It, it can be the balance between action and. Character building. It can be the, the balance between dialogue and tone, , but there has to be something, it can't just be flat. 

David Gwyn: If you want to listen to that episode, it's linked in the description. 

 I'm David Gwyn, a writer navigating the world of traditional publishing during this first season of the Thriller 101 [00:01:00] podcast, we're going to focus on building the skills necessary to write the kind of story that lands you. An agent and readers. I'll be sharing interviews with authors and agents about the best way to write a novel. If you want the experts secrets, this is where you're going to find them. 

Last week on the podcast, I talked to Brooke Robinson. She had some great advice for debut authors. 

Brooke Robinson: You want it to be, especially the opening chapter for your debut in particular, I would say you want it to be noisy and, and so by that I mean. Something that's gonna attract attention and that's different in some way.

David Gwyn: If you're interested in hearing more with Brooke, I highly suggest you check out that interview. And definitely read her debut novel, the interpreter, which is getting a lot of really great press 

and for good reason. Today's guest is Kathleen Fox. She's a new literary agent at The Rights Factory representing clients from anywhere in the world. She's also a freelance fiction editor, podcaster and co-founder and host of #MoodPitch, [00:02:00] helping connect writers with agents and publishers around the globe. During the interview Kat will share what she's interested in seeing from all of you. During our conversation, she talks about what to have in your opening pages and how to think about your submission. I loved the way she thinks about story and storytelling and our role as authors in a traditional publishing format. You're going to love this interview today, so let's get straight to it. 

So, Kat, thanks so much for being here. I'm really looking forward to chatting. I feel like like I mentioned before we started recording, we've, we've been interacting a lot on social media and things, and it's really cool to officially meet you. Yeah, 

Kathleen Foxx: I'm excited to be here.

It's nice to, I mean, it's always nice to talk to anyone in the writing community, but yeah, you kind of, with the podcasting thing, it's nice to talk to someone else who also podcasts. 

David Gwyn: Yeah. Yeah. Yeah. Yeah, it's awesome. So we have a, we have a really fun submission to talk about today. But before we do, I want to talk a little bit about you, about your background and agenting.

So you have, I mean, one of the more [00:03:00] impressive backgrounds for probably like the perfect literary agent background, I would think. I mean, you have a writing podcast, you have editing services, you've been a proofreader for a small press, right? You've And you just started at the rights factory first as an editorial assistant and now as an agent.

So what made you want to move to agenting? 

Kathleen Foxx: Yeah, well, I mean, something, I mean, obviously I've, I've loved to read for many, many, many years. I've also liked to write and as I got more and more into the writing community and, and meeting. Writers and agents and just interacting and, you know, doing the podcast and that I got to interact with some, some industry pros and just the more I thought about it you know, I'm editing as well and I'll continue to do that on the side, but it just, the more I got introduced to it, the more I could see that that was the path for me.

So, yeah, here I am. I, I kind of, I guess, used my editing. To work my [00:04:00] way in because like you said I already started as an editorial assistant and that kind of got my feet Wet within the agency and I got exposed to a lot of the stuff that goes on in terms of the literary agent track So yeah, here I am.

David Gwyn: Yeah, that's super cool. So have you always wanted to be in the publishing world? I know you had kind of a world outside of books in another life Can you talk a little bit about that and how you came 

Kathleen Foxx: to publishing? Yeah, so I mean I started way over here in like hotel and hotel management. I was a general manager out in Banff for a resort out there.

worked at a few different places in that industry and then I stopped and raised my kids at home and Tackled writing every now and again, and it's something that I've always been interested in, but just recently over the last few years, that's where I really pivoted my career, and when I was raising my kids, I was like, well, I can't be getting phone calls at 3 o'clock at night to go and evict someone who isn't behaving, so that's not [00:05:00] really what I want to do anymore, and yeah, I've just, I kind of revisited this passion that I've always had, and I guess took it to a level that I don't know if I ever thought I would do, but not in a bad way.

I just didn't know enough about it when I was younger. And now I do. And now it's exactly where I want to be. 

David Gwyn: Yeah, it's super cool. And so I do want to talk a little bit about your editorial services with with Fox editorial.

Can you talk a little bit about what you do? What kind of services you 

Kathleen Foxx: provide? Yeah. So developmental editing or structural editing line level stuff. So stylistic and copy edits. And then I do do some proofreading as well. So I offer that for anyone that comes to my website. I have proofread for Rising Action as well.

And editorial, at the Rights Factory, we're very editorial minded, so I was able to continue on with that as well there. I have brainstorming sessions I've started offering courses. I only have one course available right now, but I'm going to be offering some more in the future as well.

So query and synopsis critiques first 10 [00:06:00] pages for first 50 pages, so manuscripts assessments, things like 

David Gwyn: that. Yeah, it's awesome. And I imagine a lot of that background probably translates really well to to agenting and the work that you're doing, especially for an editorial minded agency.

Can you talk a little bit about how your background in editorial work ? Was that something that you were looking for? Like, does it fit because it's editorial? Or were you kind of interested in agenting anyway? 

Kathleen Foxx: Interested in agenting, but I know that some agents are more editorial based and some don't do a lot of editing.

And that's something that I really enjoy doing. And at the Rights Factory, that's Very much the mindset there like we we try and and do as many edits ahead of time to get it as polished as possible and obviously That's what agents do But like I said, some are more editorial minded than others. So that really worked out for me So that just means that we put in a lot of time with the editing process before [00:07:00] Manuscripts go out on submission We we think that Basically, if an editor is going to get it in their inbox, it'll you know, the more polished it is, the more appealing it's going to be.

So, we want to make sure that we put that extra time and focus a lot on edits. 

David Gwyn: Yeah, it's interesting you say that because I feel like... In talking to writers the experience they have with an agent can be very different and some agents are really editorial and hands on and others, I mean, are just, are quick about turning stuff around and I think it's, as a, as a writer who, you know, especially debut writers, people trying to look for agents, I feel like, Knowing that an agent is going to like work with you on stuff before it goes out.

 For people who are listening, like finding an agent. It's not one size fits all. They're all different. And knowing that an agency like the Rights Factory.

Does a lot of editorial stuff. I feel like it is a really a big Pro for for submitting there, which I think is really cool. Can we [00:08:00] talk a little bit about The Rights Factory? What was it about them that made you want to join them? What do you love about working with them?

Kathleen Foxx: Yeah, so, I am friends with Cece Lyra and she started working there, so she knows Sam, Sam is the owner, and she introduced us, and you know, the one thing that drew me there was that there was going to be a lot of mentorship, and Sam has turned out to be a wonderful, wonderful mentor, he's been in the industry for many, many years, and so he's got a lot of expertise and knowledge to impart, and So I, that was something really appealed to me.

It's hard to get into an agency if you don't have that background. And I have a lot of transferable skills, but I haven't been an agent before. So it is really difficult. So Sam took that chance on me and, and this is where I've ended up and I'm really, really happy. Yeah, the team that we have, like, we're all, we're super friendly, we're super helpful, so it's really nice to have a team that you can go to to ask questions, like, even if you've been an [00:09:00] agent for 10 years, you're still going to come across something that you don't know about or you haven't seen before that maybe one of our other agents have, so we, we keep in constant communication with each other, and it's really great to have such a Thank you, man.

Thanks. a friendly and professional team that you can feel that you can go to with questions. So that was really important too and I love that. 

David Gwyn: Yeah. That's really cool. I, I feel like you're like the poster child for making connections in the industry. Like I, I, think that's a testament to the work that you've done and I know you work with the Shit No One Tells You About Writing podcast, I mean, you edit for them and I feel like it's really one of those things where if people, if you want to be involved in the industry, you have to get involved in the industry and I feel like you're a good example of that.

Kathleen Foxx: Yeah, I, I do say that a lot, like put yourself out there and don't be afraid to jump in. Yeah. Yeah, 

David Gwyn: and everyone's so nice. I feel like book people are, are really, really nice people. I've, I've had great interactions. Every time, like, like you said, you put yourself out there, you, you really tend to have good interactions with people, so. Yeah, absolutely.

So [00:10:00] questions about your particular tastes here. What genres are you looking for as an agent? 

Kathleen Foxx: First and foremost will be thriller and it's sub genres. I love spooky books. I love domestic thrillers and domestic suspense, psychological stuff. Let's see. I love anything that has to do with ghosts and past lives and time travel and all of that stuff.

I like historical fiction. I do feel like the market is kind of oversaturated right now with wartime era. Books. So I, I like pre 20th century, I'll say. Those are kind of appealing to me. Something different. Witches. Anything to do with witches. So, anything like that. Some rom coms, some romance, if you can comp it to Every Summer After by Carly Fortune.

That was like my favourite romance. Of last year, so that was great. Yeah, just, I mean, I have everything on my, my website and I'm very, very detailed because I find that sometimes agents don't put a lot of detail. They're [00:11:00] just very broad, which is totally fine. But for me as a writer, I also know that I appreciate when I go to an agent's page and they're what they're looking for and what they're not looking for.

So I do have that as well. But yeah, first and foremost, thrillers. Anything to do with thrillers. That's my favorite. 

David Gwyn: Yeah, I think that's great. And I, I feel like for people who are listening who are probably in the query trenches, they're like, yeah, save me the time. If tell, tell me what you're not looking for.

It takes a long time to craft a query sometimes. So before we get to the submission we're going to talk about today, I'm curious, kind of generally speaking when whether it's when you're coaching clients through your editorial services or when you're, you're getting submissions as an agent, it's, What are you looking for in those first, let's say like five to ten pages?

Especially in a thriller that you're like, we got to have this here. What are you looking for? Mm hmm. 

Kathleen Foxx: That's a tough question because sometimes it's not Easily pinpointed right? Sometimes you just get that feeling [00:12:00] like oh man I really really like, you know, the writing style or the tone the vibe but really Less backstory, more character at the very beginning, right?

We don't want to see a whole lot of backstory right at the beginning. Cece, for example, calls them curiosity seeds, so I'm using that term all the time. Little curiosity seeds planted along the way that are going to make me... Wonder about things, make me curious about things.

Because curiosity is what is going to keep you turning the pages, right? If you're leaving little clues where my brain is going to start theorizing that's going to be where I'm thinking and I'm going to get to that too when we talk about the submission. Yeah. Definitely if you're pitching it as a thriller, I want to have that thriller vibe.

We need a good introduction to the character. You don't need to immediately have... Like throw us in an action scene. I think that idea gets thrown around a lot and it might be a little [00:13:00] bit confusing because it doesn't mean we have to see a car accident or you know something, something brutal happening.

You can, but you don't have to. I think the first scene needs to be Something is happening, as opposed to the character reflecting on something, or remembering something, or giving us backstory. Something just needs to be happening. There needs to be a sense of movement, 

You can tell something's going to happen. And you already know, if it's a thriller, you already know that something bad is going to happen. But keep me curious, and keep me guessing about what that thing is in the first pages. Yeah, that's cool. 

David Gwyn: It's like, that was like a master class in like two minutes of like what to have in your first 10 pages.

I, I was like taking notes over here. I'm, I'm working on my second manuscript and I'm like, okay, all right, add some stuff to my pages in the first couple of times. No, that's great. That's super cool. So let's, let's dive into this particular submission. And it's funny listening to you talk about it. And I'm thinking about the submission and I'm like, [00:14:00] Oh, like checking things off the list of the things that you're looking for.

Like there was a lot there, I feel like in these first couple, even these first 500 words, which is, which is great.

Okay. So let's pause there for a second. So far, we've talked about Kat's really impressive background. She's done so much in the industry. 

And when you hear her talk about the submission that we're about to dive into, you're going to see that she's acquired an insane amount of knowledge from all the work she's been doing. But before we hear that I shared last episode that. guests who I invite to be on the podcast to hang out with us? Well, they look at ratings and reviews for the podcast. I don't blame them. They want to see whether or not I'm legitimate . It also tells them how engaged you are as an audience. I know I set a goal for us after the last episode, but I realize it hasn't even been a week. So I'm giving us until Thursday to meet the goal of 15 ratings. I haven't looked yet. I don't know where we are, but I've got my fingers crossed. I'm also reserving a place in my newsletter for reviewers. So if you want to see your name up in lights, or [00:15:00] at least in my weekly email newsletter, then leave a nice review. It honestly makes my day. But seriously, if you want me to quiz your favorite authors about how they write their books and you want me to be able to reach out to more agents as part of the agent pitch contest that make sure you take two minutes and rate the podcast, leave a nice review because people read them. 

 In the next part of the interview, Kat and I are going to talk about a submission. 

She shares some really practical advice that is going to help you in your opening. So let's hear this admission and then Kat and I will come in after and talk about what we noticed. 

Emily: Scarlet believes she’s buried the secrets of her past, but in a small southern town, secrets don’t stay buried forever. When a local girl is taken from the town’s annual Firefly Festival, the kidnapper is caught on camera. Scarlet sees the grainy image on the news, and she knows who the man is: he’s the same monster who kidnapped her and her sister twenty years ago. Scarlet must go to the police, but she’s scared of being pulled back into the spotlight, having to relive the trauma [00:16:00] of what happened to her and the guilt of abandoning her sister. But he got away with it the first time, and she can’t let him get away again. To find out what happened to her sister and to help find the missing girl, Scarlet must face her kidnapper and risk being his victim again. 

Chapter 1: 

 I nursed my vodka from a chipped and stained coffee mug. The sticky humid night forced the alcohol back out through my pores, as the homegrown mosquitoes swarmed in lurid packs around my calves, fighting for the second-hand buzz from my blood. The mosquitoes made me think of simpler times when I played in the backyard for hours, dirt under my fingernails, pine tree sap gluing strands of hair together like chewing gum, and the smell of mown grass rising from me like steam. The tiny deck of my second-floor apartment felt claustrophobic in comparison. 

 Lightning bugs floated across the black sky like glowing miniature hot air balloons. As a child, I was mesmerized by them. How did their bodies emit light? The phenomenon fascinated me, and it must have been the mystery, the not knowing, that held me captive. Other kids spent their summer nights mutilating the insects. They ripped their bodies in half, placed [00:17:00] glowing abdomens on their grubby fingers, and held them up to reveal sparkling rings. The light remained for a few moments, even after the bug had been ripped in two, prompting squeals of delight from the children who had no concept of life and death, the destruction of nature. They didn’t care, but I was fixated on them. These insects spent their lives in the darkness with only a flash of light to announce their existence, and I wondered why they would illuminate themselves, revealing their location to the murderous children chasing them. They seemed willing to produce the spotlight, to sacrifice themselves for entertainment. It seemed like a horrible way to die, but I didn’t realize then, as I do now, being left in the dark is no way to live. 

 I swept my unruly curls into a makeshift ponytail. Instead of my natural blonde, my hair is now the mousy color of East Tennessee river mud, taken from the L’Oreal bottle labeled “Mushroom Brown.” I wanted to resemble a fungus growing from the earth, blending into the beige, winnowing through life without drawing more attention to myself. 

 Like my hair color, my last name was changed in an afternoon by filing an order with the court. My first name, Scarlet, I kept. [00:18:00] My mother named me and my younger sister, Melanie, after the characters in Gone with the Wind, her favorite movie. She made us watch it every year on her birthday, whispering into our hair how we had lived up to our namesakes. I was the bold, determined one, ready to die on the hill of my every conviction. Melanie was the sweet and compassionate one, always giving, always receiving the warmth of everyone who adored her. Despite what everyone thought, I wasn’t jealous of my sister, I was fiercely protective of her, knowing her brand of innocence would only be destroyed in this world. I took no comfort in the fact I had been proven right. 

David Gwyn: So

David Gwyn: talk to me a little bit about just even the summary or the comps for this particular submission, what was it? About the summary that when you read it, you were like, ooh, this, this one might interest me.

Yeah, 

Kathleen Foxx: So when I first looked at the overview, the biggest draw for me was that curiosity of her abandoned sister. It's 20 years since this big thing has happened.

The main character and her sister were kidnapped, [00:19:00] the main character escapes, and her sister does not. So she's been living with this guilt for 20 years that, you know, what happened to the sister? Survivor's guilt, I guess. So, now it's 20 years later, the same kidnapper is at it again, she feels guilty for getting away without her sister, but she also wants to find this new missing person.

So obviously there's a lot of emotions going on inside the main character and there's so many potential things that could have happened. At the time that it happened 20 years ago for the last 20 years and there's also so many possibilities of what could be going on now So I found that all to be very super intriguing before I even got to the first page So that's curiosity.

There is super super huge here. 

David Gwyn: Yeah, I couldn't agree more and one other thing that I noticed is there there's a promise of action. Like there's a promise of movement. There's this like propulsion that's required in thrillers that sometimes isn't there for people.

 So let's let's [00:20:00] talk. First couple of really first page and a half or so here close to 2 pages. What do you think is the biggest strength of these opening lines?

Kathleen Foxx: When I look at submissions I did say that my main jam is kind of thrillers, so I do see a lot of them, and anything that's got a creepy vibe or tells me that something terrible has happened or is going to happen, like you said, the promise of something, that's going to get my attention. I like to be drawn in.

With a connection to the character on some level and I can empathize with this character even though this has never happened to me You know, she came back and her sister never did and I put myself in her shoes And imagine what that's like and and that's not something that I consciously do It's just how my brain operates and probably many others as well I the The emotional connection, I think, is very, very strong here.

The emotionality, I should say it's, it's, it gives us that kind of contrast. Like there's, there's a lot of emotionality in that kind of [00:21:00] nostalgic bit. I can reminisce about similar things like that, you know, it makes you feel happy about childhood and simpler times, the innocence of childhood. And then it's contrasted with this awful thing that happened and how she feels about herself now and life and her world view probably.

And these are all things that I'm inferring. And I already have theories going on. So for me, if I can already start theorizing about What might happen later on in the story in the first few paragraphs. That's awesome. And I definitely got that here, so that was super strong. Yeah, 

David Gwyn: I love that word you used, like the contrast.

I hadn't thought of that. And as I'm looking at my notes now, as I was looking at these first couple pages, the contrast of like the childhood, but like the kids mutilating the, the Fireflies, like there's a lot going on here and I think it does it, it ensures that we get that thriller vibe, like there is a darkness in this, in this [00:22:00] manuscript for sure.

You know what I thought was interesting and I'm curious your take on this. The first maybe two paragraphs, certainly the first paragraph A lot of setting, and I feel like there are times in which setting can be slow to read, especially in a thriller. I didn't find that here, and I'm really trying to like, figure out like, what was it?

 It almost feels like maybe It's because we're getting characterization alongside setting, like, did you notice that in those first paragraphs? What, what did you think about that? 

Kathleen Foxx: I, I enjoyed it. And I even, like, when I was making my little notes, I said that I really liked the descriptions and I did, I did make a note specifically about the contrast.

You know, you're thinking about wide open spaces, inviting smells, nostalgic memories and then versus the tiny deck of her second floor apartment feeling claustrophobic. 

And I. I think, I mean, you can overdo setting at the beginning of a book because you want to provide , the setting for the reader in their mind, but you can overdo it and I don't think [00:23:00] it's done here.

I don't think it's overdone here. I like the way that she used that contrast. It's, it's a contrast of words, but it's also a contrast in emotions, really. You know what I mean? She's thinking about all these wonderful things, not like how she feels claustrophobic on her, her tiny second floor apartment.

So you already know that it used to be great, and now it's not so great, and it's just kind of setting it up. 

David Gwyn: Is there a line? I felt like there was a lot of curiosity seeds like you mentioned. And like, shout out to Cece Lyra for that phrasing. I feel like there's a lot here. Is there one that stood out to you that and I marked a couple, but is there one that stood out to you as, the one that immediately, things started clicking in your head?

Kathleen Foxx: I mean, there's a lot of good wording here, and I commented, actually, the second paragraph is full of words that are very relevant to The, the context and the, the vibe, the tone. So I, I highlighted like there's tons of words there, but I really liked the first [00:24:00] line lightning bugs floated across the black sky, like glowing miniature hot air balloons.

That was really nice. But something that really clicked for me, two lines down, it says the phenomenon fascinated me and it must've been the mystery, the not knowing that held me captive. So that to me felt like it's kind of a double meaning. Lightning bugs held her captive with fascination as a child.

And then after that, what happened to her and her sister and the resulting trauma held her captive and has, what I'm guessing, it's kept her from fully feeling well, fully releasing herself from that guilt. So that, that really hit home for sure. 

David Gwyn: What are you hoping to see in the next five to seven pages from this author?

Kathleen Foxx: Typically in the first few pages, I love to be, I love something unexpected to happen. Like, we're getting a sense of her character, of her life but having like a little moment of surprise or something unexpected. So, Something where we learn about the character's present life or something about their background that we weren't expecting.

It doesn't have [00:25:00] to be anything super huge, but just something that makes you go, oh, okay. And something that makes us more intrigued about them and or the plot. I don't want a background, like an info dump, but I would love to see little bits of more about the sisters when they were young, right before they were taken.

So, I mean, obviously she had a good relationship with her sister, she was fiercely protective of her. I would love some more insight about... Like if you can connect us to and make us see how great they were together as sisters. Like maybe she, like this is me just kind of throwing some stuff in there.

But, you know, maybe she imagines all the time what it would have been like if her sister was not. Captured, or if she had escaped as well, how their lives would be now, how much closer they would have become. Having that shared traumatic experience and overcoming it together. Maybe she envisions her sister was right there.

Maybe she has, you know, every time she's going through something in life, maybe her sister is this kind of like, you know, image or like a holographic [00:26:00] image in her mind giving her advice from beyond, you know what I mean? Like maybe she has that Somewhere in her, she's envisioning what it would have been like and maybe that's a coping mechanism or something like that.

I have no idea if that's where the story goes, but the more emotionally invested we are in Scarlet in the here and now, and the more empathetic we feel toward her and how she... Was with her sister the more we'll root for her and care about her reaching her goals and not getting kidnapped again Plus if I'm right about my theory the more of a shock It'll be when we get to whatever twists that I'm theorizing about And like I said, like you like you've mentioned as well I'd love to see those curiosity seats planted throughout like not too many obviously and you have to be careful about not Letting it go on too long before we find out, you know, get, get that answer to whatever little question you're leaving.

But yeah, keeping us actively guessing about things. So yeah, just more, more of what you're already doing. 

David Gwyn: Sitting here listening and I don't know if you have an answer to this [00:27:00] question, but I'm really curious about this. So. Now you have, well you, you, you have a writer's side of your brain.

You have an editor's side of your brain and now you have like a agent side of your brain. You're running outta sides of your brain, I think. But where, how do you try to navigate these? Because I mean, you're just kind of like off the cuff here, spinning out a few ideas of things that would work. Is that more the writer side?

Is that more the editor side, or are these kind of all blending together for you? 

Kathleen Foxx: Yeah, it kind of, I guess all blends together. 'cause I, I know what it's like from a writer's perspective and, and now. from an agent perspective, and I also have worked with lots of writers trying to elevate their pages and get their manuscripts polished.

So, I kind of, I guess blended is kind of a good word to use for that I, I'm thinking of your target market, your readers, but I'm also thinking like inbox, what do I look for? What do I like? So those kinds of questions that you've been asking are great. But it's It's hard to come up with a good [00:28:00] answer for that It is kind of a blend because I do have to keep in mind Or maybe I should say I get to keep in mind what it's like standing in the writer's shoes, right?

I know what that feels like so I do I do think I think about that and I keep that in mind as I work through edits with people as we're working to elevate the pages and, and also when I'm thinking about what are editors going to want to see as well. So that's kind of the newer aspect of 

David Gwyn: things.

Yeah, I feel like that's, it's hard to juggle, but I think that writers. I think it's important that they hear it because I think that a lot of writers and, and for all the right reasons are like very precious about the work that they do and they send it out into the world and they query and they get their feelings hurt and I, I understand that but at, at the end of the day, I mean, I, It's really about what agent is going to be right to take the thing that you did, turn it into something for readers, because that's, that's ultimately what it is for if you're, if you're going traditional publishing and then being [00:29:00] able to pitch that to editors who are then going to even further make your thing right for readers.

And I think that that process. Is important to highlight and I think that listening to you kind of think about the way that the different parts of, of you is like a writer, editor, an agent, the way they mold together. I think for all writers, we should be doing our best to be thinking about those three things at the same time too, and trying to juggle all that.

While we're writing. I think that's super interesting. Yeah, 

Kathleen Foxx: it, it is hard. If you're serious about wanting to get your work out there, you have to be open to that feedback and you're coming to me to sell your book. I'm going to an editor to book.

to buy the book. So you, you've got to be open to making suggested changes. And if you're not, you know, that's okay. It's your, it's your work and, and you get to decide how you want it to go out there. And if it's not traditional publishing, because they want to make too many changes, then maybe that's not the right path for you.

And that's totally fine. There are many other avenues. So I guess you really just have to think about what your ultimate goal is and what you're [00:30:00] willing to do to. to get there. And it, that doesn't mean that we're going to like completely strike the book and start from scratch, right? We're going to help you, like for me, I don't want to take away from what the author has done.

This is a masterpiece. Every, every project that you work on is a masterpiece in its own way, and I don't want to take that away. I just want to help you improve it so that it gets to the point where an acquiring editor is going to say, We love this. I'm buying it right now. 

David Gwyn: Yeah, what what a what a great way to wrap up our conversation.

Where did the time go at the end? So my last question really for you is just where can people find you? Where can people look you up? 

Kathleen Foxx: Yeah, so therightsfactory.com. That's the agency website I have my own website as well a Kathleenfoxxagent.com and that is where I have a extensive manuscript wish list I'm also on Manuscriptwishlist.

com so I will have submission guidelines on my website but I am also on query manager so I'll be taking queries through [00:31:00] that. So yeah, there's there's lots of information on my website.

I'm on my editing website too. So I do some posts and I do courses, like I said. So if people want to polish up their queries and synopses before then that's foxeditorial. com and I've got some articles there that can help them do 

David Gwyn: that. That's awesome. So if you're listening and you want to get in touch with, with Kat, I will link to all that stuff down in the comments or in the description.

So you have easy access to all that stuff. Kathleen, this was so much fun. I, I really enjoyed it. I can't thank you enough. Thanks for being here. Yeah, 

Kathleen Foxx: absolutely. This was so enjoyable. I really liked it. And I really liked the submission too, and I would love to see it in my inbox.

David Gwyn: Wow what a ton of great information like i said i jotted notes down the whole time i hope you did so safely of course if you're driving But if you'd like this episode and want a chance to pitch an agent click the link in the description to find out when we're reopening to submissions and remember to rate and review. 

If you haven't checked out my interview with Brooke last week or Carlene the week before be sure to check those out those [00:32:00] are linked in the description 

i'll see you next week