Starting Later & Starting Over: Launching a Writing Career When You’re No Longer “Young”

Today’s guest post is a literary agent Q&A by Sangeeta Mehta (@sangeeta_editor), a former acquiring editor of children’s books at Little, Brown and Simon & Schuster, who runs her own editorial services company.


Judging from the many organizations that offer awards and financial support to writers under 35 or 40 (The New York Public Library, The National Book Foundation, Granta), and the seven-figure deals that seem to be given to more 20-something debut writers than debut writers in any other age group, it would be tough to deny that book publishing is youth-focused. But if this is the case, what explains the success of Pulitzer Prize winner Annie Proulx, who at last fall’s National Book Awards ceremony shared that she started writing at 58? Or that of Frank McCourt, who didn’t begin writing until he was in his 60s? Were these writers more talented than younger writers trying to break in at the same time? Or has the industry started gravitating more toward younger writers in recent years?

I spoke with literary agents Sarah Davies and Dr. Uwe Stender about their thoughts on the publishing industry’s attitude toward age. As with my previous interviews, neither agent was aware of the other’s identity until after they submitted their answers.


Sangeeta Mehta: One advantage younger authors have is time—time to learn and improve their craft, time to start fresh in a new genre or category if their debut doesn’t meet sales expectations, time to write multiple books during their lifetimes and therefore recoup their publisher’s financial investment in them. Is this one of the reasons there seem to be so many book deals for 20- and 30-something writers?

Sarah Davies: Firstly, I’d like to say that I’m really happy to give my thoughts on this subject. As a “woman of a certain age” myself, it is something I’ve thought about quite a bit. Secondly, I only feel able to give a view on what I see within the children’s books world (from picture books through to YA) since that’s my specialization.

I think that we can to some extent separate out the YA world from that of picture books or middle grade. It’s true that YA is dominated by younger writers (i.e., I see fewer debut manuscripts from those over 50), but much less true of other areas of writing for children. Why is that? I think because teen fiction is seen to be very cool, very “now,” and perhaps also because it is highly networked via social media and other groups, which perhaps means that “like calls to like.” There are lots of younger authors, so other young authors are drawn to that world, which feels very attractive (and also potentially lucrative). It’s seen as an aspirational, even “glamorous” place to be as a writer. Maybe older authors look at this and think, “I just don’t have the confidence to try and break into this, and surely they wouldn’t want me.”

However, if you look at picture books, middle grade or nonfiction, there are lots of older writers around, and I receive submissions from many.

While it’s true that younger authors have time to learn and improve their craft, I’m not sure that has much bearing on the deals that are done. Hopefully middle-aged (and older) authors have time to learn and improve, too! Why not?

Uwe Stender: I honestly don’t know if there are many more deals for 20- to 30-something writers as there are for 40+ writers, as I don’t track that. And since I don’t know the facts, I cannot intelligently comment on that. However, I believe that both groups share the advantage of time, just in a different way. The younger group has a lot of life to experience, while the older group has experienced a lot of life! Both bring something to the table. At Triada US, I am pretty confident that we represent about as many writers that are under 40 as we do those that are over 40—though, admittedly, I don’t ask for their birth certificates when they sign with us! If they don’t volunteer their age, we don’t ask for it.

As for the number of book deals offered, when I look at the last ten or so deals that we made, I don’t see the scale tipping in favor of the under 40 writers; on the contrary, I find it to be rather balanced.

It’s no secret that many hiring managers prefer younger employees because of their (presumed) energy, eagerness to please, and potential to “fit in.” Today’s younger employees also tend to be more comfortable using social media and other digital tools than their older colleagues, a quality all authors should have to promote their work. Do you think younger writers are better able to adapt to today’s publishing climate for these same reasons, or is their ability to acclimate a common misconception?

Sarah Davies: Sorry, I’m not buying it!

There’s absolutely no reason why older people can’t be adept at social media or eager to work hard and fit in. A big reason for appointing younger employees is that they are cheaper hires. And there’s never a shortage of enthusiastic young people wanting to get into publishing.

I’m not saying we need a books industry entirely staffed by older people, but I do think a mix of ages is important and right, if we’re to reflect contemporary culture. The truth is, most of us will be looking to make it to retirement in some job or other, but very few are going to make it to that age in the books business (though it’s perhaps easier as an agent than in a highly structured publishing team). How many people of 55+ are still working in publishing offices? Very few, and the ones hanging on in there at 60 will almost always be right at the top.

In any media business (music, comedy, design, etc.) the relentless pressure for “the new, the different, the hot young talent” is always there, and always will be, but I think we should question that mantra and value talent and potential wherever we find it. I consciously try to do that when I read submissions. I simply look for talent, voice, and a potentially great story, whatever the apparent age of the author.

Uwe Stender: Whoa, let’s not sell older writers short! There are many examples of “older” people embracing digital tools and social media. Just turn on the news—lol!

On a serious note, promoting one’s project via social media is part of the publishing climate these days. Most all writers, both young and old, understand this and adapt.

As with the first question, I simply disagree that publishers are more focused on younger writers these days—at least that has not been our experience at Triada. As a matter of fact, I have never had an editor ask me for the age of a client before requesting to see their project! I think that publishers are finding the expression “what’s old is new again”no pun or disrespect intendedjust as relevant in their industry, as do many other outlets.

One advantage older writers have is experience, and for nonfiction writers this can translate into a solid platform. Can experience also give fiction writers an edge? For example, would a former lawyer have a better chance of publishing a legal thriller because of the authenticity she’s able to bring to the table? Would your interest be piqued if a former high school teacher pitched you a young adult novel since he clearly knows the market? Or is experience rarely a factor when it comes to fiction?

Sarah Davies: Your experience of life is vital if you’re writing about any subject where authenticity and knowledge is the bedrock. So yes, if you’re writing a legal thriller, a story about farming, a romance set in the South of France, then you’ve got to know what you’re writing about, and the reader can soon tell if you don’t.

But experience isn’t enough to create a good book. Agents encounter writers all the time who have specialist knowledge, but that doesn’t mean they can necessarily write great fiction. The two elements have to come together so that the “knowledge platform” is recast, via writing craft, into a fabulous work of art.

I receive submissions all the time from teens and teachers who say, “I’m young—I’ve worked with the young—and therefore my book is super-authentic!” Sadly, that’s not enough.

Uwe Stender: Talent, whether natural or experienced, piques my interest! For me, voice defines everything. Obviously, writing what one knows can be an advantage. On the other hand, one could have been a high school teacher for 20 years, but when they write they sound like the 45-year-old person that they really are, and not the 16-year-old student that they are trying to write. So, to me, in this case, experience (unlike in nonfiction) is not a factor.

When I first started out as an agent, I was an outsider coming into the industry. My only agenda was to find quality projects to represent. As a result of that focus, I discovered a lot of talented clients that had slipped through the cracks—writers whom other agents, not publishers, may have considered too old, too young, or simply not experienced enough. Don’t misunderstand me, I am not dismissing the value of experience. I am simply sharing that I am the ultimate proof that it is not an absolute necessity. That is where talent comes in!

According pieces in The Economist and The Washington Post, Hollywood is creating more films about older populations than ever before, but their depictions are clichéd and unrealistic. Is the book industry also falling short in terms of its representations of this demographic? Have you heard of any publishers asking for more submissions by, for, and about older populations? If not, is this because of the (inaccurate?) assumption that readers aren’t demanding such material?

Sarah Davies: This is a tricky one since I work specifically in the children’s and teen book industry, so our readers are necessarily young. However, my observation is that publishers do want stories that deal with family relationships, relationships between generations, and there are many picture books, for example, that deal with the affection between a child and their grandparent. In my experience, and especially in today’s climate, editors are keen to depict life as it is really lived, with stories that add to the real-world understanding of young people.

This being said, I always laugh when I see a story featuring a young child, their parents—and an incredibly elderly grandparent. When you work it out, the grandparent would probably be about 60, and quite likely these days to be trekking in the Himalayas, online dating, and doing Pilates—not behaving like a true geriatric and wearing “granny shoes.” So perhaps some of the change needs to happen with writers in their 30s and 40s, who still see the “grandparent” as the elderly figure they knew in their youth. People in the 60+ age group are vastly different from how they used to be and it’s time to recognize that. Hey, that ancient lady you’re depicting isn’t Granny, it’s Great-Granny!

Uwe Stender: Since I’ve been told by industry professionals that most book buyers and readers are women ages 40 to 60, I don’t think that this affects the publishing industry. Yes, oftentimes publishers are looking for specific types of projects, to which they may ask for a project about a specific subject. But I have never had one ask me for a project by an older writer, or a project for or about older populations. I could be wrong, but I don’t find that the older population is underserved in the publishing industry.

Many women aren’t able to pursue a career in writing when they’re young because they have demanding day jobs, are raising young children, or both. Others feel that they never had that proverbial room of their own. For British writer Joanna Walsh, age discrimination is a feminist issue, as the valorization of authors under 40 tends to push women (as well as minorities and the disabled) to the margins. Do you agree?

Sarah Davies: Yes, I think people easily and regularly underestimate older women (including other women). But we see that throughout society, amid our pervasive hang-up about youth and beauty (which we associate with energy). However, I also think older people can play a big part in this too. It’s vital to stay current, take on challenging ideas, achieve new things, remain fluent with technology/social media, mix with younger people—and not give anyone a reason to put you in a corner. You’ve got to work harder to prove yourself in a new field as you get older, but it can be done. And we should all question our assumptions and where we’re prepared to plant our flag, especially if we’re making decisions about who we will represent or publish. If the individual deserves to succeed, then let’s be their champion, whatever their age. However, if the writing doesn’t have what it takes, then age can’t be a smoke-screen for that fact.

I’m happy to say I’m seeing far more submissions these days from minorities (and some from those with disabilities of various kinds). There’s been a sea-change in how the industry is investing in lesser-heard voices and while there’s always further to go, it’s great to see the difference in receptivity in the past couple of years. There’s a real groundswell of desire to publish books by hitherto under-represented voices.

Uwe Stender: As to the question of women and age discrimination in publishing, I haven’t found that to be a problem with the projects that I pitch. Sadly, I do believe that minorities and the disabled are marginalized, not just in publishing, but beyond. It shamefully is a reflection of our society. Here at Triada, we have actually seen an uptick of interest in writers whose projects and voices were formerly underrepresented. Do more strides need to be made? Absolutely! But, at least there is some movement in the right direction in the industry.

What can we as an industry do to better support those who begin their writing careers later in life? It’s reassuring to see “5 Over 50” round-ups and profiles of writers over 50 in journals like Poets & Writers and Writer’s Digest. Writer’s Digest also offers workshops specifically for this audience, and the website Bloom focuses exclusively on those who first published “in their own sweet time.” Do we also need more awards for older writers in the vein of SCBWI’s Late Bloomer Award? Grants, mentorships, and other incentives?

Sarah Davies: I’m really ambivalent about this. While I’m always happy to see special listings or grants that highlight authors and books, I can’t personally imagine ever wanting to be selected for special attention because of my age. “Best literary agents over 50”? Please, no! I expect to compete on my professional merits and track record. Do writers feel differently about this? I’d be interested to know.

I’d mainly just like to encourage aspiring authors to start writing and keep growing, whatever their age. Aging can bring a loss of confidence. Don’t let that hold you back. What’s the worst that can happen if you try and don’t get very far? Give it your best shot and you might be amazed at what happens. Also, don’t use age as an “excuse” for inaction (unless there’s a question of poor health, etc.) or to blame people if you don’t get the desired result. It’s easy to do that, but we’ve got to be realistic: this is a very tough business, whatever your age.

As you get older there are situations where you need to square your shoulders and hold your head up, especially when walking into new environments where everyone is a lot younger. One day I want to go back to university, which will be exactly like that, and it may take a bit of courage. Don’t spend time agonizing—just do it and remember all you have to offer!

Uwe Stender: That is a hard question for me to answer, as I am open to writers in every stage of their writing career. I think that the most honest and insightful answers to that question can be answered by those who have begun (or are thinking about beginning) their writing careers later in life. And since I believe that older writers have the same opportunities as younger writers, and in many cases more financial security, I can only say that from a personal point of view.

It is always good to hear about support in the form of awards, grants, etc. for writers. I have been on panels about this topic at many conferences, and have had many in-depth conversations with mature writers. While some do ask where they may find additional support outside of the event, I have not talked to anyone who felt that there were not enough awards, grants, and mentor programs for them. As an industry, the most important thing that we can do for those who are beginning their writing career later in life is approach every query with an open mind, not an age limit or requirement.  

Should writers at the query stage mention their age in their query letters, whether they’re on the younger side or on the older side? Do you have any other advice for writers looking to secure representation, regardless of their age? 

Sarah Davies: I’m only interested in knowing someone’s age if there’s some out-of-the-ordinary reason for that. I do prefer to know if writers are still in high school, because representing a child or teen would bring some issues. Other than that, I’d rather authors just gave me their short bio (which we require from everyone who queries) and let their writing speak for itself. I don’t want to be thinking about age; I want to assess what story you’re trying to tell and whether you are succeeding.

In terms of securing representation, always focus on your writing. The two most important words are “concept” and “craft.” In other words, you need a great idea, and the mastery of writing to carry that onto the page. Everything else (social media, education, background, age) is an optional extra. So read widely, write madly, stay vibrantly engaged with the world around you, and go for it!

Uwe Stender: Again, talent piques my interest, not one’s age. I have never rejected a writer because of their age. I personally don’t care if you are 17 or 71. If you write a great book, I will want to represent you. Publishing is a tough and extremely competitive industry. My advice is to work hard to hone your craft and be open to advice and guidance. Understand that rejection is not personal—I get rejections too; it just comes with the territory.

If you do receive a rejection from an agent, move on to the next one, and if that strategy does not get you an agent, then write a better book, and try again. Attend conferences where you can meet agents and other industry professionals and ask them what they are looking for. Be smart and think about what you want to know and learn. Lastly, do take full advantage of all of the resources online and in stores available to writers, there are a lot out there. The publishing world is always on the hunt for next New York Times bestseller. Get to work on it!


Sarah Davies (@SarahGreenhouse) was a London publisher for 25 years before moving to the USA and launching Greenhouse Literary, a transatlantic agency, in 2008. While she mainly represents fiction for children and teens (from young chapter-book series through middle grade to YA), she represents authors’ careers in their entirety, so also sells picture books, nonfiction and even adult fiction by existing clients and has helped many debut authors into careers as writers. Among Greenhouse’s clients are NYT bestsellers Megan Miranda and Brenna Yovanoff, and Morris Award winner Blythe Woolston. Sarah is open to all genres within MG and YA, so long as a unique premise is complemented by fresh, compelling writing with a voice. Sarah now divides her time between London and New York. She is a member of AAR and has addressed writers’ events all over the USA and Europe.

Literary agent and Triada US founder Dr. Uwe Stender (‪@UweStenderPhD) is a full member of the AAR. He is interested in all kinds of nonfiction and fiction. In nonfiction, he is completely open to any project, from memoir, pop culture, and health to how-to, gardening, history and everything in between, including nonfiction for children. In children’s fiction, he is looking for YA and MG. In adult fiction, his tastes trend towards women’s fiction, psychological suspense, and mysteries. As an immigrant to the US, he is always eager to bring projects from underrepresented voices into the world. His favorite five novels right now are: Caraval, The Underground RailroadDer Nasse Fisch, Kafka On The Shore, The Young Elites, and Wonder.

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Victoria Noe

This is a tough one for me. I write nonfiction. My first book was published when I was 60; I’ll be 66 when the 7th comes out.

Age bias is very real and I think many in publishing are blind to it (just as they’ve been blind to gender and disability bias). I’ve had people tell me they don’t believe I’m as old as I am because I don’t talk/act like I’m that old (that’s supposed to be a compliment). What does that mean? I have a friend my age who was a little old man when he was 25. I have a 93 year old friend who is younger than anyone else I know. Age doesn’t mean a damn thing when it comes to talent or outlook.

Yet, my age – or rather, my experience – is relevant to my writing. I’m able to give a perspective (historical, I suppose) to what I write. That directs how I write. I have a responsibility to explain in a way that a reader of any age will understand, because a huge percentage of my readers are under 40.

This is my 4th career (I think I still have one more coming). My daughter was in high school when I started writing. She watched me change careers (after suffering a concussion – long story) and renew my creativity. So I feel the timing was beneficial to us both. But I still feel – as I felt when I began writing – that my age is a liability to most people in the industry.

Sangeeta

Hi Victoria: I think you’re right—age bias is real. But your age doesn’t have to be a liability, as most people in the industry will have no idea how old you are unless you tell them. It’s great to hear that your writing career is going so well. And it sounds like this is just the beginning!

R G Ainslee

Today seems to be the day for older writers. I posted this at the Book Designer a few minutes ago.

I’m 76 and published my first novel a few weeks ago. I have four more in the pipeline. Started writing 40 years ago but didn’t get serious until I retired. Fortunately, I have worked with Word from the time it first came out. The technology aspect is challenging but not a limiting factor. Finances are. Right now my big hurdle is marketing, a whole new world to me. The most important thing is to view it all as a competitive challenge. Don’t give up.

I agree with Sarah, give it your best shot and be realistic. I might add – never stop learning.

Sangeeta

Four more books in the pipeline? Congrats, and thank you for sharing your encouraging story!

Patti Rae

Social media and author platform building is challenging, and can be frightening to us baby boomers. I too started writing over 20 years ago, but didn’t start pursing publishing until I retired from ONE of my jobs a few years back. Still working part-time from home gives me more opportunity to write and learn about this industry. If there is an age bias in the publishing world, it must be due to a lack of understanding of what we, the over 60 age group, have to offer. As we age, most of us realize that we don’t know it all, and if we can get past our fear of what we don’t know, there is real joy in learning something new.

Sangeeta

Absolutely, Patti, the 60+ age group has a lot to offer, and we can all learn from each other!

anonymous

There’s an age bias against older adults in publishing? That’s news to me because in writing forums, like SCBWI and Absolute Write, at writing conferences, and looking at publishing deals in Publisher’s Weekly, most traditionally published authors in these places are, and seem to be, middle-aged or older; I rarely come across or see successful young adults who have an agent and or traditionally published books.

The industry seemed to me to favor older authors, which is fine with me because I know I’m not as experienced at the craft, yet. The younger authors in the Absolute Write forums seem to be self-published authors or new writers who are trying to learn how to write novels.

Sangeeta

Well, some people seem to think that there’s an age bias against older adults. It’s good to know that not everyone agrees!

anonymous

Yes; although there are grants and some awards available to young adults, many of them have entry fees or require SCBWI membership, which some young authors aren’t able to afford. Some also require references, which not everyone is fortunate to have, if you’re not established or weren’t able to attend college. It’s the same thing with conferences: they cost money to attend, which not all young adults aren’t able to afford: that’s why mainly older adults are able to attend them.

Also, not all young adults were able to attend college or earn MFAs, like older adults.

All of these costs might not seem like much to some people, but like minorities and people with immigrant parents have mentioned on Twitter, it seems like a lot of money to those of us who weren’t fortunate to grow up upper-middle class or whose parents weren’t able to attend college or earn a 4-year degree.

It’s not very nice for young adults to be accused as having privilege by others who don’t know them or what they went through in life.

Sangeeta

That’s a good point—many young people can’t afford conference fees, workshops, MFA programs, etc. But I wonder if more organizations should offer financial assistance to those in need, regardless of age (instead of continuing those “best writers under 30”-type programs). On the one hand, the public seems to love those programs. On the other hand, there are a lot of people out there who are deserving of the money and publicity those programs offer, even if they’re not that “young.”

Anthony E Thorogood

Young people face the same problems, when I was young no one was interested in what I wrote, the most important thing is to believe in oneself and to work at ones writing, nothing is handed out on a plate, its all too easy to say, I was rejected because I’m old.

Sangeeta

Great reminder, Anthony. None of us should use our age as an excuse, no matter our stage in life!

Leslie Tall Manning

Well, as an author who is fortunate enough to have Uwe Stender as her agent (Hi, Uwe!), I want to jump in here as an over-50 writer of both YA and Adult novels. I started writing in my mid-thirties…20 years ago! All I can say is that I thought I knew how to write a solid novel way back at the beginning of my writing aspirations. If you do anything enough, and live and breathe books and words and the publishing industry, you will only get better. I made so many mistakes in the early days, ones that make me gasp when I read over those immature manuscripts. Too many adverbs. A ton of parentheses. Accidental POV shifts. Lack of character arc. I will also add that if you are just starting out as an older writer, take classes, read what’s current, and be prepared to wear a lot of hats. Creating a great book is only half of the business. The other half is marketing. And if you do not have the patience to become a better writer, and to wait for agents, editors, and readers to finally see your talent, then find another late-bloomer profession. Time means nothing in this industry. Only great work matters. So if you really, truly want to commit to a writing career, hone your craft no matter what your age. If you are older, like me, and you are just starting out, you probably have a lot to learn. But that’s okay, because we have more courage, more adaptability, and thicker skin than many of our younger counterparts. We recognize our mistakes right away, and learn to fix them quickly. We also understand that rewards don’t often happen overnight! : )

Sangeeta

You’ve shared so much wisdom here, Leslie. Thank you! I’ve come across a number of 20-something writers who practically expect overnight success (what I call the “but-it-happened-to-her-so-why-not-me?” attitude), but have never seen this among older writers, probably because they are mature enough to know how rare it is. Thank goodness for that.

Sandy Asirvatham

Leslie, thanks for your post. I too have had novelist ambitions since forever. Full of ego and dreams, but minimal skills, I began a book in my mid-20s at the Columbia Writing Program. Abandoned it eventually without finishing it, nor any of the 3-4 attempts I made in the years after.

These were mostly semi-autobiographical stories about family matters that I still hadn’t fully detoxed from. It took me decades of work, skill acquisition, and life experience–along with several major career and personal distractions along the way–before I finally was able to finish a truly narrative, classically 3-act book–a memoir. It is now being read by a couple of agents. I’m 52. I believe my experiences in my teens, 20s, even 30s and 40s, will be highly relatable to the middle-aged women who are the vast majority of book readers. So I remain optimistic for now.

If anything sinks my chances, I don’t think it will be an obvious form of age bias–but it might happen because my story and my voice are closer to an earlier generation’s “hot” new writers, the ones I read avidly in the 80s and 90s. Mary Karr, Jeanette Winterson, Maxine Hong Kingston, etc. If someone tries to fit me in a box with, say, feminist personal writers under the age of 35 who’ve made their names on Twitter, it’s not going to work well. 🙂 And yet I believe it’s a valid and even yearned-for perspective among readers. Will the gatekeepers agree? That’s the open question.

But the joyous thing is that, having finally written the real story that was getting in the way of all fictional ideas I had, I am gloriously and confidently embarked on a new and completely non-autobiographical novel that is so vivid to me, I’ve actually been able to write a Hollywood-style treatment for it, from beginning to end of the story. In the past, any fiction ideas I had were merely interesting premises, which I had no idea how to spin out into actual plots.

When I was younger I felt anxious about time passing and me not reaching my childhood goals. Now I’m looking at the future and seeing at least a couple decades in which to produce mature, meaningful, and marketable writing. My time is shorter but my anxiety is much reduced.

Julius

Very encouraging for someone who is in the query stage for his novel…at the age of 51. Thanks!

Sangeeta

Ah, so young 🙂 Good luck in the query trenches, Julius!

Peter Krass

Thanks for opening up this important topic. I’ve just started teaching an online writing workshop for fiction, poetry and memoir writers who are over 50 at The Writers Studio. All our exercises are based on works by writers who got started late, including Norman Maclean, Annie Proulx and Harriet Doerr. Both my winter and spring terms were fully subscribed, so there’s definitely interest.

Sangeeta

Good to know, Peter, and I’m not surprised by all the interest in your workshop. Here’s a list I was just looking at of famous authors at who were published after 40 or 50. I’m sure there are many others like it. Encouraging! https://writingcooperative.com/15-famous-authors-who-were-published-after-40-1b87e009305e

Lori

Wonderful discussion, thank-you. Though I always “knew” I was a writer, I am only now, in my early 60s, looking for an agent for my YA novel and screenplay, both recognized in contests, and have entered my story collection in contests, as they’re a tough sell. I have worked hard at my craft and know my life experience and perspective informs my work invaluably. BUT—what’s getting me is the overt pressure not just for a platform, which anyone can tackle, but this pervasive warning that agents don’t want a one-book author; they’re looking for a career. They say it outright: “If you’re a one-book author, I’m not for you.” “I love your work, send me taglines for your next two.” I understand their position, but really? How many other 60-year-olds seeking work would be made to feel guilty if they can’t promise a decade of more or production? And how many babies might these agents be throwing out with the bathwater? These interviews talk about starting young vs starting old, but please don’t overlook the third category–tortoises who started young but are still in the race.

Sangeeta

I do think there are many agents out there who are willing to work with writers one book at a time. It’s just that, if your first book does well, publishers will be asking for your next book, so it’s in an agent’s (and author’s) best interest to look ahead. In any case, you’re right—you are most definitely still in the race!

nikki broadwell

I started late in life and hesitate to tell people how old I am! (Because of the bias that seems to be so prevalent in all parts of our culture here in U.S.). I am 19 books in now with three in the hopper…I only wish I’d begun earlier!

Sangeeta

Impressive, Nikki, and there is still plenty of time 🙂