Book Broker: an interview with Kim Lindman

1) What stands out in a good submission?

Submissions catch my eye when I see signs that the author has thought about how their book will fit into the market. On its most basic level, this looks like including things like genre, target age demographic, realistic comp titles, and a bio with any relevant qualifications or publishing history.

2) What's a typical warning sign that a manuscript isn't ready for representation?

When I see sample material that's mostly dialogue, particularly at the beginning of the book. This isn't a universal rule--of course each book is different, but it can sometimes be an early hint for me that I might find one of these things:

• A book that's all plot, and not enough character development
• A raw or underdeveloped concept
• A plot driven by "telling" instead of showing

3) What's at the top of your manuscript wish list right now?

I'd love to see a literary drama that unfolds like a mystery! Some recent examples I loved are PIGLET by Lottie Hazell, THE LAUGHTER by Sonora Jha, and SUMMER HEAT by Defne Suman. I represent nonfiction too, and would love to see a science or history book that reveals unexpected angles on things we already thought we knew.

4) Some people say that "agents hate prologues." Is that true for you? What is the most common reason that a prologue falls flat?

Of course I don't hate prologues! When I read a bad prologue, it's usually bad because it either reads like an info-dump or reads like a standalone story (aka, doesn't entice me to read further.) Whether it's called the "prologue" or "chapter 1," it's important to hook the reader early.

5) If you could change one thing about the publishing industry, what would it be and why?

I think the biggest problems in our industry (long response times and less publisher support for books) are the result of agents, editors, publicists, marketers (etc!) being spread so thin. There's only so much work one person can do! More support for pub teams would be fantastic for all sides. On a more idealistic level, I would also love to see more publishers taking more risks with what they publish, to add more variety and diversity to the bookshelf. I hate that I have to pass on ingenious writing sometimes because it doesn't fit the market.

6) How important is it for an author to have a strong social media presence when querying?

Well, publishers like when authors have an audience, because it proves that people are interested in what that person has to say. So in fiction, sure, maybe it helps, but it's not a requirement. In memoir and other nonfiction, platform is crucial, but it doesn't always have to be social media.

7) What's the best (non-client) book you've read recently, and how did it hook you?

Aside from the recent reads I already mentioned, I really enjoyed THE MINISTRY OF TIME! To me it's the perfect example of the type of five-minutes-in-the-future soft science fiction I'd love to represent. I think it also appeals to both literary and genre readers, which isn't an easy feat!

A recent nonfiction read that blew my mind is A BRIEF HISTORY OF THE WORLD IN 47 BORDERS—this book turned a topic that seems so obvious into a thought-provoking exploration.

8) Can you tell us about an exciting author you're working with at the moment? 

First, I have to congratulate my authors Chloe Crane-Leroux and Trudy Crane on their recent bestseller: THE ARTFUL WAY TO PLANT BASED COOKING! I'm gifting this one like candy this season because it's (1) delicious and (2) jaw-droppingly gorgeous.

And, Danielle Bayard Jackson's book FIGHTING FOR OUR FRIENDSHIPS (which came out earlier this year from Hachette) genuinely transformed my relationship with my own friends. She's so insightful—I highly recommend following her on TikTok/Instagram if you want life-changing advice dropped in between your daily doomscroll.