Book Broker: an interview with Lisa Erbach Vance

Agent: Lisa Erbach Vance, Aaron M. Priest Literary Agency 

Website: AaronPriest.com

Bio: Lisa joined the Aaron Priest Literary Agency in 1993 as Director of Foreign Rights for Aaron Priest and began representing her own clients shortly thereafter. Her clients include Harlan Coben, Gregg Hurwitz, David McCloskey, Alex Finlay, B.J. Daniels, Glen Erik Hamilton, Rebecca Hardiman, Sandra Kitt, Ann Howard Creel, Gayle Lynds, Watt Key, Matt Beynon Rees, Aaron and Charlotte Elkins, Amanda Stevens, Anthony Franze, G.M. Ford, the estate of Madeleine L’Engle, and more. 

Prior to joining the agency, Lisa’s publishing career began at Random House, Inc. where she was selected as one of the first participants in their new Management Trainee program, after which she became an associate in the foreign rights department at Crown Publishers. Lisa was born and raised outside of Chicago, and she has a degree in English Literature from Northwestern University.

1) What stands out in a good submission?

A good submission is very clear and direct: the author has concisely and compellingly described the story they have written—the premise, the primary characters, the driving elements of the plot—and does so in a way that gives me a good sense of what the work is about (not only in terms of the plot, but thematically or emotionally as well) and leaves me eager to read more. I like a bit of the author’s personality to come through too, typically in the bio, which should also be brief. 

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

A big warning sign is the author saying in the query letter: “I know this needs work.”  Authors shouldn’t submit until they believe their work is the best it can be. Agents will likely find areas that can be improved anyway, but the author rewriting and polishing known problem spots could make the difference between an offer of representation and a pass. 

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

I’m most actively seeking out fiction, literary and commercial, especially works featuring female characters. Types of work include: propulsive, emotionally engaging suspense of all kinds; speculative fiction set in a recognizable near future; ghost or supernatural stories that go beyond chills and speak to current culture but are not graphically violent; observant, thoughtful fiction about families and friends, with fresh perspectives on modern relationships; narratives with a witty or lovingly humorous spin, including rom coms; diverse and unique narrative voices that speak to the human condition and the world today; underrepresented voices of all backgrounds and identities. 

4) How do you define narrative voice? And how does it impact your experience of a manuscript?

A distinctive narrative voice is one with a point of view.  It’s not just telling the story—it’s setting the tone, giving insight into the characters, and guiding the reader emotionally. A well-crafted voice can make the difference between my being fully engaged by a story or feeling just okay about that story (which would lead to a pass). 

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

I have no issue with prologues, though to succeed they need to serve a purpose and pack a punch. I’ve read many submissions with great prologues. The problem for me occurs when a taut, compelling prologue is followed by chapters that are less so.   

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

Publishing has always been a time-consuming business, in the sense that agents and editors take a lot of work home. But lately, it seems greater numbers of people on the editorial side are more overworked than ever. There’s a danger in too much work being handled by too few people—from simple mistakes being made to good people getting burned out. I’m skeptical AI is the answer to this problem—I still believe in the insightfulness and creativity of humans—but we’ll see how that evolves.  

7) How has technology changed your approach to agenting?

Digitizing tasks that years ago were all done physically has certainly streamlined how work is executed, from submissions, to contracts, editorial work, foreign deal-making, and more. Though fundamentally, my work as an agent and how I approach it have not changed.  

8) What red flags in a query letter are enough to cause you to pass on a project without looking at the writer's sample pages? What percentage of submissions would you say die with the query letter?

In addition to the warning sign mentioned previously, the author must be clear in expressing what their work is about. If the description itself isn’t tight, that’s a signal to me that the storytelling is likely to follow suit.  Another red flag is the query sent with “high importance”—indicating the author thinks their work is more deserving of attention than that of other authors. I pass on most queries, though I do tend to take a look at the sample pages, because I ask writers to include their first chapter with the query.  

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

Some recent favorites are Demon Copperhead by Barbara Kingsolver, The Heaven and Earth Grocery Store by James McBride, and Small Things Like These by Claire Keegan. Each tells a story through compelling and distinctive narrative voices; I felt immersed in the characters’ complex lives and was taken to settings that I was fascinated to explore.     

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

All my clients are exciting! I can’t pick just one.