A masterclass with Susmita Bhattacharya
by Nash Colundalur
If completing a manuscript can be compared to a supernatural feat, where the forces that make it happen are vague, at times inhospitable and also magical, then introducing it to the broader world appears to be nothing short of treacherous. We are expected to surrender to the mysterious powers of the publishing world, wade through unknown entities and interact with unseen gatekeepers. Susmita Bhattacharya’s superb masterclass demystified everything about the industry and gave us valuable and precise tools with which to approach agents.
Susmita, an award-winning writer, creative writing tutor, and mentor, assured us that there are many ways of getting into what she calls the publishing game, and there isn’t one route to success. One of the aims of the masterclass was to demystify the cover letter, the elevator pitch, and the synopsis. As a case study, we looked at the submission requirements for The Good Literary Agency, which is based in London. The agency looks explicitly to represent underrepresented and diverse writers from the global south. Susmita urged us to look at the submission requirements for every agency carefully. The Good Literary Agency requires a cover letter, synopsis and the first three chapters or 30-40 pages of the manuscript, and notably for the manuscript to be complete. The pitch or cover letter needs to be no longer than an A4 page. It should start with an elevator pitch or outline, followed by a little biographical note, a few lines about why the writer would like to be represented by the agent and conclude with a few comparative titles.
Susmita was kind enough (and brave!) to share part of her own submissions package. Looking in detail at a live example, Susmita’s cover letter and the feedback she received from an agent, were extremely helpful and revealing. She encouraged us to do our homework about the agency and the agent before sending out the package. Are they the right agency? Is the agent the right person to understand our work and champion it? We, as writers, also have a choice.
We then looked at the synopsis. It’s essential to write it only when the book is complete. We are asked to keep it succinct, between 500-800 words, and include everything about the plot, including spoilers and the ending, in neutral and non- salesy language. Agents are interested in knowing if the whole story works and would like to be told of subplots, plot twists, and all reveals. The synopsis should include an elevator pitch – a quick, punchy set of statements that one can use to sell the book to a publisher, agent or reader. The salient points of the synopsis are to be immediately engaging, provide all relevant information, feel professional and open the door to further discussion. We are also asked to write a synopsis in such a way that it captures the genre and tone of the manuscript. We looked at examples of works by Michelle Zink and Tracy Gilpin.
We learnt about the publishing chain reaction – the writer’s position in the grand scheme of things. A writer sending out their work to an agent starts a chain reaction. The agent then sends it out to an acquiring editor, who sends it to a publisher. In turn, the publisher’s retail team sends it out to retail buyers, and the book finally ends up with readers.
We also looked at other ways to publish, including submitting to indie presses, competitions, getting short stories published, writing a blog, mentoring programmes with opportunities to get published and attending literary festivals. Susmita encouraged us to think outside the box. There’s nothing written in stone. Publication can be achieved in many ways. Her own example of going about it in a roundabout fashion, where writing a serialised blog got the attention of an agent and eventually a publishing deal, was inspiring and reassuring.
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