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Note: For the most up-to-date information on Erin’s submission status, interests, and availability, visit https://erincaseywestin.com.

Episode Summary

In this episode of Writers With Wrinkles, Beth McMullen and Lisa Schmid talk with Erin Casey Westin, associate agent at Galt & Zacker Literary Agency, about the current kidlit market and how agents evaluate queries and manuscripts. Aspiring authors will gain insight into writing stronger query letters, understanding agent decision-making, and knowing when a manuscript is truly ready to submit.

Guest Bio

Erin Casey Westin is an associate agent at Galt & Zacker Literary Agency, where she represents children’s literature. She is especially drawn to projects with strong voice, vivid worldbuilding, and authentic, thoughtful representation. Erin is passionate about stories that allow every child to see themselves reflected on the page. She is based in Minneapolis, Minnesota.

Key Discussion Points

• The state of the kidlit market
  Erin shares what she’s hearing from editors, including cautious optimism around middle grade and continued demand for humorous, character-driven picture books.
• How sales track records affect authors
  Why prior sales aren’t everything, how agents strategize around them, and when switching publishing houses can make sense.
• What makes a query letter stand out
  Clear, specific stakes; strong voice; and careful attention to submission guidelines—plus why vague, high-level stakes often fall flat.
• Common query mistakes to avoid
  Writing queries in first person as the character, misquoting agents, careless personalization, and over-reliance on AI-generated text.
• How Erin evaluates manuscripts
  The step-by-step mental checklist: polish, voice, character connection, plot and pacing, and whether the story sustains momentum beyond the opening pages.
• When a manuscript isn’t ready yet
  Why rushing to query out of frustration can hurt your chances, and when putting a book away for a few months can actually help.
• What Erin wants to see more of
  Middle grade and YA survival stories—especially fresh, modern takes featuring underrepresented protagonists.

Conclusion

This episode reminds writers that strong queries and manuscripts are built on clarity, specificity, and patience. Erin Casey Westin offers a transparent look at how agents read, evaluate, and decide—helping authors approach querying with more confidence and intention.

Links & Resources

• Erin Casey Westin: https://erincaseywestin.com
• Galt & Zacker Literary Agency: https://www.galltzacker.com/
• QueryTracker: https://querytracker.net

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In this bonus season-finale episode of Writers With Wrinkles, Beth McMullen and Lisa Schmid reflect on the end of the season, share a behind-the-scenes podcasting mishap, and dive into a First Pages critique of a cozy fantasy submission, The Village Mage. Along the way, they discuss why first pages are so hard to get right, how too much backstory can stall momentum, and what cozy fantasy readers expect from the very first paragraph.

What We Cover in This Episode

A Season Wrap-Up

• Why this season felt especially long (emotionally and creatively)
• The surprising reach of the podcast, including international listeners
• Why listener messages matter more than download numbers

Behind the Scenes of Podcasting

• A funny (and harmless) upload glitch
• Why multitasking and podcast production don’t always mix
• A reminder that mistakes happen—and they’re fixable

First Pages Critique: The Village Mage

• Why the tea shop setting immediately signals “cozy”
• What works well in the opening voice and atmosphere
• Where the opening leans too heavily on setting and backstory
• Why character emotion needs to come before worldbuilding
• How early signals of magic shape reader expectations
• The importance of “showing” magic instead of naming it outright

First Page Takeaways for Writers

• Less is more on page one
• Avoid stacking backstory and description in large blocks
• Establish genre expectations immediately
• Use specific, character-centered details instead of generic atmosphere
• Trust the reader—don’t explain everything up front
• Consider whether your story actually starts later than you think

A Common Revision Reality

• Why first chapters are often written as “thinking-through” pages
• How hard it is to cut beloved early material
• Why cutting doesn’t mean deleting—just relocating

Key Writing Advice from Beth & Lisa

• Your first page should hook, not explain
• Genre cues matter—especially in fantasy
• Pacing is created through balance: dialogue, action, and selective detail
• If readers don’t know why they should care about the character yet, they won’t care about the world

What’s Coming Next

• A brand-new season with exciting guest interviews
• More First Pages bonus episodes
• Kicking off the new season with literary agent Erin Casey Westin

Have first pages you’d like feedback on?

Visit the Writers With Wrinkles website and submit your opening pages for a chance to be featured in a future episode.

Thank you for listening, sharing, and sticking with us this season. We’ll see you in the new year—until then, happy reading, writing, and listening.

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Query letters make even experienced writers panic—and for good reason. In this special Ask Beth & Lisa episode, we’re joined by author and educator Deborah Crossland for a deep, practical conversation about how to write a strong, effective query letter as we head into the 2026 querying season. Deborah breaks down what query letters are actually for, what agents want to see (and don’t), and how writers can avoid the most common—and most damaging—mistakes.

This episode is packed with actionable advice, mindset shifts, and real-world examples from the querying trenches.

About Our Guest

Deborah Crossland teaches English and mythology at a community college and writes myth-based contemporary YA novels with a feminist lens. Her novel The Quiet Part Out Loud was published in 2023, with the paperback released in 2024. She lives in Northern California and is passionate about making education accessible to all.

Key Topics & Takeaways

What a Query Letter Is (and Isn’t)

• The sole purpose of a query letter is to get an agent to request pages—not to sell the book or explain the entire plot.
• Think invitation, not explanation.

The Anatomy of a Strong Query

• A compelling hook (often 1–2 sentences)
• A focused pitch centered on external stakes
• Brief book details (genre, word count, comps)
• A short, professional author bio

External Stakes Matter More Than You Think

• Writers often lean too hard on internal stakes; agents need to see what’s happening.
• External conflict is what differentiates your book in a crowded field.
• If an agent can’t picture the story visually, the query isn’t doing its job.

Pitch vs. Synopsis

• The query pitch should not include spoilers or the ending.
• The synopsis is where you explain the full story, including how it ends.
• Mixing these up is one of the most common querying mistakes.

How to Personalize Without Being Cringey

• Reference an agent’s manuscript wish list, not their personal life.
• Keep personalization professional, brief, and relevant.
• Treat it like a business introduction—not a social interaction.

Query Etiquette (and Red Flags)

• Always submit queries exactly how the agent requests.
• Never DM agents or email around Query Manager.
• Don’t announce querying rounds or submissions on social media.
• Avoid pitching your unpublished book publicly on Instagram, TikTok, or X.

Author Bios for Debut Writers

• It’s perfectly acceptable to say, “This is my first novel.”
• Writing credentials are optional; strong pages matter more.
• Publishing loves debuts—lack of experience is not a liability.

Series Talk: Less Is More

• Don’t pitch a multi-book series as a debut.
• “Standalone with series potential” is sufficient.

Length & Clarity

• Queries should be concise and tightly written.
• Every word must earn its place.
• If you can’t summarize your story clearly, you may not be ready to query.

Hooks, Loglines, and Netflix Thinking

• Think in terms of loglines or streaming-style descriptions.
• If you can’t explain your story in one sharp sentence, that’s a sign to step back.

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