Paige Terlip ’18MA/MFA — now a literary agent at Andrea Brown Literary Agency — read widely as a kid. But after suffering a back injury in high school, books became “a lifeline.”
“I was on bedrest for over six months during my junior year,” says Terlip. “Books offered adventures and magic, an alternate world I could live in while I was in pain and not in school with my friends. They offered an escape, but they also allowed me to see how other people experience life. Those books shaped who I am.”
It was through the acknowledgements in a young adult novel that she first learned about the Masters in Children’s Literature and Writing for Children at Simmons. “I was an undergrad, rereading Graceling for the third or fourth time,” she recalls. “Author Kristin Cashore ’03MA mentioned Simmons in her Author’s Note. That made me look into what the program would entail.”
While first eager to experience what life was like in the workforce, a few years after graduation she received a flier from Simmons in the mail. “I wasn’t actively pursuing a graduate degree at the time, but it felt like the universe was telling me to circle back. Simmons spoke to me, specifically the dual degree in Children's Literature and Writing for Children. I got to learn about writing and craft while also improving my grasp of critical theory and learning about the history of the marketplace.”
Terlip has fond memories of living in Boston at that time, including stellar opportunities to gain experience in the field. “I had so much more access to internships in the publishing world, from prestigious children’s book presses.” During her studies, Terlip had remote internships and assistant jobs with literary agencies, and on-site internships at Candlewick Press, located in Somerville, followed by an internship at Charlesbridge in Watertown, which segued into a freelance position.
Highs and Lows of a Literary Agent
Now, Terlip has built her list as an agent, shepherding children’s, young adult, and adult projects through the publishing process. “Right now, I’m growing the older side of my list, looking for young adult and adult projects.” When Terlip reads query letters [a letter that writers send to agents to entice them to review their work] and sample pages, she tends to read most closely for character and voice. “What keeps me connected [to the project] is a bond with the characters,” she says. “I need to care about their emotional arcs. The voice, the way you tell the story adds another layer to the characterization.” She notes that while many books follow similar plot structures — the hero’s journey or a beat sheet, for example — the voice and characterization can be something that sets them apart. “That connection to character and voice is incredibly subjective,” Terlip adds. “Just because it doesn’t resonate with me, doesn’t necessarily reflect on the quality of the work.”
While rejecting queries is her least favorite part of the job, Terlip has experienced her share of highs as well. “I love offering [representation] to a client, especially a client with a debut book.” She notes a recent project that arrived in her query box needing revisions. “It wasn’t this perfectly polished thing. I sat on it for a while. I knew it needed some work, but I couldn’t stop thinking about it. I had to make sure I was ready to invest the time and effort.”
“We had a great phone call about the book, and my editorial suggestions resonated with her.” The writer “dug deep” into rounds of revisions, which impressed Terlip. When the book was ready, Terlip sent it to publishers for consideration. It eventually sold at auction. Since then, the book, Immortal Dark by Tigest Girma (Little, Brown Books for Young Readers, 2024) hit number one on the New York Times young adult bestseller list. “[Tigest] did fantastic work,” says Terlip. “It was so fun to see her creativity throughout the revision process.”
How Simmons Prepared her for a Career as a Literary Agent
Agenting isn’t without challenges, but Terlip wouldn’t have it any other way.
“I love that the work is so varied — no two days look the same. One day I’m putting out fires, negotiating contracts, the next I’m focused on editorial work. It’s exciting and stressful, and I wouldn’t change it. My skill set is well-suited for this profession.”
The MA/MFA program at Simmons helped Terlip develop that skill set in many ways. “First, you read so much, and so widely. It forced me to read quickly, absorb and process information quickly. All of that is essential for being an agent,” notes Terlip. “A project may have an offer already, and you have to read it along with all of your other projects that week.”
The focus on critical theory embedded within the Simmons program bolstered Terlip’s interpretive and editorial stance. “I can assess books through different lenses, different ways in which an author tells a story,” she says. “I can have a deconstructive moment, looking at a plot point through queer theory, or another interesting literary angle. It’s definitely boosted my awareness of what makes a book sing. The type of book that makes me think, I could write a paper on this book. There are so many interesting layers here, I could read it six more times and still find new things.”
The dual degree, Terlip says, “gave me another level of understanding the craft of storytelling. It forced me to take classes outside of my comfort zone and stretched me more as a writer. It laid a great foundation for my career.” While she may have doubted the necessity of reading, for example, insights from French historian and philosopher Michel Foucault to deconstruct children’s literature, she now reaps the benefits of critical theory in her work as a literary agent. “[Critical theory] just lives, rent free, in my brain,” she says. “It makes me insufferable at book clubs.”
Simmons Connections in Publishing
Simmons’ reputation is noteworthy among the local publishing industry. “When I was applying to internships and building my career in publishing, it was really helpful to have Simmons as a part of my resume,” says Terlip. “The publishing houses and agencies valued that I was getting a strong education.”
Terlip regularly runs into other Simmons alumnae/i in the publishing industry. “It’s fun to have that connection,” she says. “Publishing is such a relationship-based industry, especially as an agent. If I have to call an editor, it’s a fun icebreaker if I haven’t met them before.” She shared fond memories of Adjunct Anita Silvey’s History of Children's Book Publishing course (CHL 421) with her colleagues. One of her clients, Ally Russell ’15MFA, celebrated the release of her debut novel this year.
As for students and recent graduates trying to find their place in publishing, Terlip advises, “don’t be afraid to send that first email. Publishing jobs [and internships] aren’t always posted on job boards.” Terlip landed her initial publishing gigs by sending “feeler” emails with her resume attached and a kind request to be kept on file if a position opened up. When she sent an updated resume to one of those potential employers, the timing was right, and she was called in for an interview.
“People worry that they will be bothering agents, but if you are respectful, what’s the worst thing that can happen? Some of this is luck and timing, but you have to put yourself out there.” Terlip encourages people to follow up to make sure that, once an informational interview is offered, that it is scheduled. “Agents are very busy. You want to make it as easy as possible for them to offer you a job. Don’t bombard them, but a friendly nudge is appreciated. That self-motivation and persistence are things that I look for in a potential assistant.”