Meet Literary Agent Sarah Fisk
- Chelsea Tornetto
- May 21
- 4 min read
Sarah Fisk is a literary agent at the Tobias Literary Agency, representing MG, YA, and most genre fiction and select nonfiction.
Sarah is a former mechanical engineer who made the switch to publishing in 2011. They have worked in the publishing industry as an editorial assistant, author’s assistant, publicist, and art director. Sarah is a former Pitch Wars mentor, board member, and Agent Liaison. They host the podcast Queries, Qualms, & Quirks and are one of the founding members of Disability in Publishing.
How did you get started in publishing, and what led you to become a literary agent?
My first role in publishing was as a reader for what is now a well-known, mid-size publisher. At the time it had just started and a writer friend of mine was one of the first authors to publish with them, so she connected me with her editor. I worked my way up to Publicity Director before parting ways.
I came to agenting via mentoring for Pitch Wars, which made me realize how much I love helping amazing authors succeed at the business side of things.
What does a typical day in your role look like?
There really are no typical days, but there's a lot of super glamorous stuff like sending 863 follow-up emails and eating a sandwich over the sink in between meetings. I'm also an event planner, so I don't have a typical 9-5 schedule. My tasks vary based on what's needed to support my clients on any given day. A lot of emails though.
This is the part where I get to reveal/remind that agents don't get paid to read queries or submissions. Taking care of clients takes priority, so reading submissions often takes a backseat because there are only so many hours in the day.
What do you wish more authors knew?
There is no magic quick tip someone can give you to writing a sellable book or guaranteed successful query. Learn the basics of the business, but reading widely (and critically) and intentionally leveling up your writing craft are the two keys to success. There is no shortcut for studying the craft, practicing the craft, and hard work. Most authors don't sell their first book for this reason - writing a book is a complex skill that takes time and effort to develop.
What makes a manuscript or query stand out to you?
For the query: compelling character with agency, interesting concept, and clear conflict and stakes. Specificity in all those things.
For the manuscript: voice and writing style that makes it clear the writer has thoughtfully considered their word and narrative choices.
Are there any themes, genres, or trends you’re especially drawn to—or tired of seeing?
Right now I'm really interested in authentic Southern and Appalachian settings, feminine rage, and anti-capitalist/fascist themes. The main thing I'm tired of seeing is queries that make the book sound like 100 other already-published books (see the note about specificity above).
What are the most common mistakes you see in queries?
Third time's the charm: a lack of specificity. This comes in the form of phrases like "Jane is just an ordinary girl," "Sam must make an impossible choice between what she wants and what she needs," and "or the world will never be the same again." A lot of query descriptions read more like genre definitions than the description of a certain book. My most common comment on query critiques is "be more specific."
How do you like to see comp titles used?
For me, they are most useful when they indicate a similar reader experience. I like to think of it as "if you enjoyed COMP TITLE, you'll enjoy my book." This often has more to do with tone, pacing, voice, themes, and sometimes structure than any very specific world-building or plot element. That being said, they should still usually be in the same age category and genre umbrella.
How important is a strong concept compared to the execution of the manuscript?
For the commercial end of fiction, which is where I work, this is like asking what's more important for a car to get you where you need to go: a functional engine or operational tires. If one doesn't work, it doesn't matter how shiny the other one is.
Abandoning that metaphor, I think the weaker one aspect is, the other needs to be that much stronger. And vice versa, to an extent: if one is particularly strong, you're given a tiny (teensy) bit of leeway on the other. But this doesn’t mean a writer should rely on one and ignore the other.
What’s your best piece of advice for writers just starting their querying journey?
Read (critically) in your genre and outside it, focusing on recent books. This is also writing advice, but important for querying as well.
Publishing involves a lot of rejection—what’s your advice for handling it and staying motivated?
When Jessica Lewis was on my podcast, Queries, Qualms, & Quirks, she shared this tip: establish an email address that you only use for querying and do not turn notifications on for it. This way you can check it only when you feel emotionally ready for it and not be ambushed by a random rejection popping onto your screen and ruining your day when you're having fun. Limit how often you check it, as well: once a day at the very most.
On the same podcast, I ask published authors "When you were in the lowest part of your journey, what kept you going and why did you stick to it?" A strong majority have answered with some form of writing community. Having other writers (whether online or in-person) you can celebrate and commiserate with is invaluable. It's important that this community is built around the principle of mutual support; a community that is built on negativity only brings everyone down.
Want to query Sarah Fisk?
Check out her website for details on her MSWL and submission guidelines.
