INTERVIEW WITH THE JOFFE BOOKS AND CHOC LIT COMMISSIONING EDITORS
Jasmine, Rachel, Kate and Becky (L-R), hard at work at the Joffe Books office in Shoreditch, central London
Write page-turning crime, the coziest of mysteries and extra twisty thrillers? Or irresistible romance, from historical to dark and sexy? You’re in the right place. Joffe Books, and their romance imprint Choc Lit, are actively looking for new writers to join their author family.
Now Rachel Slatter, Joffe Books’ brand-new Editorial Director, is settled in, I sat down with her and our other three acquiring editors – Joffe Books’ Publishing Director Kate Lyall Grant, Head of Choc Lit Becky Slorach and Choc Lit’s commissioning editor Jasmine Callaghan – to ask them all your burning submissions questions.
Read on for their top tips – and to find out how to become the next Joffe Books or Choc Lit bestselling author!
What do you look for in a new submission?
Kate: I’m looking for a really intriguing hook – a story that pulls me in from the first page. I want a strong narrative voice, highly readable prose style, and plenty of unexpected twists.
Jasmine: Yes! I want to be glued to the story from the first page — whether through an atmospheric historical setting, a character I immediately root for, an irresistible hero or a tantalising mystery — because, in such an increasingly saturated and competitive market, that’s what readers want, too, so I need to be compelled to turn the pages.
Becky: I’d agree. I’m always looking for stories with captivating hooks and unique, but relatable, protagonists. A book that I know, if I wasn’t editing it, I would be buying it as a reader. I want books that have believable and satisfying romance arcs, and a strong narrative voice . . . and chemistry between the characters! (That is non-negotiable!)
Rachel: What they said! But I’ll add some practical advice. The first thing I see when I open up your submission is your cover email. Here, I’m looking for the basics: the genre of your novel, a short pitch that gives me the essence of your story and hooks me in, two or three recently published books you would compare it to, and a few sentences about yourself.
At the heart of it, I’m looking for a well-written book – or series! – with a great premise, characters I want to spend time with, and a great plot. But it needs to fit with what I’m currently acquiring. So a submission package that clearly shows you’ve done your research, you know your book is the kind of thing we’re currently publishing (and the kind of thing that’s currently hitting the Amazon Kindle bestseller charts), and what the ‘hook’ of your story is, will help you put your best foot forwards.
You can read more about what’s on my current #manuscriptwishlist here, or check out my profile on Publishers Marketplace.
What makes a book stand out from the hundreds you read?
Becky: The hook! That ‘something special’ that’s different to other books on the market. Whether it be a new angle on a genre or a unique twist on a trope or character. Books that stand out are those that make me sit up and want to keep reading.
Kate: As above. It’s that ideal combination of great writing and a really clear and original hook. If it’s something I can pitch to the team in one sentence, and watch their eyes light up, I know we’re onto a winner!
Rachel: If your cover email suggests your book is the kind of thing I’m looking to acquire, I’ll read the first few chapters. So don’t waste time with backstory and daily routines. Hook me in – make me keep reading! I’m always looking for a reason to acquire a book (particularly right now as I’m new to Joffe Books and I’m building my author list) so make it easy for me by making it impossible to put the book down. A good rule of thumb is that if you’re writing a murder mystery, the murder should happen within the first three chapters. And it’s always worth taking a look at your book with a fresh eye and thinking: does my story really start in chapter one? Or does the action kick off in chapter four (and are the previous chapters backstory that can be cut, and weaved in later?)
Jasmine: At the risk of sounding like a broken record . . . a book stands out if it has a strong, unique hook! If you can’t sum up your book in a sentence or two, the chances are it needs some work. And the most memorable books come from authors who put their heart into the writing and offer something distinctive that only they can give.
How important is genre fit for Choc Lit and Joffe Books?
Kate: Very! We’re passionate about commercial fiction that readers can’t put down – whether it’s crime, thrillers, cosy mysteries, police procedurals, romance. If you understand your genre, and your audience, that’s a huge plus.
Rachel: It’s so important that your book fits within a clear genre. Joffe Books publishes highly commercial fiction, and our readers know exactly what they like – and they want more of the same kind of books they enjoy, but with fresh, original takes on much-loved tropes and plots.
For psychological thrillers, give me marriages with seemingly perfect husbands, unreliable narrators, twins, missing children, and suspicious nannies – I want them all, just with a great, never been seen before twist. For police procedurals and cosy mysteries, give me wonderful characters, close-knit villages, rural communities and seaside towns in the UK and US that fulfil my need to armchair travel, and throw in a ton of red herrings to keep me guessing until the end. A cosy mystery where the amateur sleuth doesn’t solve the case might be a well-written book, but it won’t meet expectations for the genre – and won’t go down well with readers.
Becky: Romance has one of the most engaged and expectation-driven readerships and it is crucial that we cater to our readers’ needs. At Choc Lit we publish in a wide variety of romance genres so it’s key that when submitting to us, authors know the genre they are writing (plus tropes!).
Jasmine: Genre fit is essential. In historical fiction specifically, readers look for stories that align with the specific subgenres they enjoy, whether it’s WW2 sagas, historical romance or historical mystery. If you understand your genre and your target readership, you’ll be able to ensure that your book will resonate with the right audience, which allows you to tap into established expectations while also offering your unique take.
What advice would you give to authors submitting their work?
Kate: Do your research. Read our books, see what kind of stories we publish, and tailor your pitch accordingly. Read the submissions advice on our website, and follow the guidelines accordingly.
Becky: Always read the submission guidelines, but also do your research in the area you are writing, and know your comps. Be true to your work but when describing your book, don’t tell me something the book is not – I will know! Finally, make sure the manuscript is the best it can be. But remember it will go through editorial development so don’t be afraid of change.
Jasmine: Ensure your submission is polished and ready for an editor to read — first impressions matter! Don’t just summarise the plot in your email, show us what makes your book unique. And finally, make sure you’ve researched the publisher you’re submitting to. If they are a romance fiction publisher, your non-fiction or poetry, no matter how great, likely won’t be the right fit!
Rachel: One of the best things you can do if you’re looking to be published by us is to read, read, read in the genre you’re writing in. (I recommend a cup of tea and a packet of biscuits – cookies, for you US writers – while you do so!) It’s the best way to get to know what readers enjoy (and what they don’t), and I personally think the best books are written by authors who have a real passion for what they’re writing.
I’d also urge you to keep your chin up, and if you don’t get an offer this time, keep writing – and try again. I’m actively looking for new authors, as well as established authors. And don’t forget I’m looking for previously published books as well as new books – the Joffe Books motto is that there’s no such thing as backlist, just a great book you haven’t read yet. So if you have your rights back from your publisher, or you have a great self-published series you want to take to the next level in terms of sales, go right ahead and submit.
What’s your favourite part of working with authors?
Rachel: Working with authors is one of my favourite parts of the job, full stop. I enjoy so much about my job, and publishing is such a lovely industry to work in, but as a lifelong passionate reader, it’s just beyond wonderful to get the chance to help my authors turn their drafts into polished books – and send them out into the world.
Nothing makes me happier than seeing readers falling in love with a book the way I have (other than, perhaps, knowing my author’s been sent a really healthy royalty statement!). I’ve worked with authors from their 20s to their 90s, diverse authors, men, women, and writers with modest but loyal followings to New York Times and Sunday Times bestsellers, and (shhh, don’t tell anyone) I think crime, mystery and thriller authors really are the nicest people you’re likely to meet.
Jasmine: My favourite part of the process is collaborating with my authors and building a strong working relationship. Many unpublished writers may imagine an editor swooping in and making demands for changes, but in reality, a great editor ensures a true partnership. There's nothing more rewarding than working together to resolve a tricky plot point or polish a manuscript into something that truly shines.
Becky: The collaboration. An editor/author relationship is built on trust and understanding. All unpublished books will go through editorial development and mutual respect of each other is critical when doing this. I love this collaboration and watching as the book goes through all editorial processes to find itself in the hands of a reader.
Kate: Seeing a book through the process from manuscript to bestseller; helping authors make their book the best it can be, through thoughtful and sympathetic editing – and watching readers fall in love with the book.
And finally, what’s one book that changed the way you think about editing?
Kate: One book that really brought home to me what power an editor has to change an author’s career was THE CRUCIFIX KILLER by Chris Carter. It was a fantastic debut thriller, but at the end of the book, the author killed off his detective, Robert Hunter. As his editor, I persuaded him not to do that: 13 Robert Hunter thrillers and numerous No.1 bestsellers later, I reckon I made the right call!
Becky: No one book I have worked on has been more influential than others, they are all unique and a wonderful part of my job. However, books like The Song of Achilles have had a huge impact on me, as they show the importance of minor details and phrasing in an author’s writing that makes a book distinctive. So when I edit I am always looking for those words and lines from the protagonist that make me smile (or cry!)
Jasmine: Honestly, I couldn’t name just one — my approach to editing is constantly changing and evolving. Every project teaches me something new, whether it’s a single, perfectly crafted sentence that stays with me, or the constantly shifting trends of the romance market that challenge how stories are told and received.
Rachel: Early in my career, I was given an author to work with who was new to me, and she turned out to be highly sensitive. I inadvertently upset her with a handful of suggested changes to punctuation. This was an important lesson to me that creativity sometimes means breaking the rules – and it also taught me the value of picking up the phone (or having an online video call, these days!). It wasn’t about who was right and who was wrong; it was about an author needing to be heard – and me being ready to listen. We went on to have a very happy working relationship, with many long personal conversations!
But I’ve never forgotten that behind every first draft is an author, who’s often sharing something very personal with me – and how privileged I am to get to work with books in their early stages. I’ve helped authors with huge structural changes, from adding words to cutting tens of thousands, and my advice has led to fundamental changes in plot, including the identity of the killer. But I always see my suggestions as exactly that – suggestions. I never want my authors to feel pressured to make changes they’re not happy with. Editing is a conversation, and at the end of the day the author is the expert on their own book – I’m just there to help them make it the absolute best it can be.
We hope that this interview has given you an insight into our acquiring editors and what they’re looking for – and will inspire you to submit!
You can find our submissions guidelines, and how to submit, on our websites here:
Joffe Books – https://joffebooks.com/submissions
Choc Lit – https://www.choc-lit.com/submissions