Literary Agent and Industry Veteran Erin Niumata on the Future of Women's Fiction
The Folio Literary Management Senior Vice President discusses pitching women’s fiction, female midlife protagonists, quiet stories, and what she’s currently hoping to acquire
I’m so delighted that I had the opportunity to interview literary agent Erin Niumata this week! Not only does she have three decades of experience in the publishing industry, but she’s also been working on a doctorate dissertation on women’s fiction and women in the publishing industry. Can you just imagine how my bookish inner data nerd is fangirling right now?!
Erin is brimming with industry knowledge and brilliant insights on the state of women’s fiction and where it’s headed, so if you’re planning to query your women’s fiction manuscript any time in the near future, then you really should follow her here on Substack.
Here’s more you should know about Erin…
Erin Niumata has been a Senior Vice President at Folio Literary Management since 2006. She also worked in the editorial departments of Simon and Schuster, HarperCollins and was editorial director of Avalon Books (now a division of Amazon Publishing). She has edited many authors including Leon Uris, Stuart Woods, Erica Jong, Joan Rivers, and more. She has represented many bestselling authors including New York Time bestselling women’s fiction author Carolyn Brown; humorist and New York Times bestseller Jen Lancaster; humorist and New York Times bestselling author Jen Mann; activist Tyler Merritt; humorist Anna Lind Thomas; women’s fiction authors Lex Erath and Julie Hatcher and too many more to list them all. Erin also has a master’s degree in Creative Writing and is completing her doctorate with a focus on the publishing industry.
So, yeah…she’s kind of a big deal. Let’s dive in!
Heather Garbo: You’ve been working in the publishing industry for more than three decades and have a strong focus on women’s fiction. How have you seen it change throughout the years?
Erin Niumata: This is something I will be addressing in my Substack over the next few months. Women’s fiction was not a genre when I started in the mid-nineties. The evolution of women’s stories both fiction and nonfiction have changed dramatically. The focus has moved away from just ‘gender’ and expectation but real portrayals of women, their journeys, struggles, dreams and goals.
There’s been a lot of chatter about agents not pitching manuscripts as women’s fiction these days, but rather positioning them as book club fiction or upmarket. Yet we’re still seeing books categorized as women’s fiction (and there are no BISAC codes for upmarket or book club). You were one of the agents interviewed in Jane’s Friedman’s newsletter on this topic. Can you share more about your experience with this? Does this mean that agents simply aren’t positioning manuscripts as women’s fiction but publishers are still publishing them? What is the reason behind not pitching them as women’s fiction?
I can’t speak for all agents, but for me it depends to whom I’m pitching the book. I have a boiler pitch letter for each project, but I can change it depending on who the editor is and my relationship with them. If I know it’s an editor/publisher who prefers book club, I’ll pitch it as that. If they are open to women’s fiction, I’ll pitch it as that. The details are in the sub-genres: upmarket commercial, literary, commercial, romance, romantasy, thriller, etc.; and the actual story, the hook, the voice, and the writing. And then there are the comps. They help to position it in the market and let the editor know what it’s all about.
What do you see as current or future trends in women’s fiction (aside from perhaps no longer calling it women’s fiction!)?
Romantasy is the rage. Femgore is big. Vampires are back (who knew?). Trends come and go, what’s best to focus on is the uniqueness of the story, the high concept, the writing and the execution. If a book is well done, trends do not matter. I don’t encourage writing toward a trend, create one instead.
We’ve been hearing that the market is not looking for “quiet stories” these days. Do you agree with that? What are quiet stories and why do you think that is? What would you advise a writer whose story could be called quiet?
To me ‘quiet stories’ are award winners like Bel Canto by Ann Patchett or The Remains of the Day by Kazuo Ishiguro or The Girls’ Guide to Hunting and Fishing by Melissa Bank. They are poignant slow burners that make you think. I personally love them. I have a client, Sarah Blaydes, who writes quiet books, beautiful historical dual timeline books that sell well and are a joy to read. They CAN be done. But they have to be well written!
There has been a huge shift in the cultural narrative around women in midlife. There are tons of podcasts on perimenopause and so many Substacks on midlife. We even see some female celebrities publicly embracing it. Do you think the publishing industry is or will follow suit?
They already are. On a recent Simon and Schuster Town Hall for agents, they announced they were looking for women’s health in nonfiction (except menopause because it is everywhere now). For fiction, I’m seeing more and more older women’s stories being told. All Fours by Miranda July started a revolution of sorts! Sandwich by Catherine Newman, The Change by Kirsten Miller, Olive Kitteridge by Elizabeth Strout, and How Stella Got her Groove Back by Terry McMillan all featured middle-age women and their stories. All of them are terrific. We need more, that’s for certain!
I know you’re working on your dissertation on women in publishing and women’s fiction. Were there any surprises in your research? Anything in the research that excites you?
I am. It has been a fascinating dive into the history of women in publishing and the rise of women’s fiction as a genre. The thing that surprised me the most is how many women are opposed to having the title women’s fiction as a genre. Some think there should not be any gender-specific genres. It’s a fair argument. I believe there is room for everyone. What excites me is the future of women and writing. Things have changed in the four years I’ve been working on my dissertation, I can’t wait to see what is next for women writers and their stories.
What advice do you have for newly querying writers?
Be prepared. I have a series on getting ready to submit on my Substack now that goes through the checklists of knowing when you are truly ready. Do your homework, finish the manuscript and polish it BEFORE you start querying, get ready to wait, get ready for rejection, and know this is a business.
What about writers who have been querying for a while and aren’t having luck?
This is a tough one. Keep going. Winston Churchill said, “When you’re going through hell, keep going.” I believe that. Do your homework, target the right agents, polish that pitch and the manuscript. Workshop your manuscript. Go to conferences, workshops, etc. This is a career, it’s serious business. You have to do the work to be successful.
What would you personally love to acquire right now?
I’m all about women’s journeys. Dare I say women’s fiction? Personally, right now I’m reading a lot of thrillers and mysteries. But I love speculative fiction. I love strong female protagonists who are ready to take charge of their lives. Whether they are out for revenge, getting over someone, finding a new path in life, whatever the case — I’m in. In March 2026 a book I am in love with and represent, The Plans I Have for You by Lai Sanders, is coming out. It includes light fabulist horror, a complex queer relationship, and — above all — feminine rage. It’s fantastic. More of this please!
You recently launched a Substack, Erin’s Third Act. What will readers find there?
A hodgepodge of things. I’m just getting started. Right now, I’m focusing on my research and publishing. But I have plans for my Substack that will include more information on ‘behind the scenes’ in publishing; my personal journey; giveaways of books; query letter critiques as well as the occasional partial manuscript critique to subscribers; Q&A and Agent sessions; some of the lectures on writing and the industry (I guest lecture at universities on occasion); and much more. I’ll also be doing book recommendations, what’s on my nightstand, my thoughts on the industry and more.
Is there anything else you want to share with Substack readers?
I’m delighted to be here. I hope what I have to say is helpful and interesting! Let me know if you want to know anything.
You can find Erin Niumata writing on her newly launched Substack, Erin’s Third Act or connect with her on Bluesky or Instagram. Erin is currently closed to submissions so she can review those she’s already received, and will be re-opening to submissions in late July/early August. You can find more details about what she is looking for on her agent page or on QueryTracker.
Like this post? You might also be interested in:
Should You Stop Pitching Your Manuscript as Women’s Fiction?
10 Insights I Learned from Analyzing the 2024 Women’s Fiction Debuts
25 New Women’s Fiction Books with Midlife Protagonists
Heather Garbo is a book coach, editor and writer with a background in communications, book publishing, and nonprofit work. Heather specializes in working with women’s fiction writers who are discovering (or rediscovering) their writing voice in midlife. Find her at www.garbobookcoaching.com.
Note: This post contains affiliate links, which means if you purchase a book by clicking on that link, I may earn a small commission.
Heather, as always you’re right on the money for helping us writers, especially women’s fiction! Thanks for this interview with Erin. So much to unpack!
Erin is overflowing with knowledge and expertise. Great interview - really enjoyed reading this!