Dara Hyde loves books. After a decade as an editor and rights and permissions manager at the independent publisher Grove Atlantic in New York, Hyde moved to Los Angeles to become an agent at Hill Nadell. Hyde represents a wide range of fiction and nonfiction, including young adult, genre fiction, graphic novels, narrative nonfiction, and memoir.
In February 2017, I interviewed Dara over the phone in a conversation that went by in the blink of an eye. Her knowledge and interest in her work is palpable, and her answers reflect her experience and investment in quality work. She’s motivated to make sure everyone who wants to write understands what it takes to get a literary agent, because that’s what’s best for publishing.
That’s largely what we talked about, with a little bit of politics and its impact on writing and literature mixed in. When we finished talking, I had a much better idea of what it takes to get a literary agent. I mentioned this to Dara and she said, “That’s the whole idea!”
Emma Margraf: For my first question, I thought I would start out basic and ask you to tell me about your daily life as a literary agent. I don’t think that a lot of folks really know what your life is like.
Dara Hyde: I agree: a lot of it seems shrouded in mystery. One of the things that I actually love about my day as a literary agent is that it is never the same. Even days where I think, “This is what my day is going to be,” things can come up and change. Maybe the easiest way is to say what I have to do today… because it is all over the place. Today I had a deal announcement that was reported in the Hollywood Reporter. It was a big, fun exclusive, so I was monitoring that. I have a call later with a client, to go over a contract, which we have some issues with. I’m also going to be talking to a client [about] retooling a book that we sent out and didn’t get the responses we wanted from a couple editors; we are going to pull the manuscript back, retool it, and send it out again. I’m discussing with an editor [regarding] which one of us has a better relationship with a big-time author, to ask for a blurb for a book that’s coming out. I have a book that’s on deadline to go into production, so I have a call into the editor to make sure that’s going okay. I have to prepare an update for our foreign co-agents, [to] help us sell translation rights on a book that’s getting a lot of really good reviews, so that they can help finish getting foreign deals for that book. I have clients who are headed to Los Angeles to do meetings with film studios about a show for their book, and they are really nervous—I am going to talk them through that. I have to chase a few publishers who are late on their royalty reports.
None of those things involve me reading, even though that’s one of the biggest parts of my job—that all comes later in the evening, or on the weekends. Some days I take a reading day, when I know I am going to get through a bunch of stuff. Because during the day—even though it’s so much a part of my job, [reading] gets pushed down sometimes, especially on submissions, [in favor of] all the books that I already have deals for or are in process. I get help. I have an assistant who helps me read. We get so many submissions. I definitely need help on that. From there, [I] look at the ones that come in with promise.
Agents are involved with their clients throughout the entire process. From getting the book ready to submit to publishers, to negotiating the deal, to making sure the book goes through production correctly, and then also helping them exploit all of the sub-rights that go along with a book—whether that’s film and TV, or merchandising or foreign rights—we help with every stage of it. After all that, making sure they get paid correctly and all of that.
EM: What are your primary goals and objectives? Reading, or helping the author through the process?
DH: Being an ally for the writer throughout the entire process and getting deals, that’s our main thing. I don’t get paid unless I can secure a deal for my client. A lot of our focus is “which books are the most ready to go out,” and pushing to make sure that those deals happen. Then from there, you need to make sure that the publisher is doing what they need to do, and that the writer knows what they need to do, and that everyone is comfortable. You do spend some time being an intermediary and helping communications.
Let’s say a cover comes from the publisher (and they usually give you a few examples), and they say, “These are the three covers we think are the best.” They want the writer and the agent to buy in and agree—but sometimes you have to negotiate. What if you love the cover and the author hates it? Or the publisher and the author disagree on which cover is the best? There are a lot of discussions like that. It’s making sure the entire process works well so it’s a great experience for everyone.
There’s also researching new editors I may not know, or keeping track of who has moved from one publishing house to another, or if somebody has a new publishing initiative. There is research that goes on in the background all the time. On any given day, the focus may be different depending on what the client needs that day.
EM: Do you have authors or genres that you are particularly interested in representing?
DH: I have a really diverse list. It seems eclectic—except that it’s all stuff that I love. I worked in a publishing house for years before I became an agent. I worked at Grove Atlantic, which has an amazing list, but it’s a little narrow. They don’t do graphic novels that often, or children’s books, or genre-heavy books. When I became an agent, what was exciting for me was that I could be a generalist. If I think something is really great—if I know how to sell it and I have a vision for it—I take that client on. That’s allowed me to have a really diverse list. I represent graphic novels. I represent fiction. I represent nonfiction. I have lots of experience with literary fiction, so my list is probably heaviest with literary fiction. But I’ve noticed that my tastes tend towards something [with] a genre twist. I love lots of different types of genre, whether that’s thrillers or some supernatural or fantasy elements. I’m not someone who would do just straight fantasy, because it doesn’t appeal to me quite as much. I don’t have quite the same vision for it. I do say no to strong projects when I think, “I really don’t know how to do this.” The agency represents so much but I don’t necessarily have experience, say, in cookbooks. I wouldn’t be the best advocate for that. But Bonnie [Nadell], the other agent in the office, does. She’s great with them and she knows exactly how to shape them. I’m limited to my own expertise. I do some YA and graphic novels, but the much younger children’s books are not my area of expertise, either.
Every agent is looking for something fresh, something with strong language and, also, really readable. It’s always exciting when you find something new like that, whether it comes from recommendations, or from the slush pile. Something smart and unique, that makes that writer the writer to tell that story. Whether it’s fiction or nonfiction, there has to be this vital need to tell that story.
EM: Graphic novels are among the top sellers right now. I’ve noticed a lot of market stories about them. Is there something in particular that draws you to that particular genre?
DH: I’ve liked graphic novels for a long time. My husband (in full disclosure), worked at Random House and then DC Comics for years and years. Even before that, he educated me on the comics medium, way back in college. When something really great would come along, he would pass it to me. He knows my reading taste. I started to understand the medium much more. He has his own PR firm where he does publicity for comic book creators and writers. When I became an agent, I knew some people who already worked in the graphic novel world and they were like, “I need an agent.” There had already been some relationships started. From there it just grew.
I have to navigate when somebody sends me something: one, do I love it; two, do I actually think that it fits in the marketplace right now, and do I know where it can go.
In the comic-book world, when somebody works for one of the really big publishers like DC or Marvel, a lot of that is work-for-hire. That’s working on the [publisher’s] own intellectual property, which doesn’t necessarily have an agent attached. But when somebody creates their own material, where they’re making up their own characters and stories—that’s where the agent often comes in. That’s the stuff I represent. It usually goes to independent publishers, sometimes a graphic novel imprint within a much bigger book publisher, or sometimes a publisher that just does comics and graphic novels. I have to navigate when somebody sends me something: one, do I love it; two, do I actually think that it fits in the marketplace right now, and do I know where it can go. The graphic novel marketplace is quite different; a lot of the different publishers have very different ways of doing business. It’s a different model because of the way they structure their business. One of the most exciting things for me is to see how many bookstores are carrying graphic novels and how much it’s going toward a younger audience: middle grade and high school. Schools and librarians are using it as a literacy tool. That opens up storytelling to a whole new group of people who may not have necessarily been interested in books.
EM: The graphic novel world is a different world. I, too, was introduced to it as an adult. You walk into Comic Con [the San Diego Comic Book and Science Fiction Convention], and there are thousands of people dressed in costumes. It’s so vast and multifaceted. It makes sense to me that you describe it as operating with a different foundation. Because it has its own separate world in a way that it seems like many other genres do not. Is that correct?
DH: It is. Within that medium there are many different types of storytelling. Within that medium, there is stuff that is literary, stuff that’s pulpy; there is stuff that is aimed for younger audiences, and stuff that’s aimed at older audiences; stuff that is very unique, stuff that’s black and white or in full color. For me I love good stories coupled with good art. It is such a huge spectrum. For a long time it seemed like a closed group of people who read them. You would get people who were interested in reading monthly comics from established creators with established characters, and then there were indie stories that were being told. Now it’s expanded so much that the readership is much wider. I know grandmothers who read graphic novels and I know young kids who read them. It’s another form of entertaining, writing, and getting a message across. Nonfiction graphic novels are doing really well right now, whether it’s as a way to talk about history or memoir to a younger audience, or even to an older audience. It’s a different way of digesting material.
EM: You see that with John Lewis winning the National Book Award this year.
DH: Absolutely! Which is so exciting.
Presenting something as serious and important as John Lewis’s civil rights history in a graphic novel is really something. Maus [the series by Art Spiegelman] had done it years before. It’s a powerful medium. The fact that you can marry the pictures with the words—it changes for some people the power of images.
EM: For those of us who are history fans, the combination of John Lewis and Colson Whitehead winning this year was amazing.
DH: Presenting something as serious and important as John Lewis’s civil rights history in a graphic novel is really something. Maus [the series by Art Spiegelman] had done it years before. It’s a powerful medium. The fact that you can marry the pictures with the words—it changes for some people the power of images. It’s one reason why memoir and nonfiction graphic novels are seeing more popularity than they used to.
EM: Just to get back to the process for a bit, are there specific characteristics of a piece of writing that are sure to get somebody noticed?
DH: The biggest thing for me is to do the work. It is to work so hard on writing the best thing you can write and being true to that. There are different agents who deal with only one specific kind of book or who chase trends. I don’t. Sometimes I will be aware of trends—but for me finding that original, strong voice is the most important thing. So that’s what I’m looking for: someone who has done the work. Once you’ve done the work, once you’ve written the most amazing thing you could—you’ve revised it and revised it and revised it, you’ve had beta readers, and you feel like, “This is as far as I can take it by myself. Okay, now I need an agent.” Then you stop [the writing] to do the research there.
What some people don’t realize is that there are a lot of agents, and they all are looking for different things or have different expertise. It is worth the time for someone to do the research and to do a targeted outreach on submissions. We get so many a day. When I switched from being at a publishing house to being at an agency, there was a little Publisher’s Weekly write-up that I had done—just a job-move posting, which is an industry insider thing. That went up and within the first week I got 800 submissions from people I didn’t know. Not even the people who were like, “Dara is now an agent. I’m going to send her something.” These were just cold emails. Eight hundred. We now get several hundred a week. That’s a huge volume, so you [the writer] have to figure out how to stand out. We don’t look to say “no.” We’re looking to find great stuff, but if you send it to “Dear Sirs” and this is an agency with only women agents—that tells me that you didn’t do your homework. Also, if you just say, “Dear agent,” even just that first line, why are you sending it to me? You can find out what I represent online very easily. That didn’t used to be the case. There were obscure books that you had to really search to find out who the agents were; it’s not that way anymore. We want to know why you are sending it to us and we want to know what you are looking for in an agent. Even if you are sending it to a lot of agents, you just want it to be agents that make sense. If you have written a cookbook and you send it to me, why would you do that? Unless you say, “Actually it’s a graphic novel cookbook.”
Query letters are super hard to do and it is worth working on them. It is important to try to represent your work in as succinct and as professional a way as possible. It is a professional relationship, and so we look for professional letters. We don’t want something that is too familiar if you don’t know us; we don’t want something that is combative. Some are combative right off the bat, which is really strange. It should be proofread and well-written. A poorly written query letter is usually not followed by an amazing manuscript. Some are like, “I’m going to do something to really catch their attention,” and that can work sometimes, but it has to relate to what you’ve written or it has to show your voice. If you have written a very serious literary work but your letter to me is full of weird jokes, that doesn’t quite match. If your book is supposed to be funny, a funny query letter isn’t a bad idea. It needs to convey simple information: this is who I am. Even if you haven’t written other things, what else do you do? Who are you? This is my book; it is in this particular genre, or type of book. Here’s something about one of the main characters. Here’s a little bit about the plot, enough to get you interested. Having a good log-line is helpful. If you can’t explain in a line or two what your book is about, that makes it really hard for someone else to understand what your book is about.
EM: Did you say log-line? Can you explain that?
DH: People use it in film. It’s just a quick thing, like the elevator pitch. It’s a quick way to distill your book, which is hard to do. Some people will ask other people to help them with that, because sometimes it is hard to talk about your own work. So you have a beta reader and you can talk about it with them: what do you think my book is about?
The other thing is to be a good literary citizen, to be involved somehow in the literary world. Whether that is reading a lot of contemporary books, going to readings at local bookstores, supporting other writers on social media, or contributing to journals. There are some people who can work in a vacuum, but being part of a writing community is a really helpful thing. It could be a book group or a writing group. It’s an important thing for sanity.
EM: Do you think there is a social justice component to your work?
DH: I definitely have writers and projects that I represent that have a strong social justice component, but I have other ones that don’t, that are for pure enjoyment or escape. I think there is room for all of that, and there is room for all of that within my clients. Some clients have work that has a social component and then switch to another project that doesn’t. In general right now, it feels like just continuing to write and to tell stories is social justice. [Laughs] Free speech as a general idea.
The million-dollar offers don’t happen that often, and [most times it’s] not a lot of money to live on unless you’ve been doing it a long time or you get very lucky. That also scares people away from it as a job.
To be honest, post-election and even during the election, we had talks in the office: “I’m not a human rights lawyer, I’m not a brain surgeon, I’m not on the front lines of certain things—but at the same time I feel strongly that reading, education, and the arts are incredibly important for our government, our system, and for our culture and society.” That won’t go away, and maybe it’s now even more important to just allow the imagination; to allow research. Publishing has work to do as far as diversity, but some of it is not for a lack of trying. I have a diverse client base and I’m always looking for new, different voices. Sometimes it seems like such a strange and remote place. People don’t know how books are published and they don’t know how people even get to find publishers. Doing talks like this and being open about the process should help. Unfortunately, except for very few people, [this business] doesn’t pay well. A lot of my writers have full-time jobs, most of them do, and I encourage them to keep those jobs. [Sometimes] you do really well and you find the book deals that make a lot of money, but even then it gets split up over several payments over several years. The million-dollar offers don’t happen that often, and [most times it’s] not a lot of money to live on unless you’ve been doing it a long time or you get very lucky. That also scares people away from it as a job. I was a scholarship student, I do not have anything to fall back on, and we’ve [my husband and I] had to figure out ways to be in an industry that doesn’t necessarily support you financially until you get to a certain level, whether you are a writer or you are on the other side of publishing. When the overtime rules came through from the Obama administration, there was a lot of talk about how in publishing, people work overtime constantly. It’s a 24/7 job. As an assistant, I didn’t do all my work in the office; I would read on the subway on the way home and on the way to work; I would read at night—and that was all work. I had to read these manuscripts—but of course, you don’t get paid for that. That also is a stumbling block. There are a lot of people in publishing who come from money.
Honestly, on an economic level, that can be a huge barrier for anybody. It was almost a huge barrier for me, but I figured out a way to make it work. It’s not just having new voices out there, it’s also finding a way to make it sustainable. That part’s really hard, and I don’t have a solution for that. The profits in publishing are incredibly small. For most publishers, they do get a few big books and those help subsidize smaller books that don’t make money, and they still continue to do it because they believe in publishing.
EM: Talking about writing communities… For those, say, in a small town, can they still succeed if they don’t have access to big city events? Can anyone succeed in the digital age?
DH: Part of it is access to books, whether it’s libraries or bookstores or even online. The internet does help bring people from far-off areas together and [helps books] be part of a culture. I was raised with books; we had no money but I was raised with books, and my child is raised with books. Having a culture where the only time you read a book is because you are assigned it in school: that’s not going to help. There are places that are book deserts, where it’s really hard to get access to them. But there are also little free libraries popping up all over the place, and book exchanges in places where there aren’t necessarily libraries or mobile libraries. There are a lot of writers who are vocal about that, writers who have reached a certain level of success, and [are] giving back, whether it’s donations to bookstores, doing work with libraries, or [bringing] the community together. Some people think they are only publishing in New York; that’s not true anymore.
I’m based in Los Angeles. There are others, both on the agent side and the publishing side, [who are in] Washington, Oregon, the Bay Area, San Diego, Austin, Denver, or Chicago. More of the industry is scattered than there used to be. New York is still the center. We also have writers from all over the world. I represent quite a few writers from west of the Mississippi, but also from the East Coast and from foreign countries. That’s the internet: the ability for people to email and communicate with each other, [while] not being in the exact same spot. There are also reading groups and reading series that are popping up. Salons have been around for centuries, not just for wealthy people, as a way to talk about ideas and books, and as a way to come together.
EM: Simon & Schuster got quite a backlash for publishing* Milo Yiannopoulos, including Roxane Gay backing out of her book deal. Does this affect your work? Is the current political climate is affecting your work? Our current president is not a reader…
DH: Right, and we’re coming from a president who was a huge reader and very vocal about reading. Before that, First Lady [Laura] Bush was a huge reader and a librarian. Publishing does always react to the state of the world around it, just like a lot of industries do. I tend to represent books that I believe in, and [that] are somewhat aligned with my own political beliefs, [but] beliefs that don’t match my own still have a right to be heard. The First Amendment is first for a reason. At the same time, giant publishers have so many imprints, so the imprint that Milo’s book was sold to has always been a very conservative one. It publishes books that are in line with that particular political point of view, but within Simon & Schuster, there are other imprints that do completely the opposite. I’ve sold to Simon & Schuster, and I actually have a YA novel there that has a huge social justice component coming out next year. A big writer like Roxane Gay has the wherewithal and the muscle to back out of a deal that a lot of people don’t—and I don’t necessarily think they should. If you boycott everything a particular publisher does, you are hurting the writers who actually may be writing something you agree with. I can’t speak for [Simon & Shuster], but I wouldn’t have represented that book, nor would I have sold it. But I may have represented something that is the complete opposite, which also deserves to be heard. That part’s complicated.
I was actually at a reading for a novel last week—not a political novel, but there was a political question [posed] to the author. That will happen more and more; something not political can be viewed in a political light. It’s a dialogue and that dialogue is healthy, and asking tough questions is great. If it allows for a broader conversation, and allows for journalists to get book deals that they might not have gotten in the past because they are doing great investigative journalism—then that’s also a great thing.
EM: Do you see the polarized nature of our country potentially affecting your work?
DH: Not necessarily. Fortunately, the books that I represent and a vast majority of the books that sell go to people who read. There is a big portion of the population who doesn’t read. They do all those surveys on how many books did you read this year. Some say they didn’t read any books at all—and I think those people will continue not to read. Right now, in film and TV, so many shows and movies are based on books or graphic novels; that points people back to books sometimes, which is great. I know that’s a little backwards, but it makes people interested.
I don’t feel like every submission that comes to me has to be political, or people [have] to completely change what they’ve written to reflect the times, but I do expect that we’ll see some more [political books], or even just books that have already been written [will] be politicized. March [Congressman John Lewis], The Handmaid’s Tale [Margaret Atwood], or 1984 [George Orwell], or any of the books that [are] getting more press or more attention: I think that will continue to happen.
EM: 1984 was trending for a while, wasn’t it?
DH: I think it was number one on Amazon for a while. Even people who didn’t realize their books were political may find that parts of them are, but that’s something that happens continually as the world changes and adjusts. If you’ve been working on a novel for six years and it finally comes out, there may be changes in the world that are reflected in your book, and you didn’t realize you were tapped into something that was already part of the conversation. That’s happened a couple of times with some of my writers; they started working on a book years ago that didn’t have a social justice component, but was more a “what if” or this topic needs to be discussed because no one’s talking about it. Then current events happen that make the book even timelier than they meant it to be, and that’s been interesting to see. It’s just another medium for expression; right now a lot of people are upset, worried, and concerned and that will be reflected in art.
EM: This onset of “fake” news, and the conversation about what is true and what is not, has this had an impact on the literary world?
DH: The idea of fake news being targeted during the election and afterwards: it’s not like that’s new, but [it was] the way people were sharing it, from whatever side of the political spectrum [they spoke from]. There are a lot of fake stories that are done either to appeal to their base or to get clicks.
Around middle school, students are taught to verify sources. It’s part of the curriculum. [If] you are going to write a research paper, for instance, you [ask yourself] where your sources are, and you vet your sources; or if you are going to do a contemporary news story, you go to the most original news source that has a direct link to what you are looking for. The core idea of vetting your sources in the age of the internet has gone away. People forget; they share things without verifying. They’re like, “This aligns with my personal beliefs so I’m going to share it.” Then they realize that it’s not based in anything real.
Journalists have for a long time been talking about that, and the idea that the 24-hour news cycle is hard. The more sensational [a story], the more people want to watch, talk about, or share it. But I think, in a good way, there is so much pushback against that right now. People are realizing the value of journalists, whether print or TV, who have the integrity to vet their sources, to have verifiable facts. Nonfiction has always been striving for that. A lot of nonfiction writers, whether they are writing something that is narrative nonfiction, doing interesting research into one topic, or trying to look at history because books survive more than a 24-hour news cycle, are vetting more. What’s happened with online journalism is that things cycle through so quickly, it’s hard to keep up. In the book world, it hasn’t happened nearly as much.
EM: Are you saying that, in the end, this will benefit your nonfiction clients?
Fiction helps distill reality. I heard a writer talk recently about [the question] “Why write fiction,” but fiction is truth. It’s just a different way of presenting it.
DH: I do. Right now people are looking for experts. They’re looking for people who understand the Constitution on a deep legal level; for people who have a record of writing about social justice, covering crime, politics, or the White House; or for those trying to understand our relationship with foreign countries. People are hungry for knowledge right now. Things aren’t running smoothly, so why aren’t they running smoothly? What’s going on? [On] Google and Merriam-Webster, their word of the day often is some kind of legal word, because people are trying to figure out what the emoluments clause is. [So people go to] experts, or those who, through fiction, talk about the human condition and our current [social] climate. Fiction helps distill reality. I heard a writer talk recently about [the question] “Why write fiction,” but fiction is truth. It’s just a different way of presenting it.
EM: Are there trends in the literary world that we should be aware of, outside of politics?
DH: There always are. But they also come and go pretty quickly. Some genre books, whether they are thrillers, YA, supernatural, or fantasy, tend to follow trends. People are definitely on the lookout for something that isn’t similar to what’s been out there before. I can see things that are happening, maybe books that people are interested in, but I try not to follow. I just try to follow the best work.
Bookstores have been doing much better than they have been, especially independent bookstores, but individual books are selling a bit less, because there are so many of them and they are spread out more widely. E-books are down for the first time in many years, hardcover books surpassed e-books. Some of that has to do with book pricing, but it also is like the vinyl resurgence in music. Actually owning a book, feeling and smelling it—people in publishing talk about that all the time—we love physical books. I read e-books too, but part of the reason I am in this business is that I physically love books. Seeing that trend is interesting.
I’ve also seeing a trend towards reading on apps, which is different than reading e-books. [It is] looking at serialized storytelling for people who are constantly on their phones, and [who] maybe won’t read an e-book—but they’ll read something that is on an app and in a community with stuff that they already like. What’s exciting to me is that it is a really diverse time. Publishers are doing really great work from small presses to big presses. They’re always looking for something new.
EM: Is there something that we haven’t gone over that hopeful authors should know?
DH: For some people, [publishing] seems like such a mysterious thing. [But know] that publishing is still a fairly small world, and a lot of us know each other and have known each other for a very long time. It is not a mercenary business; we are in it because we love it and we want to find great work. Even though a lot of my job is to say no, I also hear no a lot from the other side. I submit books to publishers and a lot of times editors will say no, but then if you get one yes or a few yeses, that’s all you need.
For a writer starting out looking for an agent, it’s daunting, because you are like, “I’m going to get a lot of rejections.” And you will. Knowing that rejection is part of it is important, but knowing that rejection actually continues and that you need one yes to find an agent, then you need one yes to get a publishing deal, and one yes to get a great review. It’s both daunting and encouraging, and also just knowing that agents get so many submissions. [In our case], a lot of them aren’t right for us, but I personally know when someone hits “send” to query us, that that’s a huge deal. Finishing a book and having the guts to send it out to get agented is tough and hard. A no isn’t personal at all; it’s just, “this doesn’t work for me or I don’t know what to do with it.” There are lots of reasons why those no’s can happen. Maybe it’s not the right time, or I have something that’s too similar: there are lots of different reasons. I think also knowing that the profit margins are really small. People hear about these giant deals, but the reality is that a lot of them are not huge. Most writers have other jobs, even if they seem super successful and have written like five books: they teach or do other things, because they love writing. That passion is throughout the entire industry.
EM: Is there anything I’ve missed? Or anything you would like to add?
DH: It’s incredibly important for writers to work on their craft. But it is important for them to educate themselves about the business side. I do a lot of that with my clients; there’s a lot of educating them about the ins and outs of how it works. I don’t expect my clients to understand all the minutiae—that’s my job—but having a general sense of how it works is a good idea. It’s great that MFA programs have that ability to talk to professionals and have that contact. It’s helpful to talk to people behind the scenes.
EM: I agree, it’s really helpful. And from this interview I have a pretty clear sense of how far I have to go before approaching someone like you with a query. So I think others will too.
DH: Great, I hope so.
*Editor’s Note: Since the time of this interview, Simon & Schuster canceled the book deal with Milo Yiannopoulos