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Thanks so much for writing this post! I have to write a follow-up email to an agent soon, and this was extremely helpful. The last thing I want to do is sound angry or unconfident.

I believe the lack of confidence you're experiencing is directly related to the knowledge the hopeful author has as to his odds of success. Everyone knows that the odds are about one in one thousand; or to put it another way, there's a 99.999% chance that you (or any agent, really) will pass on their project. This cannot be conducive to any measure of confidence.

They know this, you know it too. And as a result you get what you get.

On top of this, we're being told "don't be too strong in your query--don't come off as arrogant. Also, don't be too weak, or they'll eat you for breakfast."

This leaves the middle-ground of milquetoast queries. Which is what you're left with.

@Phil Hall -- I'm not sure what's left is "milquetoast." I think what they want to read is professionalism and politeness, with overtones of confidence and friendliness (general friendliness, not overbearing).

I was about to say, "Just as you would speak to someone in a store," but having worked with the public for 25 years, "polite and professional" is often one-sided, LOL!

Great post. Coincidentally, I've been recently analyzing my letters to editors (I often submit to magazines and e-zines) for these sorts of things. The work doesn't always stand on its own -- they see your "face" first, and first impressions count.

I appreciate your post for its content, but completely disagree with the sentiment. O.k, I realize that we can come off as sounding too weak, OR sounding too dominant, but in this market,like the previous commentor said, our chances of getting published are very slim and we don't want to screw it up.
I am sure ( because I have done it), that when an author writes "just checking in" they are trying to be polite, and not bothersome. They realize that you are super busy, but the suspense is killing them. They realize that possibly after a million submissions, that this might be "the one", and they would email a million times a day if it would speed up the process.Not so much because they have delusions of grandeur, but so they can know whether to throw a party, or slip into the bottle for a few days before they get back up on the horse and try again. When they send an email they want to treat the matter as delicately as possible, AKA,do a little ass-kissing.I can understand dissing the overly confident, cocky queries/emails, and dissing the wimpy " don't want to bother you" emails, but what the hell else does that leave? Please try, just try to realize what boat we are in, K ?

I'll be honest, I'm struggling a bit to work out what's wrong with "If you are no longer interested, please let me know", unless it's coming in at, say, 4 weeks when you quote an 8 week response time.

I suppose in some lights it could come across as a bit passive aggressive, but it would surprise me if it was meant that way. If an agent says they respond in 8 weeks and I've heard nothing after 10, I am going to assume the agent isn't interested. It's not a big deal.

I'd love to see a form "nudge" example I can thieve for my correspondence. One which isn't going to inadvertently accrue me enemies.

@Foolplustime: I think the assumption is, if the agent has requested the material, s/he is interested. If the agent is still within their stated time period for reviewing submissions, then you have every right to assume they're still interested, and a simple "Just checking in to see how you're getting on" is sufficient.

Being in query-mode myself, I understand there is the temptation for us as writers to sound desperate. We just want to see our novel in print! But it's important to remember the flip side of this. Agents have jobs and earn money because we write novels. If we didn't write, agents wouldn't eat. So there is a balance here. Sure, there are far more novels than there are agents, so agents appear to be in the better situation. But given the number of queries agents turn down, they need a large volume among which to search for those few that catch their interest. From that perspective, with appropriate humility and respect, we can afford to query with confidence.

Just my 2c.

I enjoy the posts I read from agents reminding me to show confidence in my work.

Honestly, it's a scary business--putting yourself out there to be rejected by most of the people you query--and that lack of confidence can easily creep in because we writers are actually grateful when someone wants to read our work. Especially someone with skills to represent, and someone we want to work with.

Getting an agent is tough, right? So I don't want to mess it up with a misplaced, misspelled, or misconstrued words. I want to put my best foot forward, my words.

I am a naturally humble person, but that doesn't mean I have to lack confidence in my writing. After all, I do want the world to read it, well those interested in falling into fantasy for a while.

Let me present this from a writer's perspective.

We used to send out queries knowing the vast majority of responses would be form rejections. Nowadays the form rejections have been dispensed with and the usual response is silence.

So sheer mental health requires not getting our hopes up.

I sent out multiple queries. Several agents requested my manuscript. One offered representation two days later. I looked at my list and saw I'd put a star next to her name. That meant during my research I'd selected her as someone I'd prefer if there were multiple offers.

I had told the agents who were reading the manuscript that there'd been several requests. One of them had immediately said she was no longer interested since she didn't want to "compete".

The agent with a star next to her name offered. I accepted.

A few months later my agent contacted me with an excellent offer she'd received for the manuscript. On the same day, I received a form rejection from one of the agents I'd never heard back from. He hoped I understood that his rejection was subjective, and no doubt other agents would feel differently, etc.

Should I have earlier sent him a second email withdrawing the manuscript? No doubt. But for all I knew he had moved to Mongolia and taken up goat herding.

You wonder why we get a little jaded?

@Phil Hall-- Ix-nay on the odds-ay. This isn't the state lottery. Manuscripts aren't picked at random from a rotating drum. A writer's odds are about as good as the manuscript he or she is sending out. And as R.S. Bohn says, being polite isn't being Milquetoast.

Am I the only person that had to look up milquetoast?

Is it a word that is used much more outside of the UK or am I just showing my ignorance?

I've been reading agent commentary regarding query/submissions/time frames for the past 2yrs, and there is an overwhelmingly common theme in all their posts that show writers are simply NOT reading clearly posted guidelines at lit agency websites. Agents have been generous with their limited time sharing their experience and industry tips, and writers MUST to do their own homework before even considering submitting a MS. It's that simple. Thanks for letting me share my subjective 2 cents.

In a business where words are the "product", it is hard not to judge each word, phrase or sentence for hidden or double meanings. This is especially true for an author's first impression to a prospective agent -- the query letter. Advice from my mother years ago still applies: straightforward, respectful requests/questions are never wrong.
I have found this works for me the majority of the time.
Sometimes I do wonder if the sender reads what h/she has written before hitting send...

While this is a good post and sound advice, I think that an addendum should be added that this advice should apply as well for people who have chosen to query publishers directly (be they large, medium or small).

My problem with my query letters is they are soo formal I write the life right out of it.

I also wanted to thank you for responding so quickly to my email regarding the agent letter. I've warned my critique group about this agent and sent them to the sites you suggested.

Your name has a star next to it on my list when I'm ready to send out that revived query letter.

HollyD

Thanks for posting this, I think it was a good reminder to reread your query to make sure you aren't coming off in a way you don't want to.

@scifi13 I live in the US and never heard it before. I'm taking a meaning from context...too early to actually look something up lol

@Anonymous I'm genuinely happy for you! Congrats! I'd love for that to be the case when I start querying.

I understand a writer's urge to talk about the "odds" of getting published. If you look only at numbers, as in numbers of manuscripts vs. numbers of books published, the odds are indeed long.

But, as Anonymous 10:05 says, editors don't reach into a barrel and draw random manuscripts for publication. If you produce something publishable and properly target it, your "odds" increase dramatically.

It's always a good idea to be professional and courteous in all our communications. However, I'm willing to bet that it's better to err on the side of milquetoast than arrogant SOB no matter how amazing the manuscript.

Take a deep breath. Let it out. Recognize that your manuscript is not you, or your child. It's just a product that you're asking an agent to help you sell. Keeping the proper perspective goes a long way toward dealing with all the rejection in this business.

Interesting. Sometimes communication seems so fragile and fraught that it's a wonder anyone ever manages.

I use "just checking in" all the time when I send nudge emails in my own job. It's a bit of verbal padding that seems polite to me. (More so than an unadorned "Did you finish X yet?" anyway.)

I suspect that preemptive "let me know if you're not interested" is intended to come across as a becoming sense of cool. "She hated it and just hasn't gotten around to telling me yet. I will show that I can take the news without flying off the handle."

Post started out OK, thought a good message was about to be delivered, but honestly you just sound testy, a bit tired of the profession or perhaps you 'just' need a vacation.

I mean, come on — "I'm checking on the status of my manuscript. If you are no longer interested please let me know." That's combative? Sounds as though the author is merely seeking information, a status update.

Prickliness might not be the best trait in an agent.

Anita M.

For me, the bottom line is you have to present yourself and your "product" in the best light. I'm still slogging away on my MS, but if I hadn't heard back from an agent, I wouldn't naturally assume he/she didn't like it. I would politely follow up, say something wonderful about my MS and tell the agent I was looking forward to hearing from them.

I've had to read alot of resumes in my life and it's the positive, confident cover letters that get my attention.

Good post. Thanks for sharing!

Is this another "Thank you for your time" post?

Because "Are you interested?" would be considered polite in many regions of the world. If you're going to take offence to it, then I haven't got the energy to deal with an agent as touchy as you.

The OP struck me as a bit arrogant. Sure, we all read between the lines, but it should be done with the understanding that our impressions may be completely wrong, that we're seeing things that aren't there.

We have to have filters, and we will inevitably lose some good stuff, but it has to be done. Getting a good balance is tough.

Maybe the OP wasn't at all 'arrogant', but I took it that way. But I could be wrong. . .

This is a wonderful post. I understand what you’re saying. There’s something about confidence that makes people, and their ideas, more attractive.

The problem for quite a few of us is: constant rejection leaves a person feeling less than attractive, thereby undermining our confidence, which makes us less attractive. A downward spiral that can only be saved with chocolate and a crowd of good friends. (Supportive critique group anyone?)

The trick is to bury the insecurity until the confidence you feel catches up with the confidence you portray. Once you do, you will catch the right someone that will help your confidence maintain that level of radiance.

As far as correct follow-up letter language...I haven't a clue.

I'm coming to a point where I will need to follow up with the agents and editors that have partials and fulls. I would love to know what I should say.

My letters would have said, "I'm following up on the partial manuscript you requested in June. I am still interested in your representation and look forward to hearing from you."

How does that sound??

In such a competitive market with so few agents and so many writers (and, frankly, many of which are very good writers), the only confidence we can have is that we won't land an agent. That's based on a simple success rate probably below 10 percent.

Which leaves us with being polite.

And I'd rather be realistic than overconfident.

Quite frankly, I'm a bit afraid to query you for fear I would offend without intention. I have a family member or two who read things into emails where no hidden meaning was intended. It has caused more than one family fight.

Great post.

I think you know that writers tend to be the sort of people whose best possible sales pitch is "I don't suppose you want to buy this, do you?" and you're trying to ease us out of that mindset. Nice try. Good post. A lot of people won't get it the first time ... or the tenth. But keep trying. We need to hear it.

How do you feel about cheesy jokes after an agent requests a partial off a query?

I've always wanted to say something like, "You must perceive as I do that 250-ft hamsters are the next vampires." Or something like that. But I always chicken out and say something like, "Please find xyz attached. Thank you for your time and consideration... blah blah blah..."

Here, here, anonymous. I said much the same thing, but she deleted MY comment!

I understand the feeling that if we don't have confidence in our work, why should you? What I don't understand is if you are offended by a straight-forward "please let me know," what would you prefer to hear?

It seems I make my living writing business correspondence and this is a reasonably concise request for information. You didn't mention if this came in 48 hours after submission or if a reasonable amount of time, such as approaching your guidance deadlines, has occurred. In my office, it would not be unheard of to follow up as a deadline is approaching -- in fact, it would be prudent. I understand however, that this is your game, so your rules.

I find considerable value in your blog and enjoy reading it. But, as long as we're speaking of things you don't wish to convey, what stuck out in this post was that "if one more person asks me if I'm 'not interested' I'll scream and hit delete," which really just sounds like you've had a hard week and need to get a call in to the travel agent.

Thanks for all of your comments. Let me clarify a few things.

I get why people have the lack of confidence. What I'm trying to do here is encourage you to be proud of what you've written and let that shine through. I've said this repeatedly before, agents should be honored that you're querying them and excited for the find. If they've requested something they are. Grab hold of that feeling and remind yourself of it.

Anon 9:42 It's really quite difficult to offend me, but if you're afraid of me there are many other great BookEnds agents you might be more comfortable querying.

Anon 10:52: Thanks for the psych analysis, but that's not the case. I simply want authors to stand by their work with confidence. You should. Finishing a book is a great achievement, querying it is another, and getting requests is yet another. Be proud of what you have and convey that to agents. It's not complicated, just a small twist in your wording.

--jhf

I have nothing against an author saying "let me know of your interest" or "looking forward to hearing of your interest" or something like that. But "let me know if you're not interested" skews negative to me. It says to me that you already think I'm not interested so you're giving me an out. Why give an agent an out? Make her work for that rejection if that's what you're expecting. Don't tell her you're expecting it anyway.

Interesting post. It's hard to find the middle ground of not being overbearing or meek. I struggle with that in real life and it's something I'm working daily to combat.

I see what you mean about skewing negative. Like asking:

do you think I look pritty?
vs asking
do you think I look ugly?

Either way the question is being asked. How you ask the question reveals what you think of yourself.

This is really weird. I feel like the last two posts were written just for me and considering the date...jeez life is off the wall.

Would this also work for pieces you sent to an epublisher? Would they need to be the same novel you've submitted to both agent and epub?

May I ask what the best thing is to put into the subject line of an email which is to notify an agent of an offer elsewhere? What would get your immediate attention? Just "offer of representation"?

Thank you. That was very helpful.

I recently went through this, and because of an earlier post of yours I read on this subject, I did contact all the other agents I was interested in working with. I ended up with four offers, the last coming from someone on my "dream agent" list.

That being said, I want to add one thing I learned. When you contact the other agents you haven't heard from yet, contact them at their direct email, not their query email. The agent I ended up choosing almost didn't get to my proposal in time, because I sent the "I have an offer" email to her query email address. She was behind by a couple of weeks, so she didn't see my "I have an offer" email until the day before I had set as my deadline to make a decision. Luckily, she was able to take a look at my proposal and offer.

Both she and another agent I sent the "I have an offer" email to said it would have been appropriate to send to their direct email address, and the other agent said it would have even been acceptable to call the agency.

Also, to answer Steena's question, I read somewhere to put the mention of the offer in the subject line. Mine looked like this: "Update: Query: Book Title (offers of representation received)".

My apologies, the last part of my answer was for Jessica, not Steena.

Thank you, Kristi! :o)

I've read this advice on other agents' blogs. And I have to say I can see the advantage to the agent, but not to the writer, of taking the time to contact all the agents who haven't troubled themselves to read the manuscript yet.

Here's the thing. You don't know whether an agent is the right one for you till you work with her. Interviewing her isn't really going to tell you much.

Excellent post Jessica! I just received a 2-book contract from a publisher and will be contacting those who have passed on other queries.

Steena, great question. I would also like to know agent's thoughts on what holds more weight.

Thank you for this post.

"May I ask what the best thing is to put into the subject line of an email which is to notify an agent of an offer elsewhere? What would get your immediate attention? Just "offer of representation"?"

I think these are two excellent questions. As an author, I'd probably put "offer of representation" in the subject line and I'd wait a day or two. But I'd be aggressive about it, and wouldn't wait too long.

Excellent information.

Jessica, with regard to contacting agents who you're interested in possibly working with if you receive an offer, but you haven't contacted them already, what about if the reason you haven't contacted them yet is because they're on a query hiatus? Would the hiatus be "in effect" still if this scenario were to happen?

I read your previous post and the clarifications you made here were very helpful. Thankyou

Let me answer some of your questions.

Yes, if you would like an agent for an epublisher I think the same applies and yes, you need to show all competing agents the same work.

I would put "offer of representation" in the subject line. In the case of BookEnds, "query" or "submission" sends you straight to my query folder so simply, "offer of representation" should guarantee it gets read.

Anon 11:10 makes a good point. Most agents will want a deadline of sorts. Will you give them a week? Through the weekend?

Katie: I recently received almost this exact email from someone who hadn't queried me because I am closed to queries. I read it, fell in love with it and in fact we just closed a deal with a publisher.

--jhf

Hi Jessica,

I'm in this exact situation now. When contacting other agents, do I just say I've been offered a contract or name the agency and show the contract?

This is awesomely useful information and thank you for sharing it.

I've never had to contact an agent before, so I found this post greatly informative and helpful if I ever do get the chance to search for an agent to work with. I only hope I meet someone as awesome as you.

Stuart:

There's no need to name the agency or show the contract. Letting others know you have an offer is enough.

-jhf

Thank you so much for such a helpful post.

I'm not in this situation yet, but here is another possible wrinkle:

What if you have 2 mss out, and they are in different subgenres (say, one is a historical mystery, the other an urban fantasy mystery). If you get an offer for the urban fantasy, should you contact the agents who have the historical mystery, too?

Thanks so much!

Thanks, Jessica, and congratulations!

"Anon 11:10 makes a good point. Most agents will want a deadline of sorts. Will you give them a week? Through the weekend?"

I would. My concern would be getting the agent's attention. You guys at Book Ends seem on top of things. But I've been through experiences where not all agencies are.

Been There Done That: I can see the advantage to the writer if he/she hasn't made a firm decision yet (ex: #2 most desired agent makes an offer of representation, but writer is still waiting to hear from #1). It could make a desired agent bump the writer's query up to the top of their priority list and make a decision faster. And this is definitely an advantage if you already have an offer from a publisher.

Here's the thing. You don't know whether an agent is the right one for you till you work with her. Interviewing her isn't really going to tell you much.
You could make that argument for any job, though. My boss couldn't have known for sure I was going to work out until I began my job, but made a best guess based on my interview. It's worked out fine for me so far, but I could have just had good interview skills and not been quite as adept at what I do once I began working. It's always a gamble, but at least an interview provides a little more information to consider.

Very awesome post, Jessica. Thank you for sharing! And thanks Kristi Dosh too for the great info.

With every post, I feel like I can make better, more informed decisions regarding my career. As always, thank you. :)

Great information on how to keep things professional and to avoid potential miscommunication and drama. Work smarter not harder!

If you get an opportunity to go conferences where agents hang out, it's a good idea to attend their talks or say hello. I know Jessica is a great agent because I've talked to her clients too.
Best
Cathleen ross

Maybe I'm old school, but I was under the impression you didn't submit simultaneously to agent/publishers unless they said they would accept that. And most don't like to. So I'm not sure how you'd have your mss out to so many different agents at the same time.

Is an offer from a publishing house the same as having an offer on the table, even if it’s not from another agent?
That’s the pickle I’m in. I have an offer from a publishing house by a referral from an editor who worked at Random House in the past, but I really want an agent that can help a newbie author like me through the process. . .

First of all, I love the mall analogy. Secondly, great post!

My agent and I have amicably parted ways. As in life, sometimes the person you thought was "the one" simply isn't. That said, I wouldn't change a thing. This agent taught me a lot about the publishing biz, and we still keep in touch.

I feel fortunate to have experienced what having an agent "feels" like, and can't wait to (really!) find "the one."

Alissa:

Yes, that offer from a publishing house is the same. use it and find yourself an agent.

LA Freed:

What you're doing is offering unrequested exclusives and if you've read my blog at all you'll know that I strongly warn against this. Query (and submit) widely.

--jhf

What about agents that have politely rejected your initial query (but you really like them anyway?) Should you let them know you have an offer, or is that too presumptuous?

See, this is why I read your blog! Thank you for sharing your wisdom and wit with us.

Well, I read this a little late--I had no idea we needed to tell all parties, including people who don't respond to queries. I recently had this happen to me and I feel very bad that the agent who wanted to give me a call was out of the loop when I had an offer. We'd always been told to only tell those who are reading.

My advice to agents is to read thy queries! ;-)

Great advice here and great timing. The agency representing me abruptly closed its doors, two months before my debut novel releases (yeah, bad timing huh).

Then a few days ago I got a three book contract offer, and I have no agent. I was wondering how to word a "query" to a handful of agents I want to approach to represent my novels, along with the 3-book deal.

Might I just send a simple email explaining? Or do I send a query of the book that landed the 3-book offer?

This is the first time I "heard" about this. And what great business etiquette, too! It was my understanding to only contact other agents with fulls or partials when an offer was received, not those with only a query letter I'm still hoping to hear from. Funny, how this makes so much sense.

And I think another follower also asked this, but what is the best subject heading in an email to get the agent's attention when there's a good chance he/she hasn't yet read the original query? Is "Offer of Representation" enough?

All best! K

THANKYOU THANKYOU THANKYOU!! I never even considered these aspects and I consider myself at least a little professional! This is such a helpful, generous post from you--it really is appreciated!

As an agent, are you ever concerned that writers will lie about representation offers in order to get their query faster consideration? Do you have any way of checking to see if the writer's claim is legitimate and/or is it important that the writer tell you who the offer came from?

So would you say waiting to query your top agent choices until the very end or that offer comes is smart or just plain silly?

I think your analogy was spot on, and thanks for the great advice, I hope for the need to apply it in the future ;)

Congratulations to LynneRush on the three book offer. I am sure you will find a new agent. Thanks for the advice, Jessica. I am querying one agent at a time. Perhaps I should speed things up a bit. I do have a deal memo for a picture book. But the novel I am querying is adult. I think you only get to have one agent in the literary world, although this is not true in the acting world. So can you tell me if it's possible to have one agent for picture books and another agent for mid grade and adult novels?

Argh! I just withdrew my query from agents who had not replied, even though one only had the query three days. Honestly, I thought I was being courteous. I love the agent who offered, but I did ask for a week for another agent who has a partial to have time to respond.

To Susan J. Berger: I've read on different agents' blogs that you can have more than one agent if you are writing in different genres and the agents you are querying don't represent both. You'll need to be clear throughout the process with all agents involved. I can't remember where I read the posts, but a Google search on the subject might help. Best of luck!

I'm in s similar bind. I've received two offers from small digital publishers and the two larger digitals have already asked to counter offer, reviewed and and declined because it's YA. Yet the agents who have shown interest haven't yet responded to any of my requests for updates on status.
Should I just go ahead and work it out with the one publisher I choose and hope it helps me catch an agent on the next book?

There once was a debate in a writer's workshop I attended about e-publishing. An author had been trying to get published the traditional route and was having no luck, so was thinking about e-pubbing since it was "easy to get in." (Or so she thought at the time.) The best advice I've heard on this issue came from whatever published author was hosting that workshop. I think it may have been Sherrilyn Kenyon, but I can't be 100% sure of that.

She said YOU have to decide what's best for your career but you need to decide early on and stick with that. Map out a plan...if that plan would work just as well with a small press or e-publisher, go for it. I finaled in a contest with a certain publisher and notified my agent about it (it was a contest I'd entered before contracting with her), only to find out this publisher I'd been querying for years was not a good one to work with. She said she would hate for me to start my career off with the wrong publisher...and it caused me to rethink everything. (This wasn't even a small publisher, by the way.) Sometimes we get so caught up in our quest to be published, we lose sight of the bigger picture...and we need to first figure out what's best for us, THEN go after it.

I was in a similar dilemma as Fawn Neun.

I had three offers from ePublishers and the Full was out with another ePublisher and an agent.

Since the ePub who had the Full had a reputation for being slow and agents are slow in general, I was worried I'd lose my only opportunity at publication if I waited.

Especially since, if they responded at all, it would likely be a form rejection.

I was sick of querying, had been at it several years.

I declined the folks out with the Fulls and grabbed the most reputable ePub who'd already offered. Not saying that's the right decision for everyone, but I'm content with it. ePublishing works well with my life and that's what's most important to me.

P.S. I never queried Bookends because the appropriate agent was closed to submissions at the time with no indication of when she might re-open.

It was a 'a bird in the hand is worth more than two in the bush.'

Like so many, I grew frustrated with my inability to sell to a large publisher or find an agent. My stories never quite "fit" anywhere until I signed with a small press/epublisher in 1998--and believe me, in those days NO ONE knew what an ebook was. Epubs are in a position to take a chance on those different stories because the cost of production isn't the same as with a print publisher.

My sales weren't great, but the reviews and contest wins were, and that gave me the confidence to continue writing and searching for an agent. I was still epubbed only when I signed with Jessica/BookEnds.

I was still writing "out of the mainstream" type stories, but Jessica was willing to take a chance on me--our first sale was of a series already published by an epub, one that was different enough that the NY publisher who contracted me started an entirely new imprint and ended up buying a total of nine novellas and twelve novels in the series.

Point being, we all take different roads to publication, but do your research, be certain the small pub--if you go with one--is reputable (there are lots of horror stories out there, and "Preditors and Editors" is a good place to start) and no matter what order you do it in, don't give up the search for good representation. A good agent makes all the difference in an author's career.

Ya know, five or ten years ago I would have agreed completely with your advice. But there are a few facts missing from this letter that are haunting me.

Who is the small press? Is it strictly an e-publisher who only publishes e-books? The author said she read the book and found the publisher on her kindle, which would make sense.

If it is and e-publisher, she might want to re-think what she's doing. E-publishers are great, and authors can make a little money. But not enough to warrant paying a percentage. I know; I've been there. Besides, there's just too much competition out there in e-publishing to hold out for advances and slick deals. In other words, e-publishers have so many authors submitting to them right now and there are so many good authors trying to sell e-books, no author can afford to be grand because there's always another one ready to take their place.

And, at this point, from an agent's POV, I don't see how it would be financially wise to take on e-published authors unless the agent is building a *huge* stable of e-published authors and she's going for volume instead of big books.

One point that authors in this situation need to know is they should agree to nothing before they talk to an agent.

Often, the editor will state the terms in that first call when the writer is so high on "we want you" that she can't think straight. If the terms are agreed up by the author accepting, the agent can't improve the deal.

Vicki Hinze in one of her great articles on the biz said that every new author waiting for "the call" should practice saying, "I'm interested, but I want to get an agent before I agree to anything."

Is there any part of the journey to fame and fortune as a writer that's easy? :(

Oh, well, where's the fun in "easy" anyway? Writing is like bungee jumping for the soul!

So, once an author publishes, she's stuck in that genre or subgenre for life?

I guess that means 'write what you love' is just a sweet myth told to newbies.

Kimber: I don't think you're stuck but it can make things problematic.

It ties back into building a brand. Agents and editors want sales and sales typically do better when an author becomes known for a particular genre.

Imagine Nick Hornby writing a horror. It wouldn't fit in with most people's expectations. He'd get some loyal readers following him over, but assuming that most of his audience will cross genres for him is a bit of a risk. You also then have to contend with the fact that his books are appearing in two sections of the store.

It does kind of suck, but such is the nature of business.

I don't mean any ill will, but I'm sick to death of people talking about an author's "brand."

Honestly, I can count on my fingers the number of authors in each genre that have a "brand" enough to sell on their name alone.

Brands are Steven King, Nora Roberts, James Patterson, John Grisham, or even Stephenie Meyer.

Today, you have authors that are unpublished and unagented trying to brand themselves before they've even finished the first draft of a book, and it's ridiculous.

Can an average midlist author have a following? Sure, but let's face it, with the lack of promotion for your average author (who isn't a lead title and therefore isn't promoted beyond belief by their pub house) MOST authors don't have a chance to be anything BUT midlist.

Today publishers try to create brands through promotion. But they pick a book or two a season to do this to, without regard as to the author's actual talent. Instead of a brand happening organically from an author's own writing style or particular take on the world, pub houses try to "make it happen."

This happens in the YA market all the time. A pub house pays a huge advance to their one lead title, promote the heck out of it, and two books later that author is churning out books that are so ill-conceived, they wouldn't even get published as a paperback had the pub not have publicized it to force sales.

That's a huge difference between someone with the talent of King, who's kept his quality over the years.

Kathleen Peacock --

Nick Horby put out a YA earlier this year. Because the YA market is supposedly "hot" right now.

It was a mediocre teen pregnancy book, didn't get good reviews, but sold lots of copies anyway. On his name alone. No author that already had a following is going to accept a deal that isn't going to publicize (and therefore get sales) their books.

It was pushed because it was Nick Hornby, not because it was good. If he wrote horror, it'd be the same thing.

Today, you have authors that are unpublished and unagented trying to brand themselves before they've even finished the first draft of a book, and it's ridiculous.



I don't really agree with the rest of your comment but I do agree with this. I see so many new writers--either unpublished or with one short out with a tiny epress--working on their "tagline" for their website, and it's just silliness. Especially as all those taglines sound the same:

Sexy romance with an edge!

Sensual romance with a twist!

Twisty romance with heat!

Sexy, edgy romance!

Romance on the edge...of twisty heat.

Romance with humorous heat and edginess!

etc. etc. etc. Bleh. It's a waste of time, that stuff.

Anonymous 9:14

Though SLAM was YA, it wasn't a radical departure for Hornby in terms of story or style so it's not that much of a stretch for readers to follow him over (and, even then, I suspect he lost quite a few along the way).

publishing can be damn depressing.

I hope not Kimber An. But I suspect until the author's name is known he/she is advised to stay within one genre to develop a readership.

I recently read John Grisham's Playing for Pizza. It was unlike his legal thrillers, yet I loved it, it even had a nice romance. This story is about a third string quarterback who had the worst performance of his career in the last seventeen minutes of a championship game and became the laughing stock of the NFL. He ends up playing as the starting quarterback for the Mighty Panthers in Parma, Italy. But he's Grisham and he can afford to take that risk and write something softer and not lose his audience.

I love it when authors try knew things. Many times I find an author repeating the same old story but with a new location and cast. They get stuck in the known in a similar way to an actor being type-cast. Maybe some of that direction comes from the editor/agent, or maybe it's the author who is stuck and hasn't fully worked through what it is about the human condition she's trying to convey. Not sure. But it bores me to tears and causes me to move on and try someone else.

Hmm...it sounds in a sense like a previously published writer who wants to 'branch out' in another direction, i.e. another genre, might be 'type cast' and have a hard row to hoe getting an agent to even consider that author's book for representation? Wonder if guys like Elmore Leonard who went from westerns to crime fiction had a hard time of it? Also, as a published writer, it sounds like you had better have some good numbers on that first book or two or three if you want to continue to publish otherwise you're through...unless you can write under a pen name...?

I never really thought how hard it is after you're published too. I suppose in my publishing naivete I always thought it was so easy for them since it seemed like many agencies I'd looked at only wanted authors who were published.

I'm posting anon for obvious reasons. I'm an agented writer who does crossover with different pen names. And my agent is always supportive. And I know a few more writers with different agents who do the same thing. And these writers do it well, because they don't want to be boxed into one genre.

Now, taking on a published writer may be a different story. I haven't had to shop around for a new agent; I love the one I have. (And I think I'd better send her some candy after reading this :)

I didn't mean to imply that anyone has to stick with the genre they first write in. What I'm trying to say is that everything that happens with that first book you publish effects how publishers, editors and agents look at the next book. If you are simply growing a career in multiple directions you're in good shape, but if you've had a lull for whatever reason and are looking to make a comeback it might not be as easy as many unpubs think.

--jhf

I'm anon at 4:12

When I thought about it later, I saw your point. Basically, even though you've been there, it's starting from the beginning.

Jessica, this is a great post. I know several authors and they are all at various stages of their careers...but all still fret about the things a debut author does. The main difference though, is the added expectation...it's horrible....how well will the newest release do? are my numbers going to make my publisher happy? And in this economic climate? What if they want to write something else? is it feasable? will they be able to? and you can bet if they're thinking about changing agents...all of these things are going to be considered closely. I don't think it never ends

So upon reflection, being a first-time novelist with a hardback released October 1st, into the teeth of an economic collapse, and then having your publisher go out of business three months later, is bad. Right.

I'll be quitting now.

Thank you for this post. I am a published author of 6 mysteries (two different publishers, two series). The first series was published by a wonderful publisher who distributes to libraries (not book stores). The second series was a project by another publisher for adults with limited reading skills and ESL and was never intended to be sold in bookstores (it was marketed to select groups, prisoners being one). My numbers (I don't know what they are) are almost certainly low for each. The first series was reprinted in paperback but I don't have any info at all on those.
It's been ten years since I've submitted anything for publication.
Do I have any chance at all,(either as a mystery writer or mainstream, e.g.) given the time lag and the inherent limitations on sales described above?

Thanks for the post. I guess a manuscript that was submitted years ago when the subgenre I write in was last popular is not a candidate for another look, now that the genre seems to be showing signs of life. Or is it? Can a manuscript that was submitted long ago be "new" again?

Funny, I'd never think to submit to an editor...I have enough angst thinking about submitting to agents! Why make it worse?

Thank you for validating my impressions. So many people advise writers to submit to publishers directly, but given the number of editors who will accept unagented submissions in my genre, that never struck me as productive.

Eek, I'm a little confused.
After placing in a contest, an editor requested only a synopsis. I'm sending out queries on a different manuscript, so I don't need to mention the editor, right?
Since it's a different manuscript and the editor hasn't shown interest so far besides a synopsis?

I thought I read here, somewhere, that BookEnds occasionally encouraged direct submissions to Harlequin/Silhouette.

I must be wrong, but I did it anyway.

1) Am I correct in assuming by editors you mean editors for Big Houses? Editors for small presses and ePublishers don't offer enough payment to benefit an agent.

2) Since editors and agents take so long to respond, an aspiring author can spend the better part of two years or so querying for one novel if she queries only agents first. It may be great for agents to get first dibs, but how does that benefit the author?Odds are she'll go through all that and still end up with nothing, since agents are only interested in books which will sell to the Big Houses.

You can make a career writing category romance for Harlequin and not ever sign with an agent....they are one of the few houses that take unsolicited queries....however, their single title division, Mira and HQN will only take agented submissions. If you're in this business and on a career path with the goal of writing single title, you will need an agent for sure...it just depends what you want to do. My contract with my agent covers everything except epubs...so I can sub on my own to epubs and any $$ I make is wholly for me.

I thought I read here, somewhere, that BookEnds occasionally encouraged direct submissions to Harlequin/Silhouette.

me: I'm pretty sure Harlequin is a non-agent publishing company. They have subsidiaries[i think that's the word] like Mira that you need an agent for, otherwise, anyone can submit to a line in the harlequin books. I'm pretty sure Bookends isn't being contradictory or two-faced. :D

Jessica, what about if you're querying a new work but your first book has a partial with one agent and is with an editor? Should you mention this in the query even though you're not querying the first book but concentrating on the second? Or is that a conversation you have later down the road?

(HQN does take unsolicites queries btw).

Harlequin Category accepts queries from unagented writers. HQN and MIRA however only accept agented submissions, as per their guidelines.

Nice post. Really liked it..
Don't forget to update it regularly.
I am looking for new updates dieing to read more stuff from you ..
-------------------------------


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Kimber An, I'm sure you meant this for Jessica, but let me share my opinion.

Most agents do more than just send out manuscripts the day after the author sends them. Quite a few will ask for revisions and discuss marketing strategy.

For me, the agent is the last in a line of people who have gone over the work in preparation to send it to an editor. Do you really want to cut out what might be the last chance to spruce it up before meeting the editor's eye?

I believe in my book, but that doesn't mean I'm not going to do every single, possible thing to make that baby shine before it goes out.

Thanks, Julie!

once again...Julie you're right...my agent loved my ms, which is why I was offered represention...but she also had several valid points and directed me to a few revisions that as a whole made the book much stronger...we've pitched it....and now we wait...but I trust her opinions, her strategy and her guidance....I wouldn't want to be making my way through the publishing waters by myself...sheesh...I'd probably drown!

LOVE that auction image! It's so...auctiony! Thanks, Jessica.

THANK YOU! Very helpful post!

This sounds like every writer's dream-publishers fighting for our work! Great information, Jessica, thank you.

How often, in your experience, do auctions actually happen?

How common is it to hold an auction for a first-time author's ms? Thanks for the info!

$5,000, $25,000, $50,000? All music to my ears! Why, just last night I was thinking "oh, if I just had $10,000, I could take a year off COMPLETELY and do nothing but write, nothing, nothing, nothing else..."

Then it was day again, the wind starts blowing again, snow (it won't stick) predicted...and New York-y book auctions seem a million miles away...

GRINDING, THIEVING AND THE QUASIMODO SHUFFLE


“What kind of burglar are you?

My writing partner stopped fondling Jessica’s pink-haired Barbie. “A really bad one. That's why I write books.”

“Earth to Stinky, you suck at that too. Forget women’s fiction, it’s hopeless. Let’s search Kim’s office.”

“Leave empty handed? How about this pink hat? I’d wear it.”

“Pitch it. EBay has standards.” I inched open Jessica’s office door and pushed Stinky into the hall. “Duck below the windows.”

“Too late. The neighbor’s washing dishes. She’s seen me.”

“Quick, drop a shoulder and drag one leg. She’ll think you’re Kim.”

“It worked. She’s waving.”

“That was close.”

To Nervous. If you still feel good about your agent and are comfortable with his or her abilities, then stick it out to the bitter end.

I had a wonderful agent for my children's books. As long as she still had hope, so did I. Good agents who believe in you are hard to find and I would never give one up without a fight. Hopefully, you are working on another project. Sometimes the project just isn't right for the times or requires more time to sell.

Be patient and have faith.

Julie

Anyone want to enlighten me on how many editors an agent should submit a book to if it doesn't sell right away? What is the number at which an agent could/should give up after being rejected? 10? 30?

I know a picture book writer whose agent gave up on a picture book submission after sending to only one editor.

I read on another blog about an agent sending a clients book to twenty-five different editors (accumulative, not all at once) before getting a sale.

Is there any reasonable middle ground? If so, what is it?

This is encouraging. I guess the bottom line is, finding the right agent for your work is like finding the right shoe; it needs to fit.

Hi! I'm the guy who asked the question. Just wanted to let you know that in between emailing the question and you guys posting an answer, we got a deal! So you're right- I had absolutely no reason to worry!

That's the best comment I've read in a long time, Anon 11:34. Thanks for sharing that!

Congratulations anonymous!!! We love good news.

I don't think there's any set answer as to how many editors your agent should submit to. That depends on so many factors including the genre, marketability, etc. I think having a conversation with your agent about her plans and feeling comfortable with them is the most important factor.

Congratulations, anonymous!

I'll third those congrats!

Life is what happens when you're busy making other plans. (John Lennon)
So if I have something huge I want to happen, I move in a different direction. When I wanted to get pregnant the first time I went for a promotion at work. I got the promotion and promptly found out I was pregnant!
I've learned that if I want a contract I need to focus on the next book. Especially if it is one in a different genre.

Congratulations Anonymous on the deal and proving Bookends advice right on target, as usual!!

Best wishes.
Nancy

jealous! would have loved to be at comic con!