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For this live webinar, “Slush Pile Showdown: How to Make Your Submission Stand Out,” literary agents Barbara Poelle and Holly Root are pulling back the curtain and showing you exactly what goes on when an agent reads your query. In their simulated slush pile, they will critique submitted queries live and give insights into which ones stand out and why, how queries could be improved, and common pitfalls to avoid. You’ll get a peek into what it’s like to be an agent sitting down, hoping to strike gold in the slush pile, and learn how to make your submission stand out. Your query is your first introduction to the world, so join us for a fun, kind-spirited but honest look at how to get noticed, get requested, and get signed!
It all happens at 1 p.m., EST, Thursday, Dec. 18, 2014, and lasts 90 minutes. All registrants are guaranteed a query critique, whether you choose to have it evaluated live or after the event. Learn more about the webinar here. (Note that agent Barbara Poelle has signed several writers after meeting them through WD webinars.)
ABOUT THE CRITIQUE
All registrants are invited to submit a one-page query letter, plus the first page of the manuscript (300 words or less) for critique. If you would like your materials to be critiqued LIVE during the webinar, they must be received before 5pm EST Tuesday, December 16th. All submitted materials are guaranteed a written critique by Root and Poelle, and we’ll cover as many query + page submissions as possible in live critique during the webinar.
WHAT YOU’LL LEARN:
— How to craft a query that will get attention
— Why querying isn’t a useless evil exercise in torture
— Common missteps and how to avoid them
— What agents are looking for when they read
— Which “rules” really matter and which ones are matters of opinion
— What it’s like to be an agent reading through submissions
— If your query is ready for prime time
— What to do if your query isn’t ready. Sign up for the webinar here.
INSTRUCTORS
Holly Root is a literary agent at Waxman Leavell Literary Agency who represents adult fiction, select nonfiction, and novels for children and teens; she is not seeking picture book clients or screenwriting clients. She heads up a Los Angeles office for the New York City-based Waxman Leavell Agency. Visit her online at www.publishersmarketplace.com/members/hroot, www.waxmanleavell.com, and www.twitter.com/hroot.
Barbara Poelle is Vice President at Irene Goodman Literary Agency representing fiction for teens and adults. Her roster trends toward thriller and suspenseful women’s fiction as well as mystery, young adult and horror. Barbara also writes a monthly Q&A column for Writer’s Digest magazine and has previously signed three clients from attendees of her Writer’s Digest webinars. Visit www.irenegoodman.com to learn more.
WHO SHOULD ATTEND?
— Anyone interested in how the query process works
— Writers who want a professional opinion on their query’s strengths and weaknesses
— Writers whose queries aren’t getting the responses they want
— Writers wondering if their query is ready to go
— Writers who want a professional critique by a literary agent
— Anyone with questions about writing queries or the process of querying literary agents
HOW DOES THE CRITIQUE WORK?
All registrants are invited to submit a one-page query letter, plus the first page of the manuscript (300 words or less) for critique. If you would like your materials to be critiqued LIVE during the webinar, they must be received before 5pm EST Tuesday, December 16th. All submitted materials are guaranteed a written critique by Root and Poelle, and we’ll cover as many query + page submissions as possible in live critique during the webinar. Instructions on how to submit your work are sent after you have purchased the webinar and officially register in Go-to-Webinar. When you have registered in GTW, you will receive a confirmation email from [email protected], which contains the information you need to access the live webinar AND the Critique Submission Instructions.
Sign up for the Dec. 18 webinar here!
When your submission materials arrive in an agent’s inbox, they land among hundreds of others. At that point, one of two things will happen. Either the agent will like the submission and request more materials, or they will reply with a rejection. Authors who get rejected tend to fall in one of two categories when submitting materials: they try too hard, or not enough. This Writer’s Digest Boot Camp, which starts on Sept. 22, 2014, is designed to help you streamline your submission materials to stand out in a good way.
Attendees will learn how to write a dynamite query letter, tackle a one-page synopsis. The instructing literary agents of Kimberley Cameron & Associates will also explain the importance of author platform in addition to basic etiquette in dealing with an agent and manuscript basics. Lastly, all attendees will have an opportunity to interact one-on-one with an agent and submit the first ten double-spaced pages of their manuscript and a query letter for valuable feedback provided by successful literary agents. Note that there are limited seats for the event, and WD boot camps frequently sell out, so sign up sooner rather than later.
Here’s how it works:
On September 22, 2014 you will gain access to a special 60-minute online tutorial presented by literary agents Kimberley Cameron and Elizabeth Kracht. This tutorial will provide nuts & bolts advice on how to help you streamline your submission materials.
After listening to the presentation, attendees will spend the next two days revising materials as necessary. Following the tutorial, writers will have two days in which to log onto the blackboard and ask your assigned agent critiquer questions related to revising your materials. The agents will be available on the Blackboard discussion boards from 1-3 p.m. (PT) on both Tuesday, September 23 and Wednesday, September 24. By end of day (11:59 p.m., PT) on Thursday, September 25, attendees will submit up the first 10 double-spaced pages of their manuscript and a query letter for review to their assigned agents.
The agents will spend one week reviewing all assigned pages, provide relevant feedback and offer suggestions to help attendees improve upon them. The agents reserve the right to request more materials if they feel a strong connection to the work and want to read more.
(Sign up for the September 2014 boot camp here.)
The agents at Kimberley Cameron & Associates are allowing all attendees to individually choose exactly what they want to receive instructor feedback on. You are able to submit the first ten pages (double spaced) of your manuscript and a query letter for review by the agents.
If there are questions about how to submit work for critique, please ask them during the boot camp’s multiple Blackboard Q&A sessions, and either an agent or WD staffer can help you with an answer. Please note that agents cannot edit materials a second time, so please do not send your revisions back to them for a second review, unless they have specifically requested more work from you in an effort to consider your book for representation.
RECAP ON DATES:
Monday, September 22: Online Tutorial
Tuesday, September 23: Agent Blackboard Q&A 1:00 PM to 3:00 PM (PT)
Wednesday, September 24: Agent Blackboard Q&A 1:00 PM to 3:00 PM (PT)
Thursday, September 25: Submit Ten Double-Spaced Pages by EOD (11:59 pm PT)
Thursday, October 2: Agent Critiques Due
Only registered students can access the discussion boards. You’ll also be able to ask questions of your fellow students. Feel free to share your work and gain support from your peers.
Please note that any one of the agents may ask for additional pages if the initial submission shows serious promise.
(Sign up for the September 2014 boot camp here.)
In addition to feedback from agents, attendees will also receive:
– Download of “Everything You Need to Know About Literary Agents,” an on-demand webinar by WD editor Chuck Sambuchino
– 1-year subscription to the WritersMarket.com literary agent database
Please note that all attendees should have ten double-spaced pages of the beginning of their manuscripts finished and ready to submit to the agent prior to the beginning of the event. If you are submitting fiction, please send in a one-page query letter and the first ten pages of your manuscript (double spaced). If you are submitting non-fiction, please send in a one-page query letter and ten pages (double spaced) of the same chapter text. If attendees have a preferred agent they want to work with, please notify the assigning WD editor. Though not guaranteed, we will try to link attendees with a preferred agent if they have one. Also, please note that no Additional discounts are available. All sales are final.
About the Agents:
KIMBERLEY CAMERON
Kimberley was educated at Marlborough School for Girls in Los Angeles, Humboldt State University, and Mount St. Mary’s College. She began her literary career as an agent trainee at the Marjel de Lauer Agency in association with Jay Garon in New York and worked for several years at MGM developing books for motion pictures. She was the co-founder of Knightsbridge Publishing Company with offices in New York and Los Angeles. In 1993 Kimberley became partners with Dorris Halsey of The Reece Halsey Agency, founded in 1957. Among its clients have been Aldous Huxley, William Faulkner, Upton Sinclair, and Henry Miller. She opened Reece Halsey North in 1995 and Reece Halsey Paris in 2006. In 2009 the agency became Kimberley Cameron & Associates. Kimberley resides and works from Tiburon, California and Paris, France, with many visits to New York to make the rounds of editorial offices. She is looking for exceptional writing in any field, particularly writing that touches the heart, and makes us feel something. She’s been successful with many different genres, and especially loves the thrill of securing representation for debut authors. She represents both fiction and nonfiction manuscripts, with the exception of romance, children’s books and screenplays.
ELIZABETH KRACHT
Elizabeth Kracht represents both literary and commercial fiction as well as nonfiction, and brings to the agency experience as a former acquisitions editor, freelance publicist and writer. Elizabeth’s career in publishing took root in Puerto Rico where she completed her BA in English and worked as a copyeditor for an English-language newspaper. When she returned to the mainland she found her “vein of gold” in book publishing. She thrives on working closely with authors and researching the potential market for new books. Elizabeth’s eclectic life experience drives her interests. She appreciates writing that has depth, an introspective voice or that offers wisdom for contemporary living. Having lived in cities such as New York, San Francisco and San Juan, Puerto Rico, she is compelled by urban and multicultural themes and loves settings that are characters unto themselves. In fiction, she represents literary, commercial, women’s, thrillers, mysteries, and YA with crossover appeal. She is intrigued by untrustworthy narrators, tragic tales of class and circumstance, and identifies with flawed yet sterling characters. In nonfiction, she particularly loves memoir and other narrative nonfiction projects that contribute to the well-being of the self or others in addition to niche projects that fill holes in the market, offer a fresh approach, or make her laugh. She also has a soft spot for nonfiction heroic pet stories.
AMY CLOUGHLEY
Amy Cloughley came to Kimberley Cameron & Associates with a background in editing, writing, and marketing. She seeks authors with unique, clear voices who put forth smart, tightly-written prose. As a new agent, she is now actively building her client list with both debut and veteran writers. She enjoys literary and upmarket fiction of all types in addition to commercial—including well-researched historical and well-told women’s fiction. She also loves a page-turning mystery, suspense, or thriller with sharp wit and unexpected twists and turns. She has a soft spot for distinctive, strong, contemporary characters set in small towns. Amy always looks for an unexpected story arc, a suitable pace, and a compelling protagonist. She is interested in narrative nonfiction when the plot and characters are immersed in a culture, lifestyle, discipline, or industry. She will also consider a travel or adventure memoir. Amy has studied creative writing, journalism, and literature and holds a B.S. in magazine journalism. She worked in editorial and marketing roles in magazine publishing and corporate business before shifting her professional focus to her lifelong love of books. She leverages her background in both words and business to benefit her clients.
MARY C. MOORE
Mary C. Moore started her career in publishing as a writer. She graduated from Mills College with an MFA in Creative Writing. After freelancing for two years as an editor and writer in non-literary sectors, she began an internship with Kimberley Cameron & Associates with the desire to learn more about the literary business for her own writing. During the internship she discovered a passion for helping others develop their manuscripts. Now she balances three jobs: writer, editor, and agent, and finds that the experience in each helps and supports the other. She is looking for unusual fantasy, grounded science-fiction, and atypical romance. Strong female characters and unique cultures especially catch her eye. Although she will not consider most non-fiction, stories about traditional dance or pagan culture may interest her. Above all, she is looking for writing that sweeps her away.
(Sign up for the September 2014 boot camp here.)
Let me first begin by saying I love working as a literary agent. Since opening Greyhaus Literary Agency in 2003, I have had the chance to work with a lot of great writers, agents and publishers. Let’s face it – there are very few jobs out there where we get to do something many consider simply a hobby. However, with all of the great things about the job, the one thing I hate the most (and I know many other agents and editors feel the same way) is the part about writing rejection letters to authors. This is simply not a fun activity.
Now, there are really two different types of rejection letters. The first one I don’t have a big problem with. These are the letters for projects that might not be quite right for what I am looking for, or for stories that might not be ready for publishing yet. With stories like this, we can often take the time to provide a few suggestions for improvement, or to discuss why the story is not right for us. Yes, writing the letters takes time, but when I hit “send” I feel as if this author might be one step closer to publishing.
(How NOT to start your story. Read advice from agents.)
Column by Scott Eagan, owner and agent of the Greyhaus Literary Agency.
Scott has made sales to publishers including: Harper Collins, Pocket, New
American Library, Source Books and Harlequin. Scott is currently acquiring
authors in most areas of romance and women’s fiction, but, as the article
states, take the time to visit the website first to make sure that sub-genre
you write is what he is looking for! Authors can also visit scott at
www.scotteagan.blogspot.com, on Twitter @greyhausagency.
It is, however, the second letter of rejection that really gets frustrating to write. These are for authors submitting projects that the agency does not represent. Over the years, the number of these rejection letters has increased significantly. In fact, on one recent day in March, as I was answering submissions, I requested 2 partials, passed on 2-3 because the premise just didn’t work for me, and rejected 30 projects simply because these were not projects Greyhaus Literary Agency represented. What added to the frustration was the number of those submissions that were sent directly from my website.
If receiving rejection letters is as equally as frustrating as what I feel writing the letters, there are some very easy steps authors should take to remedy the situation.
Begin your research with general guides. Books such as Chuck Sambuchino’s Guide to Literary Agents are great starting points. Add in websites such as Query Tracker and you have a good list to build your research from.
Go to the source! No matter what resources you use to build your list of potential agents, make sure you visit the websites of the editors and agents. Review their website submission guidelines. Please note this is the most accurate information. Along the same lines, do not send something that is not on their list. Agents and editors will not acquire something that they don’t represent just because they think it might be a great read. Authors need to understand that agents and editors specialize in areas they are knowledgeable in and have the resources available to really help you as an author.
Going to the source is also crucial since many agents and editors will shift what they want, or even close for submissions, depending on the needs of the market or their own work load. Publishing is a constantly shifting market and authors need to take the time to stay up to speed!
(What writing credentials will impress an agent or editor?)
Know your genre. This is a small one but very important. Know what genre you are really writing in. For example, just because you have a romantic relationship in your story does not mean it is a romance. Just because your heroine is the protagonist does not mean it is women’s fiction.
Stalk the editors and agents. Next, if you think you have narrowed your search down to a list of specific editors and agents, start following them on social media. Listen to what they “chat” about. Pay attention to the books they like, the books they hate and the books they acquire. This will guide you in determining if your story is still a right fit.
E-mail and ask first. And finally, if you are still confused. You have read their submission guidelines and when they say, “I do not acquire young adult romance” and you don’t understand what they mean by that, then email and ask. Do not send it as a submission letter; just ask the question – “Hi Mr. Eagan. I am just inquiring if you accept young adult romances? I have reviewed your website submission guidelines and there is not mention that you do or don’t.” A simple word of warning though – Make sure you did read the submission guidelines. It makes you look like an idiot if you ask a question that is clearly stated on the submission guidelines.
I always say that researching the editors is not that hard. It does take time though but in this business, you need to have patience. Taking that time will certainly increase your chances of having an editor or agent read your submission. Getting them to publish it? Well, that depends on the quality of the work.
The biggest literary agent database anywhere
is the Guide to Literary Agents. Pick up the
most recent updated edition online at a discount.
Other writing/publishing articles & links for you:
Want to build your visibility and sell more books?
Create Your Writer Platform shows you how to
promote yourself and your books through social
media, public speaking, article writing, branding,
and more. Order the book from WD at a discount.
This series is called “Successful Queries” and I’m posting actual query letter examples that succeeded in getting writers signed with agents. In addition to posting these query letter samples, we will also get to hear thoughts from the writer’s literary agent as to why the letter worked.
The 68th installment in this series is with agent Allison Hunter (Inkwell Management) for Megan Mulry’s romance, A ROYAL PAIN (2012, Sourcebooks Landmark, part of the Unruly Royals series), which, in a starred review, Publishers Weekly called “a delightful love story… worth reading again and again.”
Dear Ms. Witherspoon,
When I learned you represent both Lionel Shriver and Eloisa James, I was overjoyed! I have yet to meet anyone who has actually read both, much less anyone who adores them (as you must; as I do). The book club crowd assumes James is fluff, and the romantics suppose Shriver thorny. If you were in any way responsible for the sale of We Need to Talk About Kevin, I salute you. I have lost friends over that book: married women who were unable to speak honestly about the cruelty, desperation, fear, and power struggles that define contemporary marriage and motherhood. I recently joined RWA and heard Eloisa James speak in Orlando. Citing her eloquence and intellectual vigor has been terrifically effective in my frequent attempts to refute the absurd stereotype that genre fiction is trash. Her books are pure pleasure.
I have just completed my second manuscript and I would be honored if you would consider representing me. A ROYAL PAIN is an 87,000-word contemporary Regency* romance. Bronte Talbott is a confident New York advertising executive who abandons her perfectly good life to be with her boyfriend in Chicago. Once there, she quickly realizes that it is her desire, far more than his interest, that holds the relationship together. After several months of heart-hardening, post-breakup depression, she vows to embrace brutal honesty in all future skirmishes with men. No forays into emotional minefields. No grand gestures. Soon after swearing off messy entanglements, she meets Max Howard, an irresistible British doctoral student with whom she enjoys a fabulous, no-strings-attached, ten-week affair prior to his scheduled return to England. Her efforts at emotional compartmentalization are foiled when Max confesses a much deeper affection: when he asks her to return to the UK with him, she is paralyzed with fear and refuses. Shortly after he departs, she discovers he is, in fact, the 19th Duke of Norfolk.
She makes a feeble attempt to contact him, at first ashamed of herself for not reciprocating his declaration when she had the chance, then angry at his deception. They meet again a year later in New York and London and this time they try to rebuild their relationship with both emotional and intellectual honesty. Against a glamorous, intimate, trans-Atlantic backdrop, they are finally able to overcome the obstacles of familial duty, false starts, and unexpected tragedy. This is a stand-alone novel, but part of a series that will feature other members of the Howard family, both contemporary and historical.
I earned my BA in English Literature from Northwestern University in 1988 and worked at The New Yorker and Boston Magazine before moving to London and switching to a career in corporate finance. Since returning to the US in 2001, I have been a full-time mother. I am a member of RWA and Florida Romance Writers.
Thank you in advance for your kind consideration. I look forward to hearing from you.
Very sincerely,
Megan Mulry
* I am enamored with Regency literary devices—balls, doyennes, meddling friends, intricate meals, and high fashion—and have tried to weave them seamlessly into a contemporary world. Hence, the genre mash-up.
COMMENTARY FROM AGENT ALLISON HUNTER
Background from Allison: Megan originally queried Inkwell Management co-agent Kim Witherspoon. At the time the letter was sent [fall 2010], I was Kim’s assistant. I volunteered to be the first agency read on the manuscript, because once I read the query, I was completely hooked! I read the manuscript and fell in love. I let Kim know I thought we should pursue it as an agency, and she encouraged me to take the lead, given my obvious enthusiasm.
Regarding the query: I read Megan Mulry’s query soon after a break-up. I was deep in self-pity mode when I opened Megan’s email and met her heroine Bronte Talbott, who rebounded from her break-up with a sexy British grad student…who happened to be a royal. I was instantly hooked. I wanted—needed—to learn more about how Bronte found her happy ending.
At the time, I didn’t have a lot of experience with the true “category” romance genre, but I had long been a fan of commercial women’s fiction (what we used to call “chick lit,” until the term became passé). Megan’s novel appealed to me because it reminded me of the women’s fiction I loved, but with a strong, confident heroine and a sexy edge. Plus I couldn’t resist the royal connection—when I read Megan’s query, Prince William and Kate Middleton were newly engaged, and I couldn’t get enough of royal romance. Of course, it didn’t hurt that Megan was clearly a strong writer (and had worked for The New Yorker, catnip for any agent!). I knew I wanted to read more.
Do you have an idea for a great novel? Are you at a loss
for where to start? Look no further. You Can Write a
Novel, 2nd Edition, gives you concrete, proven
techniques to get from idea to manuscript to bookstore.
Other writing/publishing articles & links for you:
Want to build your visibility and sell more books?
Create Your Writer Platform shows you how to
promote yourself and your books through social
media, public speaking, article writing, branding,
and more. Order the book from WD at a discount.
This series is called “Successful Queries”
and I’m posting actual query letter examples that succeeded in getting writers signed with agents. In addition to posting these query letter samples, we will also get to hear thoughts from the writer’s literary agent as to why the letter worked.
The 66th installment in this series is with agent Sara Megibow (Nelson Literary) for Stefanie Gaither’s young adult novel, FALLS THE SHADOW
(Sept 2014, Simon & Schuster Books For Young Readers). Kristi Helvig, author of BURN OUT, said of the book: “[It's] a smart, futuristic thriller that grabs you and doesn’t let go until the very last page. This is a fantastic debut.”
(Agents share their query letter pet peeves.)
Dear Ms. Megibow,
I’m currently seeking representation for my YA novel, FALLS THE SHADOW. Given your interest in science fiction, I thought it might be a good fit for your list.
When Cate Benson was twelve, her sister died. Two hours after the funeral, they picked up Violet’s replacement, and the family made it home in time for dinner and a game of cards.
It’s the year 2055, and Cate’s parents are among the wealthy elite who can afford to give their children a sort of immortality—by cloning them at birth. So this new Violet has the same smile. The same laugh. That same perfect face. Thanks to advancements in mind-uploading technology, she even has all the same memories as the girl she replaced.
She also might have murdered the most popular girl in school.
Or at least, that’s what the paparazzi and the crazy anti-cloning protestors want everyone to think: that clones are violent, unpredictable monsters. Cate is used to hearing all that, though. She’s used to standing up for her sister too, and she’s determined to do it now—even if proving Violet’s innocence means taking on those protestors and anyone else attacking her family. But when her own life is threatened—not by protestors, but by the very scientists who created her sister’s clone—Cate starts questioning everything she thought she knew about the cloning movement. About herself. About her sister.
And the answers she finds reveal a more sinister purpose for her sister’s copy—and her own replacement—than she ever could have imagined.
FALLS THE SHADOW is complete at 80,000 words, and is the first in a planned series. The manuscript is available, in part or full, upon request. Thanks for your time and consideration!
Best,
Stefanie Gaither
COMMENTARY BY AGENT SARA MEGIBOWfind it on Amazon already
.]
(Query letter FAQs answered.)
Need help crafting an awesome plot for your
story? Check out the new acclaimed resource
by Ronald Tobias, 20 Master Plots.
Other writing/publishing articles & links for you:How NOT to Pitch Your Book.
Examining an Excellent Pitch.Genre Author Taylor Stevens Explains “How I Got My Agent.”How I Got My Agent: Oksana Marafioti, Author of AMERICAN GYPSY.
Sell More Books by Building Your Author Platform.
Follow Chuck Sambuchino on Twitter or find him
on Facebook. Learn all about
his writing guides on how to get published, how to find a literary agent, and how to write a query letter.
Want to build your visibility and sell more books? Create Your Writer PlatformOrder the book from WD at a discount.
In this live webinar, literary agents Kate McKean and Jim McCarthy invite you to peek behind the curtain and watch exactly what happens when an agent considers your query. Working from the submissions they receive (all queries will be made anonymous), participants will have the chance to read along with them as they decide whether to stop reading or carry on. You’ll see the exact moment in query letters that each perks up or passes. Think of it like American Idol: Query Edition. Along the way, you’ll garner helpful tips on what to avoid as you write your own query, how to stand out from the pack (in a good way), and what goes on in an agent’s mind as they consider your material.
It’s called “What an Agent Really Thinks While Reading Queries: A Live Query-A-Thon,”
and it happens at 1 p.m., EST, Thursday, March 13, 2014. All attendees get their query critiqued by the agent instructors. The webinar lasts 90 minutes. At least four agents have signed writers after critiquing their work as part of a WD webinar.
ABOUT THE CRITIQUESign up for the webinar here
.
HOW CAN I GET MY QUERY CRITIQUED DURING THE WEBINAR?WHAT YOU’LL LEARN:Sign up for the webinar here.
INSTRUCTORSWHO SHOULD ATTEND? Sign up for the webinar here.
Maybe you’re the next Stephen King, maybe you’ve written a New York Times bestseller, but if you don’t know how to query, no one will ever know. Learning how to write a great query, one that will not only make an agent want to read your book but pick up the phone and call you the minute he/she reads your query, is essential if you want to be a published author.
Literary agent Jennifer De Chiara will guide you, step by step, in writing the perfect pitch for your book. She’ll offer do’s and don’ts from her 16+ years of agenting and share queries that got her attention and those that didn’t. De Chiara will also give tips on how to find the right agents to query – if you’ve written a dynamite query, it’s still worthless if you’re not sending it to the right agents. It’s all part of her new webinar: “Querying 101: Putting Your Best Book Forward.”
The webinar happens at 1 p.m. EST, Thursday, Sept. 26, 2013, and lasts 90 minutes. All attendees receive a query critique. Don’t forget that at least 4 agents have signed writers after critiquing their work as part of a WD boot camp or webinar.
ABOUT THE CRITIQUEAll registrants
are invited to submit their query letter for review. All submissions are guaranteed a written critique by literary agent Jennifer DeChiara. Jennifer reserves the right to request more writing from attendees by e-mail following the event, if she deems the query excellent.
Please Note: Even if you can’t attend the live webinar, registering for this live version will enable you to receive the On Demand webinar and a personal critique of your material. Purchasing the On Demand version after the live event will not include a critique.
WHAT YOU’LL LEARN:Sign up for the webinar here.
INSTRUCTORJennifer DeChiara Literary Agency
, which she founded in 2001. Before forming the agency, she was a literary agent with two established New York agencies, worked in the editorial departments of Simon & Schuster and Random House, and was a writing consultant for several major corporations. A New York City-based writer, she is a frequent guest judge for the WRITER’S DIGEST, WOW! WOMEN ON WRITING, and THAT FIRST LINE writing contests, among others, and is a frequent guest lecturer on publishing and the art of writing at universities and writers conferences throughout the country, which have included New York University’s Summer Publishing Institute, the Penticton, Canada Writers Conference, the San Diego State University Writers Conference, Backspace, the International Women’s Writing Guild, and the Learning Annex. The agency represents both children’s and adult books, fiction and non-fiction, in a wide range of genres and represents many best-selling, award-winning authors, including Pen Award-winning author Carol Lynch Williams, Edgar Award-winner and Pen Award-Winner Matthew J. Kirby, Newbery Honor Medal-winner Margi Preus, Lambda Award-winning YA novelist Brent Hartinger, best-selling children’s book authors Chanda Bell and Carol Aebersold, best-selling, award-winning Cathie Pelletier (aka K.C. McKinnon), and #1
New York Times’ best-selling author Sylvia Browne. The agency has a strong presence in Hollywood and is affiliated with many of the top film agencies there, with many film and television projects in development, several of which DeChiara has created and/or co-produced.
WHO SHOULD ATTEND?Sign up for Jennifer’s new webinar here!
In this live webinar, literary agents Kate McKean (Howard Morhaim Literary) and Jim McCarthy (Dystel & Goderich) invite you to peek behind the curtain and watch exactly what happens when an agent considers your query. Working from the submissions they receive (all names on queries will be removed), participants will have the chance to read along with them as they decide whether to stop reading or carry on. You’ll see the exact moment in query letters that each perks up or passes. Think of it like AMERICAN IDOL: QUERY EDITION
. Along the way, you’ll garner helpful tips on what to avoid as you write your own query, how to stand out from the pack (in a good way), and what goes on in an agent’s mind as they consider your material.
We’re calling this webinar “What an Agent Really Thinks While Reading Queries: A Live Query-A-Thon.”
It happens at 1 p.m. EST, Thursday, Sept. 17, 2013, and lasts 90 minutes. All attendees will get a query critique from the literary agent instructors. Don’t forget that multiple literary agents have signed writers after reading their work as part of a WD webinar!
ABOUT THE CRITIQUEABOUT THE WEBINARSign up for the webinar here
.)
Both Kate and Jim read all of their own submissions—which equates to hundreds of queries every month. Each signs on only about 1% of what they see. So how do you clear the gauntlet? Why aren’t agents requesting your material? And what can you do about it? In this kind (but honest) webinar, you’ll finally have a chance to see exactly what you’re up against.
WHAT YOU’LL LEARN:Sign up for the webinar here.
INSTRUCTORSHOW DOES THE CRITIQUE WORK?HOW CAN I GET MY QUERY CRITIQUED DURING THE WEBINAR?Sign up for the webinar here!
“How to Write a Query Letter” is probably one of the most important and common topics that we discuss here at Writer’s Digest. After all, a query is your all-important tool to get an agent to request more of your work, and eventually sign you as a client and sell your book. Your query letter must be short, but it must also explain what your book is about and hook the reader in. With all that in mind, we’re very excited to announce an all-new webinar called “Query Letter Intensive” taught by literary agent Michelle Wolfson (Wolfson Literary) on Thursday, Sept. 27, 2012. All attendees get their query critiqued. Keep reading to learn more.
Sign up for the webinar here!
Sometimes you only have seconds for your query to catch interest,
and a great opening line can do that. We, as authors, try so hard to summarize our
entire book, instead of just picking out the one or two elements that make our book
unique, that I think we get lost when trying to do something like this. But practice
will make it easier for you, and I hope the following ideas will help.
Kathryne is excited to give away a free copy of her
novel to random commenter. Comment within one week; winners must live in Canada/US
to receive the book by mail. You can win a blog contest even if you've won before.
Guest column by Kathryne Kennedy,
award-winning
author of magical romances. She’s lived in Guam,
Okinawa, and several states in the U.S., and currently
lives in Arizona with her wonderful family—which
includes two very tiny Chihuahuas. She welcomes
readers to visit her website where she has ongoing
contests at: KathryneKennedy.com.
CRAFT A TAGLINE
Taglines are the one or two lines that are often on the front of a book cover. They
are another way for publishers to draw the interest of a reader to your book. For
example, the tagline on the cover of my December release, Beneath the Thirteen
Moons. is “She never believed in fairy tales … until she found a prince…” And
from my to-be-read pile:
-
“A novel of vampires, werewolves and dirigibles” from the cover
of CHANGELESS by Gail Carriger.
-
“Her next jump may be her last” from the cover of GRIMSPACE
by Ann Aguirre.
-
“Four lives. Two great loves. Every expectation SHATTERED” from
SHATTERED by Joan Johnston.
Taglines may be a great way to hook an agent or editor to your
book in your query letter. It’s always helpful to present your novel from a marketing
perspective. You can study the taglines from your favorite books to help you craft
your own, and expand on them (if necessary) to use for the opening line of your query
letter. One day soon, you may very well be using it in an advertisement for your own
novel … or seeing it on the cover of your book.
STUDY BOOK ADS
And speaking about advertising and marketing, another great way to come up with ideas
for your hook is by studying the ads in publications for your genre. Again, this is
another way to develop a hook from a marketing perspective. I write romance, so I
would study the ads in Romance Writers Report or Romantic Times Book Reviews.
If you don’t have a publication that you subscribe to for your genre, Publishers
Weekly covers them all.
Take a look at the advertisements, paying special attention to what I refer to as
power words, like “never expected” or “discovered” or “emotional.” After reading
many ads, you will begin to see a pattern, or a sequence of words that are slightly
altered. Publishers know their target au
Do you remember how you felt when you first started describing
yourself as a writer? If you’re like me, your excitement was tempered by a real sense
of pressure.
I’m not talking about the proverbial starving artist kind of pressure where you have
to ask if pursuing your dream is worth eating ramen six nights a week for the rest
of your life. No, I mean the pressure you feel when your new job requires e-mail openers
like: "My name is Ted Fox, and I’m the writer/editor in the college’s communications
office." Loosely translated, this of course meant: "Please mock me openly when I spell
‘occasion’ with two s’s three sentences from now." That’s
how I interpreted it, anyway...
Paranoia aside, though, the fact is that once we start calling ourselves writers,
our stray typos and grammatical lapses can’t come and go in relative anonymity no
matter where they occur—but particularly in the unflinching light of a query letter.
The stakes are high, as a little piece of our heart and soul can get dismissed because
we put two periods at the end of the last paragraph.
OK, I might be exaggerating, although by how much is open to debate and likely depends
on the agent, her/his mood that day, and whether she/he would describe Ke$ha’s spelling
as “innovative” or “a blight on humanity.”
I’m a humor writer; exaggeration is what I do. That, and try to find the balance between
insanely funny and just insane. Such a mandate brings a different, additional pressure
to bear on the query process—namely, figuring out how to be funny without being too
much.
I initially thought about a query in much the same vein I do a cover letter for a
regular job. Sporting the requisite “My name is” introduction, an early version continued
like this (names removed to protect the innocent)
After This One Lady, editorial director of the book division at A Publisher You’ve
Heard Of, reviewed a summary and sample of my humor-based memoir, Her Boss recommended
I seek an agent.
Sure, I went on to sprinkle in a one-liner here and there, but my main objective was
to describe my book and “be professional.” I suspect in many genres, this would have
been the right tack.
But something felt off in those early letters. I realized that rather than showing
an agent my sense of humor, I was standing there saying the equivalent of “I’m funny.”
That’s not funny.
My solution? Approach my query letter as a piece of creative writing itself, one that
reflected my style while still giving the reader all the pertinent details about my
project. This wasn’t an easy proposition, as I could end up coming across as a jackass
who didn’t take his work seriously if I went too far the other way.
When it came to potential typos, at least I’d have some help from spell check and
its flighty cousin, grammar check. Wi
Conferences can be great places to learn, but let’s face it,
when you’re unagented and have a completed manuscript, your main agenda may not be
the workshops. I’ve attended several conferences, both as a pre-published writer and
a published one. The truth is, my main goal has remained the same: Networking.
Denise is excited to give away a free copy of her
novel to a random commenter. Comment within one week; winners must live in Canada/US
to receive the print book by mail. You can win a blog contest even if you've won before.
Denise Jaden's debut YA novel, Losing
Faith, was
released in Sept. 10 from Simon Pulse. She is, or
has been, everything from a professional Polynesian
dancer and fitness competitor to a mushroom farmer
and church secretary. Denise's writing has appeared
in Mississippi Crow Magazine (Spring, 2008)
and
The Greensilk Journal. She lives just outside
Vancouver, Canada. See
her website here.
Don’t get me wrong, I love learning, and always come home from conferences with my
writing-tools arsenal filled a little fuller. But I met my editor at a conference,
and I can quite honestly say that she probably would not be my editor if I hadn’t.
You see, my editor was a senior editor when she made an offer on my book (she’s recently
been promoted to executive editor), and since my agent was the new girl on the block
at the time, she had targeted my manuscript mainly to either junior editors or editors
one of us had been in contact with. My agent likely would not have targeted a senior
editor at Simon Pulse if I had not had prior contact with her.
So I’m a big believer in networking at writing conferences. I’ve compiled a list of
helpful hints that may be useful at your next event.
-
Show up like you mean business. Get to the conference
early enough to get the lay of the land. Dress appropriately and memorably, so when
you meet someone in the morning, you won’t have to re-introduce yourself in the afternoon.
-
Meet as many people as possible. Whether you’re at lunch
or in a long line up waiting for a pitch appointment, there’s almost always someone
nearby to chat with. You never know who you will meet. I’ve met people in line who
I’ve stayed friends with online for years, people who are supporting me now that I
have a book coming out, people who have recommended me to their agents. I’ve met agents
at lunch and editors in the hallways. Be nice and friendly wherever you go, and you’ll
end up with a whole new list of friends and contacts and Tweeps that you’ll be thankful
for in the future.
-
Know the schedule ahead of time. Figure out which agents
and editors
Editor's note: I am declaring November 2010 to be
"Agent Guest Column Month," and therefore, every weekday, I will be posting a guest
column by a literary agent. Day 19: Today's guest agent is Bob
Silverstein of Quicksilver
Books Literary Agency.
Bob's guest column is an excerpt from
Author 101: Bestselling Secrets from
Top Agents. Buy
it here.
First, let me tell you about query letters that immediately
turn me off:
-
When they are typed on an old typewriter or, worse, handwritten
and often illegible. The look of a query letter is important in making a good first
impression. Use a computer!
-
Those that list multiple projects and crossover genres; for
example: Novel #1 is sci-fi, novel #2 is a western, and novel #3 is a young adult,
etc. This kind of shotgun approach is bound to backfire.
-
Letters that go on for pages. As far as I’m concerned, one page—a
little more at most—should be sufficient.
OK, so much for the negative. Now on to the positive. For me,
the best and most effective query letters do the following:
-
They immediately establish the author as someone to take seriously;
for example: I’m a member if the National Writers Union.
-
My name is (name) and I’m the author of (a book or books) previously
published by (house).
-
You were recommended to me by (a current client or a person
I would know).
-
They include reviews, new clips, flyers, etc. that showcase
the author as a person with a platform, media exposure, and marketing capability.
This may not be as important for fiction, but is especially crucial in many nonfiction
categories that an author have credentials and/or endorsements from peers, celebrities,
etc.
Want more on this subject?
Editor's note: I am declaring November 2010 to be
"Agent Guest Column Month," and therefore, every weekday, I will be posting a guest
column by a literary agent. Day 13: Today's guest agent is Scott Hoffman of
Folio Literary Literary.
------------------
Agents generally respond to submissions
with three types of rejections. Cracking the code when it comes to a typical
agent’s rejection protocol can help you determine whether or not the project you’re
working on has publishing potential.
1. THE FORM REJECTION
The most common (and least valuable) type, a form rejection tells you only that someone—not
necessarily even the agent herself—glanced over your manuscript and didn’t think it
could be sold at a high enough price to justify signing you as a client. By itself,
one form rejection tells you nothing. Twenty in a row, however, may serve as a pretty
convincing sign that your book, or at least the beginning of it, isn’t ready to hit
the shelves quite yet.
2. THE PERSONALIZED REJECTION
This can be either a form letter with a personal note added or a letter obviously
written directly to you. If you receive one of these, it means your manuscript is
head and shoulders above the majority of submissions an agent has read. I’d guess
that most agents add a personal and encouraging touch to no more than 5 percent of
the queries they read. I’d also wager that most published authors have received at
least one personalized rejection in the course of their careers. By itself, a personalized
rejection is actually a good thing: It means you’ve got the writing chops or some
other compelling factor on your side that will likely lead to you eventually becoming
a published author. You’ve convinced a publishing professional to pay attention to
you—and that should be a tremendously energizing event.
3. REAL-TIME INTERACTION
This is the rarest (and most valuable) rejection, and it comes in the form of either
a phone call or, rarer still, an in-person meeting. If this happens to you, don’t
be shy—be sure to ask the agent exactly what he thinks your book is lacking. In the
case of a writer I've since signed, I thought the book she sent me wasn’t the right
project to launch her literary career. Despite her raw talent, my experience with
the publishing process led me to believe that if her book were to find a home at a
publisher, it wouldn’t break out in a way that would lead to long-term success.
Take notes when an agent responds this way, because—and I may get in trouble with
some of my colleagues for saying this—if an agent is going to take the time to call
you or meet with you, he almost certainly will represent you at some point in your
career. It may just be a matter of finding the right book, or making changes to the
on you’re working on now.
Those query letters are pesky critters. You have to encapsulate
your story through a pitch while explaining your writing credits. It's no surprise
that most writers would rather compose a novel than a query letter. Considering that
queries are your all-important first contact with agents, it's a good thing we have
an expert like Jane Friedman to teach the upcoming webinar on Nov. 4: "Critique
Series: Query Letters."
DETAILS:
The webinar is at night this time - at 6 p.m., Thursday, November 4, 2010, EST.
It's 90 minutes long. Each registration comes with access to the archived version
of the program and the materials for 1 year, so you do not have to be there for the
live event to get your critique and the archived recording. Sign
up here.
ABOUT THE WEBINAR:
1. Free critique. All registrants are invited to submit a 1-page query letter
in advance of the event. All submitted queries are guaranteed a critique. For this
reason, we limit registration to 40 attendees. Description Query letters are one of
the most important tools in a writer's arsenal. This webinar shows, in live time,
how ordinary, everyday query letters can be transformed into strong and persuasive
letters that catch the attention of agents and editors.
2. Expert instruction. Jane Friedman, an experienced publisher and editor,
will show you how to compose stronger leads, concise and efficient expression, and
compelling hooks. You will better understand what a professional immediately sees
and responds to in your work. This helpful content is perfect for writers having trouble
composing their query, or for those who are getting rejected by agents/editors. (Enrollment
is capped at 40 attendees! Sign
up here.)
What You'll Learn:
-
5 essential elements of every query, and how to order them
-
3 components of a compelling novel hook or nonfiction concept
-
Common mistakes and red flags that appear in typical queries
-
Why a shorter letter is more likely to succeed
-
What to put in your bio even if you have no credits
INSTRUCTOR:
Jane Friedman is the former publisher of Writer's Digest, and now serves as
a full-time visiting professor at the University of Cincinnati, where she teaches
courses on e-media. As a contributing editor to Writer's Digest, Jane offers
insight on the future of writing and publishing at her award-winning blog, There
Are No Rules, and serves on the advisory board of Digital Book World.
Questions: [email protected].
Si
Editor's note: I am declaring November 2010 to be
"Agent Guest Column Month," and therefore, every weekday, I will be posting a guest
column by a literary agent. Day 2: Today's guest agent is Dan Lazar of Writers House.
The surefire way of tempting a literary agent into reading your work is by sending
them a fabulous query letter. A great query letter trumps all, every time. But how,
you’re wondering, can you possibly encapsulate your amazing manuscript, your sweat
and tears, your next Great American (if you’re Canadian, then your next Great North
American novel) … into one letter? Because remember, at the end of the day, it all
comes down to the writing. If you’re a great writer, who’s written a great novel,
you can write a great query letter. Period. Here are some tips of mistakes to avoid.
Guest column by Dan Lazar, an
agent
with Writers
House in New York.
1. Be specific, but don’t vomit information. Saying “my novel is about a mom
going through some life challenges” is vague, and remember: Vague = boring. However,
be careful not to stuff your letter with so many details of your plot that it’s confusing
to decipher what’s going on. Reading your pitch letter out loud can often help you
identify these flaws.
2. Avoid the “duh” trap. Don’t bog down your writing by overstating the obvious.
For example, “I'm writing this letter to tell you about my fictional novel, which
I'd like to send you, and it is called TITLE.” That’s an awkward sentence. A simple
“I'd love to send you my novel, TITLE” is short and sweet. If this is confusing, read
both out loud. Seriously. Try it. Reading your own words out loud can sometimes reveal
the awkward or run-on sentences.
Another “duh” trap would be: “My novel will make you laugh”
or “My writing is lush and literary”—you’re
begging the agent to disagree. Many writers say “my novel will be a bestseller," or
"my book could easily be made into film," in an effort to excite an agent. But truthfully,
this is borderline offensive to most agents—it’s
presumptuous and naïve to assume your work can easily bypass all the guardians and
hard work it takes to make book into a bestseller or a movie.
3. Don’t call your manuscript a “fiction novel.” There’s no other kind. If
you can’t tell the difference, that’s a problem.
4. Don't say other readers loved the book, unless those other readers are published
authors of note. If you’re writing a children’s book, saying your class loved
the book is equally unhelpful.
5. Make sure the agent accepts e-queries before you send one. Just because
his/her e-mail is listed somewhere, doesn't mean they do. Most agents now have websites;
check their submission guidelines. If you're not sure, send your query by snail mail.
6. E-queries must also look neat. Colorful border, graphics or emoticons are
not only unprofessional, but they’re often caught by spam blockers. And if the agent
requests your work by e-mail, e-mail it in one or two attachments. Not twenty.
A thousand other questions may be running through your head now – but these are the
basics. For all else, use your common sense. Courier New versus Times New Roman? 1
inch margin versus 1.25? Doesn’t matter, trust me. Just write
Editor's note: I am declaring November 2010 to be
"Agent Column Month," and therefore, every weekday, I will be posting a guest column
by a literary agent. Day 1: Today's guest agent is Rachelle Gardner of Wordserve Literary.
As a literary agent, I receive queries every day. When a query interests me, I ask
to see more material. If it's fiction, I'll ask for the manuscript. But if it's nonfiction,
I'll ask for a book proposal. Occasionally I receive an e-mail back from the writer:
What is a book proposal? Needless to say, that's not the answer I want. A book proposal
is the basic sales tool for a nonfiction book—a business plan, if you will. An agent
can't sell your book to a publisher without it. You've got to have one, and it's got
to be good.
Let me put it to you straight: If you don't know what a book proposal is, you're not
quite ready to approach an agent. You shouldn't even query an agent with your nonfiction
project until your proposal is complete. So if the proposal is your key tool to getting
an agent’s attention for your book, let’s review why you need one and how to compose
it.
5 REASONS YOU NEED A PROPOSAL
If you have a completed manuscript, you may be tempted to think that’s enough. It’s
not. You still need a proposal. Here are a few reasons why:
1. Publishers usually don't look at nonfiction manuscripts. The proposal itself
provides information publishers need in order to make a purchasing decision. Before
they even want to read sample chapters, they will review elements such as the author's
platform, how the book fits into the marketplace, and what titles already exist on
your topic.
2. The book proposal can be used throughout the publishing process to help the
editorial, marketing and sales teams understand your book. They’ll refer to it
when they write copy for your book—copy that goes on to your book cover or into marketing,
advertising, and sales pieces. Therefore you’ll want to write the best and most effective
“sell language” into your proposal.
3. Your efforts in putting together a complete book proposal (believe it or not)
can be instrumental in your own understanding of the structure, theme, and execution
of your book—and you may be able to identify and correct any problems. If done
correctly, your proposal will also help you understand and be able to explain who
your audience is and why they would buy your book.
4. The proposal shows the publisher that you’ve done your homework. It shows
you’re a professional, and you have a good understanding of the business of publishing.
Alternatively, a shoddy proposal makes it easy for an editor to quickly say “No” and
toss it in the reject pile.
5. Reading entire manuscripts is extremely time-consuming. Proposals give editors
the information they need to make decisions as quickly and effectively as possible.
1) Conceit – This is the beginning
of the query experience in which you are convinced that any agent would be a fool
to turn you down. You know deep in your heart this is the most fantastic book ever
written and every agent who reads your query will request a full, (or at least a partial)
immediately. And your mother, husband/wife and BFF beta's said so.
Guest column by Anne Gallagher,
an aspiring
writer of romance novels living in the Foothills
of the Piedmont. Read
her blog here.
#2) Fear – This second emotion is harder to contain as it encompasses a variety
of anxieties at the same time: Is the query strong enough to get a request? Is the
manuscript good enough? Have I revised enough? Did I find all my typos? Did I say
everything I was supposed to say?
#3) Bargaining – This is when you’ll do absolutely anything if an agent requests
any part of your manuscript: Spend more time with the kids, your mother-in-law, the
PTO. You’ll keep up with the laundry, dishes, dust bunnies. You’ll remember to make
breakfast, pay the bills, feed the dog. And you’ll pass up the new shoes you saw last
week at the mall … you swear, if you could only get a request.
#4) Depression – This is how far you’ll actually sink before you start climbing
up from the pit of despair. Some frequent comments in your head will be—“My query
sucked, the agent will hate it. My book sucks. Why am I doing this? I can’t write
a book. No one would read it anyway, it will never sell.” At this point, you must
remember you do have family and friends who love you and care for you. Step away from
the chocolate, get out of your sweats, take a shower and go for a nice long walk.
A little fresh air never hurt anyone.
#5) Acceptance – And this last stage is when you realize, the query is out,
agents are looking at it, you gave it your 100% best shot and there is nothing more
you can do. So relax. And I won't tell you not to check your e-mail account fifteen
times a day because I know you will, (I do, too) just try and get it down to
three. Breakfast, lunch and before bedtime.
These five stages are not all encompassing or complete. The emotional reactions to
querying varies across individuals and largely depends upon their support systems—and
how much bourbon is still left in the liquor cabinet.
Here are some guidelines that will help you to manage these Five Stages of Querying and
allow you to get on with writing your next book. If you've sent out your book, try
these guidelines:
-
Respond: Try to respond appropriately when someone asks
about your book. Incorrect Response: “Oh my God, I sent it out to query like three
weeks ago and haven’t heard a word, and it’s like freaking me out, I can’t stand the
waiting, it’s killing me because I knew I forgot to fix the typo in the return address
and it’s like …” Correct Response: “I’ve sent my book out to query. I should hopefully
have more information in a few weeks. Thank you for asking.”
-
Education & Developing Increased Resourcefulness:
Now is the perfect time to stroll through agent blogs and find out what you need to
ask them if "The Call" comes. An ag
Writers tend to be creative in many areas of life, so it's no
surprise that we can get creative with the truth. Or, as my mother said, "You lie
a lot." This is especially tempting when we are debating why we aren't published.
Before I was a published author, I embraced a few cherished lies because they blunted
the pain of rejection. But the road to publication required discarding these lies
and facing reality. Here are five lies I believed before I was published:
1. THE RULES DON'T APPLY TO ME.
I write amazing first drafts. If there were a contest for first drafts, mine
would win every time. So I told myself, "Writing is not rewriting." Other
people might have to do multiple drafts, but my first drafts are so solid I
could publish them as-is. For years I believed this.
One day I did three drafts of an article, and it became my first published
article. A solid first draft is not good enough to be published. All those
"rules of writing" that you read in Writer's Digest, on blogs, and in
creative writings classes are rules because they are true most of the time.
So if there are some rules that you think don't apply to you, think again.
It might be the rule preventing you from getting published.
2. AGENTS AND EDITORS HAVE IT IN FOR ME.
Ah, those blood-sucking agents and editors. I'm pretty sure they have meetings in
a secret underground lair where they talk about how jealous they are of my writing
skills and how they should team up to keep me from being published.
This is a lie that is so prevalent among unpublished writers that editors and agents
have to go to psychologists so they can feel good about themselves again. I know one
editor who calls herself "Dream Crusher" to assuage her pain. Here's the truth: Editors
and agents desperately want you to be good enough. They make a living by writers being
publishable. If you're getting rejected it's because you still have work to do. either
as a writer or as a marketer.
3. I'M NOT A MARKETER, I'M A WRITER!
Which is exactly why you aren't published yet. You have to do the hard work of writing
a spectacular query and proposal. Notice that you have to "write" the query and proposal.
You're not being asked to do an interpretive dance or draft blueprints to a rocket
ship. It might not be your style, and it might be hard work, but being a published
author is hard work, complete with e-mails you don't want to answer,
Jon Sternfeld is an agent with the Irene Goodman Literary
Agency representing literary fiction and narrative nonfiction.
Jon’s co-agent, Irene Goodman, offers
manuscript critiques on eBay every month, starting on the first day of each month,
with all proceeds going to charity. Click on the link for more details on these
critiques and charity auctions.
How do writers distinguish their
query
among the thousands of others?
There are lots of dos and don’ts list out there (and I’ve added to that pile), but
overall, it’s an approach that agents and agents’ assistants look for:
1. A professional style and format that says, "I am a writer, I take this seriously,
I understand that how I write, structure, and format a query letter (shocker!) affects
how people view my writing as a whole."
2. Stay formal, specific and direct. Definitely mention why you’re querying
this agent/agency (e.g., an interview you read with them, titles they represent) so
it shows you’ve done your research and aren’t just sending this into the stratosphere
hoping for a reply.
3. Recognize your audience. An agency fields hundreds of these a day.
Your premise should be at the top, your synopsis shouldn’t be exhaustive, you should
respect the reader’s time and attention span. It’s so easy for an agent to move on
to the next one. Give them a reason not to.
4. You want to stick out—not in a cute way, but in a "my talent and professionalism
speak for itself" kind of way. Literally, the goal is to make an agent ask for more—so
set about creating something that is built with that in mind.
And remember: If you're looking for a professional manuscript
critique for a good cause, go to irenegoodman.com for
more details.
Want more on this subject?
If you dread writing a query letter or composing a pitch for
your book, perhaps all you need is a little feedback and instruction. That's why I'm
running a webinar called "Novel
Queries & Pitches: Critique Series." Here's the deal: The
key to catching an agent's eye is a compelling query and pitch, so all registrants
are invited to submit a hook (200 words or fewer) in advance of the event. All submitted
hooks are guaranteed a critique! You can retool your query before sending it out to
more agents.
DETAILS
It all goes down at 1 p.m., EST, Thursday, May 6, 2010.
The session lasts 90 minutes. If you sign
up but cannot make the entire webcast, no worries—because it will all be online
and archived for you to watch over and over again for one year.
WHY SIGN UP?
Successfully pitching an agent or editor on your book concept takes brevity and power.
Whether you're pitching at a live event, or in the context of a query letter, two
essentials must guide you: protagonist & problem. What you'll learn:
-
5 essential elements of every query, and how to order them
-
3 components of a compelling novel hook
-
Common mistakes and red flags that appear in typical queries
-
Why a shorter letter is more likely to succeed
-
What to put in your bio even if you have no credits
WHO SHOULD ATTEND?
-
Writers who are actively querying agents and publishers
-
Writers whose query letters always get rejected (or never get
a response)
-
Writers who will be pitching their concept at a conference
I hope to "see" you on May 6! Sign
up here.
