Querying
I was going to send out some query letters but Optimum Online was having an outage, so I thought I'd compose a blog post about the querying process instead.
The core piece of the process is the pitch or query letter, which is going to be the leadoff part of nearly every query that gets sent out. Authors interested in getting their books published are encouraged to work long and hard on their query letters, honing them and perfecting them in order to hook the interest of the literary agents or publishers who will be reading them. They're supposed to be short, they need to grab the reader from the first sentence, they should make the reader want to hear more. On the more mechanical and utilitarian level, the query letter is supposed to provide the title of the book, the genre it fits into, its length in words, and a sense of what the core conflicts or plot trajectory or story line is about.
Obviously, given those requirements, the crafting of a query letter requires a skill, it's an art. I often wonder why having the ability to write what amounts to effective ad copy should be used as a measure of one's ability to write good-quality novel-length tomes. I mean, it's not the same process and doesn't necessarily involve the same skills, although it's reasonable to suppose there'd be some overlap. It's a bit like requiring that composers of symphonies submit a 90 second commercial jingle if they want to have the orchestra consider performing their work, and deciding on the basis of the jingle whether to look at the symphony itself. But that's how the game is played.
Some lit agents don't want anything except the query letter--just send that and if we're interested in seeing more, we'll ask. But more often, they want auxiliary accompanying documents.
The writing sample, an excerpt from the book that's being pitched, is commonly requested. The length of the excerpt varies all over the map, with some people wanting to see your first three pages and others asking you to provide your first four chapters. The most common specific requests that I've encountered are the first three pages, first five pages, first ten pages, first fifteen pages, first twenty pages, first twenty five, and first fifty; first chapter, first two chapters, first three, and first four. Given the possible variations of what constitutes chapter length, these requests are often expressed in hybrid form: "Paste the first three chapters or fifty pages", or "Send me 25 pages or first two chapters", or "Please provide your first three chapters (not to exceed 35 pages)".
You'll notice a word recurrently repeated in all of those variations. However much of it they wish to see, they nearly always want that much of the start of your book. That puts a pressure on authors to frontload their book so that things are happening rapidly on the first pages. It works against an author who prefers to set the stage and develop the characters before springing the book's primary situation on the reader, and perhaps explains Dan Brown. I suppose I do see the point to this: if a person picks up a book and it doesn't hold their attention in the early portions, they won't keep reading long enough to get to whatever may be in the book farther in. I do have my doubts about what anyone can tell about a book from reading the first five pages though, aside from "yes this writer can string sentences together in a tolerably pleasant style".
The synopsis is another thing that people often ask for. A synopsis is more or less what we used to think of as a "book report" back when we were in fourth grade. It's a summary of what happens in the book, in the order that it occurs in the book, often chapter by chapter. For fiction and memoirs and other narrative forms that have storylines, the synopsis is a description of the plot. A synopsis is usually a single page's worth, and unlike the query letter is not supposed to be a teaser but instead should reveal what's in the story, to the extent that that can be summarized in a page's worth of description.
It is also common for the description for how to submit to include a blurb about the author, providing a list of any prior books or other publications that the author has to their name, giving the author's credentials or otherwise explaining why this author is a good person to have written this tale, and giving any additional background. A request for some information about the author is particular prevalent for nonfiction titles, and often specifically includes questions about the authors platform, the existing audience of people who are already paying attention to what this authors says and writes, the folks who already follow this author on Twitter or subscribe to the author's YouTube channel and so forth.
A memoir is nonfiction and unfortunately that means authors of memoirs are expected to have a platform in a way that authors of novels are not. I wish more lit agents and publishers were inclined to recognize that memoirs have more in common with fiction than they do with How To Make Your Fortune By Investing Shrewdly in the Stock Market or The Making of the Governor: Gubernatorial Politics in the Instagram Era or Authentic Spectacular Creole Recipes For a Limited Budget.
Speaking of nonfiction, a lot of times the instructions on "how to submit" specify that people who are pitching nonfiction manuscripts should include a proposal. A proposal is a complex multi-part document designed to make the case for why this nonfiction book should be published; it typically kicks off with an extended argument for the need for such a book, then delves into the qualifications of the author to write it (this part being more or less interchangeable with the about the author piece described above), a description of the market for the book (who will be likely to consider reading it if they're made aware of it, and why), a list of comparable titles and how this book is different from what's already out there, a chapter by chapter breakdown of the material that the book will cover (this part, for a memoir, is loosely identical to a synopsis; for The Making of the Governor and other more conventional nonfiction books, it would be more like an outline of topics and subtopics that the book will address and how those topics are organized), and, finally, a marketing plan, a proposed course of action for publicizing the book and bringing it to the attention of people likely to purchase it.
Oh, and proposals will typically contain sample chapters. For once, though, the tendency is not to concentrate on the material most direct adjacent to the front cover. In a proposal, a sample chapter may be from any part of the book. Some proposals may contain two or three sample chapters, and in keeping with that, the instructions for submitting material may specify that one should send a proposal with a specified number of sample chapters.
Less commonly, lit agents and publishers may request a list and/or discussion of comparable titles as a standalone alternative to a formal proposal, or may request a discussion of the likely market for the book.
In the United States (although not so much in the UK), literary agents typically do not want to mess with file attachments, at least at the initial-query stage, and so all of the above components are to be pasted into the body of the email. More often than not, submission procedures will specifically say that no file attachments will be opened or even that no emails containing file attachments will be read.
Email has limited capacities for text formatting; despite the occasional instruction from a literary agent to include everything in the body of the email and yet to "be sure to indent every paragraph, use one inch margins on all sides, and set the text to double spaced throughout", email doesn't handle indentation of a paragraph's first lines, doesn't do double spacing, and can't be relied upon to format the text in a specific font or point size. Even italics and boldface are pretty iffy. I've found it useful to maintain separate text copies of all of these query components, one with an extra line of white space to offset divisions between paragraphs so that it works reliably as part of an email body.
I have a querying engine that lets me quickly assemble an outbound email:
As you can see from the dropdown menu, I can append a synopsis, a full fledged proposal, writing samples of various sizes, an about-the-author blurb, and other components of a query to the current email body and then send it in that format. (I can also send any one of those pieces as a file attachment for the occasional agent or publisher who wants to receive the proposal or sample chapters as a Word or PDF document instead).
You may be thinking that this doesn't seem very personalized, and indeed some lit agents' instructions say we should "please tell me why you selected me as the agent that you want on this project" and indicate that they prefer to receive letters that don't make them feel like they're receiving spam that has gone out to all the other lit agents out there. I do sometimes customize my query letters, editing them with an additional note to say "I thought this would be of particular appeal to you because of what you said in your 2017 interview with Writer's World about wanting more LGBTQ material written in our own voices" or whatever. But writers' workshops on crafting and perfecting the ideal query letter abound, as do online forums such as "Query Letter Hell" on Absolute Write, all of which are oriented around the notion that one hones and polishes a query letter and then sends it out to the various people that one wishes to query, not that one starts from scratch writing a query letter with one individual recipient in mind. And in my situation in particular, there are seldom a lot of legitimately good reasons to query this lit agent instead of that lit agent. It's not like any of them have a track record of representing genderqueer coming-out and coming-of-age stories and therefore would be a good choice for representing mine as well. There are those who have indicated an interest in handling "lesbian/gay" material and there are those who say that they represent memoirs or narrative nonfiction, but very few who have any kind of track record with coming-out stories or anything else that readily compares to what I wrote. So the honest answer in most cases to "why did you decide to query me on this project?" is along the lines of "you are in the business and open to queries and you are alive and breathe air".
As of today, I have sent 1,424 queries out to literary agents and an additional 64 to small publishers that allow authors to query them directly. From the lit agents I have received 1,292 rejections; 132 queries are currently outstanding. On five or six occasions, lit agents have requested more material before ultimately saying they were not interested in representing my book, but none have ever offered me a business arrangement. From the publishers, I twice had signed contracts to have my book published, once with a publisher that went bankrupt and once with a publisher who assigned an editor to me who wanted to discard the first 33% of the book, which I was unwilling to do; I've had 62 rejections and none are currently outstanding because I was complying with a publisher's policy of exclusivity, and only got the rejection letter the other day.
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This LiveJournal blog is echoed on DreamWidth, WordPress, and Blogger. Please friend/link me from any of those environments on which you have an account.
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Index of all Blog Posts
comments at Dreamwidth
The core piece of the process is the pitch or query letter, which is going to be the leadoff part of nearly every query that gets sent out. Authors interested in getting their books published are encouraged to work long and hard on their query letters, honing them and perfecting them in order to hook the interest of the literary agents or publishers who will be reading them. They're supposed to be short, they need to grab the reader from the first sentence, they should make the reader want to hear more. On the more mechanical and utilitarian level, the query letter is supposed to provide the title of the book, the genre it fits into, its length in words, and a sense of what the core conflicts or plot trajectory or story line is about.
Obviously, given those requirements, the crafting of a query letter requires a skill, it's an art. I often wonder why having the ability to write what amounts to effective ad copy should be used as a measure of one's ability to write good-quality novel-length tomes. I mean, it's not the same process and doesn't necessarily involve the same skills, although it's reasonable to suppose there'd be some overlap. It's a bit like requiring that composers of symphonies submit a 90 second commercial jingle if they want to have the orchestra consider performing their work, and deciding on the basis of the jingle whether to look at the symphony itself. But that's how the game is played.
Some lit agents don't want anything except the query letter--just send that and if we're interested in seeing more, we'll ask. But more often, they want auxiliary accompanying documents.
The writing sample, an excerpt from the book that's being pitched, is commonly requested. The length of the excerpt varies all over the map, with some people wanting to see your first three pages and others asking you to provide your first four chapters. The most common specific requests that I've encountered are the first three pages, first five pages, first ten pages, first fifteen pages, first twenty pages, first twenty five, and first fifty; first chapter, first two chapters, first three, and first four. Given the possible variations of what constitutes chapter length, these requests are often expressed in hybrid form: "Paste the first three chapters or fifty pages", or "Send me 25 pages or first two chapters", or "Please provide your first three chapters (not to exceed 35 pages)".
You'll notice a word recurrently repeated in all of those variations. However much of it they wish to see, they nearly always want that much of the start of your book. That puts a pressure on authors to frontload their book so that things are happening rapidly on the first pages. It works against an author who prefers to set the stage and develop the characters before springing the book's primary situation on the reader, and perhaps explains Dan Brown. I suppose I do see the point to this: if a person picks up a book and it doesn't hold their attention in the early portions, they won't keep reading long enough to get to whatever may be in the book farther in. I do have my doubts about what anyone can tell about a book from reading the first five pages though, aside from "yes this writer can string sentences together in a tolerably pleasant style".
The synopsis is another thing that people often ask for. A synopsis is more or less what we used to think of as a "book report" back when we were in fourth grade. It's a summary of what happens in the book, in the order that it occurs in the book, often chapter by chapter. For fiction and memoirs and other narrative forms that have storylines, the synopsis is a description of the plot. A synopsis is usually a single page's worth, and unlike the query letter is not supposed to be a teaser but instead should reveal what's in the story, to the extent that that can be summarized in a page's worth of description.
It is also common for the description for how to submit to include a blurb about the author, providing a list of any prior books or other publications that the author has to their name, giving the author's credentials or otherwise explaining why this author is a good person to have written this tale, and giving any additional background. A request for some information about the author is particular prevalent for nonfiction titles, and often specifically includes questions about the authors platform, the existing audience of people who are already paying attention to what this authors says and writes, the folks who already follow this author on Twitter or subscribe to the author's YouTube channel and so forth.
A memoir is nonfiction and unfortunately that means authors of memoirs are expected to have a platform in a way that authors of novels are not. I wish more lit agents and publishers were inclined to recognize that memoirs have more in common with fiction than they do with How To Make Your Fortune By Investing Shrewdly in the Stock Market or The Making of the Governor: Gubernatorial Politics in the Instagram Era or Authentic Spectacular Creole Recipes For a Limited Budget.
Speaking of nonfiction, a lot of times the instructions on "how to submit" specify that people who are pitching nonfiction manuscripts should include a proposal. A proposal is a complex multi-part document designed to make the case for why this nonfiction book should be published; it typically kicks off with an extended argument for the need for such a book, then delves into the qualifications of the author to write it (this part being more or less interchangeable with the about the author piece described above), a description of the market for the book (who will be likely to consider reading it if they're made aware of it, and why), a list of comparable titles and how this book is different from what's already out there, a chapter by chapter breakdown of the material that the book will cover (this part, for a memoir, is loosely identical to a synopsis; for The Making of the Governor and other more conventional nonfiction books, it would be more like an outline of topics and subtopics that the book will address and how those topics are organized), and, finally, a marketing plan, a proposed course of action for publicizing the book and bringing it to the attention of people likely to purchase it.
Oh, and proposals will typically contain sample chapters. For once, though, the tendency is not to concentrate on the material most direct adjacent to the front cover. In a proposal, a sample chapter may be from any part of the book. Some proposals may contain two or three sample chapters, and in keeping with that, the instructions for submitting material may specify that one should send a proposal with a specified number of sample chapters.
Less commonly, lit agents and publishers may request a list and/or discussion of comparable titles as a standalone alternative to a formal proposal, or may request a discussion of the likely market for the book.
In the United States (although not so much in the UK), literary agents typically do not want to mess with file attachments, at least at the initial-query stage, and so all of the above components are to be pasted into the body of the email. More often than not, submission procedures will specifically say that no file attachments will be opened or even that no emails containing file attachments will be read.
Email has limited capacities for text formatting; despite the occasional instruction from a literary agent to include everything in the body of the email and yet to "be sure to indent every paragraph, use one inch margins on all sides, and set the text to double spaced throughout", email doesn't handle indentation of a paragraph's first lines, doesn't do double spacing, and can't be relied upon to format the text in a specific font or point size. Even italics and boldface are pretty iffy. I've found it useful to maintain separate text copies of all of these query components, one with an extra line of white space to offset divisions between paragraphs so that it works reliably as part of an email body.
I have a querying engine that lets me quickly assemble an outbound email:
As you can see from the dropdown menu, I can append a synopsis, a full fledged proposal, writing samples of various sizes, an about-the-author blurb, and other components of a query to the current email body and then send it in that format. (I can also send any one of those pieces as a file attachment for the occasional agent or publisher who wants to receive the proposal or sample chapters as a Word or PDF document instead).
You may be thinking that this doesn't seem very personalized, and indeed some lit agents' instructions say we should "please tell me why you selected me as the agent that you want on this project" and indicate that they prefer to receive letters that don't make them feel like they're receiving spam that has gone out to all the other lit agents out there. I do sometimes customize my query letters, editing them with an additional note to say "I thought this would be of particular appeal to you because of what you said in your 2017 interview with Writer's World about wanting more LGBTQ material written in our own voices" or whatever. But writers' workshops on crafting and perfecting the ideal query letter abound, as do online forums such as "Query Letter Hell" on Absolute Write, all of which are oriented around the notion that one hones and polishes a query letter and then sends it out to the various people that one wishes to query, not that one starts from scratch writing a query letter with one individual recipient in mind. And in my situation in particular, there are seldom a lot of legitimately good reasons to query this lit agent instead of that lit agent. It's not like any of them have a track record of representing genderqueer coming-out and coming-of-age stories and therefore would be a good choice for representing mine as well. There are those who have indicated an interest in handling "lesbian/gay" material and there are those who say that they represent memoirs or narrative nonfiction, but very few who have any kind of track record with coming-out stories or anything else that readily compares to what I wrote. So the honest answer in most cases to "why did you decide to query me on this project?" is along the lines of "you are in the business and open to queries and you are alive and breathe air".
As of today, I have sent 1,424 queries out to literary agents and an additional 64 to small publishers that allow authors to query them directly. From the lit agents I have received 1,292 rejections; 132 queries are currently outstanding. On five or six occasions, lit agents have requested more material before ultimately saying they were not interested in representing my book, but none have ever offered me a business arrangement. From the publishers, I twice had signed contracts to have my book published, once with a publisher that went bankrupt and once with a publisher who assigned an editor to me who wanted to discard the first 33% of the book, which I was unwilling to do; I've had 62 rejections and none are currently outstanding because I was complying with a publisher's policy of exclusivity, and only got the rejection letter the other day.
-------
This LiveJournal blog is echoed on DreamWidth, WordPress, and Blogger. Please friend/link me from any of those environments on which you have an account.
--------
Index of all Blog Posts
comments at Dreamwidth