Every once in a while a writer comes along that I feel sorry for, not because I'm crushing their hopes and dreams by mailing them a rejection, but because they've clearly got no clue what they're doing.
Today we got an unrequested full manuscript. This happens from time to time - usually the author tries to make it seem in the query like it was requested by being vague. (We hate that) Today the manuscript was an especially long piece of historical fiction, something like 150K. That's not totally unacceptable for historical fiction if it's a sweeping epic, by the way (Shogun must be well over 200K), but the poor guy mailed it unrequested, and it obviously cost him a fortune to do so - especially because he sent it priority from Canada.
Rubbing salt in his own wounds was his mention of using a "profesional editor" for his manuscript. There are professional editors out there who are actually professionals, and you don't know who they are. They're usually individuals who get contract work from agencies and publishing house editors who know them and are willing to shell out the money for their services. It's sort of an in-industry thing - we only contact a professional editor if we know them personally and know their track record.
He even included the recommendation letter from the editor, who was from some scam editing company in Canada. I know the pain of being tricked into "professional" editing companies. When I was sixteen, after a slew of rejections for my terrible novel, I shelled out about $600 of my Bat Mitzvah money to use the services of a company. I think it was Edit Inc. Anyway, I got the manuscript back and all they had done was change around some punctuation. They didn't mention the obvious problems with the novel, which I had written when I was thirteen and actually made very little sense because, well, I was thirteen.
These companies usually charge by the page (I think the rate I got was 5 cents a page) or by every hundred words, so this author shelled out big for the editing, which clearly did nothing for his manuscript. I'm particularly tough on historical fiction, because I have a BA in history and about half the books I read for fun are history books, and historical fiction is really a genre that requires a lot of research and if you make a mistake, I probably have enough expertise to catch it. Well, I didn't get more than three paragraphs in before the first mistake.
The story took place in Roman Britain and the main character was a rather foul-mouthed Briton. He was so foul-mouthed that he apparently had gone forward in time to learn new curse words that hadn't been invented yet. Shit is legitimately a word that predates the Norman invasion (1066), but it probably originated the Germanic tribes who fought against the Romans and didn't make it to the isle of Britain until the Anglo-Saxon invasion, when it was scitte. It didn't become schītte until Middle English developed after the Norman invasion. (Chaucer wrote in Middle English)
Fuck is another word that probably wasn't in the regular vocabulary of a first-century Briton. It also only has origins back to the Anglo-Saxons, when it was probably a different word, because by the Norman invasion it was still fuken. In other words, having the main character say, "What is the fucking problem?" denotes a serious problem - lack of research.
This guy should have spent the probably thousand bucks he dropped on editing and mailing around his huge manuscript on some history books instead.
Thursday, November 02, 2006
Wednesday, November 01, 2006
Living wage? Hahahahahahaha.
I'm interested in the publishing industry. I work for a small online publisher in the DC area but would like to be in the lit agency biz. That would mean, of course, doing some time in the trenches and doing that time in NYC. Like DC, New York isn't cheap. So, that leaves me wondering. What is the average salary for the entry-level agent? How much mac and cheese will I have to eat until moving up the ladder?
Standard pay for an assistant in NYC is $10/hour. Sub-agents make their money on commission, which is usually next-to-nothing when starting out. In other words, get ready to sell your plasma for cash if you want to stay financially afloat.
Me? I'm in grad school full time, so I'm supported by my parents, to be perfectly honest. My job at the agency is really more about gaining enough experience to get a full-time job at a publishing house once I graduate, where I'll get a salary plus maybe health and dental.
Standard pay for an assistant in NYC is $10/hour. Sub-agents make their money on commission, which is usually next-to-nothing when starting out. In other words, get ready to sell your plasma for cash if you want to stay financially afloat.
Me? I'm in grad school full time, so I'm supported by my parents, to be perfectly honest. My job at the agency is really more about gaining enough experience to get a full-time job at a publishing house once I graduate, where I'll get a salary plus maybe health and dental.
The Next Great Literary Genius and How I Hate Him
There's one local fanboy who fancies himself a Big Time SF/Fantasy/Horror Author. (He doesn't want to write -- too much like work -- he wants to Have Written.) All he sends out are "Proposals", never the finished stuff.
His latest "proposals" (besides the puff piece on himself he put in Wikipedia/Wikifur) are movie scripts -- to hear him motormouth at parties, he's Now A Major Playa (TM) In Hollywood (TM).
Rejecter, have you had to deal with the likes of him?
I don't know who this person is that you're referring to specifically, but there's certainly at least a dozen of them at every major gathering of unpublished writers (known as a Sci-fi Convention). I've met these people at cons, which I now avoid assiduously for that reason.
His latest "proposals" (besides the puff piece on himself he put in Wikipedia/Wikifur) are movie scripts -- to hear him motormouth at parties, he's Now A Major Playa (TM) In Hollywood (TM).
Rejecter, have you had to deal with the likes of him?
I don't know who this person is that you're referring to specifically, but there's certainly at least a dozen of them at every major gathering of unpublished writers (known as a Sci-fi Convention). I've met these people at cons, which I now avoid assiduously for that reason.
Me and My Boss
How often do read a partial and LOVE it, request the full and love that too, but end up not offering representation because your boss didn't like it as much as you did? I know every case is different, but what's a ballpark figure. 1 in 2? 1 in 5? 4 out of 5? Rarely, because you and your boss are mostly on the same page?
I have no idea what the figures would be if I was actually requesting partials and fulls myself, because I don't do that. The boss does that.
Either way, it's irrelevant. My job is not to find material that I like but material that is good and my boss would like. We have different literary tastes, but my tastes are my business and I leave them at the door. My job is to find material for her. There are some books on her list I don't care for at all. They're either not my genre (I don't care for autobiographies of courageous women escaping Iran, having read enough of them to last a lifetime) or my interest (my boss promotes a lot of political books and I have different views than her on certain things). We do have shared interests, but for the most part, the major crossover between us is being able to recognize quality writing.
I have no idea what the figures would be if I was actually requesting partials and fulls myself, because I don't do that. The boss does that.
Either way, it's irrelevant. My job is not to find material that I like but material that is good and my boss would like. We have different literary tastes, but my tastes are my business and I leave them at the door. My job is to find material for her. There are some books on her list I don't care for at all. They're either not my genre (I don't care for autobiographies of courageous women escaping Iran, having read enough of them to last a lifetime) or my interest (my boss promotes a lot of political books and I have different views than her on certain things). We do have shared interests, but for the most part, the major crossover between us is being able to recognize quality writing.
Yet Another Clarification, This One Less Hilarious
You make it sound like you should leave this information out and just use a new query.
"Oh, THIS guy again."
I mean, give writer's a little credit--they are trying to improve, you supposedly encouraged them to make changes--why the apparent disdain? I know you have to deal with a lot of loser wanna-be's out there, but this type of comment/thinking is the kind of thing that makes agents appear bloodless, unless, of course, they "fall in LOVE" with your manuscript$$$. Some of us are not clowns. We take suggestions from agents and work hard to improve our manuscripts.
Again, clarification. It's our knee-jerk reaction based on years of experience. It does not necessarily refer to your novel. Most of the novels that are resubmitted with editing do not have significant changes in them, and/or the changes we were looking for. Sometimes the author just deletes a scene and adds a crazy sister or something. But we don't know that, so we read the re-submitted work, but it usually ends up being the case.
If your novel has improved to the point of being publishable, we will take it on.
"Oh, THIS guy again."
I mean, give writer's a little credit--they are trying to improve, you supposedly encouraged them to make changes--why the apparent disdain? I know you have to deal with a lot of loser wanna-be's out there, but this type of comment/thinking is the kind of thing that makes agents appear bloodless, unless, of course, they "fall in LOVE" with your manuscript$$$. Some of us are not clowns. We take suggestions from agents and work hard to improve our manuscripts.
Again, clarification. It's our knee-jerk reaction based on years of experience. It does not necessarily refer to your novel. Most of the novels that are resubmitted with editing do not have significant changes in them, and/or the changes we were looking for. Sometimes the author just deletes a scene and adds a crazy sister or something. But we don't know that, so we read the re-submitted work, but it usually ends up being the case.
If your novel has improved to the point of being publishable, we will take it on.
Introducing Characters in a Query
Is it a good idea to introduce the main characters before giving the short synopsis in a query letter?
For example: “Sara, is nine feet tall, terrified of spiders and in love with a bald teenager etc…….”
If this is a bad idea, what is the best way to introduce main characters in a 250 word query?
This is a very bad idea. You are not required to introduce main characters at all, unless they are part of your novel description. In fact, listing characters and telling us unnecessary information about them is a terrible idea and a real turn-of. Don't do it. The characters mentioned in your introduction are enough.
The tendency to put character's names in bold is based on the old screenplay-writing standard where when a new character appears, their name is all in caps. This does not apply to prose.
For example: “Sara, is nine feet tall, terrified of spiders and in love with a bald teenager etc…….”
If this is a bad idea, what is the best way to introduce main characters in a 250 word query?
This is a very bad idea. You are not required to introduce main characters at all, unless they are part of your novel description. In fact, listing characters and telling us unnecessary information about them is a terrible idea and a real turn-of. Don't do it. The characters mentioned in your introduction are enough.
The tendency to put character's names in bold is based on the old screenplay-writing standard where when a new character appears, their name is all in caps. This does not apply to prose.
This is the month in which I have no life
Once again, Rejector is embarking on the insanity known as National Novel Writing Month. For that reason, I may get a little behind on answering questions, or may miss a question that's embedded in an anonymous post. If you really want me to answer, email me.
Now, back to work.
Okay, I'll bite. When you write a query letter and leave the typos & other errors out, what are you basically looking for beyond the hook?
Good writing. Maybe some publishing credits. That's it.
Now, back to work.
Okay, I'll bite. When you write a query letter and leave the typos & other errors out, what are you basically looking for beyond the hook?
Good writing. Maybe some publishing credits. That's it.
Monday, October 30, 2006
How to Get Your Word Count
How do you count words? MS Word? Or something that will better equate to number of pages (for example, an average of words/per page of full pages multiplied by the number of pages)?
I find the difference in the two methods changes my wordcount by over 5,000 words.
I'm not sure why this is such an issue for everyone, but I've been flooded with emails about this. This is how to calculate word count:
1. Click on "Tools"
2. Click on "Word Count."
The old method of assuming there were 250 words on a double-spaced page and then multiplying that by the number of pages is a method that was used when we didn't have programs that did the counting for us, and we had to have some way to do it without actually counting all the words.
To be honest, we don't care about the exact count. (We certainly don't care about it in the hundreds and double-digit numbers) We care within a range of about 5 thousand words, which would be a couple printed pages. Don't lie, but 95k is not a big difference to us than 92K or 90K. Just use a word counter, round to a hundred (don't list the last two digits), and submit.
I find the difference in the two methods changes my wordcount by over 5,000 words.
I'm not sure why this is such an issue for everyone, but I've been flooded with emails about this. This is how to calculate word count:
1. Click on "Tools"
2. Click on "Word Count."
The old method of assuming there were 250 words on a double-spaced page and then multiplying that by the number of pages is a method that was used when we didn't have programs that did the counting for us, and we had to have some way to do it without actually counting all the words.
To be honest, we don't care about the exact count. (We certainly don't care about it in the hundreds and double-digit numbers) We care within a range of about 5 thousand words, which would be a couple printed pages. Don't lie, but 95k is not a big difference to us than 92K or 90K. Just use a word counter, round to a hundred (don't list the last two digits), and submit.
Chapter Length
I've got a question and since you've been talking about word count... I thought this fit in nicely. Is there a particular word count guideline for chapters? Does chapter length matter - either to agents, or to publishers (that half page for new chapter might take up space and add up to extra pages)...
I've seen some 300 word novels with 25 chapters and some with maybe on 19... People certainly say, "well, your chapter should be long enough to be interesting, carry the story, and end on a hook of some kind or be a logical break with point-of-view"... but that doesn't really tell you much... So, I'm curious if agents or agent assistance ever discuss chapter lengths.
We never discuss chapter length unless we've taken the author on as a client and we feel the manuscript needs revision in terms of structure and pacing.
Chapter length does not matter except in how they make the story flow.
We never discuss chapter length unless we've taken the author on as a client and we feel the manuscript needs revision in terms of structure and pacing.
Chapter length does not matter except in how they make the story flow.
Resubmitting
Dear Rejecter:
In a recent posting you advised writers to change their query letter if they were requerying agents (after rewriting their manuscript.)
Any advice as to the best way to reapproach agents who were kind enough to give helpful criticism on a partial or full, but did not specifically invite the writer to resubmit, after an extensive rewrite incorporating all suggested changes? Most of the agents loved the story concept but felt the writing needed a bit more tweaking. Should the new query specifically address their suggestions and how the writer sought to remedy the problems?
We get these all the time. Not every day, but certainly once every few months. "You gave me suggestions, I followed them, I'd like to resubmit." Our first response is, "Who's this guy again?" and our second is, "Ugh, this guy again." But then we probably will read it, as long as you don't send the whole manuscript unsolicited. You can send a couple chapters, maybe, and the agent might read it depending on how much time they happen to have and how many new authors they're interested in taking on.
In other words, do it. You have nothing to lose.
We get these all the time. Not every day, but certainly once every few months. "You gave me suggestions, I followed them, I'd like to resubmit." Our first response is, "Who's this guy again?" and our second is, "Ugh, this guy again." But then we probably will read it, as long as you don't send the whole manuscript unsolicited. You can send a couple chapters, maybe, and the agent might read it depending on how much time they happen to have and how many new authors they're interested in taking on.
In other words, do it. You have nothing to lose.
In Which People Take Adverbs Too Seriously
You're an agent. You know the power of words. But now you want to play semantical twister? Fine then. Let’s play.
Quoting you exactly: "I am not referring to Christian inspiration,(sic) which is a legitimate genre that occasionally has good writers."
*********************************************
From Answers:
“oc•ca•sion•al•ly (ə-kā'zhə-nə-lē) pronunciation. The adverb ‘occasionally’ has one meaning: now and then or here and there
Synonyms: on occasion, once in a while, now and then, now and again, at times, from time to time”
Idioms: Once in a while ---- occasionally, NOT VERY OFTEN (emphasis mine), as in ‘Once in a while I enjoy going fishing.’ [Mid-1800s] Also see every now and then; from time to time.”
**********************************************
The use of ‘Occasionally,’ in the context of your sentence was as an insult whether you want to admit it or not. That said, here's the implied meaning:
"I am not referring to Christian inspiration (sic), which is a legitimate genre that has good writers EVERY ONCE IN A WHILE.”
"I am not referring to Christian inspiration (sic), which is a legitimate genre that has good writers FROM TIME TO TIME.”
"I am not referring to Christian inspiration (sic), which is a legitimate genre that has good writers but NOT VERY OFTEN.”
Clear enough?
You wrote ‘Occasionally’— as opposed to: "I am not referring to Christian inspiration (sic), which is a legitimate genre that has good writers.” _PERIOD._
Just like any other 'legitimate' genre has good writers _PERIOD._
So why sandwich 'occasionally' in there at all? (Inquiring minds want to know) UNLESS it was meant as a backhanded compliment. UNLESS it was meant as a swipe. UNLESS you really do believe the Christian Inspirational (not inspiration) market has a shortage of quality writers, because that’s what ‘occasionally’ implies.
Your comment was condescending and offensive. I don’t write inspirational fiction, but if you were to substitute any other genre in your statement it would’ve been just as rude.
It is possible to make a point without insulting an entire group of writers. If you can’t see this—even after my admittedly long-winded (and yes, anal) explanation—any further clarification will be pointless.
Allow me to clarify, but thanks for the promotion to full agent. I'll let my boss know she should pay me more.
When I said:
"Christian inspiration, which is a legitimate genre that occasionally has good writers."
What I meant was:
"Christian inspiration, which is legitimate in that big chain stores seem to be stocking it, and probably has some good writers, but I'll be damned if I've ever read a piece of Christian inspirational fiction that wasn't terribly written and/or outright offensive to all other religions. But wait, I shouldn't say that on this blog, that might offend some people, so I'll just say 'occasionally.'"
In all fairness, Jewish fiction for the religious crowd (called "frum fiction" and not found in your average bookstore, unless you live in Boro Park) is pretty awful, too. It's not so much "inspirational" as it is "anxious and ridden with guilt."
Muslim religious fiction is rarely translated into English unless it has a larger political message.
I apologize for the confusion.
Quoting you exactly: "I am not referring to Christian inspiration,(sic) which is a legitimate genre that occasionally has good writers."
*********************************************
From Answers:
“oc•ca•sion•al•ly (ə-kā'zhə-nə-lē) pronunciation. The adverb ‘occasionally’ has one meaning: now and then or here and there
Synonyms: on occasion, once in a while, now and then, now and again, at times, from time to time”
Idioms: Once in a while ---- occasionally, NOT VERY OFTEN (emphasis mine), as in ‘Once in a while I enjoy going fishing.’ [Mid-1800s] Also see every now and then; from time to time.”
**********************************************
The use of ‘Occasionally,’ in the context of your sentence was as an insult whether you want to admit it or not. That said, here's the implied meaning:
"I am not referring to Christian inspiration (sic), which is a legitimate genre that has good writers EVERY ONCE IN A WHILE.”
"I am not referring to Christian inspiration (sic), which is a legitimate genre that has good writers FROM TIME TO TIME.”
"I am not referring to Christian inspiration (sic), which is a legitimate genre that has good writers but NOT VERY OFTEN.”
Clear enough?
You wrote ‘Occasionally’— as opposed to: "I am not referring to Christian inspiration (sic), which is a legitimate genre that has good writers.” _PERIOD._
Just like any other 'legitimate' genre has good writers _PERIOD._
So why sandwich 'occasionally' in there at all? (Inquiring minds want to know) UNLESS it was meant as a backhanded compliment. UNLESS it was meant as a swipe. UNLESS you really do believe the Christian Inspirational (not inspiration) market has a shortage of quality writers, because that’s what ‘occasionally’ implies.
Your comment was condescending and offensive. I don’t write inspirational fiction, but if you were to substitute any other genre in your statement it would’ve been just as rude.
It is possible to make a point without insulting an entire group of writers. If you can’t see this—even after my admittedly long-winded (and yes, anal) explanation—any further clarification will be pointless.
Allow me to clarify, but thanks for the promotion to full agent. I'll let my boss know she should pay me more.
When I said:
"Christian inspiration, which is a legitimate genre that occasionally has good writers."
What I meant was:
"Christian inspiration, which is legitimate in that big chain stores seem to be stocking it, and probably has some good writers, but I'll be damned if I've ever read a piece of Christian inspirational fiction that wasn't terribly written and/or outright offensive to all other religions. But wait, I shouldn't say that on this blog, that might offend some people, so I'll just say 'occasionally.'"
In all fairness, Jewish fiction for the religious crowd (called "frum fiction" and not found in your average bookstore, unless you live in Boro Park) is pretty awful, too. It's not so much "inspirational" as it is "anxious and ridden with guilt."
Muslim religious fiction is rarely translated into English unless it has a larger political message.
I apologize for the confusion.
Friday, October 27, 2006
The Word Count Controversy
Many people have written me to ask why I put in my notations in an earlier post about word count in new fiction needing to be in the 70K - 100k range, with certain genre exceptions. Yes, it is true that a lot of fiction violates these rules. Yes, some stories take longer to tell. Yes, famous authors have written much shorter stories. The real reason behind it is not about us but about the current demands of the publishing company. I'll explain it as best I can.
There's a certain overhead for publishing a book. There's costs for the binding, the cover, any editorial work, the cover art (usually done by an in-house artist or contract employee), and publicity. These range from book to book (especially in the publicity area) but stay the same regardless of the size of the book, but it is very expensive to publish a book. The overhead is huge.
If you talk to publishers today about why the price of books always seems to be skyrocketing, they will go on and on about the rising cost of paper and ink, the two things that are affected by word count. If the book is too short, they can't charge as much for it (because it's small) and may not recoup their basic overhead costs. Oh yeah, and they have to give a portion to that writer too, or something. They have to consider the public, which often feels cheated if a book is too short, the same way people feel cheated if a movie is an hour long.
On the other hand, if the book is too long, paper and ink starts becoming a major concern because the cost of the book to print will go up and exceed the price they can reasonably sell it for. This doesn't count for Harry Potter, as everyone will buy the 8oo-page volumes the day they come out anyway, but if you look at the first three books (before JK Rowlings became a major success in the States), you'll notice that they are much shorter than 4, 5, and 6.
So, the publishers have a comfortable range that they think a book belongs within, which varies based on genre, and if you want to get published, you should stick to their rules. Once you're a famous author, you can do whatever you want, but let's take it one step at a time.
There's a certain overhead for publishing a book. There's costs for the binding, the cover, any editorial work, the cover art (usually done by an in-house artist or contract employee), and publicity. These range from book to book (especially in the publicity area) but stay the same regardless of the size of the book, but it is very expensive to publish a book. The overhead is huge.
If you talk to publishers today about why the price of books always seems to be skyrocketing, they will go on and on about the rising cost of paper and ink, the two things that are affected by word count. If the book is too short, they can't charge as much for it (because it's small) and may not recoup their basic overhead costs. Oh yeah, and they have to give a portion to that writer too, or something. They have to consider the public, which often feels cheated if a book is too short, the same way people feel cheated if a movie is an hour long.
On the other hand, if the book is too long, paper and ink starts becoming a major concern because the cost of the book to print will go up and exceed the price they can reasonably sell it for. This doesn't count for Harry Potter, as everyone will buy the 8oo-page volumes the day they come out anyway, but if you look at the first three books (before JK Rowlings became a major success in the States), you'll notice that they are much shorter than 4, 5, and 6.
So, the publishers have a comfortable range that they think a book belongs within, which varies based on genre, and if you want to get published, you should stick to their rules. Once you're a famous author, you can do whatever you want, but let's take it one step at a time.
Getting Into Publishing
I'm a senior in undergrad (English major, writing concentration) and I'm interested in becoming an editor eventually. What WOULD you suggest to do that? Is grad school necessary and *must* I move to NYC? I've tried finding out by browsing around online but the results are somewhat murky and my career services officer wasn't much help either. (Ok, I know that NYC is optional but I still *feel* like it isn't, esp. for fiction.) Thanks!
Grad school is not necessary or recommended. It is expensive, takes 2-3 years, and doesn't really aid your career in publishing.
The main way these days to get into publishing is to do an internship at an agency/publishing house, and then be an assistant to an agent for about a year before applying to a publishing company to be an editorial assistant.
Moving to New York, however, is basically a must, unless you can find employment at a small company/agency in the town where you live.
Grad school is not necessary or recommended. It is expensive, takes 2-3 years, and doesn't really aid your career in publishing.
The main way these days to get into publishing is to do an internship at an agency/publishing house, and then be an assistant to an agent for about a year before applying to a publishing company to be an editorial assistant.
Moving to New York, however, is basically a must, unless you can find employment at a small company/agency in the town where you live.
Rungs on the Ladder
What is the difference between an associate agent and a just plain agent? Is it anything like being a sub-agent or a junior agent?
Are there just a lot of rungs in the ladder, each with its own title?
Not really. Associate/Junior/Sub-agent generally all mean the same thing - "We've come up with a fancy title for the person who is not the head agent." Don't worry about it. If you've found someone who sells your work to a publisher, you're golden.
Are there just a lot of rungs in the ladder, each with its own title?
Not really. Associate/Junior/Sub-agent generally all mean the same thing - "We've come up with a fancy title for the person who is not the head agent." Don't worry about it. If you've found someone who sells your work to a publisher, you're golden.
"Commercial" Fiction
This may sound like a nitwit question, but I've read so many different answers. Can you define for us - once and for all - what 'commercial fiction' is?
It refers to fiction that does not fall neatly into a genre. It is often just put into Fiction/Literature sections of bookstores. The term "commercial fiction" is mainly an insider term, as is "contemporary fiction," which means the same thing.
It refers to fiction that does not fall neatly into a genre. It is often just put into Fiction/Literature sections of bookstores. The term "commercial fiction" is mainly an insider term, as is "contemporary fiction," which means the same thing.
Repeat Queries
I sent out my novel, confidently, thinking I’d done the best possible job, querying widely. There were requests for fulls and partials, all leading to no, but with some encouraging advice on revision. They were right. Now I find myself in the position to query again, a year later, with a new and improved! version and would like to re-query not only those agents who wrote the encouraging comments, but the ones who passed on the original query. I’d imagine, I hope, that this happens to quite a number of people. From your side of it, what happens when you come across a “familiar” query letter?
Do you even notice? Is it necessary to change the title as some people will tell you to do? Are there records kept? In my case, I sent the first 5 pages which will be essentially the same. Does that matter/will it be noticed? I do plan on changing/improving the query letter.
And, while we’re at it, how would I approach a query letter to an agent that had read the partial or full and turned it down? Just query again without mentioning, not query at all, or query with a reference to “new and improved!”
We come across familiar query letters all the time, because there's rumors going around that agents don't remember every query and assistants change a lot. In fact, we see repeat queries, unchanged, within a month. And while we don't remember everything (I will not for the life of me remember your name), it will likely look familiar to us. More importantly, if we rejected it the first time, there probably was a reason, and that same reason will lead us to reject it a second time.
Query again, with no reference to previous queries, and significantly change your query. I don't mean move lines around. Change the description of the book (the "hook"), because that's what we're most likely to remember, not names and titles. If your writing has improved, you'll want to change it anyway so that it's better-written.
Do you even notice? Is it necessary to change the title as some people will tell you to do? Are there records kept? In my case, I sent the first 5 pages which will be essentially the same. Does that matter/will it be noticed? I do plan on changing/improving the query letter.
And, while we’re at it, how would I approach a query letter to an agent that had read the partial or full and turned it down? Just query again without mentioning, not query at all, or query with a reference to “new and improved!”
We come across familiar query letters all the time, because there's rumors going around that agents don't remember every query and assistants change a lot. In fact, we see repeat queries, unchanged, within a month. And while we don't remember everything (I will not for the life of me remember your name), it will likely look familiar to us. More importantly, if we rejected it the first time, there probably was a reason, and that same reason will lead us to reject it a second time.
Query again, with no reference to previous queries, and significantly change your query. I don't mean move lines around. Change the description of the book (the "hook"), because that's what we're most likely to remember, not names and titles. If your writing has improved, you'll want to change it anyway so that it's better-written.
I Always Get This Question
Can you post an example ot a query opening that grabbed you and one that you rejected?
No, because it wouldn't help you. You have to describe your own work in your own style, as the accepted writer did. Assume the rejected writer was boring and/or had a lot of basic grammatical errors.
No, because it wouldn't help you. You have to describe your own work in your own style, as the accepted writer did. Assume the rejected writer was boring and/or had a lot of basic grammatical errors.
Stationary Envelopes Suck. There, I said it.
When making a submission, at what point (paper count, presumably) does one abandon the tri-fold business envelope and graduate to either a half-envelope, with one fold, or a full-size envelope to accommodate unfolded 8.5 X 11 sheets? Are manila envelopes appropriate for either half-size or full-size, or should one go with white First Class? All this, of course, only after writing & rewriting to the best of one's abilities.
It is to your financial advantage to stuff as much in a small envelope as space will allow - which can vary based on the thickness of the paper but is usually not more then 10 pages. We don't care, honestly, how the query gets to us. We do, however, get annoyed by SASEs that are stationary-sized. That means we have super-fold our reply letter so it will fit and it looks ridiculous. Don't give us a return envelope smaller than a traditional letter envelope.
Try not to go first class unless you have to. (The post office will make you do so over a certain weight, unless you want to send it media mail) It's expensive and it's just a query letter.
It is to your financial advantage to stuff as much in a small envelope as space will allow - which can vary based on the thickness of the paper but is usually not more then 10 pages. We don't care, honestly, how the query gets to us. We do, however, get annoyed by SASEs that are stationary-sized. That means we have super-fold our reply letter so it will fit and it looks ridiculous. Don't give us a return envelope smaller than a traditional letter envelope.
Try not to go first class unless you have to. (The post office will make you do so over a certain weight, unless you want to send it media mail) It's expensive and it's just a query letter.
Small Publisher Questions
Questions:
1. Can smaller publishers get you out across your nation or is that
beyond
their reach? Or in other words, is their circulation to small?
2. Can you trust a smaller publisher to look out for your best
interests?
3. Do they push your book and advertise well enough? (I read one critic
say
that Shadow Mountain messed up with one author because they did not
give his
book the publicity push it needed)
4. Do smaller publishers pay the author less then bigger publishers?
1. It depends on the publisher. Now that we have amazon.com and barnesandnoble.com and alibris.com, the sky's the limit, but the publisher's ability to get your book on the shelves of stores on the other side of the country depends on the publisher's resources to do so.
2. About the same as you can trust any major publishing company. Meaning, not at all.
3. Again, depends upon the publishing house you're talking about and the resources they're willing to commit to your book. If you've heard bad things about a small publisher, stay away.
4. On the whole, yes. Much, much less.
1. Can smaller publishers get you out across your nation or is that
beyond
their reach? Or in other words, is their circulation to small?
2. Can you trust a smaller publisher to look out for your best
interests?
3. Do they push your book and advertise well enough? (I read one critic
say
that Shadow Mountain messed up with one author because they did not
give his
book the publicity push it needed)
4. Do smaller publishers pay the author less then bigger publishers?
1. It depends on the publisher. Now that we have amazon.com and barnesandnoble.com and alibris.com, the sky's the limit, but the publisher's ability to get your book on the shelves of stores on the other side of the country depends on the publisher's resources to do so.
2. About the same as you can trust any major publishing company. Meaning, not at all.
3. Again, depends upon the publishing house you're talking about and the resources they're willing to commit to your book. If you've heard bad things about a small publisher, stay away.
4. On the whole, yes. Much, much less.
Giving Someone First Look
When my novel was a work in progress, it was shortlisted in a competition. A couple of agents read the 25k words in existence then, and asked to see the novel when finished, as did a publisher.
It's now finished. I do want to follow up with the agents who read the work in progress, but I'd also like to not limit my options too early. Should I let the two agents read the full ms first before anyone else sees it, or would it be ok to send partials out to a few other agents at the same time? If I do, I assume I should tell them that the full ms is being considered elsewhere.
You can send out queries to other, random agents at the same time, and you don't have to tell the original agents you're doing that, but it's kind of rude. Honestly, if you have an "in" with a publisher and a couple of agents, try that first before blind-querying a bunch of other agents, unless you have someone specific in mind that you also want to try.
It's now finished. I do want to follow up with the agents who read the work in progress, but I'd also like to not limit my options too early. Should I let the two agents read the full ms first before anyone else sees it, or would it be ok to send partials out to a few other agents at the same time? If I do, I assume I should tell them that the full ms is being considered elsewhere.
You can send out queries to other, random agents at the same time, and you don't have to tell the original agents you're doing that, but it's kind of rude. Honestly, if you have an "in" with a publisher and a couple of agents, try that first before blind-querying a bunch of other agents, unless you have someone specific in mind that you also want to try.
Multiple Query Letters to the Same Agent
Correct me if I'm wrong, but isn't it okay to send out seperate query letters out for each novel to the same agents at the same time? I'm not doing this, but I've read that it is done and might be useful to this questioner.
Uhh... I guess you could do that, but it would look a little odd. Seperate them by like a week or two.
Uhh... I guess you could do that, but it would look a little odd. Seperate them by like a week or two.
Thursday, October 26, 2006
A Typical Day's Mail
Today I decided to keep track of the mail so you can see a bit what the submissions are like.
2 Maybes - Both non-fiction. One was rejected immediately by my boss, the other placed back on the pile for more serious consideration.
The Rejections
3 Crazy Book Ideas - I am referring to not a person who is crazy, but the idea is crazy (it's different), though the person could very well be crazy for all I know. These queries, among my favorite, describe novels with plots that make no sense. ("These lovers get on a plane - and then a gorrilla comes out of fucking NOWHERE!!! and then it turns out he's invisible but he's still attacking them...") Or they are novels that are not properly described in any way that makes sense because the author rambles for about a page about other stuff, to the point where I wonder if he has written anything or is just lonely for return mail.
1 Famous Person That Can't Write - Many people who have achieved some mediocre amount of fame (in this case, as a popular sports radio personality) think they can translate whatever part of their career/act that made them famous into written form, and they are wrong. So wrong.
2 Manuscripts That Are Too Short - Seriously, if you're in fiction, don't go under 70k. Under 60k is an auto-reject, no matter what NaNaWriMo says about novel length. And definitely do NOT submit something that's 33,100 words.
1 Manuscript That Is Too Long - If you are in fiction or autobiography, please do not go far over 100k. Certainly, don't go over 120k. 240,000 words is just unacceptable. Auto-reject.
2 Crazy Christian Authors - Before I get a flood of hate replies, let me clarify. I am not referring to Christian inspiration, which is a legitimate genre that occasionally has good writers. I am referring to people who are obviously quite insane but are also all hopped up on Christ and have attempted to write a Christian inspirational novel, but their insanity slips through. One of them I remember featured a story about a town that re-introduced whipping as a form of punishment for sin. For two pages this guy went on about whipping and sin and Christ and more whipping, to the point that I was just suspicious.
1 Christian Inspiration - I forget whether this was someone's non-fiction autobiography about discovering their path to religion or fiction with the same plot, but the point is, it's not a genre we handle. No offense meant, but auto-reject.
1 Ex-Military Guy - And this guy wasn't from Iraq, either, though we see a lot of those. This guy was in the Korean war or something. Yes, you went to war. That doesn't qualify you to write about it, unless you can make it interesting. Unfortunately, you didn't.
2 Fiction About a Woman Discovering Herself - otherwise known as "chick-lit." Plus, one of them was about a woman who found out she was a lesbian over the course of the book.
1 Generic Self-Help - Hint: the words "generic" and "touching" don't go well together.
1 Just Plain Crazy Guy - I don't know what crazy guy's novel is about, because he doesn't usually get to it until the third page of his 16-size font rant, and it's only a brief summary. Before he gets there, he decides to discuss a bunch of non-related events in his life that are apparently supposed to be either hilarious or bitterly hilarious about the publishing industry and how it doesn't appreciate real literature, because this guy has CLEARLY written it, and that's why he has no punctuation.
2 Maybes - Both non-fiction. One was rejected immediately by my boss, the other placed back on the pile for more serious consideration.
The Rejections
3 Crazy Book Ideas - I am referring to not a person who is crazy, but the idea is crazy (it's different), though the person could very well be crazy for all I know. These queries, among my favorite, describe novels with plots that make no sense. ("These lovers get on a plane - and then a gorrilla comes out of fucking NOWHERE!!! and then it turns out he's invisible but he's still attacking them...") Or they are novels that are not properly described in any way that makes sense because the author rambles for about a page about other stuff, to the point where I wonder if he has written anything or is just lonely for return mail.
1 Famous Person That Can't Write - Many people who have achieved some mediocre amount of fame (in this case, as a popular sports radio personality) think they can translate whatever part of their career/act that made them famous into written form, and they are wrong. So wrong.
2 Manuscripts That Are Too Short - Seriously, if you're in fiction, don't go under 70k. Under 60k is an auto-reject, no matter what NaNaWriMo says about novel length. And definitely do NOT submit something that's 33,100 words.
1 Manuscript That Is Too Long - If you are in fiction or autobiography, please do not go far over 100k. Certainly, don't go over 120k. 240,000 words is just unacceptable. Auto-reject.
2 Crazy Christian Authors - Before I get a flood of hate replies, let me clarify. I am not referring to Christian inspiration, which is a legitimate genre that occasionally has good writers. I am referring to people who are obviously quite insane but are also all hopped up on Christ and have attempted to write a Christian inspirational novel, but their insanity slips through. One of them I remember featured a story about a town that re-introduced whipping as a form of punishment for sin. For two pages this guy went on about whipping and sin and Christ and more whipping, to the point that I was just suspicious.
1 Christian Inspiration - I forget whether this was someone's non-fiction autobiography about discovering their path to religion or fiction with the same plot, but the point is, it's not a genre we handle. No offense meant, but auto-reject.
1 Ex-Military Guy - And this guy wasn't from Iraq, either, though we see a lot of those. This guy was in the Korean war or something. Yes, you went to war. That doesn't qualify you to write about it, unless you can make it interesting. Unfortunately, you didn't.
2 Fiction About a Woman Discovering Herself - otherwise known as "chick-lit." Plus, one of them was about a woman who found out she was a lesbian over the course of the book.
1 Generic Self-Help - Hint: the words "generic" and "touching" don't go well together.
1 Just Plain Crazy Guy - I don't know what crazy guy's novel is about, because he doesn't usually get to it until the third page of his 16-size font rant, and it's only a brief summary. Before he gets there, he decides to discuss a bunch of non-related events in his life that are apparently supposed to be either hilarious or bitterly hilarious about the publishing industry and how it doesn't appreciate real literature, because this guy has CLEARLY written it, and that's why he has no punctuation.
Wednesday, October 25, 2006
If You Don't Know Your Genre...
I am from India and my novel is set in contemporary India. It doesn't
fall into a conventional genre like
romance/thriller/historical/sci-fi, etc. and I am apprehensive about
calling it literary fiction as it isn't all that high brow.
Would my best bet be querying agents who handle multicultural fiction,
or is there some other category I should look out for?
Basically, I am looking for an answer to: You should query agents who
handle _______ genre. Please fill in the blanks.
It is probably contemporary fiction. Unless the agent's profile specifically indicates that they only handle specific genres (agents who only do sci-fi/fantasy, agents who only do romance, etc - but there's very few of them), go ahead and query.
fall into a conventional genre like
romance/thriller/historical/sci-fi, etc. and I am apprehensive about
calling it literary fiction as it isn't all that high brow.
Would my best bet be querying agents who handle multicultural fiction,
or is there some other category I should look out for?
Basically, I am looking for an answer to: You should query agents who
handle _______ genre. Please fill in the blanks.
It is probably contemporary fiction. Unless the agent's profile specifically indicates that they only handle specific genres (agents who only do sci-fi/fantasy, agents who only do romance, etc - but there's very few of them), go ahead and query.
Those Darn Assistants! (Again)
Wow, I've always wanted to ask this question. I seem to be a hit with assistants. They email, they've even called (freaky!). They always say they're going to pass my ms. on to the boss ASAP and that's when the crickets start to chirp. I can't wait for this generation of assistants to graduate to "boss." Of course, their mail will be screened by a new generation of assistants--assistants who might hate my work. Chirp, chirp.
I would like to point out that my answer to this is almost unrelated to the previous post because it discusses assistants, not assistants who are in the middle of becoming sub-agents.
In general, assistants do not request material on their own (unless they really push for it, which never works anyway). Even if they sign their name, they're doing it for the boss, because the boss wants to see it. The slowdown is unrelated. It's because agents are busy people and have a lot of other things to do, and so the partials and fulls pile up. I've got partials sitting at agencies for approaching a year now. (That's unofficially a rejection) So don't worry that it's the problem of who the boss has hired. It's a problem of the boss's busy schedule.
I would like to point out that my answer to this is almost unrelated to the previous post because it discusses assistants, not assistants who are in the middle of becoming sub-agents.
In general, assistants do not request material on their own (unless they really push for it, which never works anyway). Even if they sign their name, they're doing it for the boss, because the boss wants to see it. The slowdown is unrelated. It's because agents are busy people and have a lot of other things to do, and so the partials and fulls pile up. I've got partials sitting at agencies for approaching a year now. (That's unofficially a rejection) So don't worry that it's the problem of who the boss has hired. It's a problem of the boss's busy schedule.
Assistants as Agents
After a lot of research, I e-queried a well-known NY agent who has represented literary fiction that I feel is similar to mine. After several weeks, I had a very nice note from her assistant telling me how much she loved my first fifty pages and to please send a full. There was no mention of the agency owner, to whom my query had been addressed. I've sent it off and am continuing with my next novel and my queries on novel #1. Assuming--and this is a big assumption, I know--the assistant loves the full as much as the first fifty, what is likely to happen? I don't want to ask her directly at this point for fear of insulting her. Will the agency owner become involved? I looked up the assistant and she's listed on the agency website as actively seeking new clients (as is the owner). I can make certain assumptions about the owner based on her track record, but have no information on the assistant. She's young (no offense) and new to NY (after college). How can she possibly have the contacts the owner would have? Is it common for a response addressed to an owner to come from an assistant?
There are two main paths to becoming agent. The first is to work in a publishing house as an editor or a publicist for 20 years, burn out, and leave in a flurry of frustration about not being able to work with authors and having all of your projects crushed by upper management. The person takes all their contacts with them and becomes an agent, usually by joining a larger agency, and then breaking off when they have the client list to do so. This is the traditional way.
Today more and more people are jumping right from being assistants of agents to being sub-agents at that agency or a different one. I suspect the shift is largely because agencies are more likely to take on interns and assistants with no experience to help them get into publishing than a large, intimidating publishing company is, so more and more people start their careers at agencies (instead of publishing houses) and decide to stay.
If the assistant is listed as "taking on clients" for herself, then she is in the middle of making the transformation from assistant to sub-agent. Sub-agents get to use the name and resources of the head agent, which helps them get in doors and make contacts and have weight to throw around, but they also have to give a cut to the head agent. Eventually, they either build a client list strong enough to become a full agent (at that agency or elsewhere) or they don't and head into a different sector of publishing.
If the assistant is interested in being your agent, she's doing so with the tutelage of the head agent, so I wouldn't worry about it. She's also more likely to be agressively taking on clients because she needs to build a list to stay afloat financially if she's no longer being paid a salary like true assistants are.
I'm an assistant with no desire to move up the ladder because I don't actually want to be an agent. I don't particularly like working with contracts, bookkeeping, or publicity. I want to edit material, which is why I'll eventually end up in the editorial department of a publishing company, but I don't plan on making that jump until I finish graduate school.
There are two main paths to becoming agent. The first is to work in a publishing house as an editor or a publicist for 20 years, burn out, and leave in a flurry of frustration about not being able to work with authors and having all of your projects crushed by upper management. The person takes all their contacts with them and becomes an agent, usually by joining a larger agency, and then breaking off when they have the client list to do so. This is the traditional way.
Today more and more people are jumping right from being assistants of agents to being sub-agents at that agency or a different one. I suspect the shift is largely because agencies are more likely to take on interns and assistants with no experience to help them get into publishing than a large, intimidating publishing company is, so more and more people start their careers at agencies (instead of publishing houses) and decide to stay.
If the assistant is listed as "taking on clients" for herself, then she is in the middle of making the transformation from assistant to sub-agent. Sub-agents get to use the name and resources of the head agent, which helps them get in doors and make contacts and have weight to throw around, but they also have to give a cut to the head agent. Eventually, they either build a client list strong enough to become a full agent (at that agency or elsewhere) or they don't and head into a different sector of publishing.
If the assistant is interested in being your agent, she's doing so with the tutelage of the head agent, so I wouldn't worry about it. She's also more likely to be agressively taking on clients because she needs to build a list to stay afloat financially if she's no longer being paid a salary like true assistants are.
I'm an assistant with no desire to move up the ladder because I don't actually want to be an agent. I don't particularly like working with contracts, bookkeeping, or publicity. I want to edit material, which is why I'll eventually end up in the editorial department of a publishing company, but I don't plan on making that jump until I finish graduate school.
The point of this blog, which has apparently been missed
oh, please! all you rant and rave about is how much you hate this way that writers address a label to an agent or how stupid writers look if they mention in their query where they read about an agent, and you want us to act as if we care separately about you! ha!
guess what? I don't care about you. I don't care about your agency or your boss or anything else that has to do with you. I don't give a fig about your stupid assistant's position or any or your dumb griping. the only thing I care about is writing and my novel. Until you or anyone else at an agency wants to represent my work the last thing I'm going to worry about is your supposed feelings.
This is forced marching thorough the slimy ranks of commerce for most writers. get that? You have to act as though you care about us, the people responsible for you having your job in the first place, before I'll even consider treating you as anything other than just another possible agency.
At various points people have privately suggested that I disable anonymous comments in my settings, because all of the ranters seem to be named "Anonymous." (I didn't even know that was such a popular baby name) The truth of the matter is it doesn't bother me. It's a reaction of frustration. I am, after all, the rejecter of their work, and by implication, a rejection of them as a person, because their work is a part of themselves. I'm the person you're probably going to get mad at. Various people in my MFA program have come up to me and said, "How do you do your work with a clear conscience?" The answer is always, "Well, we accept the good writers and get them published. We reject the bad ones because we can't sell their work. It's really not a moral issue."
The purpose of my "ranting and raving" (see above) is to point out the various mistakes people make that either annoy us or make the writer look stupid, and you don't want to look stupid. A query is like a job interview - you want to be wearing your best suit and answer all the questions right, because you want this person to at some point give you money, and maybe a health plan with a low co-pay.
The things I discuss here are lessons to prevent you, the writer, from shooting yourself in the foot. If you only care about your writing and don't give a lick of your time to thinking about how to present it to an agent, I don't know why you are looking for an agent and I don't know why you're reading this blog. Since I'm the gatekeeper, my "feelings" (see above again) should actually be a pretty major consideration. It mystifies me when I offer advice and people say, "Well, I'm just not going to listen to that and keep doing what I was doing, even though you just said, at great length, why I shouldn't do it." If you're a writer seeking an agent, you should probably listen to what agents and their assistants have to say.
If you just want to write, that's fine. Join an MFA program, or save money and take an adult education writing workshop at your local high school (They're about the same level of education, but the latter is less pretentious). Have fun. Write some fan fiction - I love fan fiction. But don't come to me and ask for my advice about getting a professional agent if you have no intention of listening to it.
guess what? I don't care about you. I don't care about your agency or your boss or anything else that has to do with you. I don't give a fig about your stupid assistant's position or any or your dumb griping. the only thing I care about is writing and my novel. Until you or anyone else at an agency wants to represent my work the last thing I'm going to worry about is your supposed feelings.
This is forced marching thorough the slimy ranks of commerce for most writers. get that? You have to act as though you care about us, the people responsible for you having your job in the first place, before I'll even consider treating you as anything other than just another possible agency.
At various points people have privately suggested that I disable anonymous comments in my settings, because all of the ranters seem to be named "Anonymous." (I didn't even know that was such a popular baby name) The truth of the matter is it doesn't bother me. It's a reaction of frustration. I am, after all, the rejecter of their work, and by implication, a rejection of them as a person, because their work is a part of themselves. I'm the person you're probably going to get mad at. Various people in my MFA program have come up to me and said, "How do you do your work with a clear conscience?" The answer is always, "Well, we accept the good writers and get them published. We reject the bad ones because we can't sell their work. It's really not a moral issue."
The purpose of my "ranting and raving" (see above) is to point out the various mistakes people make that either annoy us or make the writer look stupid, and you don't want to look stupid. A query is like a job interview - you want to be wearing your best suit and answer all the questions right, because you want this person to at some point give you money, and maybe a health plan with a low co-pay.
The things I discuss here are lessons to prevent you, the writer, from shooting yourself in the foot. If you only care about your writing and don't give a lick of your time to thinking about how to present it to an agent, I don't know why you are looking for an agent and I don't know why you're reading this blog. Since I'm the gatekeeper, my "feelings" (see above again) should actually be a pretty major consideration. It mystifies me when I offer advice and people say, "Well, I'm just not going to listen to that and keep doing what I was doing, even though you just said, at great length, why I shouldn't do it." If you're a writer seeking an agent, you should probably listen to what agents and their assistants have to say.
If you just want to write, that's fine. Join an MFA program, or save money and take an adult education writing workshop at your local high school (They're about the same level of education, but the latter is less pretentious). Have fun. Write some fan fiction - I love fan fiction. But don't come to me and ask for my advice about getting a professional agent if you have no intention of listening to it.
Tuesday, October 24, 2006
The Breakout Novel
Good idea/bad idea?
You've written two novels. Maybe even two different genres. Novel A is your favorite, the one you'd like to "break out" with, but novel B would probably appeal more to agents. You send queries, attract an agent and receive an offer for novel B. Now that you have an agent, Is it a bad idea to let them know you'd rather see novel A in print first?
Your "break out" novel is the novel that is published first. I don't know why you think one will appeal more to agents, but if you send out Novel B and they accept novel B, it means they want to sell novel B to publishers and you should shut up about A until you've got a contract in your hands for B. It doesn't matter in what order your books are printed unless they're part of a series. Get in print any way you can.
This is assuming, of course, that the novels are equal in quality. If you love A but actually isn't as good as B, A will probably not be published until you make it better.
Your "break out" novel is the novel that is published first. I don't know why you think one will appeal more to agents, but if you send out Novel B and they accept novel B, it means they want to sell novel B to publishers and you should shut up about A until you've got a contract in your hands for B. It doesn't matter in what order your books are printed unless they're part of a series. Get in print any way you can.
This is assuming, of course, that the novels are equal in quality. If you love A but actually isn't as good as B, A will probably not be published until you make it better.
Manuscript or query?
I read that when attempting to sell a first manuscript, you need to send the full manuscript to agencies/agents, and not just a query letter.
Also, is it okay to send the manuscript to another agency after after a few months, or even at the same time? I’ve read that you should, and that you shouldn’t. It seems to me that because it’s exceptionally hard to get a first book published, and because most manuscripts are rejected, that it’d be best to send them to multiple places. On the other hand, I read that agencies hate this. Which is it?
First of all, I don't know where you read that, but you should send a query letter first unless you read on the agent's website to do otherwise. Don't go wildly sending out your manuscript unsolicited. It's expensive and it won't get you anywhere. In fact, it will probably annoy us.
You are permitted to send material to multiple agencies at the same time. In fact, we pretty much assume you're doing it and that all submissions are simultaneous submissions unless the query is from someone who knows the agent personally. If you're blind-querying us, we assume you're blind-querying at least 10 other people at the same time. When I used to work in a building with five agencies in one complex, we would get the mail in a big pile and the interns would sort it, and we would often see the same letters quite obviously going to every agency there on the same day, because the font would be the same or the envelope would be the same. If you're going to query multiple agents at the same address, at least have the decency to spread it out by a couple of days and give the appearance that you care about us specifically.
Also, is it okay to send the manuscript to another agency after after a few months, or even at the same time? I’ve read that you should, and that you shouldn’t. It seems to me that because it’s exceptionally hard to get a first book published, and because most manuscripts are rejected, that it’d be best to send them to multiple places. On the other hand, I read that agencies hate this. Which is it?
First of all, I don't know where you read that, but you should send a query letter first unless you read on the agent's website to do otherwise. Don't go wildly sending out your manuscript unsolicited. It's expensive and it won't get you anywhere. In fact, it will probably annoy us.
You are permitted to send material to multiple agencies at the same time. In fact, we pretty much assume you're doing it and that all submissions are simultaneous submissions unless the query is from someone who knows the agent personally. If you're blind-querying us, we assume you're blind-querying at least 10 other people at the same time. When I used to work in a building with five agencies in one complex, we would get the mail in a big pile and the interns would sort it, and we would often see the same letters quite obviously going to every agency there on the same day, because the font would be the same or the envelope would be the same. If you're going to query multiple agents at the same address, at least have the decency to spread it out by a couple of days and give the appearance that you care about us specifically.
"Stable"
Does the phrase "stable author" mean an author who is not unstable, or a member of the agent's stable?
(I'm pretty sure it just means a trusted author/one that's been signed. I'm just wondering about the origin of the phrase)
I don't know the actual origin of the phrase, but it does not refer to the fact that the author is stable, mentally or in terms of output. It prefers to the fact that they are part of the "stable" of reliable earners on the client list. To be perfectly honest, I think "stable" is supposed to invoke the idea of ... a place where you keep horses.
....Yeah, I'm kind of grossed out, too.
(I'm pretty sure it just means a trusted author/one that's been signed. I'm just wondering about the origin of the phrase)
I don't know the actual origin of the phrase, but it does not refer to the fact that the author is stable, mentally or in terms of output. It prefers to the fact that they are part of the "stable" of reliable earners on the client list. To be perfectly honest, I think "stable" is supposed to invoke the idea of ... a place where you keep horses.
....Yeah, I'm kind of grossed out, too.
The Multi-Book Story Problem
I am a first-time author shopping my MS around to various agents (since most major houses don't accept unsolicited MS's anymore anyway). But the entire story is actually three books. I mention this in my query letter as a matter of fairness but I'm wondering how many agents look at that and say, "Three books to tell your story? Forget it!"
I've had five agents request partials, one request the MS and one who recommended I submit it to another agent, so it's getting some action. But if first-time authors *NEVER* get a three-book deal, I'm thinking of setting this project aside and starting something else. Thoughts?
P.S. Rejecter? Or Rejector? ;-)
"Rejecter" is the correct spelling, but I kind of like the idea that I'm some kind of rejecting robot - "REJECTOR!!!!!!!!!!!!!!"
Multi-book stories are fairly normal in certain genres, mainly fantasy, particularly high fantasy. If you book is not fantasy, you're in trouble, and you may just want to make it into one long book. (It's the same story, isn't it? Why isn't it one book?) If it's some kind of historical epic, it's allowed to be excessively long. If it's a mystery, it's supposed to be relatively short. It all depends on your genre.
(If it is high fantasy, do not name the first book "The Prophecy." We've seen that a million times and it's honestly getting annoying. Trust me)
I've had five agents request partials, one request the MS and one who recommended I submit it to another agent, so it's getting some action. But if first-time authors *NEVER* get a three-book deal, I'm thinking of setting this project aside and starting something else. Thoughts?
P.S. Rejecter? Or Rejector? ;-)
"Rejecter" is the correct spelling, but I kind of like the idea that I'm some kind of rejecting robot - "REJECTOR!!!!!!!!!!!!!!"
Multi-book stories are fairly normal in certain genres, mainly fantasy, particularly high fantasy. If you book is not fantasy, you're in trouble, and you may just want to make it into one long book. (It's the same story, isn't it? Why isn't it one book?) If it's some kind of historical epic, it's allowed to be excessively long. If it's a mystery, it's supposed to be relatively short. It all depends on your genre.
(If it is high fantasy, do not name the first book "The Prophecy." We've seen that a million times and it's honestly getting annoying. Trust me)
Actually, I heard phone lines twist and turn a lot
Hi Rejecter. What about if a well-known and successful best-selling author who has read some of your work, (because he happens to be a mate) gives you the direct phone number to an agent he knows, whom he thinks will like your work, and tells you to give this agent a call, mentioning that you are a friend of his? Wouldn't it then be churlish and insulting to assume that you, as a first time novelist, know better and to use another form of communication?
I don't know what this "direct phone number" is (all phone lines are pretty much the same), but I've had this happen before, where a friend of a client of the agent or a friend of a friend of the agent calls in. The appropriate way to do it is to have your author friend give the agent a heads up that you'll be calling and make sure the agent agrees to the call. Your friend should be the one initiating the phone relationship. Otherwise, just mention the author in your query letter.
I don't know what this "direct phone number" is (all phone lines are pretty much the same), but I've had this happen before, where a friend of a client of the agent or a friend of a friend of the agent calls in. The appropriate way to do it is to have your author friend give the agent a heads up that you'll be calling and make sure the agent agrees to the call. Your friend should be the one initiating the phone relationship. Otherwise, just mention the author in your query letter.
Agent 404 Message
Maybe THIS is why I can't reach my agent on the phone when I need to tell her that my editor has just asked me to send that proposal ASAP. Only problem with e-mail is apparently they don't answer that in a prompt fashion, either.I e-mailed first, waited for a week, called, left a voice mail, waited some more ... so finally I just put the proposal in the mail myself. Reading this, I don't know whether I'm steamed at the droves of people calling or the agent for not at least listening/reading messages. Miss Rejecter, what would you have advised me to do in my aforementioned situation? Have I burnt my bridges with my agent?
If she/he is your agent and you are their client, and the editor you're speaking of is an editor at a publishing house, you have every right to pester them. Once you are a client with a contract you can do that sort of thing. Your agent should be answering you.
If she/he is your agent and you are their client, and the editor you're speaking of is an editor at a publishing house, you have every right to pester them. Once you are a client with a contract you can do that sort of thing. Your agent should be answering you.
Monday, October 23, 2006
A Message From Agents and Assistants Everywhere
Dear potential clients/authors:
Stop calling us.
Seriously. We do not want your phone calls. We do not want the phone calls where you call to "confirm the address of the agency" (as if it's written WRONG somewhere) and then begin to pitch your book while we're on the line. We're on to you. We know your tricks. The phone line is for business purposes. It's gotten to the point where many agents don't pick up their phones, including my boss, unless they recognize the name/number - which is bad, because my boss doesn't have caller ID and can never remember my number, so I can't even call in sick because she won't pick up the phone. I have to email her.
There are established ways to reach us: by post or occasionally by email. Please use those methods. I think I speak for almost every agent when I say this.
Stop calling us.
Seriously. We do not want your phone calls. We do not want the phone calls where you call to "confirm the address of the agency" (as if it's written WRONG somewhere) and then begin to pitch your book while we're on the line. We're on to you. We know your tricks. The phone line is for business purposes. It's gotten to the point where many agents don't pick up their phones, including my boss, unless they recognize the name/number - which is bad, because my boss doesn't have caller ID and can never remember my number, so I can't even call in sick because she won't pick up the phone. I have to email her.
There are established ways to reach us: by post or occasionally by email. Please use those methods. I think I speak for almost every agent when I say this.
I love it, she hates it.
Dear Ms. Rejecter,
When an assistant *loves* a manuscript she reads for her boss, to what extent is this a predictor that the agent will eventually offer representation?
It's certainly an indicator that the writing is great, and since we're talking about a full, the agent was probably interested in it to begin with and so I would say the chances are high. If it's just a query or an unrequested partial that I happen to love, it won't necessarily help the author, because no matter how much I love it, the boss has to love it, too. And my job isn't about my tastes; it's about my boss's tastes.
It's certainly an indicator that the writing is great, and since we're talking about a full, the agent was probably interested in it to begin with and so I would say the chances are high. If it's just a query or an unrequested partial that I happen to love, it won't necessarily help the author, because no matter how much I love it, the boss has to love it, too. And my job isn't about my tastes; it's about my boss's tastes.
Losing Manuscripts
Madam Rejector,
Thank you a thousand times for your time, insight, and courageous candor in answering some of our more burning, writerly questions.
I have read stories of manuscripts being lost. Literally vanishing somewhere within the confines of an agent's office. I currently have a full manuscript out with a HUGE agent at a HUGE agency. They requested my manuscript via email and I am now, as has been a little over an entire month since I sent it off that it might have been deleted in error or printed and then lost. Any insight? Does this ever really happen?
A Quibbling Submitor
I have seen a number of agents' offices, and while I am sure there are exceptions to the rule, I have yet to see an office that was not a huge mess of manuscripts, partials, books, packaging to send out books, files on contracts, and several pieces of broken furniture or lamps that don't work. So, obviously, we lose stuff. More accurately, we put stuff somewhere to get it out of the way and then we forget about it. All white paper in stacks kind of look alike, especially when they're squeezed between two proofs for the stable author's new book and a folder of receipts from the agent's trip to the convention in Frankfurt.
In your case, I think it's very unlikely that the agency has lost it. They got it by email, and if they did print the whole thing, then they would have two copies. A month simply isn't enough time to expect an agent to review a full manuscript. Wait a couple more months and then send a brief email to ask (politely) if they have the material.
Thank you a thousand times for your time, insight, and courageous candor in answering some of our more burning, writerly questions.
I have read stories of manuscripts being lost. Literally vanishing somewhere within the confines of an agent's office. I currently have a full manuscript out with a HUGE agent at a HUGE agency. They requested my manuscript via email and I am now, as has been a little over an entire month since I sent it off that it might have been deleted in error or printed and then lost. Any insight? Does this ever really happen?
A Quibbling Submitor
I have seen a number of agents' offices, and while I am sure there are exceptions to the rule, I have yet to see an office that was not a huge mess of manuscripts, partials, books, packaging to send out books, files on contracts, and several pieces of broken furniture or lamps that don't work. So, obviously, we lose stuff. More accurately, we put stuff somewhere to get it out of the way and then we forget about it. All white paper in stacks kind of look alike, especially when they're squeezed between two proofs for the stable author's new book and a folder of receipts from the agent's trip to the convention in Frankfurt.
In your case, I think it's very unlikely that the agency has lost it. They got it by email, and if they did print the whole thing, then they would have two copies. A month simply isn't enough time to expect an agent to review a full manuscript. Wait a couple more months and then send a brief email to ask (politely) if they have the material.
Let's Clear This Up Right Now
So apparently in order to stop the deluge of emails, I must clear this up.
Mr. Agent
Mr. Agent Agency
1000 Broadway Avenue
New York, NY 10002
The FIRST LINE is to indicate what agent you want it to go to within the agency. The SECOND line is to indicate which agency you want it to go to. The THIRD and FOURTH lines are the address, which tells the United States Postal Service where to send your letter by those mysterious numbers at the end.
If Mr. Agency Agency has subagents you are querying, you write it like this:
That Sub-Agent Who Never Comes In to the Office
Mr. Agent Agency
1000 Broadway Avenue
New York, NY 10002
Then we know who the letter is supposed to go to. If you write the address correctly, you do not need to add the word ATTN:. We are not going to say, "This seems to be addressed to the sub-agent, but I'll show it to the boss, because I am no smarter than a monkey with a severe neurological disorder."
G-d.
Mr. Agent
Mr. Agent Agency
1000 Broadway Avenue
New York, NY 10002
The FIRST LINE is to indicate what agent you want it to go to within the agency. The SECOND line is to indicate which agency you want it to go to. The THIRD and FOURTH lines are the address, which tells the United States Postal Service where to send your letter by those mysterious numbers at the end.
If Mr. Agency Agency has subagents you are querying, you write it like this:
That Sub-Agent Who Never Comes In to the Office
Mr. Agent Agency
1000 Broadway Avenue
New York, NY 10002
Then we know who the letter is supposed to go to. If you write the address correctly, you do not need to add the word ATTN:. We are not going to say, "This seems to be addressed to the sub-agent, but I'll show it to the boss, because I am no smarter than a monkey with a severe neurological disorder."
G-d.
Sunday, October 22, 2006
Things People Do That Are Just Plain Stupid #2
#2 is writing ATTN: on the envelope.
The envelope will go to the person who it's addressed to, until my understanding of the postal system is severely mistaken. Yet, many people feel compelled to add a line such as this:
Agenta McAgent
ATTN: Agenta McAgent
Agenta McAgent Literary Agency
999 East 28th Street
New York, NY 10001
The intention is obviously to try to bypass the "lackey" (me) and land right on the agent's desk, as if our mail is processed by a machine designed to such things, or as if I am as dumb as bricks. I have never once seen an ATTN line (or anything else meant to indicate who it's supposed to go to beyond the address) and said, "My G-d, this is clearly a query letter not meant for me, the person in charge of reading query letters, but for my boss, who is busy on the phone with an editor. I'd better interrupt her phone conversation to pass this on." We're on to you. I do the queries unless I'm out of town. No amount of sneaky tactics can change that.
Actually, there are some envelopes I pass on immediately to my boss when I sort the mail. These are known in agent-speak as "bills."
The envelope will go to the person who it's addressed to, until my understanding of the postal system is severely mistaken. Yet, many people feel compelled to add a line such as this:
Agenta McAgent
ATTN: Agenta McAgent
Agenta McAgent Literary Agency
999 East 28th Street
New York, NY 10001
The intention is obviously to try to bypass the "lackey" (me) and land right on the agent's desk, as if our mail is processed by a machine designed to such things, or as if I am as dumb as bricks. I have never once seen an ATTN line (or anything else meant to indicate who it's supposed to go to beyond the address) and said, "My G-d, this is clearly a query letter not meant for me, the person in charge of reading query letters, but for my boss, who is busy on the phone with an editor. I'd better interrupt her phone conversation to pass this on." We're on to you. I do the queries unless I'm out of town. No amount of sneaky tactics can change that.
Actually, there are some envelopes I pass on immediately to my boss when I sort the mail. These are known in agent-speak as "bills."
Sending an Agent Revisions
Dear Rejector,
First off, I am enjoying your site so much! It's very, very enlightening.
Okay, question.:) I have had a full out to an agent for about five months. Due to some excellent feedback during that time I have done some major revisions. I mean major. Not one hundred words or so per chapter, I mean only about 45% of the original book is still in the new version. Total rehaul. And it is so much better. But if I write to the agent that has the full and say, "well, I have a better version for you now," do I look like a total flake? Should I wait till she responds and hope she offers to look at revisions? I'm hoping you have an answer since you menitoned you often read revisions.
I have mixed feelings about how to answer this question. She's had it for a long time, so that's a factor, but just last Thursday my boss was complaining about this crazy author who sends her like another revision every week and tells her not to read the old one. She's been through four now.
The real answer is that you shouldn't send off work unless it's totally polished and the way you want it to look when it's published, but 5 months is a long time for you to gain new perspective and let other people weigh in. This is why I let my own manuscripts sit for about a year before I begin to edit them.
You do risk annoying the agent, but if it's way better, you risk losing them by having them not like the earlier (and I'm assuming, crappier) version. I would take a gamble and email the agent about the revision. Don't send until you hear a reply. Also, start querying other agents. Don't put your eggs in one basket. Unless, I guess, it's some kind of egg basket.
First off, I am enjoying your site so much! It's very, very enlightening.
Okay, question.:) I have had a full out to an agent for about five months. Due to some excellent feedback during that time I have done some major revisions. I mean major. Not one hundred words or so per chapter, I mean only about 45% of the original book is still in the new version. Total rehaul. And it is so much better. But if I write to the agent that has the full and say, "well, I have a better version for you now," do I look like a total flake? Should I wait till she responds and hope she offers to look at revisions? I'm hoping you have an answer since you menitoned you often read revisions.
I have mixed feelings about how to answer this question. She's had it for a long time, so that's a factor, but just last Thursday my boss was complaining about this crazy author who sends her like another revision every week and tells her not to read the old one. She's been through four now.
The real answer is that you shouldn't send off work unless it's totally polished and the way you want it to look when it's published, but 5 months is a long time for you to gain new perspective and let other people weigh in. This is why I let my own manuscripts sit for about a year before I begin to edit them.
You do risk annoying the agent, but if it's way better, you risk losing them by having them not like the earlier (and I'm assuming, crappier) version. I would take a gamble and email the agent about the revision. Don't send until you hear a reply. Also, start querying other agents. Don't put your eggs in one basket. Unless, I guess, it's some kind of egg basket.
Licking Envelopes - the Secret Truth
I always send self-sealing envelopes. I'm sure the agencies appreciate having them to send my rejections.
YES WE DO. Every time I see that self-sealing flap, my mind cries a little "Yes!" We certainly don't hold it against authors if they use traditional envelopes, but yes, I am licking them. And yes, I have diseases, and no, Herpes Simplex I is not an STD, it's something you get if you have a lowered immune system because you're on an immuno-suppressant (Damn you 6-MP!), stop looking at my cold sore, it's not what you think!
...But I digress. Germs and bacteria die when the envelope dries. I think you would have to eat the envelope within an hour of my licking it to actually pick up my cold, and to my knowledge, people are not in the habit of eating envelopes as much as just throwing them in the trash.
What we really despise is people who enclose an SASE from some stationary package, where the envelope is too small to fit the return letter unless we fold it up a million times. Don't do that.
YES WE DO. Every time I see that self-sealing flap, my mind cries a little "Yes!" We certainly don't hold it against authors if they use traditional envelopes, but yes, I am licking them. And yes, I have diseases, and no, Herpes Simplex I is not an STD, it's something you get if you have a lowered immune system because you're on an immuno-suppressant (Damn you 6-MP!), stop looking at my cold sore, it's not what you think!
...But I digress. Germs and bacteria die when the envelope dries. I think you would have to eat the envelope within an hour of my licking it to actually pick up my cold, and to my knowledge, people are not in the habit of eating envelopes as much as just throwing them in the trash.
What we really despise is people who enclose an SASE from some stationary package, where the envelope is too small to fit the return letter unless we fold it up a million times. Don't do that.
New Writers - Why We Seem to Hate Them
Dear Ms. Rejector,
I just discovered your blog, and I love it! Here's my question. If an author gets a contract from a small press and contacts agents to see if any of them are interested, what is the dollar figure under which agents wouldn't even bother? I'm assuming if a publisher offers no advance and only royalties, they would say no thanks?? Or do I have that wrong? Depends on the agent?
There's definitely not a single answer to this, but if you have the contract in hand, the agent will probably not pass up what is essentially a free handout if she likes the material. You did her work for her; now she just picks up the check, but you get to land an agent for future material.
Let's do some basic math, as it will help everyone understand why agents are so hesitant to take on new writers.
The average advance from a major publishing company for a first-time novelist is $5000-$7000. If the agent is good, they can get it up to $10,000. If the agent is really good (and the material is really good) then the agent will try to get a bidding war going between publishing houses, which will drive the price way higher, but that usually doesn't happen.
Let's say the agent got you a $10,000 advance from a major publishing company. That nets her $1500. That may seem like a lot of money to us broke writers, but remember she has to make a living doing this. Since you're a new author, she probably had to talk the book up quite a lot, and spent time editing it or hired an assistant to do that. Time is money in publishing, so she probably spent at least $500 worth of time just getting that contract. And she won't expect royalties unless the book magically takes off, which most books don't, and she only gets 15% of those. So, essentially, she nets maybe $1000 for a lot of hard work. To make a decent living, she would have to take on at least 50 new authors a year, and new authors cost too much time for that to be physically possible.
Essentially, an agent usually takes on a fiction author because he/she cares deeply about the work and hopes it will succeed, but figures that it probably won't be an earner for her. If the author is rejected from major publishing houses, and she still truly cares about the book (which she may just be frustrated with at this point), she might take it to a small house offering little or no advance and be done with it. It makes the author happy and the book goes in print. And then she can move on to other projects.
I just discovered your blog, and I love it! Here's my question. If an author gets a contract from a small press and contacts agents to see if any of them are interested, what is the dollar figure under which agents wouldn't even bother? I'm assuming if a publisher offers no advance and only royalties, they would say no thanks?? Or do I have that wrong? Depends on the agent?
There's definitely not a single answer to this, but if you have the contract in hand, the agent will probably not pass up what is essentially a free handout if she likes the material. You did her work for her; now she just picks up the check, but you get to land an agent for future material.
Let's do some basic math, as it will help everyone understand why agents are so hesitant to take on new writers.
The average advance from a major publishing company for a first-time novelist is $5000-$7000. If the agent is good, they can get it up to $10,000. If the agent is really good (and the material is really good) then the agent will try to get a bidding war going between publishing houses, which will drive the price way higher, but that usually doesn't happen.
Let's say the agent got you a $10,000 advance from a major publishing company. That nets her $1500. That may seem like a lot of money to us broke writers, but remember she has to make a living doing this. Since you're a new author, she probably had to talk the book up quite a lot, and spent time editing it or hired an assistant to do that. Time is money in publishing, so she probably spent at least $500 worth of time just getting that contract. And she won't expect royalties unless the book magically takes off, which most books don't, and she only gets 15% of those. So, essentially, she nets maybe $1000 for a lot of hard work. To make a decent living, she would have to take on at least 50 new authors a year, and new authors cost too much time for that to be physically possible.
Essentially, an agent usually takes on a fiction author because he/she cares deeply about the work and hopes it will succeed, but figures that it probably won't be an earner for her. If the author is rejected from major publishing houses, and she still truly cares about the book (which she may just be frustrated with at this point), she might take it to a small house offering little or no advance and be done with it. It makes the author happy and the book goes in print. And then she can move on to other projects.
Fiction vs. Nonfiction - FIGHT!
My question is about nonfiction books, which make up many of the query letters you recieve. How do nonfiction queries differ from fiction queries? Is the publishing process the same?
The queries are still a basic one-page deal, but the author usually spends a lot more time discussing their credentials to write this book than they would in a fiction query. Where it starts to differ is when the agent asks for more material. In fiction, it'll usually be a couple chapters and maybe a synopsis. In nonfiction, it will likely be a proposal, which is a long and formal thing discussing chapter content, source material, credentials, and discussion of marketing possibilities in comparison to other books on the market with the same topic.
Every once in a while a fiction author sends material in the format of a nonfiction proposal - discussing all the things I mentioned above. This is totally ridiculous. We just want to see your writing. Send that unless the agent specifically says "I want a proposal."
The publishing process is generally the same, except the advances are generally higher in non-fiction but the editing process is much longer, as it often involves checking source material and getting permission from other media to use their pictures/content.
The queries are still a basic one-page deal, but the author usually spends a lot more time discussing their credentials to write this book than they would in a fiction query. Where it starts to differ is when the agent asks for more material. In fiction, it'll usually be a couple chapters and maybe a synopsis. In nonfiction, it will likely be a proposal, which is a long and formal thing discussing chapter content, source material, credentials, and discussion of marketing possibilities in comparison to other books on the market with the same topic.
Every once in a while a fiction author sends material in the format of a nonfiction proposal - discussing all the things I mentioned above. This is totally ridiculous. We just want to see your writing. Send that unless the agent specifically says "I want a proposal."
The publishing process is generally the same, except the advances are generally higher in non-fiction but the editing process is much longer, as it often involves checking source material and getting permission from other media to use their pictures/content.
The "Voice" of the Story
Dear Rejecter:If the story is related to the scandal or incredibly similar, you will probably get a lot of rejections. Prepare yourself for them and move on to another project while waiting.
I got a recent rejection of a partial that noted the agent didn't like "the
voice of this story." As you surely know, writer's obsess over rejections
and try to read them like blueprints to tell us what to fix. What does
this mean? Can the "voice" be fixed - or should it? Are the odds high
that if one agent hated the voice others will too, or might one agent's
"bad voice" be another's favorite melody?
It could mean nothing. It might be a form letter answer. However,
voice is very important to a story, even if you have an omniscent
narrator. The wayyou choose words sets the tone, which should
line up with the story you want to tell. If you're writing a pot-boiler,
it has to have sort of dark and smoky undertones. That sort of
thing.
A second question - unless there's a limit of one to a customer. If
I've written a story that comes out at the same time as a in-the-news-daily
high profile, political scandal, and my story ([G-d] bless me - the
MS was finished and I started querying a short day or two before the
wholebru-ha-ha), will the scandal help or hurt the agent-attracting
prospects?
The Right Novel, The Wrong Time
You wrote: But it's hard to say to an author, "Look, this is just the right novel at the wrong time."
I'm wondering: Is one reason this is hard to say because it's something an author should be aware of without needing to be told? (That one should not try to market a hurricane story while FEMA is still muddling things in the news, for example.)
No, it's hard to say because it's hard to tell a writer you're killing their literary baby because of some market-related issue.
I'm wondering: Is one reason this is hard to say because it's something an author should be aware of without needing to be told? (That one should not try to market a hurricane story while FEMA is still muddling things in the news, for example.)
No, it's hard to say because it's hard to tell a writer you're killing their literary baby because of some market-related issue.
A Very Important Note
Earlier in this blog (G-d I hate that word) I stated that it's okay to email queries to agents if you the address from a major website. Miss Snark pointed out to me that it's fairly hard to tell what's a major website or a reliable source of material (See my post on Writer's Digest).
I would like to amend my comment and say that you should email a query after checking an agent's website. Also, AgentQuery is very respectable and the agent will list on their profile if they are accepting email queries. Ignore other information.
My apologies to the other agents and assistants out there.
I would like to amend my comment and say that you should email a query after checking an agent's website. Also, AgentQuery is very respectable and the agent will list on their profile if they are accepting email queries. Ignore other information.
My apologies to the other agents and assistants out there.
Getting My Job
Dear Ms. Rejector,
About a year ago now, I was fortunate enough to be able to get a volunteer position working as an Assistant editor at a small online magazine. After a year of wading through the slushpile, I've discovered that I really love this sort of work. Probably I'm quite batty, but if one is going to handle the written word in any form, that may be an advantage. My question--which may be nitwittery worthy of Miss Snark, but, anyway--is this: how would you go about getting a job which actually paid you to do this? Volunteer is very nice and all, but I'd love to be able to read slushpiles AND pay the bills.
Ask current/previous employers if they would give you a reference. Try to get one in writing. Then look on craig's list. Average pay is $10/hour, no benefits. Or you could go for an editorial assistant in a publishing company, which would have a salary and benefits. It sounds like you have the experience to land a job like that.
About a year ago now, I was fortunate enough to be able to get a volunteer position working as an Assistant editor at a small online magazine. After a year of wading through the slushpile, I've discovered that I really love this sort of work. Probably I'm quite batty, but if one is going to handle the written word in any form, that may be an advantage. My question--which may be nitwittery worthy of Miss Snark, but, anyway--is this: how would you go about getting a job which actually paid you to do this? Volunteer is very nice and all, but I'd love to be able to read slushpiles AND pay the bills.
Ask current/previous employers if they would give you a reference. Try to get one in writing. Then look on craig's list. Average pay is $10/hour, no benefits. Or you could go for an editorial assistant in a publishing company, which would have a salary and benefits. It sounds like you have the experience to land a job like that.
Memorable Queries
I do have a question for you: Has there been a query letter that sticks out in your mind as one you will remember for many years? (something so wrong it was humorous? something so wrong it was frightful? something so wonderful that you were deeply impressed?) If so, would you mind sharing that with us?
Most of my favorite queries fall neatly into a category, like the author is crazy, the author knows nothing about how to make sentences make sense, or the plot is immediately derived from a movie they just saw. And of course, psychic lesbian detectives. If possible, I make a photocopy or keep the original query. I have a binder full of them.
Unfortunately, scruples prevent me from just reposting them in full here, but I will discuss them when I talk about things that make me laugh.
Most of my favorite queries fall neatly into a category, like the author is crazy, the author knows nothing about how to make sentences make sense, or the plot is immediately derived from a movie they just saw. And of course, psychic lesbian detectives. If possible, I make a photocopy or keep the original query. I have a binder full of them.
Unfortunately, scruples prevent me from just reposting them in full here, but I will discuss them when I talk about things that make me laugh.
Saturday, October 21, 2006
Responding to Rejections
I think I'll speak for many writers. YES, we DO want to know if it sucked. We DO want to know what's wrong. We DON'T want to be treated nicely. If you told us the truth, we'd re-write, get into crit groups, work on it. With this type of reply, all we can think is that you're not the right agent and we keep sending out the same schlock.
Please tell us when it's crap.
So, I've decided that either you are the most thick-skinned writer in the history of literature or you have not actually sent any of your stuff out yet.
Everybody says they can take it. I say I can, that it's not personal, but really, I'm crushed by their nice reply. G-d forbid they would have actually told me I was terrible writer the first time I tried to submit to publishing companies, when I was 14. I was a terrible writer, but at least they didn't say that, and I kept writing.
Writers DO take it personally. I know this because we occasionally receive an angry reply to our rejection, or a phone call, which is why we don't pick up the phone a lot unless we recognize the number.
Oh, and then there's Rejection Collection, a bastion of maturity and sense. Actually it's people venting their frustration, and there's nothing wrong with that, but usually they're complaining about the wording of the form letter without realizing it's just a form letter. IT'S A FORM LETTER. It just means "no." Don't try and analyze it.
Plus, I got in a lot of trouble for making a comment once to that effect, like serious trouble. The guy called the AAR and reported my boss as having bad business practices. She had to counter it. It was a mess. So forget it. I'm keeping my job, thank you very much.
Please tell us when it's crap.
So, I've decided that either you are the most thick-skinned writer in the history of literature or you have not actually sent any of your stuff out yet.
Everybody says they can take it. I say I can, that it's not personal, but really, I'm crushed by their nice reply. G-d forbid they would have actually told me I was terrible writer the first time I tried to submit to publishing companies, when I was 14. I was a terrible writer, but at least they didn't say that, and I kept writing.
Writers DO take it personally. I know this because we occasionally receive an angry reply to our rejection, or a phone call, which is why we don't pick up the phone a lot unless we recognize the number.
Oh, and then there's Rejection Collection, a bastion of maturity and sense. Actually it's people venting their frustration, and there's nothing wrong with that, but usually they're complaining about the wording of the form letter without realizing it's just a form letter. IT'S A FORM LETTER. It just means "no." Don't try and analyze it.
Plus, I got in a lot of trouble for making a comment once to that effect, like serious trouble. The guy called the AAR and reported my boss as having bad business practices. She had to counter it. It was a mess. So forget it. I'm keeping my job, thank you very much.
A Typical Day
Woah! I am a little backed up with emails and questions after Miss Snark's awesome endorsement. I apologize if your question gets lost in the shuffle. Now, onto the questions.
What is a typical day for you? How many query letters or query emails do you receive? Do you read them all that day? How long does it take your boss to review the 5% you pass on? How long to respond with a final rejection or request for ms? Is yours a typical agency?
A typical day for me begins with me oversleeping and rushing to the subway without remembering to bring lunch. Then I buy some overpriced soda on the street because man, you do not want to lick envelopes without something to change the taste in your mouth. Then I forget the code to get into the office building and it takes a few tries for me to get it before I can get in.
I only come in once or twice a week. My boss, on average, recieves anywhere from 5 to 20 queries a day, which is fairly low but because she mainly does non-fiction and that generates less queries than fiction. Despite that, most of our queries are fiction or autobiographies. I usually handle the week's mail first, which has piled up in my absense. The mail is opened very carefully so that SASEs are not lost or mixed up with other ones. The maybes go in a pile for the boss, and the rest are rejected, put their envelopes, and sent off that day. (I believe strongly in not making people wait more than necessary)
Other jobs include some record-keeping in terms of tax-deductible office expenses. Occasionally I have to check a contract against a standard contract from that company and note any differences, as publishing companies are notorious for inserting or removing a crucial line to their boilerplate contract in hopes that the agent won't catch it. An average contract is a good ten to twenty pages of legalese, so this is an intensely annoying job, but it has to be done.
Very often my boss has me read partials or whole manuscripts, either because she wants me to look them over first in case they are so obviously bad that she doesn't need to bother with them or because she needs a second opinion. Occasionally I copyedit the manuscripts of new clients. She spends most of the day on the phone or at the computer (she does a lot of work by email because she has many international clients and does a lot of foreign rights), handling whatever's necessary to promote her client list. Often this means yelling at or comforting crazy clients who don't get their work in on the date they promised or are calling to complain that the champagne at their last book party was too warm. (I wish I was kidding, but if your books are pulling in half a million dollar advances, you get to do that kind of shit) She also goes on those infamous three-hour agent lunches with house editors, which don't involve eating slowly so much as talking about a manuscript nonstop.
Occasionally she has me sort paperwork or bundle books to be shipped out to foreign agents, but there's very little of that.
Her response time will vary hugely, depending on what author is having what crisis or what book fair is coming up. Rejections are usually faster than acceptances, especially if the partial is really bad. On a slow week she'll get to a lot of partials. When a client has hit the bestseller list, she'll be on the phone day and night telling everyone everywhere and arranging for him/her to be interviewed by radio shows and TV shows and partials will stack up. So it's really unpredictable.
My day ends whenever I finish whatever there is to do around the office. I don't have a computer and we share the same single-room office from a larger office space so it's fairly difficult to pretend I'm busy when there's no work to do. This may explain the low numbers in my checking and savings accounts.
What is a typical day for you? How many query letters or query emails do you receive? Do you read them all that day? How long does it take your boss to review the 5% you pass on? How long to respond with a final rejection or request for ms? Is yours a typical agency?
A typical day for me begins with me oversleeping and rushing to the subway without remembering to bring lunch. Then I buy some overpriced soda on the street because man, you do not want to lick envelopes without something to change the taste in your mouth. Then I forget the code to get into the office building and it takes a few tries for me to get it before I can get in.
I only come in once or twice a week. My boss, on average, recieves anywhere from 5 to 20 queries a day, which is fairly low but because she mainly does non-fiction and that generates less queries than fiction. Despite that, most of our queries are fiction or autobiographies. I usually handle the week's mail first, which has piled up in my absense. The mail is opened very carefully so that SASEs are not lost or mixed up with other ones. The maybes go in a pile for the boss, and the rest are rejected, put their envelopes, and sent off that day. (I believe strongly in not making people wait more than necessary)
Other jobs include some record-keeping in terms of tax-deductible office expenses. Occasionally I have to check a contract against a standard contract from that company and note any differences, as publishing companies are notorious for inserting or removing a crucial line to their boilerplate contract in hopes that the agent won't catch it. An average contract is a good ten to twenty pages of legalese, so this is an intensely annoying job, but it has to be done.
Very often my boss has me read partials or whole manuscripts, either because she wants me to look them over first in case they are so obviously bad that she doesn't need to bother with them or because she needs a second opinion. Occasionally I copyedit the manuscripts of new clients. She spends most of the day on the phone or at the computer (she does a lot of work by email because she has many international clients and does a lot of foreign rights), handling whatever's necessary to promote her client list. Often this means yelling at or comforting crazy clients who don't get their work in on the date they promised or are calling to complain that the champagne at their last book party was too warm. (I wish I was kidding, but if your books are pulling in half a million dollar advances, you get to do that kind of shit) She also goes on those infamous three-hour agent lunches with house editors, which don't involve eating slowly so much as talking about a manuscript nonstop.
Occasionally she has me sort paperwork or bundle books to be shipped out to foreign agents, but there's very little of that.
Her response time will vary hugely, depending on what author is having what crisis or what book fair is coming up. Rejections are usually faster than acceptances, especially if the partial is really bad. On a slow week she'll get to a lot of partials. When a client has hit the bestseller list, she'll be on the phone day and night telling everyone everywhere and arranging for him/her to be interviewed by radio shows and TV shows and partials will stack up. So it's really unpredictable.
My day ends whenever I finish whatever there is to do around the office. I don't have a computer and we share the same single-room office from a larger office space so it's fairly difficult to pretend I'm busy when there's no work to do. This may explain the low numbers in my checking and savings accounts.
Friday, October 20, 2006
Dumb Mistakes Follow-up
To continue the thought, how do you feel about a person mentioning a book the agent represents--saying something like, "I learned you are the agent for X book, which in a way is similar to mine-"
Advice is given all the time to do this--to go to a bookstore and find books that are "like" yours--find the agent and proceed.
Is this now annoying because people beat it to death?
It's okay. Some agents like it because they know it's not a form query that has been sent out to a million agencies. The rest of us don't really care, but aren't bothered by it, so I would recommend doing it.
Advice is given all the time to do this--to go to a bookstore and find books that are "like" yours--find the agent and proceed.
Is this now annoying because people beat it to death?
It's okay. Some agents like it because they know it's not a form query that has been sent out to a million agencies. The rest of us don't really care, but aren't bothered by it, so I would recommend doing it.
Thursday, October 19, 2006
Things People Do That Are Just Plain Stupid #1
(Please note that this is different from "Things that make me laugh." These things do not make me laugh, or piss me off. I'm neutral about them, but it doesn't mean you should do them)
A lot of query suggestion websites recommend personalizing the letter by letting the agent know how you heard about them. This ONLY applies to people who know the agent through a special methods, like a convention meeting or they know a client of the agent.
Many people have, in their desperation and desire to listen to advice, written things like, "I found your agency in Writer's Digest." Well, of course you did. You had to get our name and address from somewhere and that's the first place people look besides the internet. It's like saying, "I learned about your agency from a phone book."
That's what Writer's Digest is: a phone book. It contains names, addresses, and other contact info the agent wishes to be made public, like an email address or a phone number. It also contains what genres the agent handles, and then a bunch of statistics that I'm pretty sure they just make up. I don't know of a single agent who can say off-hand what percentage of their client list is new authors, and I don't know of a single agent who's willing to put in the time to figure it out for Writer's Digest. Writer's Digest is full of filler, bad advice, and listings for unscrupulous agencies and writing contests. And, there's a decent chance that by the time it comes out, the information is invalid. Agents are always moving around, joining up or breaking off from larger agencies, or going out of business. Things happen very fast in New York City. I honestly would go to AgentQuery.com.
And if you do go there, don't mention it in your query letter.
A lot of query suggestion websites recommend personalizing the letter by letting the agent know how you heard about them. This ONLY applies to people who know the agent through a special methods, like a convention meeting or they know a client of the agent.
Many people have, in their desperation and desire to listen to advice, written things like, "I found your agency in Writer's Digest." Well, of course you did. You had to get our name and address from somewhere and that's the first place people look besides the internet. It's like saying, "I learned about your agency from a phone book."
That's what Writer's Digest is: a phone book. It contains names, addresses, and other contact info the agent wishes to be made public, like an email address or a phone number. It also contains what genres the agent handles, and then a bunch of statistics that I'm pretty sure they just make up. I don't know of a single agent who can say off-hand what percentage of their client list is new authors, and I don't know of a single agent who's willing to put in the time to figure it out for Writer's Digest. Writer's Digest is full of filler, bad advice, and listings for unscrupulous agencies and writing contests. And, there's a decent chance that by the time it comes out, the information is invalid. Agents are always moving around, joining up or breaking off from larger agencies, or going out of business. Things happen very fast in New York City. I honestly would go to AgentQuery.com.
And if you do go there, don't mention it in your query letter.
E-Query Question
Pretty much everything says to treat it as a professional business letter (easy enough if you have a snail mail one written). But what kind of information would be expected in the subject line?
Generally, something like "Query - [Book Name]." If they don't have hard and fast guidelines, don't worry that much about it. Also, if you personally know the agent or are beginning referred by a client, mention it there so that we flag it in the inbox.
Generally, something like "Query - [Book Name]." If they don't have hard and fast guidelines, don't worry that much about it. Also, if you personally know the agent or are beginning referred by a client, mention it there so that we flag it in the inbox.
Wednesday, October 18, 2006
Trends - Why You Should Ignore Them
Do you have an opinion on the fiction market? A couple years ago, I seemed to get a better response from my query. This past year, with a better project, I got less interest. I’ve also had some agents tell me they no longer represent fiction. What do you think the future holds? All I seem to see out there are non-fiction and memoirs involving pets.
I don't know what the future of the fiction market is. What I do know is that you should write your manuscript independent of any trends or other work you see, because by the time you see those books on the shelves, we're sick of them (not the books themselves, but the trend) and not taking many new ones. Also, the story (or non-fiction discussion) should be something you care about, not something to capitalize on a trend.
A year ago we were getting tons of thrillers that somehow involved the Vatican, and stuff about New Orleans and/or Katrina. We rejected all of it immediately. The words "Dan Brown" appearing anywhere on your query meant an auto-reject. Why? Because we knew the market was going to cool off, which it did, and we stopped getting those queries when everyone forgot about Katrina and when the Da Vinci Code movie came out and it sucked.
There's usually a fairly direct parallel between what's on the NY Times bestseller list and what kind of queries we're getting. #5 right now in hardcover non-fiction is "Marley & Me," which is, and I quote, "A newspaper columnist and his wife learn some life lessons from their neurotic dog." Political books always sell, and you can basically make a living right now - a GOOD living - representing anti-Bush books. Inspirational stuff always sells, but lately it's been more Christian-themed.
On the fiction list, I see a huge variety of topics, which is normal for the fiction list. I'm actually surprised at the number of names I don't recognize; generally bestsellers are by famous authors. John le Carre is #13. Laurell K. Hamilton is #8. We're also seeing more British imports than usual.
None of what I just said in the last three paragraphs matters to you writers. Write what you love and want to write about. Write a book you would want to read. Then polish it, write a good query letter, and send it out to at least 40 agents. If it's a great book, at least a few of them will be interested, regardless of what's going on in publishing.
I don't know what the future of the fiction market is. What I do know is that you should write your manuscript independent of any trends or other work you see, because by the time you see those books on the shelves, we're sick of them (not the books themselves, but the trend) and not taking many new ones. Also, the story (or non-fiction discussion) should be something you care about, not something to capitalize on a trend.
A year ago we were getting tons of thrillers that somehow involved the Vatican, and stuff about New Orleans and/or Katrina. We rejected all of it immediately. The words "Dan Brown" appearing anywhere on your query meant an auto-reject. Why? Because we knew the market was going to cool off, which it did, and we stopped getting those queries when everyone forgot about Katrina and when the Da Vinci Code movie came out and it sucked.
There's usually a fairly direct parallel between what's on the NY Times bestseller list and what kind of queries we're getting. #5 right now in hardcover non-fiction is "Marley & Me," which is, and I quote, "A newspaper columnist and his wife learn some life lessons from their neurotic dog." Political books always sell, and you can basically make a living right now - a GOOD living - representing anti-Bush books. Inspirational stuff always sells, but lately it's been more Christian-themed.
On the fiction list, I see a huge variety of topics, which is normal for the fiction list. I'm actually surprised at the number of names I don't recognize; generally bestsellers are by famous authors. John le Carre is #13. Laurell K. Hamilton is #8. We're also seeing more British imports than usual.
None of what I just said in the last three paragraphs matters to you writers. Write what you love and want to write about. Write a book you would want to read. Then polish it, write a good query letter, and send it out to at least 40 agents. If it's a great book, at least a few of them will be interested, regardless of what's going on in publishing.
Email Queries
Agh. The Rejecter is recovering from the same cold everyone in NYC had last week. The Rejecter is behind. The Rejecter is wondering why she is talking about herself in the third person.
I would be interested to know what your agency's stance is on email, whether you accept email queries or not. Many agent's emails are listed on agents.query even when they don't accept email submissions. I've heard writers having success contacting those agents anyway.
It seems to me that if an agency is really serious about new writers, they ought to be accepting emails rather than snail mail exclusively. I'm disappointed but I think it's great when a well-known agent emails back & says, no thanks. I'd take a quick no over a 3 months of not hearing any day.
Then's there is the question of pasting in a couple pages or a chapter at the bottom of an email query. Some agents request this, others don't. I know etiquette says don't do it if not requested. But if the agent/assistant is on the fence, then the sample may tickle their fancy. If they were going to reject you anyway, they won't bother reading....
The answer to your initial question varies widely from agency to agency. Four or five years ago, when an agent said they weren't taking email queries, it didn't mean they didn't own a computer. It just meant they didn't use it for work and didn't want to. Now most agents do use computers for work - to contact other agents, clients, editors, and whoever. More and more publishing houses are talking to agents through email. More and more revisions of a manuscript are being sent as an email attachment. In a year or two, it will basically become essential for an agent to have a computer in their office and use it for work.
Queries are a different manner. Initially, agents were against them. Sometimes we feel like it's removing that one last barrier between us and unwanted submissions by idiots who haven't thought out their material and haven't researched how to present it. I mean, if you have to print out a letter and pay 39 cents to mail it, you'll probably put some effort into the letter. You also probably won't just query every agency in existence because it costs money, so you'll look into which agents are in which markets and narrow it down to people who are actually interested in your genre.
Most of the queries we get over email (my boss does accept them, and some unscrupulous sites list agents' emails anyway, so every agent gets them) do not stick to form to the point where it becomes obvious that the author has put absolutely no thought into the email and has just summed the book in a paragraph rife with spelling errors like the agent was a casual acquaintance. Plus, we get tons and tons of queries with attachments, which is just fucking annoying, even though every single agent website has "DO NOT USE ATTACHMENTS" like flashing or in bold or in bold and flashing in a floating macro that follows your mouse. Attachments take time to open, because they require a matching program, and we have to scan them for viruses, and for G-d's sakes, just put the text in your email.
The general rule is: If you can find the agent's email address on a major website (like AgentQuery.com), it's safe to send an email query, but be professional about it. And yes, you can put the first couple pages below the text if you want; that's no skin off our backs.
I would be interested to know what your agency's stance is on email, whether you accept email queries or not. Many agent's emails are listed on agents.query even when they don't accept email submissions. I've heard writers having success contacting those agents anyway.
It seems to me that if an agency is really serious about new writers, they ought to be accepting emails rather than snail mail exclusively. I'm disappointed but I think it's great when a well-known agent emails back & says, no thanks. I'd take a quick no over a 3 months of not hearing any day.
Then's there is the question of pasting in a couple pages or a chapter at the bottom of an email query. Some agents request this, others don't. I know etiquette says don't do it if not requested. But if the agent/assistant is on the fence, then the sample may tickle their fancy. If they were going to reject you anyway, they won't bother reading....
The answer to your initial question varies widely from agency to agency. Four or five years ago, when an agent said they weren't taking email queries, it didn't mean they didn't own a computer. It just meant they didn't use it for work and didn't want to. Now most agents do use computers for work - to contact other agents, clients, editors, and whoever. More and more publishing houses are talking to agents through email. More and more revisions of a manuscript are being sent as an email attachment. In a year or two, it will basically become essential for an agent to have a computer in their office and use it for work.
Queries are a different manner. Initially, agents were against them. Sometimes we feel like it's removing that one last barrier between us and unwanted submissions by idiots who haven't thought out their material and haven't researched how to present it. I mean, if you have to print out a letter and pay 39 cents to mail it, you'll probably put some effort into the letter. You also probably won't just query every agency in existence because it costs money, so you'll look into which agents are in which markets and narrow it down to people who are actually interested in your genre.
Most of the queries we get over email (my boss does accept them, and some unscrupulous sites list agents' emails anyway, so every agent gets them) do not stick to form to the point where it becomes obvious that the author has put absolutely no thought into the email and has just summed the book in a paragraph rife with spelling errors like the agent was a casual acquaintance. Plus, we get tons and tons of queries with attachments, which is just fucking annoying, even though every single agent website has "DO NOT USE ATTACHMENTS" like flashing or in bold or in bold and flashing in a floating macro that follows your mouse. Attachments take time to open, because they require a matching program, and we have to scan them for viruses, and for G-d's sakes, just put the text in your email.
The general rule is: If you can find the agent's email address on a major website (like AgentQuery.com), it's safe to send an email query, but be professional about it. And yes, you can put the first couple pages below the text if you want; that's no skin off our backs.
Tuesday, October 17, 2006
Why a Publishing House Kills a Novel, Responses
So have you any strategies a motivated author might try to get the buyers interested? Bribes? Gatherings where they can pitch their book themselves?
Writer a great book.
Seriously, that's all you can do. You're not involved in that part of the process.
Writer a great book.
Seriously, that's all you can do. You're not involved in that part of the process.
Sunday, October 15, 2006
Why a Publishing House Kills a Novel
Rejecter, I've had friends get promised the world when a NY house wanted their book only to see the publicity push never materialize. That's hardly a sign of a bad book or a bad writer. No one hardly knew the book was out there. I'd be interested in your take on this.
I've never worked in a publishing house, but I know enough people who have or actively do to presume to be able to answer this question. The answer is complicated and involves one of the last links on the chain towards publication - the "buyer" for the bookstore.
Today, most books are sold by large chain stores, the really big ones being Barnes and Noble, Borders, and that other big one that we don't have on the east coast. All of these book store chains have corporate headquarters that contain people called buyers. These are the people that decide how many copies (if any) the stores will be carrying. Usually there's at least one buyer per genre and/or region. There's the person in charge of buying sci-fi, the person in charge of buying romance, the person in charge of buying literary fiction, etc.
After the publishing house has committed to publishing a novel (i.e. it has signed a contract) but before it commits to how many copies it will produce and how much publicity money it will spend, it produces a few "proofs" - paperback, coverless copies of the text that are sent to reviewers and buyers. From them the house gets a general feeling for how many copies the big chain stores are going to buy. In a cyclical manner, that then determines how much copies the publishing house will put out and how much money it will put into advertising the book. There's no reason to advertise a book if it's not readily available on the shelves at Barnes and Noble if you want to sell a book in Manhattan. Preferably, it should be somewhere up front, in "new fiction." In other words, if the big chains' buyers aren't interested in your book, you are screwed, and the publishing company will drop you down on its list of priorities like you smell of dead skunk.
Part of the agent's job is to make sure this doesn't happen. A competitive agent who truly cares about the material will be talking up the book to buyers and stores. A year before the book is even published, they'll be mentioning it at lunches with editors so that they don't forget about their own project, and shoving proofs in the hands of reviewers so they can get some blurbs. They might hire a publicity agent or do some publicity themselves. But in the end, there's very little the agent can do if the publishing house losses faith in the book for any reason and decides to bury it.
And that is the sad story of the little book that couldn't.
I've never worked in a publishing house, but I know enough people who have or actively do to presume to be able to answer this question. The answer is complicated and involves one of the last links on the chain towards publication - the "buyer" for the bookstore.
Today, most books are sold by large chain stores, the really big ones being Barnes and Noble, Borders, and that other big one that we don't have on the east coast. All of these book store chains have corporate headquarters that contain people called buyers. These are the people that decide how many copies (if any) the stores will be carrying. Usually there's at least one buyer per genre and/or region. There's the person in charge of buying sci-fi, the person in charge of buying romance, the person in charge of buying literary fiction, etc.
After the publishing house has committed to publishing a novel (i.e. it has signed a contract) but before it commits to how many copies it will produce and how much publicity money it will spend, it produces a few "proofs" - paperback, coverless copies of the text that are sent to reviewers and buyers. From them the house gets a general feeling for how many copies the big chain stores are going to buy. In a cyclical manner, that then determines how much copies the publishing house will put out and how much money it will put into advertising the book. There's no reason to advertise a book if it's not readily available on the shelves at Barnes and Noble if you want to sell a book in Manhattan. Preferably, it should be somewhere up front, in "new fiction." In other words, if the big chains' buyers aren't interested in your book, you are screwed, and the publishing company will drop you down on its list of priorities like you smell of dead skunk.
Part of the agent's job is to make sure this doesn't happen. A competitive agent who truly cares about the material will be talking up the book to buyers and stores. A year before the book is even published, they'll be mentioning it at lunches with editors so that they don't forget about their own project, and shoving proofs in the hands of reviewers so they can get some blurbs. They might hire a publicity agent or do some publicity themselves. But in the end, there's very little the agent can do if the publishing house losses faith in the book for any reason and decides to bury it.
And that is the sad story of the little book that couldn't.
Form Rejections
Do you send form rejections for all the manuscripts rejected? Do you or the agent ever write personalized rejection letters?
It varies from agency to agency. One place I worked at had a letter that we would send back in the SASE. My current job involves writing a note on the bottom of the query letter itself and sending that back. You can argue amongst yourselves whether a full form letter or a personal form note in the assistant's handwriting but with the agent's name is best, but they mean the same thing: "No."
Agents have different standards. Some do personal replies after rejecting a partial request, or at least use a special "partial" form letter, but some agents only do a personal rejection after a full was requested. This is for the sake of time. That, and we actually like writers and want to let them down easy. "Thanks for submitting, but I don't think I'm right for this" sounds a lot nicer than the actual answer, which is usually, "Wow, that sucked." In other words, you don't want to know what we're really thinking. A writer myself, I am acutely aware that writers have insanely soft skins and will take every last word personally. I do it, you do it, everyone does it, because any writer, good or bad, pours their heart and soul into their manuscript. Rejection is a hard thing to take. I still struggle with getting rejected (which I do - when my material isn't good enough). It hurts. But it actually isn't personal; we just don't like your writing, and we want to let you down easy. That's what the form letter is for.
On occasion, I am allowed to personalize rejections with a P.S., if the rejection is just because the author hasn't done their homework and needs a push in the right direction. If the novel is below 60K, we might circle the word count and write "too short." If it's in a genre we don't represent, we might write, "P.S. We do not represent _____ fiction." It saves them the trouble of re-querying (which rarely works anyway) and tells them that they need to focus a bit more on the material they're putting out and whom they're sending it to. Despite the name of this blog, our overall goal is to help writers get published, or we wouldn't be working in this industry.
I will end this post with a story of one my hilarious mistakes that I was sure was going to get me fired. One day at the first agency I worked for, I opened a package that contained a whole folder full of material, from the query to the bio to a synopsis to a partial and a business card that matched the whole color scheme. This wasn't particularly unusual and generally means I get a brand new folder! Yay! So I sent our form rejection because the material was bad, and thought nothing of it. Then about a week later, my boss asks me, "Did you reject So-and-so?" Since I have no memory for names, she had to tell me that it was a blue binder and apparently this guy was an old friend of hers and he called her because he was pissed at his impersonal form rejection. As realization dawned, I noticed that we hadn't tossed the material in the trash yet (as he only sent an envelope with enough postage for a one-page SASE, meaning no return of his other materials). I produced it and argued my case - that he hasn't at any point anywhere in his folder mentioned once that he knew my boss. He just assumed she was going to see it and recognize his name. Unfortunately that's not the way agencies work, and I rejected it because it made no reference to the personal connection. Fortunately for my career, she understood and told him she still had the material, and it was all a misunderstanding. (By the way, the material was really bad and she rejected it, but she did it personally)
In other words: If you know the agent personally, please mention that in the opening letter. People lose their jobs over this sort of thing.
It varies from agency to agency. One place I worked at had a letter that we would send back in the SASE. My current job involves writing a note on the bottom of the query letter itself and sending that back. You can argue amongst yourselves whether a full form letter or a personal form note in the assistant's handwriting but with the agent's name is best, but they mean the same thing: "No."
Agents have different standards. Some do personal replies after rejecting a partial request, or at least use a special "partial" form letter, but some agents only do a personal rejection after a full was requested. This is for the sake of time. That, and we actually like writers and want to let them down easy. "Thanks for submitting, but I don't think I'm right for this" sounds a lot nicer than the actual answer, which is usually, "Wow, that sucked." In other words, you don't want to know what we're really thinking. A writer myself, I am acutely aware that writers have insanely soft skins and will take every last word personally. I do it, you do it, everyone does it, because any writer, good or bad, pours their heart and soul into their manuscript. Rejection is a hard thing to take. I still struggle with getting rejected (which I do - when my material isn't good enough). It hurts. But it actually isn't personal; we just don't like your writing, and we want to let you down easy. That's what the form letter is for.
On occasion, I am allowed to personalize rejections with a P.S., if the rejection is just because the author hasn't done their homework and needs a push in the right direction. If the novel is below 60K, we might circle the word count and write "too short." If it's in a genre we don't represent, we might write, "P.S. We do not represent _____ fiction." It saves them the trouble of re-querying (which rarely works anyway) and tells them that they need to focus a bit more on the material they're putting out and whom they're sending it to. Despite the name of this blog, our overall goal is to help writers get published, or we wouldn't be working in this industry.
I will end this post with a story of one my hilarious mistakes that I was sure was going to get me fired. One day at the first agency I worked for, I opened a package that contained a whole folder full of material, from the query to the bio to a synopsis to a partial and a business card that matched the whole color scheme. This wasn't particularly unusual and generally means I get a brand new folder! Yay! So I sent our form rejection because the material was bad, and thought nothing of it. Then about a week later, my boss asks me, "Did you reject So-and-so?" Since I have no memory for names, she had to tell me that it was a blue binder and apparently this guy was an old friend of hers and he called her because he was pissed at his impersonal form rejection. As realization dawned, I noticed that we hadn't tossed the material in the trash yet (as he only sent an envelope with enough postage for a one-page SASE, meaning no return of his other materials). I produced it and argued my case - that he hasn't at any point anywhere in his folder mentioned once that he knew my boss. He just assumed she was going to see it and recognize his name. Unfortunately that's not the way agencies work, and I rejected it because it made no reference to the personal connection. Fortunately for my career, she understood and told him she still had the material, and it was all a misunderstanding. (By the way, the material was really bad and she rejected it, but she did it personally)
In other words: If you know the agent personally, please mention that in the opening letter. People lose their jobs over this sort of thing.
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