Agent Monday: Which Agent?

MP900321197Hi everyone!  Happy summery Agent Monday to you all. One of the biggest challenges of submitting to agents is figuring out which are the right ones to contact.  So for those of you looking to submit to The Jennifer De Chiara Literary Agency, I thought I’d  offer a few insights about two of us to help you out.  Thanks so much to wonder-agent Stephen Fraser for popping by!

First a few caveats. One: never submit to more than one agent at our firm (or at any one firm) at the same time. It’s unprofessional and you don’t want to put two agents in the same firm in the odd position of both offering representation at the same time. Two: always address your submission to the agent.  We often get generic mass-emailed queries addressed to no one (not cool). Every once in a while we get submissions addressed to every agent in our firm at once, or to every agent that exists in every firm (not kidding). Bad. Don’t ever do that.

Now a few notes about how our agency operates.  We are a wonderful collaborative bunch, and we’re all overseen by the wisdom and experience of our founder, the talented Jennifer De Chiara. It’s not unusual for the agents to consult each other and share info about the market or editors or certain situations that pop up. In that way, each agent here shares from a wide pool of experience that benefits all of the authors we represent. We also share our exciting developments with each other. And if we get a query that isn’t right for us, but perfect for another agent in our firm we will pass it along to them. What I’m trying to say is that this is a very positive agency and we make a great team.

So who should you submit to? First do some research. Go to jdlit.com and click on The Agency and Who We Are, then click on Submissions for specific guidelines for each agent. And here are a few more details that might help:

Stephen FraserStephen Fraser

1. What are you most looking for in your query in box right now?
I am always looking for solid, unusual middle grade fiction. And then, of course, anything that is dazzling. I do love poetry, dramatic stories, fascinating nonfiction. For me, it is always about beautiful language.

2. What special interests, hobbies, background distinguish you and your point of view as an agent?
Because I used to be an editor, people know that I have an editorial bent. And so they can expect my input on their manuscripts as well as career guidance. Also, my background in theater and music definitely colors my interest in some topics.

3. What are you seeing too much of in your query in box right now?
There are too many ‘typical’ picture books, e.g. monsters under the bed. The tendency to always teach young readers persists; story is what everyone needs. Still too many paranormal young adult novels.

4. What one thing would you most like writers querying you to know?
To persist in following up if they don’t get a response right away. I answer everyone and sometimes it just takes time. A polite nudge is always fine.

 

MarieMarie Lamba
1. What are you most looking for in your query in box right now?
Something unforgettable that’ll make me laugh, tug at my emotions, haunt me long after I finish it. I want something different from what’s already out there. I love projects which are fun but also have depth, so something that is breezy but without beautiful language or heart is not right for me. I’d love to get women’s fiction that isn’t cliché and that moves me. I’d love a memoir with an unforgettable voice. I’d love a contemporary YA that isn’t overloaded with problems, but that stands out for its voice and its heart-rending truths.

2. What special interests, hobbies, background distinguish you and your point of view as an agent?
I have a fine art background, so I love visual writing, and stories involving artists or the art world. I fenced through college. I love ancient graveyards, ghost stories that are not touched with gore (I hate bloody stories or true crime), mythology. I’m a huge world traveler. My kids are biracial and my husband is from India. I adore smart books and films that make me laugh or move me in unexpected ways. I love smart chick-lit and am a romantic at heart, but I do NOT enjoy genre romance at all. So books that tug at my heart but are in no way formulaic or predictable are more for me. I’m an author myself, and have written a number of young adult novels, tons of magazine articles, and other stuff. I’ve also worked as an editor, a public relations writer, and a book publicist, so I approach each project from many angles.

3. What are you seeing too much of in your query in box right now?
Paranormal novels. Someone thinks their life is okay, but then they discover they have a special power or curse and are at the center of a huge mysterious conflict. No more of these, please.

Light fluffy romances. Whether YA, NA or adult, these are just not right for me. I want more depth than the hot angsty guy with green eyes and the heroine who is attracted to him despite her better judgement.

Sad story memoirs without an added dimension. People who have gone through difficult things in life, but who don’t bring anything further to the experience beyond reporting what happened to them. My heart breaks for these writers, but I’m looking for a special voice or unique point of view that will touch readers beyond the “this is what happened to me” part.

YA’s overloaded with problems. While one or two serious issues are more than enough for a lovely YA contemporary, I’m seeing YAs with up to a dozen serious problems facing down the hero. And every character in the story has tons of huge issues.

4. What one thing would you most like writers querying you to know?
I’m looking for writing that is as good or better than what my current clients produce (and they are amazing). I’m looking for manuscripts that make me think, “Jeez, I wish I could write like that.” I want manuscripts that won’t just sell, but that’ll make a difference to readers, which is why genre writing or anything that is too similar to what’s already out there is not right for me.

*Note: There is now a Part 2 in this series (click here), which features agents Roseanne Wells and Linda Epstein. And a Part 3 (click here) that features founding agent Jennifer De Chiara.

 

*Marie is an Associate Agent at the Jennifer De Chiara Literary Agency in New York City.  To keep up with all her posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

 

Agent Monday: Trust your Gut

IMAG1006Happy Agent Monday, everyone! It feels like summer has truly arrived. Today, I thought I’d talk a little bit about feelings… or rather, intuition. In a few weeks, my  wonderful author Tracey Baptiste and I will be presenting a talk on the author/agent relationship at the NJ SCBWI Conference. What should a writer look for in an agent? How can a writer know if an agent will be right for her? There are many things writers should consider, but Tracey pointed out one factor that is often overlooked: Intuition. She told me, “As soon as I talked to you, I just knew.” Something about the ease of conversation, about our shared wacky humor…  Um, I’m not sure WHAT she means about that (see our picture here from BEA for clues, perhaps?). So here’s the big question. Are you trusting your gut?

I definitely am. When something is right, I just know it. As a writer myself, I listen to what feels important to me, and I pour my heart and soul into writing that. As an agent, I look for that gut reaction to what is submitted to me. I often pass on projects that I know I could sell, but that just don’t feel right for me. I trust my intuition to guide me to the books that I feel have true heart and importance. Sure, I have a checklist of things that I’m looking for, but there’s something more. That just knowing when it’s right. And when I speak with an author, I’m also tuned into whether or not we are communicating well and whether or not we share the same goals and expectations.

What about you? Do you listen to your gut enough? When looking for an agent, you should do all those things you know to do when researching them. But, when an offer comes in, you know what I’m going to say…TRUST YOUR GUT. Because at this point, it’s not about getting an agent, it’s about getting the right agent. This is a business partnership you want to last throughout your career. You are entrusting your “baby” to this person. Does it feel right?

Many writers are so thrilled to get any offer of representation that they are eager to just say YES! I always tell writers I make offers to that they should wait a few days to let me know their answer. I know I risk that author changing their mind, but I want this to be the right decision for both of us. I want them to think it through and really feel good about our partnership.

So when you get that offer, I advise you to pause. Think, can you communicate well with this person? Do you feel confident about them? Is there something they say that bothers you on some level? If so, don’t brush it aside because you are so anxious to get representation. Pay attention to your gut. Ask questions.

In Tracey’s case, she said she just knew we were a great match as soon as we talked on the phone. Yes, I told her to take a few days. To let other agents reading her manuscript weigh in during that time. And to let me know. I wanted it to be right for her. She trusted her gut, though, and just told the other agents thank you but I have an agent, and then she accepted my offer. It wasn’t the way many “how-to” articles tell you to do it, but it was the right way for her.

I’m happy to say that Tracey’s manuscript THE JUMBIES was then sold to Algonquin Books for Young Readers, and that it’ll come out in 2015!  Here we are at BEA a few weeks ago with her awesome editor Elise Howard.

Elise Howard, Tracey Baptiste and me BEA 2014I knew as soon as I read this book that it was something special. I knew as soon as I spoke with Tracey that she would be a delight to work with. Tracey knew as soon as she spoke with me that I was her agent. And Elise at Algonquin knew as soon as she read THE JUMBIES that this was the right book for her list.

Trust your gut!

*Marie is an Associate Agent at the Jennifer De Chiara Literary Agency in New York City.  To keep up with all her posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

 

 

Agent Monday: Some Words on Writing Contests

file000331550356Happy Agent Monday, everyone!  Writing contests are a great way to garner attention. Nab a notable award and it’ll be a feather in your writing bonnet. And even if you don’t win, you might gain the attention of important people. Sometimes, in fact, editors and agents are serving as contest judges — win, win!

Today I’m so excited to welcome to the blog wonderful author Stephanie Winkelhake. In her guest post, Steph is sharing some tips she’s gathered about entering writing contests. Listen to this woman — she knows what she’s talking about! Stephanie has finaled not once, but TWICE in the national Golden Hearts competition sponsored by RWA. For the 2014 GH competition (winners announced in July) she’s a finalist for her awesome YA thriller CARMA ALWAYS, which is about a clone who is brought to life to solve her original’s murder before the boy she loves in both incarnations is destroyed. Take it away, Steph!

Some Words on Writing Contests
by Stephanie Winkelhake

Once upon a time, I was terrified to show my writing to anyone. I mean, it’s still a nerve-wracking thing today, but years ago, it was something nightmares were made of. What if my writing was horrible and I only thought it was decent? What if I had no business writing at all? Those doubts prevented me from handing over my manuscript to people I actually knew (you know, besides my mom).

So, baby steps. I entered contests. Since my manuscript at the time had romance in it, I opted for RWA (Romance Writers of America) chapter contests. Imagine my surprise when I actually became a finalist in one! I nearly cried because someone—and not someone related to me—thought my words had merit. And besides that, the judges returned my manuscript with constructive feedback that helped shape me into a better writer.

I entered more contests. I did well in some, and didn’t score high enough in others. In late 2011, I entered the RWA Golden Heart® Awards—the most prestigious RWA contest for unpublished writers. That following January, I signed with my agent (hi, Marie!), and that March, I got another important call—my manuscript was a finalist in the GH! Talk about a nice surprise. Gradually, I gained enough confidence in my writing to find a critique partner and some wonderful readers.

This year, I’m a GH nominee again with my YA thriller CARMA ALWAYS. Getting that phone call a second time was just as exciting as the first. I owe a lot to RWA and those amazing judges I had along the way. (Also, a special shout-out to my agent and my CP/readers!) They all gave me that spark of confidence I needed in my writing to push forward.

Is there a secret formula to wowing the judges? If so, I’d really like to find out what it is. But I do have a list of items I follow before submitting an entry, and in case anyone is curious, I’ve added them below:

1. Always read the formatting directions. Some contests have their own formatting requirements, like what to put in the headers and what font to use. Pay attention, because you don’t want to be penalized right off the bat for not following directions.

2. Decide what happens on page zero, and determine what to include on page one. Okay, so I wish I did have a secret formula for this one. But there are things you can avoid, like spending three pages having a character waking up and describing their breakfast. Dedicating the majority of chapter one to tell the reader about your character’s entire life before now? Also probably a bad idea. Besides, you only have so many pages to show off your characters to the judges, right? So make them count.

3. Determine whether scenes in the entry pages are truly needed. You’ll want to make sure every scene in the entry moves the story along. And here’s something I do: I cut any unnecessary sections. Does this scene only contain stuff the reader only needs to know in pages after the entry ends? If so, CUT. And hey, sometimes I find that this helps pinpoint things I don’t need at all in my manuscript. Sometimes this helps me find a paragraph or scene that takes the reader out of the story. CUT. In this year’s GH entry, I ended up trimming a scene I originally thought I had to have, but turns out, it didn’t add much to the overall story. Say it with me now: CUT!

4. Leave the judges with a nice memory. Contests usually have a word count or page restriction for entries. But I never end an entry mid-sentence or paragraph. In fact, I try to conclude an entry with a finished scene. Sometimes this involves revisiting #2 and cutting more words to squeeze it all in. Sometimes I’ll switch scenes around to leave the entry on something that highlights what I think the judges are looking for. For example, romance is important in RWA contests, so I try to end the entry on a romantic scene between my characters. It can’t hurt to leave the judges with a nice memory before they turn their attention to the score sheet.

5. Proofread, proofread, proofread. Judges won’t give you high marks for your writing mechanics and grammar if your entry is littered with mistakes. I find it helps to go over the entry on an e-reader, which forces me to look at manuscript in a fresh way. I’m always amazed at how many mistakes or misspelled words I discover on my e-reader versus my computer screen.

And…that’s it. Easy, right? Sprinkle in some hard work and a healthy dose of revisions, and you’ll be cooking.

Oh, one last (very important) thing: Don’t get discouraged if you don’t final or win. That doesn’t mean your writing or story isn’t great. Not at all! Remember that writing is a subjective business. (Come to think of it, that’s a pretty good thing to remember outside of contests, too.)

Happy writing!

 

GH_2014_thumbnailStephanie Winkelhake is the author of CARMA ALWAYS, a YA thriller recently nominated for the 2014 RWA Golden Heart® Award. Her young adult paranormal FOLLOWING YOU (previously titled THE MATTER OF SOULS) was a finalist manuscript in the 2012 Golden Heart® contest and the winner of the Best-of-the-Best round in the IRWA 2011 Indiana Golden Opportunity contest. Her story DO NOT MACHINE WASH appears in CHICKEN SOUP FOR THE SOUL: I CAN’T BELIEVE MY DOG DID THAT! (Chicken Soup for the Soul, Sept 2012). When not writing, Stephanie is most likely reading, burning something on the stove, or plotting a return to Comic-Con. Her website can be found here. You can also find her on Twitter and Facebook.

Agent Monday: In Good Company…with Character

RetirementHappy Agent Monday, everyone!  No matter what sort of fiction you write, it’ll really soar if you include believable characters…people we care about, people we love, or people we love to hate. Without compelling characters, a story can really feel flat, and a story engine can chug to a full stop. Today I’m excited to welcome to the blog Richard Uhlig, who is a terrific author, and who I’m proud to call my client. Richard definitely knows a thing or two about creating compelling characters. Here’s his take on it…

In Good Company
by Richard Uhlig

“This is hell!” my fiction-writing students say. “How can you do this year after year? It’s drudgery sitting at my desk for hours trying to come up with a story someone will want to read.” One writer I know calls his den The Torture Chamber. Norman Mailer said writing was the Spooky Art, “… where there is no routine of an office to keep you going, only the blank page each morning, and you never know where the words are coming from, those divine words.”

Yes, writing an original book, play or screenplay can feel like you’re shoving Noah’s Ark up Pike’s Peak by hand. Then, over your shoulder you hear Cassandra whispering, “All this work is adding up to nothing.”

You know you shouldn’t, but you can’t help comparing your writing to Vonnegut’s, Fitzgerald’s and Munro’s, always coming up short. What you thought was a solid idea when you sat down to write it can default faster than the Greek banking system.
There is, however, an opium for this kind of creative pain. I know it’s helped me. It’s easy and close at hand: masturbation.

Kidding aside, write about people who you find entertaining.

Unconventional people. People who stand up to seemingly insurmountable problems. People burning with dreams. People who are their own worst enemy. Exceedingly bad people, exceedingly good people, but most of all exceedingly interesting people who shake up your sense of decorum and expectation.

Ideally, these people should want something desperately, even if, in the case of Shrek, that something is just to be left alone.

Beginning writers often waste months ironing out a concept, or trying to figure out the intricacies of a plot, without having given much thought as to who the yarn is about. Writing a story where the characters are secondary to a plot is like dancing without music. It’s okay for cookbooks and instruction manuals, I suppose, but you’ll never come up an Auntie Mame, Humbert Humbert or Willie Loman.

Tip: Put your characters in drastic, hilarious or god-awful situations right away. Follow their reactions. They should lead the way. If they don’t, search for a new character who does.

Keep in mind, this is creative writing we’re talking about. Not journalism, not biography. To write a facsimile of your church-going third grade teacher, Mrs. Carter, can lead to narrative paralysis. The real Mrs. Carter would never allow Miss Barkley, the p.e. teacher, to kiss her. But what if the fictitious Mrs. Carter lets Miss Barkley kiss her? That would buck your reader’s expectations. In other words, allow the Mrs. Carters in your life to inspire you, but free them to do their own thing. Reveal their hidden desires.

And don’t freak out about writing stereotypes. No offense, female p.e. teachers. The fun, like with Mrs. Carter, is to add contradictions to stock characters. Take the hit 1980s situation comedy “The Golden Girls.” Blanche is the slutty southern belle, Dorothy the tough Brooklyn Italian, and Rose the naive farm girl — clichés all. But the writers artfully forced these stereotypes to reconsider what they believe, constantly pushing them out of their comfort zones while maintaining a core consistency. The result? Some of the most memorable characters ever created for TV. Sinclair Lewis, the first American writer to win the Nobel Prize in Literature, wrote chiefly about “types.”

Writing can be a lonely game, for sure, but if your characters consistently surprise you by what they do and say, you’ll soon find them great company. Who knows, you may even find them more interesting than a lot of people in your non-fictional life.

So, the next time your novel stalls like a New York taxi at rush hour, get out of the driver’s seat. Let your characters take the wheel. It’s easier for you, and it’s a hell of a lot more fun for the reader.

 

Rick UhligRichard Uhlig is author of the YA novels LAST DANCE AT THE FROSTY QUEEN and BOY MINUS GIRL (both published by Knopf) as well as the e-book MYSTERY AT SNAKE RIVER BRIDGE.  He’s also penned the feature films DEAD SIMPLE, starring James Caan and winner of the Seattle International Film Festival’s Critic’s Choice Award, and KEPT, starring Ice-T.  Richard wrote and directed the award-winning short films CAN’T DANCE and MY KANSAS.  He lives in New York City with his wife and two children, and is represented by Marie Lamba of The Jennifer De Chiara Literary Agency.

Thank you!

MP900341744Today isn’t Agent Monday, it’s Memorial Day Monday.  So I just wanted to say a huge THANK YOU to our troops.  I’m in awe of your sacrifice and I never take the freedom we have for granted.

Soon I’ll be heading out to my town’s Memorial Day parade to honor our local vets.  I wish you all a relaxing and peaceful day with family and friends.

See you all here next week!

Agent Monday: On Writing and Fear

Yvette from her facebook profileHappy Agent Monday, everyone! Today, I’m excited to feature a guest post by my client, extraordinary author Yvette Ward-Horner. It’s all about writing and fear. Yvette has plenty of experience facing fear both on and off the page. Her stunning debut novel LOOK WELL tackles the realities of climbing; the glory, the fear, the bonds that emerge from suffering. It also examines the choice that some of us make to abandon the mainstream blueprint for success and instead pursue a different type of life. Yvette writes with true authority. In real life, she happens to be a climber herself (that’s a picture of her on that icy mountainside). So, take it away, Yvette!

ON WRITING AND FEAR
guest post by Yvette Ward-Horner

“Doubt and uncertainty, fear and intimidation are at the heart of the novel-writing process.” – John Dufresne

Fear.

It’s there with you when you write those first words; it’s still there later when you type The End and blow your nose and think Is it really over? And all the way through your story or novel, as you coax and smooth the words out (or are charged and trampled by them), fear will twist your thoughts and crumple your hopes.

This sucks.

I’m a hack.

No one will like this story.

And then there’s the flip-side, of course; you know that too. If you write, you’ve surely spent hours or days or weeks with the words rushing out, high on your talent and the sheer raw joy of writing.

This book will be huge.

How could it not sell?

It’s a page-turner.

But it never lasts. Maybe you get a new rejection, maybe your spouse is thoughtless, or maybe you just eat too much hard salami. You re-read your work and it’s suddenly not quite so clever. Your metaphors flop, your plot twist rattles, and why would anyone care about your protagonist?

No one will like this story.

This book is awful.

And there you are again.

As a writer and climber, I know fear well, in all its forms and stages of intensity. It may seem that the fears of the writer and the fears of the climber have very little in common, but under the fraying nerves, there’s a common message. Stop what you’re doing. You won’t make it. Give up now.

And so much of the danger is simply imagined.

I might fall.

I might fail.

That whisper in the back of the mind.

But what can be done? How can you make yourself brave? You’re hoping right now that I’ll teach you some magic; a Zen trick, a swift path to courage. You want to cling tight to that muse-fed bliss when it comes, joyfully streaming your visions onto the page, secure in the knowledge that your talent is strong, your prospects rosy, your novel a thing of beauty.

But there—you feel it already. That rustle of doubt. Sit still for a moment and let it rustle, feel it twisting: yes, it’s deep and ugly. Now turn away and get on with what you were doing.

That’s all you can do.

The stark fact is that fear is just part of writing, like seductive adverbs and wayward commas and plot threads that lead you miles in the wrong direction. And it can’t be escaped. It makes you doubt everything sooner or later – your characters, your scenes, yourself. It sits in your chest and whispers give up and it can make you abandon a book before it’s finished. If you let it.

And that’s the key to this whole thing: If you let it.

Because fear will never kick you free, no matter how much you scold it or wring your hands, no matter the quality of your positive self-talk and the inspirational quotes you post on Pinterest. Getting published won’t get rid of it – if anything, it makes it slightly worse. All you can do, then, is learn to abide with it; let it be part of your writing and your life. On the days that your book is singing to you, write. On the days that fear is darkly muttering, write. Finish that beautiful novel you’re writing; surge on your flows of hope and ebb with dignity. Let fear ride with you, but don’t let it dictate your actions.

And never let it decide the course of your life.

 

Yvette headshot from websiteYvette Ward-Horner is author of the debut novel LOOK WELL. Her short stories have been published in print and online literary journals and several have been reprinted in anthologies. Her short story THE NOMADS won first place in the Literary/Mainstream category of the Writer’s Digest Magazine’s 78th Annual Writing Competition. An avid mountain climber, Yvette lives in the Rocky Mountains, where she climbs as much as possible and is a member of the local Search and Rescue team. You can connect with her on her website here and friend her on Facebook here.

 

Agent Monday: Query Letter Crit Time

Holding Blank Score CardsHi everyone!  Those dreaded query letters. Writers need ‘em to approach agents, but sometimes they feel harder to write than an entire novel. They are so SHORT. They are so IMPORTANT. Ugh, right? So today I thought I’d give you a peek at my own writer’s group’s challenges as we spent a meeting going over our own query letters about our own works. Yes, it’s officially query letter crit time!  Woot!

First some background: I’m both a literary agent and a novelist. My novelist writing group, The Rebel Writers, has been meeting for over a decade. The group includes published writers in a variety of genres including YA, memoir, horror, literary, short story, historical. It’s an awesome group. So awesome and unique in structure that they inspired me to do a Writer’s Digest article on ‘em called Plotting a Novel Group.

But just because we’ve been doing this for a while, doesn’t mean that queries come easy. Here are some issues that popped up in last week’s meeting…issues that I often see in queries sent to my agent inbox. (Keep in mind that these points refer to works of fiction – non-fiction proposals are a whole other ball of wax.) See if you recognize any of these query quagmires in your own query letters…

1. Missing the hook
What’s the selling point of this novel plot-wise? It should be within your one-line description of your book, and that should be at the top of your query.  Hook us, then give us the details.

2. Burying the book’s vital details
Like the hook/one-liner, the book’s vital details should be given asap – not buried in the last paragraph of your query. I want to know the title, its genre, that it’s complete, and the total word count (not page count). You could blend this with your one liner and really set things up. Something like this: TITLE (75,000 words) is a ITS GENRE about CLEVER ONE-LINER THAT CONTAINS HOOK.

3. Lack of focus or wrong focus
There is so much that goes on in a novel. But by trying to cover it all, the main plot and hook get buried and there is just too much to take in.  A query letter isn’t a synopsis – it’s more like a pitch.

4. Including background about why you’ve written the novel
In most cases, this isn’t needed. Sure, if there is a lack in the marketplace, or you have special knowledge that you bring to the table, it can support your book’s appeal. But stuff about why you’ve always wanted to write this is just dragging your own backstory into the picture in a distracting way.

5. Technical details about how the book is executed
You may have a clever use of point of view characters, and shift tenses in an artful way, and set up chapters in a method that harkens back to novels in the 18th century, but a query letter is not the place to share this. Hook the agent with your plot, convey your tone, and they’ll ask to see the book – then they’ll see all these details themselves.

6. Saying it’s been workshopped by your writer’s group and thoroughly edited
Of course it has. That should go without say. Cut this.

7. Comparing it to other books out there without saying why
Example: saying “This compares to the works of Carl Hiaasen.” Instead, say something like, “With the twisted humor of a Carl Hiaasen novel…”  And make sure that if you make that comparison, that your work really measures up to it.

8. Bios that veer too far off of what an agent needs to know
Tell us writing-related stuff, or stuff that points to experiences you’ve had that’d make you uniquely suited to write on this subject. Like if you are writing a crime novel, I’d want to know you were a detective for a number of years.  I wouldn’t care that you were a golfer or an addict of the Home Shopping Network.  And when it comes to writing credentials, go easy on the details. It’s enough to say you’ve been published in a certain magazine. I don’t need to know that you didn’t get paid for that gig, or that the magazine went out of business, etc.

9. Not asking for what you want in the end
…or asking for the wrong thing, like “I can send you a chapter if you want,” or “I can email you my synopsis.”  Or just saying: Thank you, Sincerely… Say what you really mean: “I’m happy to send you the complete manuscript on request.”

Queries aren’t that long, so they must be focused and to the point. So take the time to get it right – your novel is relying on you.

 

*Marie is an Associate Agent at the Jennifer De Chiara Literary Agency in New York City.  To keep up with all her posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.