Agent Monday: Why Some Queries Work

Happy Agent Monday, everyone. And dare I say, Happy Spring? Okay, I’m putting away my snow shovel. That’s that. This weekend, as I plowed through queries in my inbox, I started thinking  about why some queries work, and why some just fail to grab my interest. I’m talking about queries that are fairly well-written and professional looking. The answer, for me rests in what makes me buy a book at the bookstore.

1. The Subject is of Interest to Me

Seems simple enough. When I enter my local bookshop, I go directly to the sections that I’m interested in. These could include general fiction, memoir, YA and the children’s section. I do not go to the strictly non-fiction reference section, or the category romance shelf, or the science fiction section. That’s just not my interest.

Likewise, if you query me about topics that I’m not interested in, I’m going to pass you by.

2. The Title Draws Me In

If a book is something generic like: A Breeze Blows, or Time, or whatever, then it’s not going to prompt me to think, Hm, now THAT sounds interesting, and to pick it off the shelf.

Likewise, I think writers querying me often forget that a title is the first thing that can spark interest in an agent. It should give some flavor of what’s to come and make me think, yeah, I’d pick that one up to find out more.

3. The Jacket Copy Sounds Interesting

When I pick a book off the shelf, the very first thing I do, after noticing how long or short it is, is to read the back jacket copy, and the flap copy. Does it build on the promise of the title? Do I want to find out more? If not, I place it back on the shelf and move on.

With queries, this is an important moment for the author. You need to describe the book in a way that will make me want to read those sample pages. If you can’t do that, I won’t bother to read those pasted in opening words, and a rejection will be sent.

Too often, the writer will tell me about how the book was written…like alternate points of view, or in three parts, or in short chapters. I don’t care. I want the story to draw me in. WHAT’S THE STORY? Make me want to read it.

Or they’ll wax on about why their book is important and the message that the writer wants to convey. Honestly, I have to say that’s secondary to THE STORY. If it’s not a non-fiction proposal, that info doesn’t matter much at the outset.

I also mention length here, because, truthfully, if a fun escapist women’s fiction novel is 1,000 pages long, then, nope, I’m not lugging that thing home. Also, if a book is really really slim, as a book buyer I gotta think, hm, is this worth even spending money on?  As a querier, know the proper length for your genre, and try to keep your manuscript within an acceptable length.

4. Opening Pages Make Me Have to Know What’s Next

Me at the bookstore again: Next thing I do? I flip open the book and begin to read the opening pages. Not too many of them, mind you. Just enough to know that the book is not for me at all. Or that I’m loving what I see. That I have to read what happens next. Mind you, I don’t flip to a later chapter to see if things pick up. I don’t let a reader bore me or waste my time. This book is for my entertainment.

Likewise for a query. My guidelines allow for the first 20 pages to be pasted into your query email.  Even if you have been able to pull me in with the subject and the title, and I see the length is right, and the premise sounds really interesting, if those opening pages fall flat for me, there is no way I’ll ask to see the full manuscript.

BUT, if you deliver on all those aspects and have 20 rocking opening pages, I’ll ask for that full manuscript. Just like I’ll buy that book off the bookshelf.

Hey, it’s that simple!

 

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

Agent Monday: Query Questions

“Happy Agent Monday!” I say, shivering over a steaming cup of coffee. Every conference I go to, every time I chat with new writers, folks want to know stuff about queries. They are so important — that first connection with a potential agent. They are so dreaded — because they are so important. So today? Some query questions answered…

1. What HAS to be in a query? The title, the audience/genre, the length in words, a one-liner describing it, a brief paragraph with a bit more detail about it, your brief bio, why you sent it to me, a polite thank you for considering, info on how to contact you, plus (for my own personal guidelines – other agents will be different) the first 20 pages of your manuscript pasted in below the query letter, NOT attached.

2. How should the query be addressed? You can say Dear Ms. Lamba, or Dear Marie, even.

3. What makes a good book description? One that gives me a clear idea of the character and the conflict in a way that reflects the book’s tone as fitting and intriguing for the intended audience.

4. How long should the query letter be? Short. Like one page if it were typed.  (That doesn’t include the pasted-in 20 pages, of course.)

5. What should and should not be in that bio paragraph? Your writerly credits, things in your experience that make you the right one to write this book (if relevant), things that show you are serious (member of pro organizations, of a serious crit group, studied fiction writing, several other novels written or in the works, etc.). If you have a cool day job that’ll make you interesting to the press or that would widen your contacts for future sales, or that’s just really interesting you can add that too, but don’t tell me all your pets’ names or that you knit really well or that you love gumbo. This is a professional letter.

6. Do you read all the queries yourself? Yup. Every single one.

7. Do you answer EVERY query? Yup. Except for the few that I delete.

8. What would make you delete a query without responding? If it’s mass-mailed, addressing every agent in the send-to field. If it’s addressed to the wrong agency/agent (see mass-mailed, above). If it’s addressed to Dear Sir or Madam (also see mass-mailed). If it is rude or insulting (I wish I were kidding about this one). If the query letter is sent as an attachment — I’m not opening that.

9. What are some common reasons you reject queries? Poorly written, something I’ve seen many times before, something my guidelines clearly say I don’t represent, just not for me — I’m not excited to read the sample pages, the sample pages don’t excite me enough to see more.

10. What makes you excited in a query? Smart, original writing. Clear voice and strong sense of the audience. Someone who is clearly ready to go pro. Great credentials (though not required). Someone who follows my guidelines. A solid query followed by opening pages that make me eager to see more.

11. Should a writer respond to a rejection? Sometimes writers thank me for my time, which is nice but not required.  If I give you a personalized rejection with some suggestions for improvements, saying thanks for that would be a nice courtesy. Never send a snarky response to a rejection. It’s really unprofessional. And never beg for just one more look. That never works. You want an agent who is on fire about you and your writing. If I’m not that agent, it’s okay. Go forth and find the right fit for you.

That’s it! Query questions answered. No go forth and write. Have a great week, everyone!

 

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

Writer Wednesday: My Learning Novel

A number of years ago an idea took hold of me. It was actually from this really cool dream I had as a teen of a secret staircase hidden in an old house. A path to another time. So when I decided I really wanted to get serious about novel writing, that was the notion that took hold of me. First I called the novel Magic in the Fireplace.  Then I called it In and Out of Time. I worked on this novel, polishing and revising and submitting it to publishers countless times. It was never published.

Since that seemingly endless time of hard work and revision and heartache and hope, I’ve gone on to write 3 more novels with happier results. And now I can look back at In and Out of Time and see that it was my “learning novel.” My non-MFA thesis. Through writing this book I struggled and discovered better openings to books, more effective pacing and focus. I fought with and sometimes won my own battles to discover better dialogue and more vivid imagery. I found and learned to value critique groups and writers conferences. I met editors and agents and other writers. I grew a thicker skin as the file of rejections grew.

I learned. I spent 10 years on it.

But still the novel never got published.

Sometimes that path felt tortuous. I’m a determined person. When I vow that something is going to succeed, I’m not one to give up. But finally I didn’t really give up, I decided to move on.  Good decision. The next novel I wrote took only 4 months to complete. Within a year I had both an agent and a publisher.

I really had learned.

Looking back, I wished my own “personal MFA” had been quicker. More efficient. But I’ve also met some wonderful and successful novelists who had 5 or 6 learning novels sitting in a drawer at home before they wrote the one that sold.

When you think of that, you realize the deep level of commitment and determination that writers bring to the page when they create.

These days, when I talk to others about what it takes to be a successful writer, I always say something like this: If this is what you love, you can’t give up. Nothing’s for sure, but one thing’s certain – if you give up, then it will never happen for you…

Then I whip out my massive stack of rejections, along with my published works.  The message is pretty clear.

But what about that novel of mine, In and Out of Time? Its got some cool stuff in it, but maybe too much cool stuff. It was a middle reader novel, but some part of the plot was too grown up…so I actually stole the heart of that and used it in my YA novel DRAWN. And with In and Out of Time there are three different time periods that characters travel to. Hm, couldn’t each one form a separate adventure and novel?

But how to do that?  Well, I’m not sure yet.

I’m still learning.