Finding a good literary agent – which is generally the first step to getting published with a traditional publisher – can be like finding any good relationship: complicated!
Just as every aspiring author is hoping to meet the perfect agent, though, every reputable literary agent is hoping to discover the next great American author. You don’t need connections (with rare exceptions). You just need to write a really good book and present it well (definitely two different things).
But agents are also dealing with unbelievable volumes of submissions, and hoping to get out to dinner with a date or to their kids’ soccer games. So you need to catch an agent’s interest and keep it at every turn – in a way that is PROFESSIONAL, not hokey or wacky or will-this-guy-stalk-me-ish.
The Goal: Send as little as possible to lure an agent into asking for more. The minute you move from the to-be-gotten-through pile to the I-asked-to-see-this-so-maybe-its-good pile, the presumption changes. They’ve ASKED to see your work.
(If you want to self-publish, there is a wonderful summary of the options in The New York Times “Tool Kit”: The Joys and Hazards of Self-Publishing on the Web, by Alan Finder.)
Here’s an overview of what you need to put together to query an agent:
- A Query Letter/Email (with hook, bio, why you, and thank you very much)
- A Synopsis (or maybe not)
- Manuscript Pages (or, again, maybe not)
I’ll also address here how you put together a list of which agents to query, how many Submissions/how often (and the importance of persistence), what to do when an agent asks for pages, the follow-up, and a few Bewares (aka Run the Other Way If…).
Your query is your opening salvo, the sole purpose of which is to entice an agent to want to read your pages. You want to make it as enticing and as short as possible. And think of this as a literary first date: brush your hair and wear clean clothes.
- If by mail, “Dear Annie Agent or Dear Ms Agent:” (a colon is the proper punctuation here because this is a business letter)
- If by email, we’ve all gotten more casual, and “Hi, Agent,” is sometimes used
- Do address a specific agent, and spell the name correctly
- Don’t include anything between the greeting and the hook
THE HOOK AND THE BOOK DESCRIPTION
- Start with one intriguing sentence. Consider a question to invite the reader in, or the first line of your book if it’s a fantastic opening.
- Make the entire description like the shortest possible description that might go on the back of your paperback – not more than two paragraphs.
- Include the title of your book!
- Resist the urge to tell the whole story. If you do, what’s left in it for them?
- Remember, this is a marketing tool. General Motors does not sell a car by saying it’s brown and has wheels.
Like a good novel, a good hook generally gets better with a lot of thought. A query can go through 20 drafts or more. It’s a pain, but it’s necessary pain.
- Again, be short and to the point.
- If you have publishing credits, trot them out. If you don’t, try to get one or two. I once heard an agent say if a writer can’t get published in his or her local paper, she’ll approaches that query with great doubt.
- If there is a reason you are in a particularly good position to write this book, trot that out. (Are you a prosecutor writing a legal thriller, a doctor writing a medical one, a mother writing a book about motherhood?)
- State your education, writing or otherwise, and career.
WHY I’M QUERYING YOU, MR. OR MS. AGENT
If you have chosen this agent because they represent someone whose work you admire (you should–more on this below), say so in one line on the letter: “I am querying you because I understand you represent [author name], who writes the kind of novel I aspire to write.”
Note the “aspire to.” Do not say “I think I am the second coming of Steven King.”
THE THANK YOU AND SIGNATURE
“I hope you enjoy the opening of [Name of Your Novel], and thank you for considering my work.” Or “Thank you for considering my work. I look forward to hearing from you.” [Confident. Unapologetic. Nice. Not arrogant. Professional.]
Your Phone Number
A FEW NOTES ON FORMAT
Think of this as a literary date; brush your hair and wear clean clothes.
- (Repeat) As short as possible.
- Absolutely pristine – no typos!
- DON’T FORGET TO INCLUDE YOUR CONTACT INFORMATION: EMAIL AND PHONE NUMBER!
- If you’re submitting by mail, use nice letterhead and include a self-addressed, stamped envelope.
So Now You Have a Draft of Your Query Letter
Just a draft, though. You know you can make it better. Each time you send it out, try to make it better. Time may not heal all wounds, but it does allow us to see our work with a fresher eye.
Frankly, I don’t synopsize. Almost nothing, boiled down to a page or two or three, plays well. My theory is it just gives them another layer at which they might stop reading before getting to the manuscript. If I’m submitting online and there is a space for a synopsis, I would just include my hook paragraph. But if you think your novel will synopsize well (high concept?) do so in as few pages as possible.
The Manuscript Pages
1. The first sentence, the first paragraph, the first page – always so important to keep the reader’s attention. Remember, they have that kid’s dance recital to get to, and they don’t want to come in over the weekend to get through the pile.
2. Send the least number of pages you think will intrigue them to want to read more.
3. Choose your ending page carefully, someplace you think they’d want to be turning the page to see what comes next.
4. If they say they want 10, don’t send them 100, but if they say they want 30 and your good end point is 20, just send the twenty. If they want thirty and you have the perfect stop point at 32, play with font types (but not size, stick with 12 pt) to see if you can’t get it on 30. If you can’t, do send the 32.
5. If you are submitting online, do make sure to send it in whatever format they request. Some will only read email text, and will not even open emails with attachments. Some have website forms for submissions.
6. Consider not enclosing pages, just sending a query. If your query is strong enough, they’ll ask for some pages, and then all of a sudden you have moved from the to-be-gotten-through pile to the I-asked-to-see-this-so-maybe-its-good pile. The presumption changes.
1. What kind of book have you written? (Genre? If so which? Non-genre, then how would you describe it?)
2. Think of books you like that are something like yours, or that would be read by readers who might like your book. Look in bookstores, at the shelves you think your book belongs on for names of other authors.
3. Flip to the back of a book and skim through the acknowledgments – often the author will thank their agent.
4. If so, google them for website and/or address.
5. If not, google the authors name and the word “agent.” This will very often turn up their agents.
6. If not, try Contemporary American Authors in the library.
7. Once you have an agent name, if they don’t have a website, you can find their addresses through The Association of Authors Representatives (which most reputable agents belong to). You can also find more information from them at querytracker.net.
This is the best way I’ve found to land a good agent for your particular work. An agent who actually sells books. You can go to an online list or a book of published agent names and addresses, but you have no way of knowing if they’re reputable or not. If they are too busy to take on new authors, they will often pass an interesting query onto one of the younger agents in their firm, or another agent they know – and that’s fine too.
It is definitely time consuming. But you’ve spent so much time on this book. Don’t you want it in good hands?
How Many Submissions / How Often, and the Importance of Persistence
Think of a book that you’ve read that you thought absolutely sucked. Or even better, one that you and several of your friends did not like.
Now: Imagine if you were an agent and that book was sent only to you.
Not every book is for every person. And you can spend a whole lifetime waiting for an agent to read. Which is why you multiple-submit.
How many people do you submit to? Lots.
Send out in batches of twenty, unless you have a good list of publications, in which case send in tens. When you hear back from half of them or a month passes and you haven’t gotten a bite or two or more, send out ten more. If you’re not getting nibbles, take another look at your letter. Maybe bait another hook.
Don’t give up! If you’re getting rejected, read these 1st Books posts:
Brenda Rickman Vantrease: The 136-Rejection Overnight Success
Julia Glass: The Not Quite Yes
Jane Austen: Fourteen Years of Rejection
Jane Austen was rejected?! Amazing, isn’t it.
Due to volume, some agents will never reply. Many say on their websites that if they want to see pages, they’ll let you know, and if you don’t hear from, oh well.
When an Agent Asks for Pages
So they might do this any time. I’ve had agents ask for manuscripts within a day of an email submission. Have your ms ready before you send your query.
If they ask for pages, send them! Right away, by whatever means they want it sent.
If they ask for an exclusive…. I hate exclusives, and the good agents rarely give exclusives to editors. BUT I would give a limited exclusive – say a week or two – if they asked for it.
If someone else already has the manuscript, politely tell them so. It’s like teenaged dating: everyone wants the boy or girl everyone wants, so it will only make them want you more and read faster.
If you get an offer and other agents are still reading:
1. If this is your #1 pick and they answer your questions well, go for it – but tell them you need to withdraw it from the other agents first.
2. If you’d like to hear from others first, tell them others are reading but you will let them know you have an offer and give them a very short additional time.
DO KEEP TRACK OF YOUR SUBMISSIONS: dates sent, replies, etc. so you can withdraw outstanding queries when you’ve agreed to go forward with an agent.
Run the Other Way if an Agent:
- Requires a reading fee.
- Requires a “marketing” or “submission” fee on contract signing.
- Asks you to buy a critique or manuscript assessment as a condition of submission or representation.
- Offers or requires the agent’s own paid editing services, or frequent referrals to freelance editors.
- Offers pay-to-publish contracts.
GOOD AGENTS MAKE THEIR MONEY SELLING THEIR CLIENTS’ MANUSCRIPTS TO REPUTABLE PUBLISHERS.
Some helpful links, including the Association of Authors Representative, can be found HERE.
Meg Waite Clayton
Meg Waite Clayton is the New York Times and internationally bestselling author of eight novels, including the Good Morning America Buzz pick and New York Times Book Review Editors’ Choice The Postmistress of Paris, the National Jewish Book Award finalist The Last Train to London, and The Wednesday Sisters, one of Entertainment Weekly’s 25 Essential Best Friend Novels of all time. Her novels have been published in 23 languages. She has also written more than 100 pieces for major newspapers, magazines, and public radio, mentors in the OpEd Project, and is a member of the National Book Critics Circle and the California bar.