In the End, There's Always Hope

She's running through the woods. Limbs and thorny branches grab at her like little children at play, only these grasping hands rip her thin dress. Her feet, pounding across the dirt, try to find a place, anyplace, to hide. Even though she doesn't see him, her pursuer is close behind. She can smell him, rich and oily like the polish he uses to shine his boots to a blinding glare. The stream looms before her, small, but big enough to lose any trace of who she is. As soon as she steps into that stream, her hope is to come out beyond his grasp, beyond the horrific life she once knew and never loved...

Back in 2005, my husband and I experienced a pretty horrific car accident. Along with a lot of pain, weeks in the hospital, months away from our home, and years of surgeries, physical therapy, and painful recovery came a lot of pain killers accompanied by a certain dream that kept replaying in my sleep.

Her name is Hope. The girl I introduced to you, here, in the beginning. And for months after the accident I couldn't get her out of my mind. So, I asked my husband if he thought it would be weird if I sat down (because basically that's all I could do since my leg was shattered) and wrote her story. He said it wasn't weird at all. Bless that sexy man for not thinking I was going crazy!

With the aid of a healthy dose of Kelly Clarkson at the time (yeah, I know), I wrote my first novel. Now, I'd tried my hand at writing before. You know, the obligatory essays in college, the endless French papers about French authors, a final thesis for grad school, even my first attempts when I was in junior high and high school. The thing of it is that I've always had an active imagination. And I've always loved history. It came as no surprise to me that I chose Historical Fiction (no, I don't mean Historical Romance, because there is a difference) as my favorite genre in which to write.

I took Hope's story, along with some badly written short stories, and tried my hand at contests. The short stories never went anywhere, but, BINGO! Hope's story started hitting it in contests. I thought I had something good going on.

Then I got my first rejection.

The agent thought the story would work better for a YA agent. What?! This was not a YA novel (no offense to the YA authors out there), but hard-hitting literary fiction!

Okay, so I guess I needed to educate myself.

And that's exactly what I did. I took classes on how to construct a novel, what elements to look for that really pull the reader in, and how to know what genre I was even writing. I attended conferences, mainly in hopes of catching the right agent's eye, but also gleaning a thing or two about how this whole writing thing worked. I bought a few books on how to write a good book (not too many, because like with historical research, too much just bogs down your brain with unneeded information) and I learned how to deconstruct my own manuscripts and how to look at my characters with every step they took.

In the end, I eventually set Hope's story aside. My feedback from agents and contest critiques was inconsistent. I loved Hope, I loved her world, but I had to shelve her for the time being. And perhaps that was one of the hardest decisions I've ever made. I had poured so much of my own frustrations and pain into this character, but I wondered if she would ever go anywhere, and much to my own dismay, I thought the same of myself and this thing called writing.

But then I picked myself up and went to work on the next novel. At first I didn't love that main character as much as Hope. She didn't come saddled with as much baggage as Hope. Her life was too prissy and I began to wonder if I'd ever really like this new character.

But you know what? I realized I had to find that place where I could connect with my new MC. I visited a small town in the Midwest that eventually became the backdrop for my story. I saw her in the house that at first would feel strange and unwelcoming, but would soon become a hub of revealing secrets and open arms. I stood under an elm tree in the cemetery, envisioning a key moment in her story, seeing her struggle and at the same time seeing her fate. I walked Main Street, spoke with the local minister and a woman who worked in a church that is so crucial to my story and brings everything to a fatal head. In the end, I found out who this character was.

And after that, I loved working with her story.

I also knew I had a strong novel. I began the querying process. I'd get a few requests, send them out, get replies that said something needed to be fixed, and then I'd move forward again. It wasn't a constant path of every day querying, but rather done in spurts. Rejection can be a little overwhelming in the beginning, especially when it feels like you're just one of many receiving the same form rejection. You begin wondering if anyone is even reading the stupid query letter! So it's good to pace yourself.

By the beginning of this year, I decided I needed to take some time off, do a little spiritual soul-searching, and see if what I was doing was even the right path for me. After taking a month to rework parts of my novel, I decided I'd go with one round, maybe two, of querying and then I'd shelve this book as well. In March I sent out about a dozen queries and within a week I got five requests for fulls. I'd never had that many agents reply that fast and all at one time, so I was optimistic, but also very very cautious.

Okay, so let's cut to the chase, shall we. I'd like to announce that I've recently signed with Liza Fleissig of the Liza Royce Agency and I'm very excited about the next step! Getting published is a long road and, as you can see, I've been at it for a few years, but I'm prepared to keep going until I get there. From the time I started querying this novel to the time I signed, it took me about a year and a half to find representation. In the meantime, I didn't sit at home chewing my nails and watching my email inbox. Instead I kept working, writing two more novels in hopes that at least one of them sometime soon would get picked up.

Do I regret setting Hope's story aside? Sometimes, yes, but I know when it's time to move on. I enjoy going back to her story and thinking about the sequels I want to write (hers is the only story I've written where there will one day be sequels). It's sad to finish a novel, knowing you're finished with those characters, but with Hope I can always wander back to her world.

So, yeah, even when things seem bleak or overwhelming or just plain uncertain, I always have hope to go back to. Keep that in mind for yourself if you're struggling through this writing thing!

Interpreting Those Query Rejections

Now, I know the topic I'm planning on discussing today is not exactly everyone's favorite. I mean, who likes rejection?

*crickets chirp while a roomful of aspiring authors glare at me*

That's right! Nobody.

But here's the thing -- if you're serious about ever getting published one day, and not just simply through DIY e-publishing, then you need to know how to expect, handle, and accept rejection. Believe me, there's a learning curve AND it takes a tough skin along with a dash of perseverance to see this thing through.

Some writers don't even like the term "rejection." They choose to call it something else, most referring to it as "a pass" on the work that was submitted. But deep down, a pass is going to hurt just as much as a rejection, no matter what you decide to call it. Simply put, if an agent or editor outright says no, then it stings!

Okay, what I wanted to do was break down some of what agents request according to their websites, how they respond to the queries, and just how, as the writer, you're supposed to interpret what those agents are saying. Are you the only one being told what's in that email? Are others like you receiving the same "form"? Were these agents worth your time in querying? Things of this nature.

I'm going to discuss the one thing most of us don't like to discuss -- my personal rejection letters. It's become that enormous elephant in the room. Yes, we all get them. For some reason, we're not supposed to mention them, but how can we help others avoid our pitfalls and mistakes if we don't share that very first step?

I'll start by pulling off the most painful band-aid of all:

REJECTIONS ON A FULL SUBMISSION

*Gulp!* I think this is one of the hardest things for aspiring authors to swallow, smile, and then press forward after receiving. We've heard so many times that if an agent requests a full then that means he/she really connected to our story in the query. Well, let me be the one to dash those hopes. Yes, the agent connected to something, perhaps the time period, the fact that the story is written from a certain protagonist's POV, the unique concept, or even your writing style. But this foot in the door is not a guarantee. I have swallowed the bitter pill of full rejections, and let me tell you, it's hard to chase down with only water. Sometimes it helps to have a glass of wine on hand.

On the other hand, the beauty of a full rejection is that the agent usually points out why he/she passed on representation. Sometimes their explanations make sense, at other times, not so much. Here is a sampling of mine*:

"I'm afraid we still felt the pacing of this novel is too slow for our tastes. We're going to pass again, but we thank you for giving us a chance." (With this rejection, I had previously submitted another novel, but the agent passed on that one as well. What both rejections boiled down to was pacing. Other than that, I received very little feedback.)

"I'm afraid this particular project isn't quite right for me but I'd be happy to consider more of your work in the future." (Of course I sent this agent my next novel! I have yet to hear back on that one. Again, very little feedback on this one, which only led me to believe it was a matter of taste.)

"If you haven't placed your novel by the end of the year, I would be happy to consider your other novel." (This was a very encouraging rejection. Although this agent pointed out an issue with the main POV character in my manuscript, I received very little feedback. But, uh yeah, I'm going to query this one again!)

"I loved the premise for this novel, and period detail is quite wonderful. But I'm sorry to say that I just wasn't as drawn to the main character as I had hoped, and ultimately this prevented me from falling in love with the story." (Understandable. At this point with this novel, I knew I needed to do a little work on my MC.)

"While I found the premise compelling and think your writing is absolutely lovely, I am sorry to say that I did not feel much connection to the main character. Her unfortunate circumstances are certainly sympathy inducing; however, I felt that she was a little too cold and it takes quite a while for her to start to warm up and become a character that the reader truly invested in/cares about." (Lovely agent. Back to the drawing board on this book!)

"This sounds more like a YA novel." (This was my first ever rejection on a full. I bawled my eyes out over this one! This is the only feedback I received from this particular agent. Other than the fact that it was a rejection, I had a moment of "Am I even a writer?" because my novel wasn't even remotely written for the YA market. I learned two things from this simple, somewhat harsh comment. First, my manuscript wasn't ready. And second, I needed to work on my ability to weave nice words into a good story. This rejection keeps me humble, knowing that there is always work to be done when it comes to sculpting a better story in the future.)

In my honest opinion, this would be the only category where I would encourage a writer to seriously consider the agent's feedback. If you receive more than one critique about a certain element, i.e. for me it was pacing and connecting to my MC, then look at what's being said and consider making some changes accordingly.

SIMPLE QUERY REJECTIONS

These rejection letters are the ones any aspiring author needs to take with a grain of salt. All you did was send in a query and before you knew it the agent shot back a rejection. These are usually placed in the dreaded "Form Rejections" file, because they seem to be sent en-masse to everyone the agent, assistant, or mail-room kid decided to lump together that day. Here are some of mine (and you may even recognize a form or two that you've received):

"We have given careful consideration to your work and regret that we cannot take it on. We wish you all the best as a writer." (Standard. On a side note: This was a snail mail rejection. I have never had a request for a full or a partial through any of my snail mail queries. A sign of the times, or just an easier brush-off? You be the judge.)

"Not for us, thanks." (I think many of you out there have received this one. Oddly enough, not the shortest rejection I've ever received. I received a "No thanks", but I couldn't track that one down.)

"Dear Writer:
Thank you for your inquiry. We are sorry that we cannot invite you to submit your work or offer to represent you. Moreover, we apologize that we cannot respond in a more personal manner. We wish you the best of luck elsewhere." (This is the worst of the "Form Rejections" because it begins with "Dear Writer." This says one thing to the author -- "No, I really didn't look at your query.")

"I have read your material, but I did not feel it would be right for my list and therefore I am unable to offer you representation." (Again, very generic and that nagging question of whether this agent actually did read the query.)

AUTO RESPONDERS

This group is a step down from the form rejections. As soon as you press "Send" on your email, a responding email pops right back to you. As with snail mailed queries, I have never received a request for anything from an auto-responding email. In defense of the auto responders though, I will say that it's nice to receive something instead of nothing at all. I personally like to know if my query was received, whether the agent requests anything or not.

Here is one of mine:

"Due to volume, we are no longer replying to each individual query submitted for our review. We will be in touch only if we are interested in reading your work. If you haven't heard from us within 4-6 weeks, it is safe to say that we have passed on the opportunity and wish you the best of luck elsewhere." (Needless to say, this agency never responded.)

And one more for good measure:

"If you received this email in error, don't worry. I regularly check for emails that my automated service mislabels, so I will respond to your non-query email shortly." (I was never sure on this one whether the agent thought I'd sent a query or not. Again, not a peep after the auto response.)

MISHMASH REJECTIONS

This is kind of an odd group. There are many agents who request sample pages along with the query, and I'll include them in this category. I like the idea of automatically sending a sample, but it takes a little bit of the thrill out of getting a partial or full request. If they don't like those first 3-10 pages, then that's the last you'll hear from them.

Here's an example of one of those:

"Thanks very much for your query and your interest in our agency. You seem terrific and your project is compelling in many ways, so this was tempting, and yet I'm sorry to report that while I like these pages, I'm just not fully in love with them (which is so necessary when it comes to fiction). I realize that's the most frustrating sort of answer to get, but I hope you understand, and please know that I'm confident that you'll find a passionate agent." (Feels very form, but nice and to the point.)

There are online form rejections:

"I am sorry not to be writing with better news, but I hope this response will not discourage you. I wish you all the best with your writing." (Surprisingly enough, they do check those online forms you fill out!)

The random ones that feel like the agent read someone else's work but sent you the rejection:

"Thank you so much for submitting. At this time, I will not be requesting representation of your work. I found the storyline to be all over the place and made it hard for me to stay engaged." (I was only invited to submit a short synopsis to this agent. This was odd for me because my synopsis has helped me win contests and has been read and rewritten so many times that it is literally down to the nuts and bolts of the storyline. I've sent out many of these synopses and this is the first complaint I've ever received, which makes me wonder...)

Ones sent from the assistant:

"My name is ________ and I work with ________. We regret the delay in response, but _______ has been tied up personally and professionally and is just now able to return to reviewing queries. Thank you for sharing your manuscript with us. Unfortunately, we do not think _______ is the right agent for it. We wish you the best with this project, and hope that you find a committed advocate. (At least she was sweet about it. She later sent me an email apologizing for forgetting the title of my manuscript in the rejection letter.)

And those that get passed on to other agents:

"While your project certainly has merit, I'm going to pass. As I'm sure you know, it's important that your agent be totally excited by/committed to/passionate about your project, and I'm afraid that just didn't happen here. I'm sure you'll find others who feel differently. I hope so!" (Again, nice, but I felt like I wasted my time tracking down this other agent and sending a query only to receive what felt like a form rejection.)

Let's not forget shameless plugs. There are a few agents, not many, but a few who feel the need to take advantage of the free postage on your SASE and stuff the envelope with brochures promoting works written by the agent or flyers stumping for the next writer's conference in their area. If an agent expects the writer to show professionalism, then that simple common courtesy should be returned.

THE AWFUL NR

In case you don't know, NR stands for "No Response." These are the query letters writers feel get lost in the cyber-abyss. According to most of these agents' websites, no response means they aren't interested. Whether these agents understand it or not, these are the worst responses an aspiring author can receive. That writer has no idea if her painstakingly-written query letter, with perhaps sample chapters included, was ever received. She has no idea if an agent or his/her assistant ever read the darn thing. Simply put, that poor writer is left hanging. There's no closure, only a gaping hole of "what if" replaces that agent's name in the query file.

Here's one of many complaints you'll find filed in the comments on QueryTracker.com:

E-Queried: Early September
E-Reply: December 5. Via assistant 

Form reply "Sorry for Delay. Thanks for submitting. Not right."
I am happy for this. Why? Because I am surprised, nowadays, to get any response at all. It somehow became perfectly acceptable for agents to hit delete button rather than reply button.  

To the "no response" agents out there: A quick "thanks, but no thanks" would take 5 seconds longer. 5 seconds means difference between "get lost" and "have a nice day."  After the valuable time I spend on my personal query, why not show some mutual, professional respect?

This writer has a point. I completely understand that agents are a busy lot. But here's the thing. They expect diligent research about the genres that agency represents, clean query letters, perfect sample chapters, and sometimes more. The writer takes the time to follow all instructions on an agent's website, and then nothing? This should be a give and take profession, but unfortunately it doesn't feel that way at times.

The only advice I can offer when it comes to an NR is don't give up. There are more agents out there in that great publishing ocean! And those who are courteous are much easier to communicate with. To those who have been interested enough to take the time and read my work, I truly thank you! And to those writers out there struggling with rejection, just remember, you're not alone. Many of us receive the same letters.

Strangely enough, this has been a very cathartic post for me. I've never had the chance to share my querying process because, frankly, it's too depressing. Who wants to hear about every door that's been slammed in my face? Especially at this time of year! But I'm glad I was able to share it, because it helps put all my rejections thus far in the past and move one more step forward. I encourage you to do the same!

* Names have been omitted to protect the innocent. ☺

Do you have any querying stories or tips you'd like to share?

☃   ❅   ☃   ❅   ☃

To all of our lovely followers out there, I want to wish you a very Merry Christmas and I look forward to seeing all of you in the New Year!

Interview with my Agent Rachael Dugas

So thrilled to present this interview with my wonderful agent Rachael Dugas of Talcott Notch Literary Services. Rachael has been an agent for about a year and a half and has already made three deals (yay, Rachael!) I sat her down for a virtual cup of coffee (wish it could have been real) and picked her brain with questions about the publishing industry and what she looks for in a novel. Enjoy!

Rachael, welcome to the Diving Secrets of the Writing Sisterhood!

Q: What genres do you love the most? What genres/themes you do NOT represent?

A: My pet genres are definitely YA, middle grade, and women’s fiction. These are some of my favorite genres as a reader, so I’m not really surprised they seem to be where I’ve gravitated as an agent. The next level down (genres I also love, but not with QUITE the same fervor) would be romance, historical fiction, and commercial adult fiction that has something really unique to make it stand out. In terms of non-fiction, I have a serious interest in cookbooks and performing arts-related material.

I do try to keep an open mind and consider everything that passes through my inbox, but I am really not terribly interested in sci-fi, fantasy, horror, crime, inspirational fiction, or non-fiction books in the business, health, financial arenas. We also do not work with picture books at our agency. Fortunately, between fellow Talcott Notch agents Gina Panettieri, Paula Munier, and Sara D’Emic and myself, we represent just about everything else!

Q: What type of Women’s Fiction (or any of its subgenres) appeals to you the most?

A: I absolutely adore any sort of quirky women’s fiction. I love a WF novel with a flawed, yet loveable, protagonist with a proclivity for getting herself into zany situations with very little effort. I like books centered around strong women with big personalities and opinions. That being said, they do need to be relatively believable characters that manage to be fresh and interesting, but still realistic. I do also love a sensitive, charming, and attractive love interest that compliments the heroine and brings out the best in her. I have also noticed I gravitate towards slightly sarcastic narrators/tones, though this is not necessarily a requirement. I have always loved reading Meg Cabot’s women’s fiction and have developed a recent love for Jill Mansell and her amazingly fun and quirky characters, so that should definitely give you a feel for the kinds of women’s fiction I adore.

Q: I recently read that Women’s Fiction is becoming harder to sell. Do you agree with this statement? Why or why not?

A: That’s really interesting. As an agent just entering the field with in the last two years, the areas I’ve had the most success with so far are YA and romance, and I think that says a lot about what people, women especially, are reading right now. Romance sales have soared as e-readers have become ubiquitous, since readers no longer need to feel embarrassed about toting around the typically salacious covers. (Though what girl doesn’t enjoy seeing a good shirtless cowboy or highlander every now and then?) Though women’s fiction covers tend to be a lot tamer, if women are buying romance frequently, recommendations generated by sites like Amazon and proximity to romance titles on bookstore shelves should certainly point avid romance readers in the women’s fiction direction. Plus, there’s certainly a lot of crossover between the women’s fiction and romance—and if the readers are buying it, the publishers will continue to provide it. I also recently heard that the emerging genre “new adult” has been dubbed the new “chick lit”, so I think there’s a lot of speculation and potential misinformation floating around as people try to figure out the future of publishing and the “next big thing”. Whether or not it will come to fruition remains to be seen.

Q: Why do you think YA fiction has become so popular in the last few years? Do you think this trend will continue for much longer?

A: I think YA really started doing so amazingly well once grown-ups realized it was ok for them to read books for teens! With the mega-success of series like Harry Potter, Twilight, and The Hunger Games, I think that reading teen literature well into your adult years is no longer taboo. This has also been compounded by the fact that you don’t have to walk into the teen paranormal romance section of Barnes & Noble if you are self-conscious, but can order YA novels online or download them to your e-reader. The audience has really become much broader.

That’s not to say we can dismiss the intended audience as a factor for the success of the genre, of course! Teens, unlike younger children, have the means to buy books for themselves and experience much less parental intervention in regards to their reading material. Teens who love read devour books, seek them out themselves, and are willing to pay for them in a way that adults aren’t always. Also, teens eat, sleep, and breathe social media. If they like a book, they will tell their friends about it, whether it’s through tweets, Facebook, Goodreads, or old-fashioned word-of-mouth—and, as everybody knows, that’s not only the cheapest kind of publicity a book can get, but also the best!

Q: What are your top three authors of all time? What are your top three books?

A: Oh, gosh, you know there’s no way in heck I could ever answer this, right? That’s like asking me to pick which of my pets I love best! I will say that there are certain books that have always stayed with me in a meaningful way, even as my tastes have changed over time, and the top three on that list are The Bell Jar, Little Women, and the Harry Potter series. These are books I can (and have) read a million times over and find something new to appreciate in their dog-eared pages each time.

Q: What do you think is the ideal number of clients for an agent?

A: I think that’s really too personal a preference to make a blanket generalization about. (Though it’s an excellent question!) A list that is too vast will become unmanageable, but a tiny one isn’t great either. Some agents may set a literal number, but I know all of us here at Talcott Notch keep it pretty flexible. When you find an amazing book and you just know that you need to have it, you’re not going to pass it by because you don’t have room for it. Conversely, you wouldn’t take a mediocre book just to meet a magic quota. It’s definitely a quality game versus a quantity one.

Q: Please tell us about your editorial internship at Sourcebooks, Inc. What did you do there and how do you think this experience prepared you to become a literary agent? 

A: My editorial internship with Sourcebooks was wonderful. I worked in one of their smaller offices, where I assisted with their romance, women’s fiction, and Jane Austen-related titles, so I had a really hands-on and personal experience. I had the opportunity to write cover copy, to work with the systems they used to prepare manuscripts for production, and to research the market and competitive titles, just to name some of my more typical tasks. I really learned a lot about both the specific market and the industry in general. For a brand-new graduate with a love of books, an English degree, and almost no clue about what the publishing industry was like, it was the best thing that could have happened to me.

I found all the skills I acquired translated really well to agenting. Publishing is really a hands-on business. You can prepare your knowledge and your base skills (talking about books, market awareness, etc.) in school, but it’s that actual field experience that really counts. I would advise any college students who think they may want to go into publishing to start looking for internships now. It’s what will really make a difference when you get out in the real world and start applying for jobs.

Q: What are the most common problems you see in the manuscripts you receive?

A: If there’s one general problem with the manuscripts I read, it’s simply that I am not 100% convinced that they will have the ability to stand out in a severely crowded marketplace. If you get as far as a request for a full from an agent, you have probably written something that a) demonstrates a fairly accomplished level of writing prowess and b) is rooted in a concept that seems interesting, unique, and marketable. The problem is that many—if not most—manuscripts fail to marry the two, and that the combination is really the magic formula that makes me snatch up the phone and make an offer. It’s the most heartbreaking thing, as an agent, to pick up a manuscript that had an amazing start and find that it just doesn’t deliver in the remaining pages, but it happens more often than not. Also, sometimes a writer might achieve this elusive ideal, and I can see it from an objective standpoint, but I just don’t have that ardent desire to work with the particular novel—it’s just missing something for me. As we discuss all the time around here, a rejection doesn’t necessarily mean your novel isn’t well-executed or saleable—it just might mean that we don’t see it working for us or for our agency.

Q: Writers are often times frustrated with how difficult it is to get the attention of industry professionals. What do you think is the most effective method for a writer to get noticed: conferences, blogs, query letters, contests?

A: Unfortunately, I think so much of getting noticed is really just luck of the draw. I would say any chance to meet an editor/agent face-to-face will improve your odds slightly over more impersonal querying, but it’s certainly not a guarantee. If you only knew how many people we meet at conferences, pitch events, etc., you’d understand! I can tell you a surefire way to improve your chances when querying, though: know your market and always be specific. You’d be surprised how many queries I receive with a subject line of “Query”… and that’s it. While we strive to read every e-mail that comes through our inboxes, the sheer volume works against us and sometimes we have to pick and choose which e-mails to open and which to wait on. When I have several hundred e-mails in my inbox and I am picking through to find interesting-looking submissions, an e-mail titled “query” is not going to draw my attention. If you list your title, genre, and word count in the subject line, however, I can get a pretty good snap idea of what I’m about to read. It really helps! My other biggest piece of advice is to be honest and don’t try to paint yourself or your novel as something they’re not. Lies always come out in the end.

Q: How important do you think blogs are for fiction writers?

A: I think they are great! Readers love a place to connect with authors and to go beyond the pages of the books they love, teens especially. I think all fiction writers should create that space where their fans can get to know them, and I think it never hurts to start building it as early as possible.

Q: A lot of writers are nervous about the impending merger between Random House and Penguin. Do you think that if this happens, books will become harder to sell?

A: Books are already hard to sell. I don’t necessarily think a merger like this will make them any harder. It seems like the ramifications of this union will most strongly impact the upper corporate workings of these companies. Though, in an industry where much of the power is already centralized, it is totally understandable that writers, agents, and independent publishers are a little nervous.

Q: Do you think e-books present a threat to traditional books or they can happily co-exist?

A: I think people who love books—that is, the literal, physical act of holding a book in your hand, smelling the binding, and turning the pages—will always buy books. I am one of these strange, obsessive creatures myself and I refuse to switch over to an e-reader, both on principle and because, after crashing so many computers over the years, I have a slight distrust of technology’s ability to retain my most beloved data. Until we find ourselves in some dystopian-esc world where we’ve killed too many trees and paper is an uber-precious commodity, I feel reasonably certain that book people will continue to feed their hunger for the printed word by buying printed books.

Additionally, I don’t so much view them as two separate commodities as two different ways to format the same content. In a world where self-publishing is so accessible, e-books can get a bit of a bad rap, but many, many e-books are the electronic version of existent, printed books. They still went through the acquisition, development, and editorial process that their paper counterparts experienced. To me, it’s just like buying an mp3 versus a CD—it’s just a format choice.

Thank you, Rachael, for these informative answers!

Side note to all my fellow NiNoWriMos: Congratulations to all winners and non-winners! This was my second time participating, but my first time reaching the goal (50,029 words!) and I just wanted to say that I really enjoyed the sense of camaraderie and support provided by the writing community. Best luck to all of you with your new projects and keep on writing!

Playing the Role of Writer: Fact vs. Fiction

A couple of weeks ago I went to an early showing of a film currently out in theaters — The Words. It was kind of an early birthday present from my hubby and he'd really been wanting to take me to see it because of the storyline and the fact that it was about a struggling writer who makes some rather unethical choices.

I, on the other hand, was a bit skeptical.

Now, I'm not going to get into the whole plot, which, in my honest assessment, was full of holes, didn't have an enjoyable resolution, and had a couple of pointless characters thrown in the mix. (Yes, Olivia Wilde, I'm talkin' to you!) No, my plan is to take a look at how the main character, Rory Jansen, was depicted as an up and coming writer.

We've all seen the many toiling writers on the screen, from the glamorous Carrie Bradshaw in Sex in the City, to the grown-up Gordie writing short stories in Stand By Me, to the hellacious twist of Shakespeare's true identity in Anonymous. Or maybe you're one of those who loves the witty repartee found on Castle. But just how true to real life writing do any of these characters come close to emulating?

And that my friends is where The Words really shines!

In all the movies or television shows I've watched, this is the one film that captures a writer's struggles and how hard it is to really break into the industry. Hey, if they have to get the medical lingo right on shows like Grey's Anatomy and ER, then why is there an exception when it comes to the writing world?

Does Rory even come close to doing
the right thing?
Who cares?
At least he acts like a writer!

Multiple Rejections

When I heard Rory say that he had his manuscript out to an agent a friend recommended, I groaned. No, no, no, I thought. No knowledgeable writer would send out a full manuscript to one agent and one agent only! At this point in the film, it was obvious that Rory wasn't even actively querying agents. But then later we see Rory's rejection. And then another rejection. And they keep coming until Rory ends up in that hopeless frustrated spot all aspiring writers hit at some point in the querying process. Yes, yes, yes, I thought. Hollywood finally got it right! 

Keeping a Schedule

When I saw Rory on the screen spending every evening pounding out his manuscript on the computer without a whimsical thought passing through his mind and onto the viewers, I couldn't have been more delighted. One reason shows like Sex in the City and Men in Trees annoy me is the fact that the viewer has to have a running commentary on everything the female characters write. What I wanted to see when it came to Rory's rabid pursuit of a writing career was the fact that he took time at a specific part of each day to work diligently on his novel. No out of the blue strokes of genius here! Nope, he had a schedule every day -- snow, rain, wind, even on lovely summer evenings -- to dedicate his time to getting that rough draft finished.

Agents Don't Fawn

Going back to Men in Trees as an example, Anne Heche's character Marin Frist had agents from all over New York City fawning over her, sending her wine, chocolates, fruit baskets, weekend getaways, just so she would sign with one of them. I find this to be incredibly unrealistic. This day and age of the publishing industry I'd like to know of one agent who has sent anything to any writer just so he/she would sign with them. It just doesn't happen. In Rory's case, it never happened. When he finally submitted a manuscript to the already harried publisher he delivered mail to on a daily basis, the agent was less than happy to see yet another novel cross his desk, and from a nobody writer, no less. 

An agent might like your work,
but don't expect her to faint
from joy!

Agents Do Get Excited About Your Work

That same publisher finally told Rory he read his book and wanted to know if anyone else had read it. Rory said no and the publisher was ecstatic. He loved Rory's novel! Yes, an agent can love your work too!

Writing Can Be a Lonely Profession

If not for Rory's wife, I don't think he would've ever got out much. He was practically glued to his computer. He wasn't letting anyone read his work, and perhaps that's why he suffered so much rejection (actually, I think that's exactly why he got so many of those dreaded form letters). It's hard to let outsiders in, even if it is your spouse, because most times they don't get what you're trying to do. That or they just don't care about reading any novel, not just yours. That's why it's important to have a community of writers that one can tap into. I think Rory's life may have turned out differently if he'd been more open in what he was trying to achieve. Maybe he wouldn't have ended up in such a bind in the end.

Being a Writer Isn't a Glamorous Profession

I say this one from experience. All my writer friends have kids, perhaps a job, late nights doing homework and early mornings shoving kids out the door and running off to work. That time we do get to write is precious. I've met grandmotherly romance writers who prefer writing erotica. I've met sci-fi writers who look like they haven't bathed or slept in more than a week. I've met magazine authors who look like they wouldn't know one thing about the topics they discuss until they open their mouths and wow me. I've met Western writers who love a comfortable pair of boots and some fringe. We don't all teeter around in Manolo Blahniks or shadow police officers for our next story. Every writer is different. There is no mold we all fit into. And Rory's character was no exception. He looked like an Average Joe (okay, with Bradley Cooper playing the role, he was a very nice-looking Average Joe!) who was bumming money from a father who just wanted to see him get a real job. Yeah, we've all been there!

Be Persistent

Even with all the rejection, Rory continued on in his quest. At one point in the film, Rory tossed his manuscript into the trash. That's understandable. Sometimes we feel like we've hit a wall and that no self-respecting agent will ever take our work. But we have to be persistent. I wouldn't suggest following Rory's example in this department (Please, make sure it's your own work you're submitting!), but if you know you create good work and you have faith that there is a market, then keep at it.

I'm curious to know if any of you have seen The Words. Would you agree that it has one of the more realistic takes on being a writer? Are there any other films or television shows that you can think of that properly portray authors? Or ones that really get under your skin?

The Girl Who Waited: My (Long) Road to Finding an Agent

Manuel Alvarez Bravo, El Ensueño (1931)

I usually don’t get too personal in this blog, but I thought this event was big enough to share with my fellow writers (drums, please): I HAVE AN AGENT!

Dying to know all the details? Not really? Well, I’m writing them anyway. :-)

In the beginning there was a man and a woman (ok, ok, I’ll spare you). Let’s start at around 2005. I had two babies (real human babies) and had been writing a variety of projects in both English and Spanish for contests, classes and myself: short stories, soap opera scripts (obviously NOT complete, but fully outlined) and half of a screenplay. There was one particular story that had taken root when I was still a graphic designer and illustrator (circa 1998-2000). It kept coming back to me in the form of a soap opera. Problem. I lived in the USA. There was not a big telenovela industry here (now there is), and I didn’t know how to reach Mexican or Colombian producers (two of the largest Spanish-speaking markets, which, I had heard, were more difficult to infiltrate than Russian mafia or the publishing industry in the US). I didn’t have any connections in those countries and I wasn’t planning a trip there any time soon. Besides, there were horror stories roaming the internet about plagiarism and writing apprentices who worked long hours for little pay in the hopes of getting their big chance one day with their own ideas. Not too appealing.

One day, my friend Malena (aka Sister Violante), shared with me some big news: she was writing a novel in English (gasp!) and she encouraged me to do the same. I hesitated. I had written short stories in English, and had lived in this country for several years, but I didn’t know if I had it in me to write a WHOLE novel in English.

I told her I didn’t think I could do it, but the writing bug stayed with me for a few days. The drive was stronger than my fear and so I evaluated my extensive telenovela outline/summary and decided right then and there that I would turn it into a novel! I rushed to the nearest bookstore and bought two books on the craft of writing a novel and devoured them in a week. I took a deep breath and, using my outline as a guide, I started writing a novel in English. Many moons passed until I finished the project but was terrified to share it with anybody. Somewhere between 2006 and 2007, I finally gathered the courage to share my writing with Malena, who was encouraging and patient with the sporadic pages that arrived in her inbox. Not sure of what direction to take (the thought of a critique group hadn’t occurred to me yet)  I attended my first writers conference and met a sweet editor who requested a partial of my novel. My first partial! I was so excited I sent the pages to her right away, certain that this would be “it.” In the meantime, a friend of mine introduced me to a couple of talented writers, Rosslyn and Barbara, and we formed a critique group.

Right away Rosslyn spotted POV problems and too many subplots (I talk about the problems of my first manuscript here.) Sure enough, the encouraging editor I had met at the conference wrote me back expressing the same concerns. With my critique partners’ help, I started rewriting the novel. I had to go through a killing-character spree for the novel to take form. I took an advanced novel course at my local community college, where I met two supportive and patient writers, Joycelyn and Don, who also helped me polish my novel. I finished my second rewrite and thought “now I’m ready.” I shared the novel with my husband, but he fell asleep over chapter four (literally!) Biting my hand to hold back my sobs, I wondered: Was my novel not as good as I thought, or was he simply tired?

In the meantime, Rosslyn read my entire second draft and found more problems. (Yes, I’m lucky to have her and no, you can’t have her!)  I redesigned my novel and rethought my main plot. Not a small task. Months later, the third draft was born. I continued taking courses, attending conferences and meeting new writers, among them my friends Suze and Sister Mary, who read the third draft and helped me polish it more. I won a blog contest and received a thoughtful critique from a respected editor who made me realize a crucial problem in my plot. (Thank you, Nick Harrison!) I met more editors and agents who read portions or my entire novel. They were encouraging (an editor even referred my novel to another editor in her publishing house), but none of them committed to my project. I kept hearing I was almost there. (Please bear with me, Dear Reader, I’m almost there with this story, too.) It felt like running a marathon with no trace of a finish line.

By now, a new idea was born in my mind: a historical novel set in the Galapagos Islands (my obsession). I researched. I outlined. I started writing. I stopped querying my first novel. Two big things happened next: my friends and I started the Sisterhood blog and  my second novel won an international writing contest.

The Sisters (including the brilliant Stephanie) kept reading and helping me polishing my second novel (no extensive rewrites on this one. I had learned something!) And in December 2011, I entered the Baker’s Dozen Agent Auction sponsored by Authoress at Miss Snark’s First Victim blog. Two agents ‘fought’ for my novel. The feeling was exhilarating. And so I decided to start querying the project after both agents requested my full. After my earlier and failed querying experience, I realized two things:

1. I was going to have to query more aggressively than the first time (meaning more agents in a shorter amount of time).
2. I had to query in a smarter way (meaning targeting agents a little better by doing more research than the first time). And so I bought a Premium Membership at Query Tracker.

I developed a plan of action: I would query an agent a day (except during trips or family visits). And if I got a pass, I was obligated to query someone else the same day. Plus (and this was a big change from my first querying experience) unless an agency specified against it, I would query other agents at the same agency after a few months of being ignored or rejected.

I started getting requests (mostly fulls, but a few partials as well). I started getting rejections (several) but on my birthday, I received the gift of a partial request. I should have known this apparently casual event meant something. A couple of days later, said agent upgraded the request to a full.

I sent the material and kept querying, went to a writers conference and met a couple more agents who requested material. I sent them the novel and waited. And waited. And waited. Until this summer.

I went on a trip to Spain and then to Ecuador to visit my family. On July 23rd, I casually checked my Spam folder, ready to clear it, when the name of the agent who had requested on my birthday popped up.

The agent-in-question was brief. She said she had finished reading my novel and wanted to offer representation. I was confused. This was not the kind of letter I was expecting. (Could this be a mistake? Was this letter meant for someone else?) I entered a stage of numbness/confusion/anxiety. The agent and I corresponded a little bit and agreed to talk in a couple of days. That evening and the next morning, I notified the ten agents who had my novel and a few more whom I had queried. The next two days, my inbox filled up with correspondence from agents: nine requested a week to read while three passed on the project. (A few others were forever silent.) It was a writer’s dream come true! (Incredible the power those three little words “offer of representation” have.)

I spoke to the offering agent and was delighted with our conversation. She was so enthusiastic about my novel and my writing that I thought I was dreaming. Four days later, a second agent made an offer and scheduled a conference call with me.

I spoke to the second agent and her boss and they impressed me with their projection for my novel and their experience. I was in trouble. I liked them, too!  I thought a lot and talked to my close friends/family members about my offers when a third offer came. Another call and more doubts. How was I going to pick (Did I have to? Couldn’t I keep all of them?)

I sat down and thought hard. The first agent had an enthusiasm that was contagious (she even got me excited about my novel again!) and we shared the same vision (editorially speaking). Plus she expressed an interest in my first novel and her track record was good. Also, when I went through her list, I found that I was drawn to the books she had represented and sold. It was a perfect match! So without further ado, I’m thrilled to introduce my brand new agent: Rachael Dugas with Talcott Notch Literary Services!

For those writers who are feeling a little discouraged and depressed, check out my querying statistics so you can see that THERE IS HOPE for you, too!

Second novel:

Queries sent: 119
Requests (before offer): 17
Requests (after offer): 3
Total requests: 20
Rejections to queries: 74
Rejections to submissions: 15
No responses to queries: 25
No responses to submissions: 2
Offers: 3
Agent: 1

Time querying second novel: Almost 8 months

First novel:

Queries sent: 50
Requests (including conferences): 12
Rejections: 31
Rejections to submissions: 10
No responses to queries: 19
No responses to submissions: 2

Time querying first novel (not including conferences in 07 and 08): 1 year, 8 months

The Woes of Word Counts

A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell.

  ~William Strunk, Jr.

The dreaded red pen

Being concise is difficult; so difficult many writers won’t do it unless forced. Most of us regard the red pen with fear and loathing. We don’t want to edit, we don’t want to cut. So why do we have to? We love words. Why can’t we write as many of them as we want?

The simplest reason is that the publishing industry clearly demands it. The magic number is 100,000. You can’t go over that word count for a novel without severely hampering your chances of getting published. (In some genres, it’s even less.) To be honest, I don’t really understand why this is. Maybe one of our readers in the publishing industry can explain it. In a recent informal, completely nonscientific survey, the majority of my friends said they prefer long books: the longer, the better. They like getting lost in another world. We can all think of a dozen bestselling exceptions to the 100,000 rule: War & Peace. Pillars of the Earth. Gone with the Wind. Harry Potter. According to this guy, all modern books (all!) are too long. So we may be forgiven for feeling sniffy when agents tell us to keep our submissions short.

Doubles as a doorstop

One thing to keep in mind is that the demand for succinctness seems to apply primarily to unpublished writers. The Deathly Hallows is 759 pages, but The Sorcerer’s Stone is only 309. Rowling was probably forced to be more terse than she wanted with that first novel: once she established herself as a bestselling author, she was allowed to indulge. It is also true that some debut novels are massive: Special Topics in Calamity Physics, Marisha Pessl’s first novel, is 514 pages long — which translates to about 200,000 words. We look at her, cross our envious arms over our chests, and think, well if she can do it …

But the most salient truth here is this: many literary agents really do reject on word-count alone, and it’s never a good idea for a novice to assume she’s the next Marisha Pessl. Getting published is hard enough. To ignore the word-count guideline is to run a marathon with one leg hobbled.

Not an ideal way to enter a marathon

Another reason to write shorter is that it will force you to write better. “The only art is to omit,” said Robert Louis Stevenson. “If there is anywhere a thing said in two sentences that could have been as clearly and engagingly said in one, then it’s amateur work.” When I write freelance articles, I’m usually required to write no more than 800 words. My notes and interview transcripts run thousands of words, and it all seems important.

This is going to hurt

But I have to be economical: if I don’t slice those words, my editor will, and I’d rather be the one holding the scalpel. This forced concision means I have to think hard about word choice. Not only word by word, but paragraph by paragraph. Some passages, especially descriptive ones, add nothing substantive. They’re decorative, and when you’re on a word budget, decoration is the first thing to go.

Not everyone, of course, is inclined to write long. Last summer I took a writing class with a woman struggling to complete a middle-grade book. She’d been told she needed to add about 2,000 words to get it to the “right” word count for that genre, and she was devastated. “I don’t know if I can do that,” she said, mournfully regarding the pages in her hands. I was puzzled: for one thing, 2,000 words doesn’t seem like that much. For another thing: think of the chances she had to develop character! To wax eloquent with a scene description! To throw in some snappy dialogue! But for some writers, reaching the word-count minimum is the trick. (That magic number, if you’re wondering, is 50K for mainstream adult fiction; 30K for middle-grade.)

What about you? Do you feel hampered by industry’s word-count limits, or do you find the guidelines helpful? Do you wonder, especially with the growing popularity of e-readers, if this limitation is becoming irrelevant? Have you been told by an agent or editor you need to cut — and if so, how did it affect your story?

 Too many notes, Herr Mozart

Interview with Agent Elizabeth Kracht

Today I have a special treat for all the friends of the Writing Sisterhood: an interview with agent Elizabeth Kracht of Kimberley Cameron & Associates ! In addition, she will to stop by for a Q&A session on Friday, July 29th from 1 pm to 4 pm (Pacific Time). This means you can leave your questions throughout the week and/or during her visit on Friday. Please join us then!

Elizabeth, welcome to the Divine Secrets of the Writing Sisterhood!

Q: How did you start your career in publishing?

A: I have been writing in one form or another for most of my life. Somehow I never thought about a career in publishing until I took a job as a copyeditor/proofreader for an English newspaper in Puerto Rico. It was an epiphany to realize I was equally as happy, if not more, working with others' words. When I relocated back to the mainland I took an internship at a small, nonfiction publisher in California (Hunter House Publishers) and later became its acquisitions editor. I brought to that job years of administrative, legal and technical writing/editing experience. Once working with books, I knew I'd found my "vein of gold." To further broaden my perspective on the industry, I began reading for Kimberley Cameron & Associates in my free time. When a position opened at the Agency and was offered to me, I did not hesitate to accept it. The Agency has a long legacy, and Kimberley is an amazing mentor.

Q: As an editor for Hunter House Publishers you acquired non-fiction books. Are you planning to focus more on fiction now, or both?

A: I will focus on both fiction and nonfiction. At Kimberley Cameron & Associates we receive more fiction manuscripts than nonfiction, but I have a strong, personal interest in nonfiction books, so if interesting proposals cross my desk, of course I will consider them. I also have a real soft spot for memoir and hope to represent many of them.

Q: What type of fiction do you represent? What are you looking for in a manuscript?

A: I represent both literary and commercial fiction. I also represent YA and genre fiction. In genre fiction I’m attracted to mysteries and thrillers and some science fiction. Right now I'd be interested in looking at anything with a Japanese theme, and rumor has it mermaids are supposed to be the next coming rage. Just to give an idea of some of my current projects: dystopian/science fiction YA, two nonfiction humor, literary historical fiction, commercial women's fiction, and a mystery. In a manuscript I look for great writing first and foremost, and am attracted to writing with a strong voice and compelling story that moves.

Q: What genres/themes you do NOT represent?

A: I don’t represent fantasy, but will consider magical realism. I don't represent horror, although Kimberley does. The science fiction that I am interested in is limited; I like grounded science fiction. I also do not represent romance and inspirational fiction.

Q: What are your top three authors of all time? What about your top three novels?

A: Tough question. Top three authors that come to mind: Edith Wharton, Ernest Hemingway, and Jon Krakauer. My current favorite novels: The House of Mirth by Edith Wharton, The Poe Shadow by Matthew Pearl, and The Killer Angels by Michael Shaara.

Q: Since you lived in Puerto Rico for some time, have you thought about representing books in Spanish or Latin American/Spanish authors? Is there a particular Latin author you like?

A: Although I am not able to represent works in Spanish, I would gladly represent a Hispanic author and/or a novel set in a Latin American country. I think my favorite Hispanic author is Esmeralda Santiago (http://www.esmeraldasantiago.com/), author of When I Was Puerto Rican. Esmeralda has a new novel out, which I plan to buy soon, titled Conquistadora.

Q: Do you think American Publishers are acquiring more or less multicultural novels than before?

A: I think American publishers are acquiring more novels with multicultural themes, and sometimes the trend is set by world events. In the last couple weeks in the deal pages of Publishers Marketplace I have seen at least three works set in Japan sold to publishers. I also believe we read to learn and be transported. What better way to learn and be transported than by entering a setting where we've never been through a voice that is culturally different from our own?

Q: Young Adult and Paranormal/Fantasy novels are extremely popular among agents and writers nowadays. How do you see the market for Historical and Women’s Fiction?

A: There is still a strong market for both historical and women's fiction, but the projects need to be unique. Agents and editors are attracted to a work by a combination of market trends, whether a work has a place in the market, and personal interest and passion for a project.

Q: Approximately how many submissions do you receive per week? What do you look for in a query letter and what is the best way to submit to you?

A: At the Agency we receive more than two hundred submissions per week. I appreciate brief and concise query letters--no gimmicks. I'm fairly forgiving of poorly written query letters. I have come to understand that the query letter is a technical piece of writing, a type of writing fiction writers rarely engage in. I often don't get through an entire query before moving straight to the writing. I've often been shocked by how well an author can write after choosing to ignore a poorly written, egocentric or gimmicky query. I would strongly urge writers to invest time and money in writing a good query since many literary agencies have intern readers that are much less forgiving of gimmicks and typos. As a writer you never know the conditions under which your query letter will be read, and you've already invested so much time in your manuscript. It's worth the effort to have a polished query so your submission isn't one that can be discarded on a technicality. There is always an issue of volume when it comes to queries at a literary agency. If you are brief, professional and concise in your query, and if you have done your homework on the agent you are submitting to, your work will likely be reviewed.

If a writer feels we are a good fit for their manuscript, we ask them to submit the first 50 pages and a one-page synopsis along with their query letter attached as Word documents or as PDFs. We prefer electronic submissions. Submissions can be sent to info@kimberleycameron.com and directed to whichever agent seems most appropriate for the work.

Q: What are the most common problems you see in the manuscripts you receive?

A: The most common problems I see in manuscripts are high word counts, excessive description slowing the pace of the novel, stories that don't get moving soon enough, and characters that are underdeveloped.

Writers should know what acceptable word counts are in their genre. Generally, for debut fiction we like to see works between 65,000-85,000 words (historical fiction can sometimes be an exception). Agents will reject you based on word count alone.

Be careful spending time in description of characters and things that aren't absolutely necessary to the forward movement of the story. Description can really slow the pace of a story, especially since the reader's own mind acts to fill in those details many times. If your character is in the elevator with a bike messenger, don't waste story pace telling me what he is wearing if I'm never going to see him again; I can already picture him perfectly. Watch excessive use of adverbs and don't use brand placement to try and give me a sense of the type of person your character is. Should the fact that your character drinks Amstel beer or carries a Kate Spade purse mean something to me? Only use brands if you feel it is important to your character's psychology, if it's an obsession that moves the story forward. If you drop too many brand names, they stand out in the manuscript, and those are not what you want your reader to notice.

To catch the attention of an agent, your manuscript has to move right from the start. Keep your story active and moving. Don't let it get bogged down by excessive description or dialogue that isn't crisp. And give your characters an inner landscape.

Q: Do you consider yourself an “editorial” agent or are you aiming to find manuscripts that are almost ready for submission to publishers? Would you take on a client based on his/her potential even if the manuscript is not ready to be sold?

A: I am definitely an editorial agent in spirit. I love to work on manuscripts with authors. However, because of the number of submissions we receive, I take on these kinds of projects based on both market considerations (is there strong market potential for it) and whether I have the time and strong personal interest. I'm working on developing a nonfiction humor book right now, but it's only a 60-page manuscript and the writer I'm working with is a professional and quick at revisions. In addition, there are hundreds of emails in my inbox that need attention. So, it's a little bit of a juggling act, but if the right thing crossed my desk at the right time, I would take it on and develop it.

Q: Writers are often times frustrated with how difficult it is to get the attention of industry professionals. What do you think is the most effective method for a writer to get noticed: conferences, blogs, query letters, contests?

A: There are many ways for writers to get noticed. If a manuscript is where it needs to be, a writer can easily get published by pitching an agent at a conference or by submitting to an agent online. In some cases it may take longer to find someone to champion your work. If you've gotten rejected by dozens of agents, try and get feedback on why and be open to the notion that your work might not be quite where it needs to be.

Personally, I think every writer should get a freelance editor known in the industry who will give them professional feedback on the market potential of their work, story structure, writing... It's an investment, but one that will speed up the process significantly. Otherwise, a writer may get rejections from agents and not understand from a publishing perspective what the problem is since rejections are usually template. In this publishing climate, the competition is stiff. I think writers spend a lot of time in the dark about their work, and a freelance editor is an unbiased source with a background that can give a writer the perspective that family, friends and writing groups can't give.

Agents usually attend conferences and listen to pitches. I just did eight consultations at the Book Passage Mystery Writers Conference in California. If a writer's manuscript is where it needs to be when I consult with them, I would ask to see more on the spot. A writer can also send query letters to agents listed in literary guides, but should make sure the agent is the right fit for the manuscript, that their query letter is meticulously crafted, and that their work is in the best possible shape. Also, be sure to include any information about yourself and your author platform. Author platform is more important than ever. Invest in an author website and get yourself on Facebook, Twitter, and Blogspot. If you have published clips, let us know about them. An author platform can tip the scale on an agent's decision to represent you.

Q: How do you feel about writers posting excerpts of their unpublished novels and/or creating websites for them?

A: I think I'd prefer to have an author work on an author website rather than one for the novel, to start, since titles often change in the publishing process. I'd rather see an author build up their general online presence first. And rather than publishing or posting excerpts, it might be wiser to write some additional content about the characters in the form of a short story and publish it on a website such as Smashwords for free or $.99. I would love to be able to say to an editor I am pitching that an author I am working with has had thousands of downloads (and great reviews) of a short story of content related to the manuscript.

Q: As a former publicist, do you think every author should hire one? Or do you think most agents can (or are willing) to take on that role for their authors?

A: Agents do not take on the role of publicist for their clients. Because I have publicity experience, I tend to keep my eyes open for opportunities, but agents do not handle publicity at all. We may do some promotion on our website, but publicity is handled by the publisher, and now more than ever, publishers require that authors help promote their works.

I urge writers to hire outside publicists if they have a book in the publishing process. However, the author should be sure to avoid conflict with the publishing house publicist (assuming there is one).

It is in the best interest of the writer to help sell as many copies of their work as possible. If a writer has only sold one book to a publisher (no series deal or two/three book deal), that writer wants to make every effort to sell as many copies of their work as possible so when it comes time to pitch the next book the writer can show that there was demand for their work. Publishers look at Nielsen BookScan, which will tell them how many copies of an author's work have sold. If your first book did not sell well, it will influence a publisher's decision on whether to acquire your new work.

In addition, the more copies sold, the more royalties the author will receive! This is an author's paycheck. Work it.

Why not just rely on the publisher? Because some contracts I have seen are vague about the kind of publicity a publisher will do; meaning, they may not be legally bound to do any publicity for you. I've heard a publisher say that some books aren't important in the scheme of an entire list, which may be accurate from the viewpoint of their financial perspective, but that can be a real bummer for you as a professional writer. Even if your work is published by a big house with an in-house publicist, you will only have that publicist for a window of time unless your book really takes off. Help it take off!

Q: How much marketing/self promotion is expected from a writer aside from Internet interviews/blogs? What are other ways in which authors can promote their novels?

A: If not you, then who? Your book will have a window of publicity with your publisher, and maybe not even much of that depending on who your publisher is and what your contract agreement states. It is in all writers' best interest to research book publicity and marketing. Know your audience. Who will buy your book and where can you find them? Think of your work from as many angles as possible; what are the themes? Does your book have a theme that the National Organization for Women can get behind? Are you an African-American author? Dissect your work from multiple viewpoints and seek relevant publicity and marketing opportunities. Get authors or experts to give you a quote about your work. Get Amazon reviewers to review your book (or galley) or find other online reviewers and/or bloggers on the subject to review it (most people buy books based on reviews, Verso Study on book-buying trends). Review other authors' works and have the review link back to your author page, short story content, or book. Write articles related to some theme in your book and offer the article for free to magazine editors if they agree to include your bio at the end of the article, which will include an "author of..." sentence (you aren't pitching your book in the article, rather your expertise on a theme of your book). Magazines need to be pitched six or seven months prior to publication. Pitch them articles for holidays or another tie-in date with your book.

Write related content and publish it as an e-book for free. Do a book trailer. Get that author website up (check out www.LoisReed.com or Xuni.com) and do all available social media (get your kids or grandkids to manage it). Consider getting basic CisionPoint for a year, which is a database that has every media contact you could ever want (not cheap). Organize a book tour in your area and find creative ways to get local media involved. Let your alma mater know you've published a book and offer to write an article for the newsletter. Get all your friends, family and colleagues networking for you, and listen to their ideas on how you can generate interest in your book. Sign up for Amazon Author Central on the Amazon.com site as well as other websites. Pitch a radio show, rather than your book, to your local radio. Do an email blast (Constant Contact is great for this). Write a press release about the book and send it out to relevant media. Get friends and family to review your book on websites such as Amazon.com, Barnes & Noble and e-book retailers if you have an e-book out. Submit your work to book clubs and moms' groups! Google "How do I promote my book?" or "book publicity" and read as many articles as you can.

Be creative. There are so many ways to get your work out there and so many opportunities online. Create a media plan (examples can be found on the Internet) for your book, and begin promoting your work six to seven months before release.

Thank you, Elizabeth, for these very informative answers!

On the Inexhaustible Subject of Query Letters: To Compare or not to Compare

Every aspiring writer has a list of what not to do when querying agents. As time goes by and rejections pile upon our backs, that list keeps getting longer. The rules seem to be getting more abstract and absurd. Did you know that you are not supposed to attach sexy pictures of yourself to your query letter? Has it cross your mind to bribe an agent? And hear the last one. It really takes the cake! Agents want you humble so under no circumstances compare your work to current bestsellers. Say that again?


Whenever I hear a tale of querying woes, I immediately side with the rejected. However, reading Betsy Lerner’s “How to approach agents and editors.” (The Writer, February, 2011) have to side with the agent. I mean, just picture a misguided writer attempting to “buy” representation and with the meager sum of five dollars! What were you thinking when you mailed a query on scented pink paper? And I was floored by Ms. Lerner´s story of the gallery kept at a former job displaying photographs (all showing cleavage) sent by potential clients who, despite their well-endowed bosoms, ended up in the slush pile.


We all know the basics of querying. We´ve all heard about the dynamics of packing manuscripts, to avoid typos and spelling mistakes like the plague, and not to attach unnecessary paraphernalia. Yet according to Ms. Lerner she has received gifts that include candy, jewelry, perfume and wine.

I would like to play Devil´s advocate and think that perhaps the generous writers are not trying to get on the good side of the agent. Maybe the $5 bill was sent in lieu of SASE. The gifts might have something to do with the content of their book. Who knows? Maybe the perfume came with a story about scented oils, or the candy was part of the marketing of a cooking book. And the sexy snapshots might be a way to prove the aspiring client is a healthy good-looking person who won´t bring shame to the agent or die of old age while he/she struggles to sell her manuscript. After all, we are bombarded with agents’ opinions on how we, aspiring writers, should sell ourselves using all kind of gadgets.


Well, so much for the benefit of the doubt. The truth is that in our eagerness to please, our hurry to draft the best query letter, plus the sum of our fears and anxiety, we keep on plaguing agents with unrequested chapters, misspelled names, and other blunders. I must confess that the first agent I contacted was one that was looking for young adult stories dealing with Italian-American characters. I sent him a very adult novel set in Italy. Of course, I was the perfect candidate for the trash can.

I was having a good laugh while reading this entertaining article, when I hit a statement that blew my mind. “I am always struck by the writer who with no credentials per se, compares his wok to current or past bestsellers…” Ms. Lerner writes. Wait, isn´t that what you are supposed to? All the lists of “Do‘s” tell us that the one thing agents want to see, is comparison to other well-known, and hopefully, current bestsellers. It’s the only edge they have to peddle our novel to the publishing industry.

Then Ms. Lerner adds, “Just once I´d like to see a writer make a humble promise or estimation of his expectations. Just once I’d like to see a writer compare her work to a book that isn’t a commercial blockbuster. Better yet, let the publisher draw the conclusion, based on the quality of the work.”

I understand where she is going. It´s undignified, not to mention arrogant, to compare our fumbling first steps to well-established novels, but does she really think novice writers are afflicted by a pandemic case of vanity?


We are told by books, articles (and even YouTube videos) on how to write a query letter, that comparison is a must. Look at this sample, “the best approach is to compare and contrast your book to a publishing success, and the more successful the better.” (Dave King. “Query Letters: Getting Over the Transom”).This is a recurrent advice.


Although we are wise enough to know we can´t match ourselves against Shakespeare and that Dan Brown/Dean Koontz comparisons sound highly conceited, I still feel it´s fine to align our first novel with other books that are doing well in the market. What harm could come from revealing that our stories share traits in common with The Help or Water for Elephants? Would it be so ill-advised to draw a comparison between our manuscript and the work of authors the contacted agent represents?

Most agents say they like the contrast so they can get a feel of where the book might be shelved. What do you think? Are we shooting ourselves in the foot when we play the comparison game?