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Let’s look at a familiar scenario:
You’ve prepared a new, exciting book idea, one that requires a
book proposal. Afterwards, you begin the process of
querying agents. Maybe the process is long and challenging,
but eventually several agents request to see a full book
proposal. Still your idea is turned down.
What happened? Did something go wrong?
Several things need to be thought about and considered afterwards.
First and foremost, if there are many rejections, is there a similar theme or reason across all of the rejections? Did you query agents who do NOT represent the book’s category? Do you need to reconsider where the book would be shelved once it’s published? Reading the rejection letters and searching for similar rejection reasons can be an effective tool in changing one’s pitch and/or book idea (in finding an agent). If agents take the time to provide advice, it’s definitely worth the consideration. Plus, looking at the bigger picture is always to the author’s advantage.
Next, how up-to-date is your proposal and query letter? What about the newest accomplishments, an updated competition section, updated promotion & market sections, and more? Re-reading and updating these materials every few months is a valuable use of one’s time.
Re-evaluating the proposal for any project, that hasn’t sold yet, is a very normal part of my job. Reading the editors’ letters, collaborating with my authors on discussing these rejections, and tweaking the proposal/book idea(s) afterwards is absolutely essential. Putting the extra elbow grease into fine-tuning an already exciting book project (on my end) is mandatory, as well as a process that I will happily participate in.
Aspiring authors should do the same thing. It’ll make the query process for Agent representation much smoother, and hopefully a more positive experience too.
Piggy-backing on Some “Agency” Math, I feel the most important thing to garnish from that post should be stated clearly.
Instead of rushing the query process, contacting agents and/or editors BEFORE one’s writing platform is fully established – actually attempt to be strategic with your entrance into the publishing “world.”
Let’s refer to Aesop’s story of “The Tortoise and the Hare.” The Hare leaves too early, is too confident for his own good, and tries to take shortcuts off the main path. The Tortoise goes slow and steady, keeps his eye on the prize, and stays on the path. In the end, the Tortoise wins the race.
Yes, sometimes people will get published going the route of the Hare, that is to be expected. However, the majority of writers, if they want to be represented by an agent and/or published with one of the big houses, should learn a lesson from the Tortoise. Sometimes a good book takes time to “bake,” to develop into a book ready for the publishers. If the Tortoise could do it, anyone can.
Following Kathleen Ortiz’s blog today (fantastic!), as well yet another turned down query (that the author refused to accept afterwards), I feel it’s time for some “agency” math. I will be using hypothetical #s, in an effort to keep this as simple as possible.
Imagine you are ONE literary agent. Imagine that you prefer to have 10-15 projects (to be brought to publishers) per YEAR.
Imagine it’s January or September, and you estimate you’ll only want to add FIVE additional projects to your current agency list. Let me repeat, 5 projects.
Imagine receiving approximately between 150-250 queries (unsolicited) a week. In an effort to keep the math simple, we’ll use the number 150. 150 queries received (on average) in a week.
Being there are 52 weeks in a year, that means you’ll be receiving approx. 7800 (unsolicited) queries/year.
Let’s go back to the 1st number = you, the literary agent, only wants to add FIVE clients/book projects to the current agency list. FIVE.
In addition, there is the other process of you, the literary agent seeking out writers–folks who maybe wouldn’t go the route of mailing queries to literary agents.
Summary:
7800 queries received in a year.
Literary Agent only needs 5 projects.
Obviously there is more than one agent in the publishing world, that’s the silver lining here. 
My point is this:
-Fine tune your art (of writing)
-Promote yourself (and your writing)- i.e. platform
-Interact with other writers in the publishing community (try to get critqued!)
-Please understand that if you do receive a rejection, it’s nothing personal. Each agent needs to focus on his/her current authors, while at the same time pursuing future projects. We do our best to respond in a timely manner, and share the same love of books (as YOU, the writer).
My perspective? An author’s query is the time to shine! So, make sure you’ve got all the figurative bases covered before seeking an agent. It’ll make the query process hopefully a little smoother, which is my goal with this hypothethical “agency” math today.
As usual, please drop me a note, or comment, I’d love to hear your thoughts.
The benefits of receiving (and reading) The Bulletin by the Authors Guild:
1. Isabel Howe presents an informative commentary in “State of the Industry” – with the debate of e-books vs. printed books, and the impact they will have on publishing. This is an article that can’t be ignored.
2. The Reader’s and Writer’s view of the Google settlement is presented by Roger Boyes.
3. A reprint of the fantastic post by Ellis Weiner in the New Yorker on Oct. 19, 2009, titled “Subject: Our Marketing Plan.” Really enjoyed it.
4. An interview with Leah Komaiko by fellow agent, Andy Ross, of the Andy Ross Agency – discussing the sometimes elusive writer’s “platform.”
5. The Children’s Book Publishing Trends symposium (in print) from July 2009. Featuring five smart, highly-respected children’s publishing veterans- Kim Brown of B&N, Lisa Desimini (children’s author/illustrator), David Levithan (children’s author/Scholastic Press), Marcia Wernick (children’s literary agent), and Rachel Vail (children’s author/YA author).
And more. . . .
For further information, please go to the Authors Guild website.
