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It’s normal to feel like one is sometimes on a figurative soapbox with whatever topic s/he is passionate about. My love will always be books. Doesn’t matter what format they’re in, when they were published, or what they’re about. Books are quiet little treasures, opportunitities & gateways to solitary moments (something we rarely experience).
Upon becoming an agent, one of the early requirements was being able to say “no.” Since no agent can give the necessary time and energy for every single project that comes his/her way. Plus there are only 24 hours in a day, it’s likelier that an agent will make better decisions if some of those hours are spent resting (vs. working all the time). As I’ve stated before, we can only take on a limited number of clients, as each of our authors deserve quality time and attention from us.
With the many book ideas I’ve turned down over the years, I’ve come to accept the occasional hate mail. People who take my rejections too personally, some who refuse to “accept” my response, name calling, accusations that I “don’t know anything about publishing,” and simply angry words. I’ve even gotten used to the people who’ve reminded me of how much they disagree with the rejection by requerying me again, hoping I won’t notice I’ve turned down the book idea before (btw, I will recognize it). Sadly several newer rejections have added a new “twist” to this conundrum, with a few authors sending MORE materials — stating that maybe I’ll change my mind after seeing them. I’m sorry that doesn’t work either.
However, there is a silver lining to this. There are the authors who take a moment to think about rejections – why it happened, and what they can do in the future.
These writers will study my representative categories again, and usually realize my agency isn’t a good fit for their books. Some will take a moment to peruse my website, and rework their ideas, as well as the method in which queries are sent out. In the rare cases where I was able to offer advice, some authors will write back and give an update on their query process. I like these updates, it gives me hope that at least my advice was considered, even for a few moments.
Here are three that stand out:
1. Approximately 5 or 6 years ago, I turned down an idea by a writer who was very much in the early stages of developing a writing platform. He had a great idea, but alas it wasn’t a good fit for my list, especially with him needing to develop a readership. I’ve now heard back from him two times since then. He has embraced the process of building his platform, and loving it. If anything, he seems happier. And getting an update from him is always a treat.
2. Through Google Alerts (yes those of us in publishing use these), I learned that an author did a posting about the rejections he has received thus far. Going to his site, I immediately remembered him, as we met through Twitter and I made a point of giving some extra advice, once again something I don’t do very often. On his blog, he stated appreciation for that advice, that it was one of the more detailed rejection letters received. That he is now tweaking his idea and moving forward. What a nice surprise to discover my inbox!
3. In November, a book arrived at my doorstep, from a fellow ‘Southern Belle,” whose idea I declined in 2008. I had suggested she go the route of an indie publisher, in addition to taking the time to develop a larger writing platform. It turns out her book WAS eventually published by an indie publisher, and that she has sold a nice quantity of books so far. She’s loving the process of promoting her book, of meeting readers, and that she appreciated the advice and encouragement received in 2008. Her positive energy about the query process was infectious, and I value the letter she attached with her book. It goes in the folder of “letters worth saving.”
These three individuals took their rejections and used them proactively. They looked at the reasons for rejection, as well as the bigger picture of publishing, and have worked on developing larger writing platforms.
Always remember:
1. Rejections should never be taken personally.
2. Consider why your book was rejected – Does the agency work with your book’s category? Is your platform still needing growth? Are there other reasons? Take the time to mull over these things, ultimately it can be used to one’s advantage.
3. Embrace the process. If you are going to query agents, who all have limited time and can only take a limited # of new clients, and this is already time consuming – also embrace the learning process when rejections come in. This process can have a positive outcome, even if this means one writes an entirely new book that does in fact gain the attention of an editor or agent.
Thoughts, comments? Let me know what you think.
Here is your official checklist to use before querying EVERY agent. It’ll save time, money, frustration, and hopefully make the process smoother. Everyone knows that those of us in publishing kick into full gear after Labor Day. Here’s a checklist to make sure you’re ready too!
- Did you complete the full book proposal (no partials please). If the book is fiction, have you completed the final version of the manuscript and its synopsis? If one or both are not available, take some quality time and complete the necessary materials.
- Is the query letter written? Does it explain WHAT your book is about, WHO wrote it, and WHY it is commercially viable for the large publishers? Does it fit onto one page? If your query letter doesn’t explain the WHO/WHAT/WHY or is too long, rewrite it.
- Do your research, WHO will you query?
- Does each agent represent your book’s category? If not, stop and redo your list. Only query agents who represent the book’s category.
- Now that the agents are finalized, have their individual submission preferances been duly noted? If not, go back to the original resource material, and record this information. Then follow their requested submission guidelines.
- Prepare the queries. Avoid using the phrases To Whom It May Concern, Dear Sir/Madam, Dear Agent, and pretty much any greeting that doesn’t include the agent’s NAME.
- Send out the query LETTERS. Then wait, there’s really no timeline here – some agents are able to answer quickly, others not as able. Please do not send a reminder email or place a reminder phone call that you’ve sent an initial query to us – this does not help hasten the process.
- If an agent requests to see the book proposal, synopsis, or mss (or a combination), mail/email in a prompt time. Reminder: Follow the submission guidelines – down to the type of document and how it’s to be sent (email, USPS, Fedex, etc…)
- More waiting will occur. This can take anywhere from 2 weeks to 2 months. If 6 weeks have passed, feel free to drop a note to the agent and see how things are coming along. Anytime earlier is probably not a good idea, especially if the agent is in the middle of a very busy season with his/her current projects.
- If rejection letters arrive – read them thoroughly. Look at the reasons your book is being turned down. Did you the query an agent(s) who don’t represent the book’s category? Is your book’s category different than imagined initially? Is there advice or suggestions from any of the letters? Do you need to work on your writing platform? etc. . . These letters can help determine what steps should be taken for your next round of query letters.
- Rewrite, rewrite, rewrite – once you’ve mulled over the rejection letters. Also implement any other suggestions that would help you get published, ex: expanding your writing platform.
- Start the process over again (go back to #1)
Sometimes it’s easy to feel like a broken record, especially when it comes to general ins & outs of the publishing world. Yet, there always seems to be multiple folks who are still learning the steps of getting published; hence the repetition is to be expected. In my opinion, I know anyone aspiring to be published will benefit from asking those questions & doing that figurative “homework.”
Here’s my kind nudge that one should take the initiative and do the necessary research before, during, and after writing a book. The 3 types of research any author should do will include:
1. Thoroughly researching your book idea. Doesn’t matter if the book is fiction or nonfiction, the facts need to be dead-on. Not only are the editors smart and able to catch these errors (since most specialize in book categories), the readers will notice inaccuracies as well.
2. Researching your competition. Beyond the basics of ANY published book being competition for any newly published book, investigate books that share the same book category as yours. Besides these books already being published, it’s essential that you are able to successfully communicate that your book is as equally viable to editors and agents – despite the competition.
3. Researching the agents and editors. With so many websites and printed directories, let alone writing conferences where one is able to meet them one-on-one, there’s no excuse in bypassing this step. It’s to your advantage to work with an agent/editor who knows your category vs. one who doesn’t.
By investing your time into good, thorough research in advance, time will be saved and there will be less frustration. Plus, you’ll have the appreciation of the readers, book editors, and literary agents. 
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.
It’s time to move to the “why I liked my authors’ writing” segment. This is the BEST part of the agenting process, reading a potential project that brings an excitement and enthusiasm. This segment is all about the writer’s voice, and ability to keep the agent’s interest.
First and foremost, it’s the story that needs to grab my attention. By this point, the book idea survived the initial round of the query process; now it’s time to see if the writer can present the idea successfully within the chapters. No matter what the topic or storyline, every writer should strive to get the agent excited about the material being presented. If I lose interest within the first few pages of the writing sample, the project will definitely be turned down. Moral of the story: Keep the material engaging and interesting from the first page.
The next (and most important) step is the writer’s voice. Now that you’ve gotten an agent’s attention, and there is an interest in the project, the only way to keep pace moving forward (toward representation) is by providing a strong narrative. If the writing voice is strong, there’s a good chance I personally will lose track of time, as I’m enjoying the “read.” For any writer hoping to attain an agent, this should be your goal.
One of my authors once told me he reads his chapters aloud as part of the writing process. As a result, his writing voice is dead on. Hence, time seems “to fly” when I read his work. Obviously this is only one approach; the lesson here is that he gained my attention by being extremely thorough and prepared before sending out his query. Moral of the story: Fine tune your writing to its fullest strength before beginning the query process.
Last but not least, look at the conclusion of the story. If you’ve managed to gain an agent’s attention, the book needs to end as good as it started. In fiction, it’s evident when a writer isn’t able to bring the narrative to a conclusion; where the story seems to have jumped off a figurative cliff, thereby leaving a lack of finality to the overall storyline. In nonfiction, the chapter outline needs to reflect a successful closing to the discussion of the book’s topic. Much like seeing a bad movie ending, where the movie patrons feel they’ve lost a hunk of their precious time, this same feeling needs to be avoided during the reading experience. Moral of the story: Put the same work into the conclusion of your writing (as the beginning), to ensure the agent walks away with the same excitement initially experienced.
Of course, every agent brings his/her own reading preferences to the overall query process. What one agent doesn’t like = a project a different agent would LOVE to represent. That’s the beauty of the publishing industry, there are many ideas and perspectives, and folks who will happily work with them. This is why I love my job.
