Writing an Antagonist Character in Contemporary Fiction

Reader Rachael asked the following question about writing an antagonist character, and she brings up an interesting point:

I’ve been wondering if a lack of one clear antagonist character is a problem if you’re writing YA contemporary (which I am). It seems like it would be a huge problem for fantasy, sf, mystery, etc., but for contemporary, I just don’t know. I can think of several YA contemporary books that don’t seem to have one clear big bad antagonist. Don’t get me wrong, they’re packed with conflict, but the antagonists change throughout the book (usually it’s some combination of the MC’s best friend(s), boyfriend(s), family, and the MC his or herself). So, does that mean it’s okay?

antagonist character, writing an antagonist, antagonists, writing a villain, villains in fiction, antagonists in fiction, creative writing — You want to spend almost as much time writing an antagonist character as you spend on your protagonist. Surprised? Read on to learn why.

Writing an Antagonist Character Is Important Business

Antagonists in today’s fiction can take many forms. Lord Voldemort (yes, I said it) in HARRY POTTER is a traditional antagonist character. He’s a big, bad villain and the entire series is spent tracking Harry as he clashes with Voldemort and his supporters, the Death Eaters (read more tips about writing a protagonist and antagonist). And Rachael is right. In a lot of fantasy, adventure, and sci-fi, there usually are villain characters who you can point to and name. This is usually a person, and they are usually as multi-faceted as the main character (or they should be), which gives the story more tension and raises the stakes.

But what do you do if you don’t have a villain in mind? If there’s no shadowy baddie behind the curtain, always threatening danger and doom? Do you still have a story?

Writing an Antagonist If You Don’t Have a Villain

I’d say you do. For another complex and fascinating villain, check out Lia, the main character of Laurie Halse Anderson’s WINTERGIRLS. She’s also our point of view narrator, and the hero of the story. But she’s suffering from anorexia and the demons of the disease, not to mention the guilt she feels when her best friend and partner-in-dieting, Cassie, dies. The hero and the villain here are one and the same.

In the highly-anticipated MATCHED, by Allie Condie, there are individual people who are antagonist characters, but one might say that the villain itself is the big, bad government (a popular theme in dystopian fiction), which seeks to control its citizens and uses that control for nefarious purposes.

Antagonist Characters Generate Conflict

Instead of thinking about this from the is-it-or-isn’t-it-a-villain perspective, I want you to consider your story in terms of conflict. Every story needs a balance of external and internal conflict. Internal conflict is what the character has going on inside them, basically, character’s inner life vs. the world. The story must also have external conflict. In other words, character’s outer life vs. the world and/or character vs. other characters.

An example of internal conflict: I am eating lunch under a table in the library because I am so different from everyone and I feel so alone.

An example of external conflict: Now I’m headed to the principal’s office because the librarian found me. The principal is going to call my parents and I’m going to get in so much trouble.

If your story lacks a central antagonist character in the style of Lord Voldemort, don’t fear. Even if your story does have a baddie with all the evil fixin’s. Your focus should be on developing a rich and complex balance of internal tension and external tension that still carries all the tension and stakes of a story that has a centralized antagonist.

Think About Your Antagonist’s Contribution to The Conflict

Would HARRY POTTER still have its oomph if Lord Voldemort vanished from the storyline? It would lose a central story engine, sure, but there is still enough going on for Harry internally and externally that the series wouldn’t be totally sunk. I think that’s key.

Even if you do have a Lord Voldemort in your cast of antagonist characters, that can’t be the only source of conflict. It’s much more important to look at all your sources of conflict and make sure they’re balanced and come into play throughout your plot, not just at the beginning and the climax.

If you forego the villain route, study writers like Sara Zarr, David Levithan, John Green, Lauren Oliver, and many others. Their worlds are populated by kids who lack a mortal enemy, per se, but who still have plenty of internal and external conflict to give the story fireworks and momentum.

Plot is extremely difficult to do well. Hire me as your novel editor, maybe for a Reader Report service, where I will read your entire manuscript and comment on all of its key components, including plot, conflict, tension, and pacing.

Sarcastic Voice in Young Adult Fiction

Here’s a question about sarcastic voice in young adult fiction from reader Kathryn. It’s one I’ve actually thought a lot about and addressed in many manuscripts:

I wanted your opinion on using the same voice throughout a MS. I have noticed with the latest two books I’ve read (by two different authors) that they use the same witty, sarcastic, always-joke-cracking voice. Even in tense parts of the story. What is your opinion of that? For me it broke character and when I am writing the harsher scenes in my book, and I feel like I am going to lose my reader.

sarcastic voice in young adult fiction, YA writing, young adult writing, teen book writing, young adult voice, sarcastic voice in fiction, sarcasm in fiction, sarcasm in YA, sarcastic writing — Talking about creative writing is sooooo cool.

Is Sarcastic Voice in Young Adult Fiction a Requirement?

As you readers know, there is a lot of room on shelves for sarcastic voice in young adult fiction. (Check out this post on writing teenage characters.) But you can’t just give readers a sarcastic, quippy voice and a character who is biting and caustic and call it a day. That’s not all there is to teen voice or teen characters. In fact, writers who think that they’ve made an instant teenager by adding one part extra sarcasm are a big pet peeve of mine.

Another pet peeve of mine is when the sarcasm comes out in inappropriate times or doesn’t feel genuine in a situation or for a character, as with the situation Kathryn is describing. I feel that voice does have to be consistent. And, yes, humor and sarcasm can come together to create a voice. But not all situations do well with humor, quips, or sarcasm.

Tense situations, scary situations, poignant situations, and some scenes actually don’t fit well with sarcasm. Why? Well, think of what sarcasm is and where it comes from.

Sarcasm Has a Place In Fiction

As a teen, I was definitely sarcastic, biting, and witty. But when I think of those times when I was most sarcastic, most mean, or most joke-cracking…what was going on inside my head? I was actually using sarcasm and humor as a defense mechanism, as a wall. If I was uncomfortable or feeling challenged or otherwise feeling the need to put my shields up, I’d be more sarcastic or try harder to be funny than in situations where I was comfortable (unless I was riffing with a bunch of friends and getting all riled up, of course).

For important moments in your plot, I would stay away from too much sarcastic writing. Sarcasm drives a wedge into high stakes and deflates tension. It puts up a wall between your character and your readers. Sometimes, that’s okay. In other moments, though, you want your character to have a genuine, shields-down reaction to events. This way, those events will seem genuinely significant. If your character cracks jokes or shrugs off important stuff, your reader won’t care much about it, either.

Why Sarcastic Voice in Young Adult Fiction Can Be a Problem

For example, here’s some bad use of sarcastic writing:

My dad tells me that everyone in my family discovers some big and important power on their sixteenth birthday. It happened to Grandma and it happened to Dad. And then we’re expected to use it for good and all that junk. I’ll believe it when I see it, and so far, all I see is the great pair of Prada pumps that’s going to be my birthday present tomorrow.

As always, this is hyperbole. But you can see the problems here, right? This character is, more likely than not, about to encounter something life-changing that members of her family are concerned about. Is she scared? Probably. Should she be scared? Probably. But do we know about her fear? No, because the sarcasm is standing in the way of that, and doing a rather shallow job of showing us her true feelings. So this is an instance of sarcastic voice in young adult obscuring something important about the protagonist that the reader should be aware of.

Sarcasm Puts a Wall Between the Character and the Reader

There are high stakes in the situation, or there should be, but they don’t come across in the way it’s described (tips on raising the stakes here). She seems like she doesn’t care, or she’s making light and fun of it. That doesn’t invite us to take it seriously, either.

In important moments — moments when the reader is supposed to care — make the character care, as well. And as every teenager will tell you, sarcasm and humor, especially at tense moments, is a self-defense system designed to scream “I don’t care!” Sarcastic writing has its uses, but it should be used judiciously, with thought to the psychology of how real teen sarcasm works.

Finally, one last pet peeve (I know, I’m full of them today). I am cautious about too much sarcastic voice in young adult or biting humor because I feel like, often, it’s the writer saying “Look at me, look at me, look at me, and how funny I am and how funny my characters are!” This post has dealt with authenticity and when to use sarcasm, but also when to cut back for the sake of being genuine. In the same vein, the sarcasm or humor has to be real to the character, and can’t just be the writer showing off.

Voice is one of the trickiest fiction concepts to nail. But it’s critical when writing YA. Hire me to be your young adult editor and we’ll hone in on a voice that’s both true to the category and to you.

How to Pitch a Literary Agent at a Conference

Reader Elizabeth wants to know how to pitch a literary agent at a conference. Read on:

As an introvert, how do I pitch a literary agent at a conference? I don’t want to be rude or pushy, but I do want to take this opportunity to make connections. I know all the basic stuff, like not shoving manuscripts into people’s arms or under bathroom stalls, and I know that all regular manners apply, as well, but I would love to hear, from the other side, what agents and editors appreciate when talking to aspiring authors. What are you looking for when you go to these conferences, and how do you like to make connections? Do you want to hear pitches, or would you just like someone to introduce themselves and ask general questions? Sometimes I look at editors and agents at these conferences and worry that they are feeling hounded, and that the last thing they want is for one more person to come up and tell them about their manuscript. Can you give me some perspective?

how to pitch a literary agent at a conference, pitch session — How to pitch a literary agent at a conference: strike a balance between being casual and professional, flexible and prepared.

This is a great question. I’ve talked about writing conferences before, but I’ve never had someone honestly ask me how I’d personally like to be approached at conferences. (This is, obviously, my take on the situation, and therefore I can’t speak for all agents and editors.) While my answer isn’t as specific as some might want, I hope it gives you some insight into how I experience conferences.

Agents and Editors Expect to be Approached

When agents and editors go to conferences, we expect to be approached. That’s why we’re there. Lovely conference organizers have flown us many miles to meet their organization’s writers. This is not our time to hide in our hotel rooms or be standoffish. Writers have come to meet with us, learn from us, tell us about their projects, and to, they hope, make an impression.

So I go to every conference expecting to talk to a lot of writers. Writers don’t need to be cautious or sensitive about that. That’s why I’m there.

The Pitch Session

I love almost everything about conferences and hope to do hundreds more over the course of my career. However, I don’t especially enjoy being pitched. There are two opportunities for pitching at most conferences: getting pitched during a pitch session, when the writer has signed up for an appointment with me, and getting pitched randomly, like at the dinner table or in line for the bathroom. Why do I dislike getting pitched? Because a pitch is a writer talking about an idea. All I care about is the execution…the writing (read more here about idea vs. execution). So a day of listening to pitches is a day of hearing ideas. I won’t know if I’ve found a new project or a new writer until I can see their writing and see how the execute the projects they’re talking about.

In most cases, I will request a writing sample — 10 pages and a query, our standard submission request on the ABLit website — after a pitch. Because I need to see the writing. Sometimes, I know that a project is just not for me. A high fantasy that focuses on world-building, is inspired by Tolkien, and that deals with the origins of golf, for example, won’t really be up my alley. I would politely decline to see more during the pitch. But in most cases, I will give the writer what they’re hoping to get: the request for more. That’s the first reason I dislike pitches: most writers are just focused on the request and don’t know that they’ll likely get one.

The second reason I dislike pitches? The bundle of nerves on the other side of the table. Writers freak out, thinking that their two minute pitch session will make or break their career, or they act like robots who have memorized a query and are now regurgitating it. A lot of writers read from actual cue cards, their hands shaking, their eyes glued to the page and never rising to meet mine. They’re so focused on the pitch that they’ll get completely frazzled if I ask a question or interrupt them for clarification. It’s a very one-sided conversation.

How to Pitch a Literary Agent at a Conference

So if you do get an agent or editor in front of you, relax. Impossible, I know. But once you relax, you can actually talk to the other person. Tell them about your book. Ask a question. Talk as well as listen. There’s nothing I appreciate more than a writer who is prepared yet flexible, professional yet casual. Someone who’ll talk to me as another person who loves books, not as someone desperately trying to get my approval.

On numerous occasions, I have quite literally held writers’ hands after they burst out crying from nerves. This is an extreme, but it encapsulates, to me, what’s wrong with the contrived pitching situation. So here are some tips. Don’t pitch for the sake of the request. Don’t just say your piece and then stare at us. We’re people. We’re resources, brainstormers, question-answerers, page-requesters.

Want to know how to pitch a literary agent at a conference? Talk to us.

A strong manuscript is your best asset in a written query or in-person pitch. My book editing services will help polish your project before presenting it professionally.

How to Write a Picture Book Query

There’s a picture book query question that comes up a lot. All of your query letter for picture book questions, answered here!

Melanie phrases the question quite well:

I have a query letter for picture book question about the slush piles. Due to the extremely short nature of the manuscripts do you always read the entire manuscript for picture books or do you base it on the picture book query letter with them? It’s my impression that since whole manuscripts are sent for picture book queries the letter is more of a cover letter, rather than trying to hook interest with a bit of the plot because the entire thing is there with the letter.

Melanie is completely right. Since most agents ask that the picture book manuscript be included in the submission, writing a really meaty query letter, especially for that short a manuscript seems a bit silly. When I see a picture book query done well — and when I write my own picture book pitches, in fact — it’s usually very simple.

Picture Book Query Sample

I’ve had a book by Katie Van Camp and illustrated by Lincoln Agnew called Harry and Horsie on my recommended reading list for a while. It’s an example of a great picture book with an outside-the-box friendship hook. If you haven’t picked it up yet, I’m sorry for you, because you’re missing out.

picture book query, query sample, picture book literary agent — The basis for my picture book query sample.

If I were writing a query for HARRY AND HORSIE, it would read something like this:

Harry and plush toy, Horsie, are the best of friends. One night, Harry is trying out his bubble-making machine when one of his bubbles swallows Horsie and hoists him into outer space! Harry has to rescue his best friend — and go on a wild space adventure — before returning safely home.

A quirky picture book with a great friendship hook, spare text and retro-style illustration, HARRY AND HORSIE is sure to blast your imagination into the stratosphere! This is a simultaneous submission. You will find the full manuscript of XXX words pasted below (or “enclosed”). I look forward to hearing from you and appreciate your consideration.

Easy peasy. No need to write an elaborate children’s picture book query letter. Just present the main characters, the main problem, and the resolution, then work in a hook (“great friendship hook,” above), and sign off like you normally would with a book query letter. This is the perfect query letter formula.

How to Get A Picture Book Literary Agent

The query should be short and compelling. Then just paste the picture book manuscript. If you are an author/illustrator, include a link to an online portfolio where the agent or editor can browse your illustrations (more on how to find a literary agent for children’s books here). Do not include attachments unless the agent requests to see more illustrations or to see a dummy. Be prepared to show additional picture book manuscripts, because agents will frequently want to see more than one. (More thoughts on writing great children’s books, including read aloud picture books here.)

If you’d like personalized help with your own picture book query, or your entire manuscript, hire me as your picture book editor.

Resubmitting to a Literary Agent After Rejection

This is a common question I hear from writers about resubmitting to a literary agent. This version comes from Robert:

When an agent takes the time to write a personalized rejection (always nice of them) praising a manuscript, at least in part, how can a writer know if the agent might be interested in seeing a manuscript revision if offered or if the agent is just being kind? Is there a good way to offer a revision without risking annoying an agent who has already so politely declined?

resubmitting to a literary agent, manuscript revision — Thinking of resubmitting to a literary agent? Make sure you follow these important guidelines.

What Type of Rejection Did You Receive?

Most writers know that there are several types of query rejection (if this is news, click on the link for a post I’ve written on the subject to learn more and what they are). In terms of percentages, I’d say I give about 93% Form Rejections, 5% Personalized Rejections, and 2% Revision Rejections. What leads to a Personalized Rejection? If I’ve talked to you before, if I recognize your name from blog comments, if the writing is almost there, if something about the pitch or the project impressed me and made me sit up and take notice, you’ll get more than a Form Rejection from me. If I came really close to requesting the full but there was a deal breaker in terms of voice or writing or premise, I’ll send a Revision Rejection. These distinctions are important when you’re considering resubmitting to a literary agent.

I have a really strict system in my head (if you have any doubt, see my posts about slush pile secrets and what literary agents want). For me, personally, if I don’t give you a Revision Rejection, it’s not because I didn’t think about it and not because I don’t know that you want one. I did think about it and I know that the Revision Rejection and the door it opens is something that writers want. That’s why I give it so deliberately. If I was giving everyone a Revision Rejection, that would decrease the importance of the RR and, honestly, give writers false hope.

It’s my job as an agent to spot dead-on potential in manuscripts. Am I sometimes wrong? Of course. Do I sometimes miss good stuff? Sure. But the only thing I really have going for me when I approach submissions is my judgment. Good or bad, wrong or right, I have to trust it. And when I ask for a manuscript revision from one writer and not from another, that’s me listening to my gut and making a choice.

Options for Resubmitting to a Literary Agent

So if I don’t ask you for a manuscript revision outright, what can you do? Emailing me immediately to ask if I’d be interested in seeing a revision down the line is probably not your best bet. Your manuscript in its current form, the form I rejected, is still fresh in my mind. I chose not to send you a Revision Rejection. I may not be feeling overly optimistic about the project. An immediate email that proposes resubmitting to a literary agent isn’t going to make them more receptive.

Your other option? Well, you can read a related post about resubmitting after rejection for bigger manuscript questions after a rejection. Or you can just go ahead and do the manuscript revision — assuming that other agents felt similarly and you didn’t manage to land representation on this submission round — and then present me with a query for the revised manuscript months later, when it is new again. (A query, mind you, don’t just send the full, as before.) I much prefer that method of resubmitting to a literary agent.

Take Your Time With Manuscript Revision

I firmly believe that manuscript revision doesn’t happen quickly. It can’t. So much of the revision process is subconscious, and you can’t rush your “back brain.” So make sure you disappear into your revision cave for months and months before trying to present the project as a revised version. Because if you’re getting rejected all over the place, you probably need to do some heavy revision. Something isn’t working. And if something isn’t working, you can’t address that in a week or two.

So if you’re interested in resubmitting to a literary agent who sent you something nice but that wasn’t an outright Revision Rejection, I suggest doing the revision and trying them again, but only after serious time has passed.

Though I’m no longer a gatekeeper, I can bring my literary agent experience to your novel. Hire me as a developmental editor.

Will Agents Only Sign a Full-Time Writer?

Reader Mary asked a good question about writers with day jobs vs a full-time writer. At first, I read it and thought, “That’s the silliest question ever, of course I don’t care!” Then I realized that I was just thinking myopically…and that some writers may not realize that I don’t care, duh, and that you aren’t all mind readers. So it turned into the perfect question for a post!

Do agents sign writers who have other day jobs (and always will), or only full time writers, or writers with day jobs aspiring to be full-time?

writers with day jobs, full time writer — What a writer does with their days — unless it directly relates to the project they’ve written — is of very little concern to most agents.

Writers with Day Jobs: Your 9 to 5 Doesn’t Really Matter

Few published authors succeed at writing for a living. And it’s very rare to be a full time writer before you publish a book (since a lot of the lucrative book deals, the ones that allow writers to become full time authors, are orchestrated by agents who work with large publishers).

So when people are looking to find a literary agent, there’s only a very small chance that they’re already a full time writer. What a writer does with their days or what their day job is — unless it directly relates to the project they’ve written and I can use that factoid to help them build a platform — is of very little concern to me. I have clients who are doctors, who are stay-at-home-moms, who are teachers, who are grad school students. When I signed them up, a question about their job usually came as an afterthought in the initial phone call, the “getting to know you” small talk.

Even well-published authors still fall into the category of writers with day jobs. A lot have jobs that are tied to their other careers as published authors, such as speaker or university professor or editor or magazine writer or English teacher or bookseller. But a lot still have either the drive or the financial need to work at more than being a full time writer.

Having a Day Job Makes Writing Time More Valuable

In fact, I think writers who have to make time for their creative writing practice are often more committed to their writing work. When you have all day to do something, you usually figure out a way to take all day to do it (the constant drama of someone who works at home and can’t afford to take a whole day to do one simple thing). A task stretches to fill the time allotted for it. But when you have to extract rare writing time from a busy work day, it becomes precious, like gold extracted from base metal in the ancient pursuit of alchemy. You focus more, you value your writing time more, you get more done. (Read tips here for finding time to write.)

This isn’t universal, by any means, but I do find that some writers with day jobs who have to struggle to find time to write, even if it’s just at the beginning of their careers, come out a little heartier for it. So no, I don’t care what your day job is. But I respect you all the more for balancing a job, a family, and your writing life as part of the daily grind.

When you hire my editorial services, you have access to the knowledge I accrued in my five years as a literary agent. I’m happy to share that knowledge with my editorial clients, no matter how big or small the question.

Reading for Writers: WRITING GREAT BOOKS FOR YOUNG ADULTS

screen-shot-2010-09-01-at-74143-am To keep up with my other book review this week (and since book reviews are much easier to write when you’re trying to leave for vacation and make sure the blog is all stocked up with posts!), here is another book review, this time of WRITING GREAT BOOKS FOR YOUNG ADULT by literary agent Regina Brooks.

This is, quite frankly, the book I wish I’d written. It covers everything from character to plotting to getting published.

The scope of this book is much larger, so there’s not as much deep focus on the writing craft itself, but you do gain really valuable insights from the publishing world, as Regina contacted editors all across the children’s books spectrum to contribute thoughts and mini-essays on the topics at hand. So not only do you get to hear her take on it, but you get to hear how editors talk and think on the subject, too.

I think Regina’s advice on plotting is definitely worth a read. Since she’s an agent, she takes a more commercial bent in giving writing tips. And this book is specifically geared to people writing for the young adult market, so all of her writing advice squares well with the quirks needs of teen readers and of YA publishing.

I’ve been meaning to crow from the rooftops about this book for a while, and I’m glad to finally be starting up my non-fiction reviews, as this one definitely deserves a shout out. It’s a quick read, with writing advice and even a few prompts to get you thinking. And it comes from an agent, so all of the tips are geared in a direction that will make your YA fiction more saleable. This is a solid resource, especially great if you’re diving into YA and want an overview, but meaty enough where YA veterans will also find depth and new perspectives.

If you’re planning on seeking it out, it was published by Sourcebooks in 2009. The ISBN # is: 978-1402226618.

Reading for Writers: SPILLING INK

review_spilling_ink Now, if you’ve been following the blog for a while, you know that I used to do book reviews, and that I still occasionally recommend books to my readers.

Reviewing fiction is tricky for me these days. As my clients’ books get closer and closer to publication, I’d like to use this space to feature their work, since I’m deeply invested in their success. And so I hesitate to highlight the work of other authors unless I have a great reason to. That makes sense, right? Also, while I never made it a practice to rip books apart (If you’re just going to snark, why bother writing a review? Snark is all about showing off, not about communicating anything to your reader…), I don’t feel like I can be totally objective anymore. What if I have lukewarm praise for a book…and then want to work with that book’s editor? Oops. So I’ve been out of the fiction review game for a while and will stay out, unless I have something to recommend that I’m crazy about and that has a great lesson for writers in it.

However, enough writers have been asking me for book recommendations on the craft of writing that I thought I’d dive back into the review pool a little bit and recommend non-fiction.

On my bookshelves, I have fiction, picture books, graphic novels, and then a whole shelf of books about writing, both inspirational and informational. I think a shelf like this is essential to any writer or publishing professional. Not only do you want to read great writing, you want to read great things that smart people have said about creating great writing. So I’ll start writing recommendations for these types of books, since they’re so important. SPILLING INK by Anne Mazer and Ellen Potter (with illustrations by Matt Phelan) is the newest book on my writing non-fiction shelf, and I absolutely love it.

You may be thinking, “Illustrations, eh?” Yes. This book is actually geared toward kids and teens who want to write. It’s touted as “A Young Writer’s Handbook.” But since we know that stuff geared toward kids and teens is just as rich and complex — and almost always more fun — than stuff geared toward adults, this book is a must read for writers of any age group.

Anne and Ellen gloss over a lot of the really nitty-gritty writing stuff, like POV definitions and fancy pants MFA terminology, but they really do strike at the heart of character and plot. And, best of all, they are personal counselor and mentor and cheerleader, rolled into one. Anne Mazer and Ellen Potter are widely published and beloved children’s book authors, both of them, and they pepper these pages with their own experiences, both uplifting and disappointing. It feels like they’ve opened up their hearts and their writing salon to aspiring writers, and they’re sharing the best and the most challenging of what they’ve learned on their writing journey.

The style of the book is warm and encouraging and effortlessly candid. I read it in one sitting and wished I had a crate of these to give away and to send out to all of my novel-writing clients. Not that my clients need a How To manual, but I’m convinced that every writer, no matter what level, will glean something from this charming book, even if it is the refreshing feeling of two new writing friends, Anne and Ellen, rooting for you from behind this bright yellow cover.

Check it out today and stock, or start, your own writer’s bookshelf. If you’re seeking it out, the publisher is Flash Point/Roaring Brook, it came out in March, 2010, and the ISBN # is: 978-1596435148.

Querying Multiple Projects: Should You Send a Slew?

Here’s a question about querying multiple projects from reader Siski:

Is it worth providing an agent with a synopsis of several manuscripts so they can assess you as an author, rather than assess you in terms of one manuscript? Would that make rejection less likely? Or will an agent be able to see what you’re capable of from just one MS and therefore wouldn’t want to know of others?

querying multiple projects, multiple submissions — Do you have a backlog of writing and are wondering if you should send multiple submissions when you’re querying?

Multiple Submissions: Yes or No?

I get this question a lot at conferences and through the blog. Should you consider querying multiple projects or charge into the great query yonder with just one project at a time?

I’m very adamant about my answer: send only your absolute strongest project out. No ifs ands or buts. I don’t care if it’s a ten word picture book. If it’s your strongest work, that’s what you should show the world. In most cases — especially with picture book manuscripts, but this could apply to novels, too — having a really great, strong submission will either get you an offer or at least get your foot in the door.

After the communication lines between you and the editor/agent are open, you can broach other projects. Or the agent/editor may ask to see what else you have. But the time for that is AFTER they show interest in your initial blow-the-door-off-its-hinges submission.

The Drawbacks to Querying Multiple Projects

When we get multiple submissions from a writer, either in one email or in twenty, we’re overwhelmed. We’re annoyed. We wonder why you have those twenty manuscripts sitting around on your hard drive and, yes, why you’re querying multiple projects in one big deluge. It also makes us panicky. Do you want us to sell all twenty of those for you right off the bat? Are your expectations completely unrealistic?

So be patient. Really take a long, hard look at all the projects you have to potentially offer an agent/editor. Choose your favorite, the one you feel is most marketable or the one you’re most passionate about (ideally, it will have both of those qualities!). And send that one as a way to engage the editor/agent into asking for more. That’s the right way to do it. Sending your entire slew will have the opposite effect — you’ll get that agent/editor shutting the door of opportunity in your face instead of opening it wider. And if you’re one of those lucky writers who has oodles of completed manuscripts lying around, check out my post on multiple queries to multiple agents for additional advice on submitting your work.

Not only am I a book editor, I also work with writers as a writing career and publishing strategy consultant. If you want some in-depth questions answered, one-on-one, let’s connect.

International Settings in Fiction and Books Set Outside the US

This question about international settings in fiction is one I got on the blog a few months ago. It’s about writers who either live outside of the US or books set outside the US, or both:

How do editors and agents feel about writers from other countries? I live in Canada and write using Canadian spelling and grammar. My latest young adult story is set in Canada so I have kept to the Canadian standards. However, I’m afraid that agents will see that and wonder whether or not I know basic grammar.

Do American agents consider the location of the story and/or it’s author when reading a manuscript? Do they require American spelling and grammar? Would an agent in the states consider taking on a story set in another country or would they prefer to change the setting to an American city?

Feel free to pull us into another location, but writing books set outside the US has a few unique considerations.

International Settings in Fiction, and the Far-Flung Writers Who Craft Them

I get this question a lot, actually. And some people may not love the answer, though it isn’t coming from my personal beliefs. I’m talking about international writers and books set outside the US and how they are perceived in terms of marketing a manuscript to agents and/or editors for the American audience. I’m not giving my own personal views about how the world should be. I’m not making commentary on American culture. I’m not saying that this is the only opinion on the issue. But an undeniable bias exists toward American settings in today’s kidlit. That is a fact. (How do I feel about that personally? That’s not what this post is about.)

If you want to shop your international settings in fiction it in the American market, or write as an international creator for the US market, adhere to American grammar and spelling standards. I see tons of submissions from around the world and am very familiar with what is standard usage in other countries. I give writers the benefit of the doubt and assume they know basic language rules, so don’t worry about your Canadian usage branding you as illiterate in our eyes.

However, I also know that you will have to adhere to American standards if you manuscript is acquired in America. The best way to avoid heavy line editing later on is to Americanize your manuscript before you submit to American agents or editors. You know what’s coming … just get it over it.

I see a lot of Canadian writers. They usually set a story in the place they know best, usually their Canadian hometown. However, international settings in fiction for novels published in the American market usually tend to be more … exotic. The novel by P.J. Converse, SUBWAY GIRL, out from HarperCollins, is a romance intertwined with the bustling subway lines of Hong Kong. The Stephanie Perkins romance, ANNA AND THE FRENCH KISS, out from Dutton this fall, is set in … bien sur … Paris.

Books Set Outside the US: Canada Edition

Not to offend our dear friends up north, but for Canadian settings, I have to ask: is it 100% essential that the story is set in Canada? Is the Canadian setting absolutely crucial to the story? Does the whole thing fall apart when you take the story oot of Canada? I’m not sure American kid/teen readers will understand the nuances and glories of Canada.

It doesn’t have the sexy allure of France or Brazil or Morocco in American popular culture. I read a lot of children’s literature and have yet to come across a pocket of stories set in Canada. Now, I don’t know if that’s the setting’s fault or if I’m not reading the right books or if it’s a self-fulfilling prophecy, but the general lack of Canada-centric books in the US kidlit market makes me a little less eager to submit project set in the Great White North (unless the Canadian setting is absolutely imperative to the action of the story, as I’ve mentioned, and the book is completely amazing, of course).

International Settings in Fiction Must Be Essential

The setting has to be absolutely instrumental to the story. Novels are about choices the writer makes. If you’re just setting something somewhere just because, that’s not a strong choice. If you set a story outside of the average American reader’s frame of reference and you want to publish in the American market, one or both of the following must be true: first, it must be a location that the reader will be thrilled and excited to vicariously visit (think about action movies…they’re always set in some exotic world destination), second, it must absolutely be crucial to the story. You can’t have a Mayan story without some mention of Mexico, for example. (This is the same advice I’d give for historical fiction in children’s books, by the way.)

This is a tough market. Editors don’t care where you’re from, but they do care about your work being able to attract the maximum number of readers. If you want to publish in the US market, your best, strongest bet, would be to cater more to American readers in terms of location and grammar/spelling. I believe in giving your work the biggest possible chance at publication, and if you can make these changes without wrecking your story, it might be smarter.

Either way, I don’t think a lot of agents will penalize a writer for being located internationally or for writing international settings in fiction right off the bat. It’s all about the writing and the story, at the end of the day.

Struggling with details of your novel, like setting, character, plot, or voice? I work with clients every day as a developmental editor, including many writers based internationally who are looking to publish at home or in the US market.