How to Present a Book Pitch

If you attend a writer’s conference, you’ll probably have the opportunity to schedule an agent consultation and present a book pitch.

Consultations work like this: writers sign up for a time slot (3 minutes, 5 minutes, 10 minutes, etc.) with an agent or editor at a specific appointment time. At other conferences, there’s a free-for-all where agents and editors are just sitting at tables and writers have a certain amount of time to pitch them before a bell rings. Whether it’s run with appointments or in this “speed dating” style, the two scenarios have one thing in common: me, sitting behind a table, listening to book pitches.

And once you hear writer after writer pitch, you learn a few things about how writers pitch. Here’s a quick list of do’s and don’t’s in case you’re wondering how to pitch a book.

Book Pitch Do’s

Do present your story quickly and don’t go into unnecessary detail.
Do leave yourself wide open to answer questions should the agent or editor have them… don’t be so blinded by rattling off the book pitch you’ve memorized, because you’ll miss the parts of the story that raised questions from your audience… and questions can give you valuable insight into what about your pitch worked or not.
Do answer questions and try to think of it as a conversation, not a monologue.
Do give yourself time to hear the agent or editor out afterward, don’t talk for the entire time.
Do bring a card or some materials with you, just in case.
Do take notes while the agent or editor is talking, you’ll likely be nervous and won’t remember what they said unless you write it down.

Book Pitch Don’ts

Don’t interrupt an agent or editor’s question if it comes in the middle of your pre-rehearsed speech, keep an open mind.
Don’t try and make an editor or agent request the project, especially if they say it’s not a fit.
Don’t make the editor or agent take any of your materials. It’s good to bring them but lots of people don’t take stuff home… respect that wish.
Don’t be nervous or read the whole time… talk naturally and make eye contact… try not to read from cue cards or notes too much… it’s YOUR STORY… you wrote it… you know it.
Don’t make ME read anything. I personally cannot read in a consultation environment. It’s loud, there’s too much going on, I can’t concentrate. I always like to read samples later, when I’m in my own environment and can concentrate. You can ask me to skim something or to look over your query letter, sure, but don’t ask me to evaluate your writing on the spot. First, I personally have very little control over my face and can’t hide my emotions well. I hate reading in front of writers because I know they’re scrutinizing my face for a reaction. If their writing is bad, I don’t want to make a funny face and offend them, so it’s best not to put me in that situation. The only thing I can ever tell when taking 2 minutes to look at a writing sample is whether it’s good or not, but I would never just tell a writer that judgment because a) everything is subjective and b) saying “this is good” or “this is bad” isn’t helpful at all.
Don’t put so much pressure on yourself.

It All Comes Down to the Writing

This last point is really important. Folks, here’s the dirty secret…pitching a literary agent tells us NOTHING about your writing. Pitching and writing are two very different things. You could have the worst pitch in the world but your novel could be amazing. Or you could have (as is more often the case) a crackerjack book pitch and a lousy, boring novel. So my decision to represent you won’t hinge on your pitch. Heck no. It hinges on your writing.

And I always ask for you to send me a writing sample (unless the project is obviously not for me). You can stop worrying about “making me” request it. So don’t freak out about the pitch. We’re just two people who love books, talking. We have lots in common already.

A consultation is just your chance to get some agent feedback on your book pitch, to hear some questions and reactions about your story, a chance to ask an agent or editor a burning question, and practice for talking about your writing to publishing people. It’s no more complicated than that, so don’t make it into a panic attack. I think this is the healthiest attitude a writer can have when presenting a book pitch.

ETA: For more information on “pitchcraft,” a term trademarked by literary agent Katharine Sands, please pick up her very helpful book MAKING THE PERFECT PITCH, an invaluable guide to writers.

Need a query letter editor? I’ve seen tens of thousands of queries, and I can help yours stand out in the slush pile.

Learning From Failure: When Your Agent Doesn’t Sell Your Book

We’re going to discuss learning from failure. What do you do when your agent doesn’t sell your book? This is a bit of a controversial question. And I think this is a very important issue that many writers don’t think about. Kristin asks:

Lately I’ve been reading some blogs written by authors out on submission, and they talk about how landing representation was only the first of many hurdles. I am wondering, do you have any sense of how many AGENTED writers never go on to get published? Either with their first project or succeeding ones?

when your agent doesn't sell your book, learning from failure, — Securing agent representation is just the first of many hurdles. What do you do when your agent doesn’t sell your book? Let’s discuss learning from failure.

Getting Agented Doesn’t Guarantee Publication

While I can’t give exact figures on the “when your agent doesn’t sell your book” scenario — nobody can, I don’t think — I do have to say that getting agented does not guarantee that you’ll be published. This is something writers don’t usually consider. After all, getting good enough to snag an agent is a huge task in and of itself. After crossing that hurdle, a writer wants to rest on their laurels, bask in their success, and sign a book contract already. Right? Well, sometimes, sure. But getting an agent is the first step in a long, long process, and you need patience and tenacity to see it through to the end.

First, revisions have to be done. Writers usually have no concept of what an “editor ready” manuscript looks like. Then, the agent must go out on submission. Then, editors might have their own revision ideas, if they don’t end up biting on the manuscript. That means learning from failure and going back to the project’s drawing board with the author. All of this might happen before contract. Or the manuscript could get flat-out rejected by publishers (dealing with rejection? Here’s some tips). It’s too quiet. It’s too flat. It’s too one-dimensional. The voice didn’t grab me. There’s something similar on our list. I don’t know if I can position this in a crowded marketplace.

Learning From Failure on the Journey to Publication

All the same rejections you’ve gotten from agents, basically, but now your agent is the one getting them and (if you have the stomach for it) passing them along to you. And even if “when your agent doesn’t sell your book” isn’t among your problems, there are a million things you have to worry about once you sign that publishing contract. The editor wants significant changes. Copyedits are due yesterday. Oh, your book came out and it’s not selling. Returns are coming in. People don’t show up to one of your events. You need a bigger web presence (learn more about social media for authors). You’re getting bad reviews on Amazon. People on Good Reads think something about your book sucks. Your editor hates your second book. Or whatever. Not to depress you, but the journey to publication and past publication is FULL of hurdles. It’s set up for a track meet, in fact. Again, you need patience and tenacity to make it through the race and find ways of learning from failure. But that’s for another post altogether… (By this point, though, you will likely have an agent to support you and strategize with you. They’ll be your coach or running partner, to extend a bad analogy.)

When Your Agent Doesn’t Sell Your Book: My Own Experience

I don’t usually talk about my own writing here, but “learning from failure” is an issue close to my heart. You see, I know, firsthand, that agents are not a magic bullet. As I’ve mentioned elsewhere on the blog, I was an agented writer at one point. That summer, when I got my first offer of representation, I was ecstatic. Then I got five others. Six offers! A few editors started looking at my (old) blog and emailing me, soliciting my submission. My manuscript went on simultaneous submission in the UK, so it was out with at least 20 publishers all over the world. Surely, with all that excitement and enthusiasm, it would sell. Right?

Well, no. It didn’t. Looking back on it now, I realize it was not as strong as it needed to be, writing-wise. It wasn’t “editor ready.” And I had gone with an agent who had limited experience in the kidlit market. Nothing against her, of course, but I don’t know if we did the strongest revision possible together. Something that would’ve made it irresistible for the YA audience. I sure as heck didn’t know what I was doing in that regard! A more kidlit-savvy agent might’ve challenged me to aim higher. Or I landed an agent when I wasn’t ready, as a writer, because my revision toolbox wasn’t full yet. But enough people wanted to sign me that I thought I was home free. (If you’re a kidlit newcomer, see my post about what literary agents do.) So it went out on a huge submission and… nothing. About a year after that, I was starting to work in the publishing field and, until I figured out what was and what wasn’t conflict of interest, I decided to play it safe and part ways with her (advice for changing literary agents here).

Nothing is Certain in Publishing

But I always keep this hard-learned lesson with me… nothing is certain in publishing. I’ve signed up projects that I was THRILLED with… but they didn’t go on to sell. I’ve sold things that I wondered about initially. Part of the process is tenacity and a polished manuscript and a passionate agent… and the other part seems like good luck and fairy dust and matching the right thing to the right person at the exact right time… something that feels about as mysterious as alchemy.

An Agent Isn’t a Magic Bullet, But They Do Improve the Odds

Even if you’re in a “learning from failure” situation where your agent doesn’t sell your book, it’s important to remember than an agent is a valuable resource, and I’m not just saying that because I am one. 🙂 We help give writers perspective, we resurrect fallen spirits, we give hope and guidance and editorial advice. We work to make those connections and to match those manuscripts to, hopefully, their future editors. But we can make no guarantees. So while I can’t say, with certainty, what the numbers are, I will say that there are probably more published authors who have literary agents, statistically, than unpublished authors. And, when adding an agent to the mix, an unpublished author has a much higher chance of becoming a published author. But that’s about as far as I’m willing to take it. And, again, I think it depends a lot on the strength of your agent. Are they a specialist in your chosen field? Do they have the tenacity to keep trying if round after round of submissions fails? Will they stick with you for more than one project? Will they talk about your career and tell you which projects are worth pursuing and which ones, frankly, won’t sell? In this unpredictable market and with the mercurial nature of publishing, there are many more factors in play than just signing that agency agreement and calling it a day!

As a former literary agent, I know what agents and editors are looking for in a manuscript. When you invest in my novel editing services, I’ll help you get over the very first hurdle of having an agent-worthy project to submit.

Using a Freelance Editor

Here’s a question I got from Katie recently about freelance editing services and using a freelance editor:

I was just wondering if you recommend getting freelance editing services and getting one’s manuscript professionally edited? Do you think this would help the revision process or have an effect our our growth as a writer? What are the advantages/disadvantages to a book editor and can agents usually tell if a manuscript has already been edited professionally before? Are there any editor services that you recommend? If an editor does scouting for certain agents do you think this could help the writer get one foot in the door?

Aerial view a woman using a retro typewriter

Using Freelance Editing Services

There are a lot of reasons to use freelance editing services and a lot of points in one’s writing journey when a freelance book editor could come in and help the writer to the next level. Some writers hire freelance editors at the beginning of their learning experience and give them a very early novel. Other writers hire a freelance book editor after several drawer novels and for the final draft of something they really think, after stumbling around for a while in the dark, might be The One. Some writers don’t hire freelance editors at all.

My thoughts on the subject are a little … complicated. Especially since I work as a freelance book editor, and have for the last five years, since leaving the literary agenting world. First of all, I have to say that there are a lot of wonderful writers and publishing professionals who either make a career in or supplement their income with freelance editing. Their talents are many and their insights are deep. However, I would not point all writers to freelance editors.

Considerations for Hiring a Freelance Editor

First, here are the types of writers who might benefit from the services of a freelance fiction editor:

Writers who can handle constructive criticism (working with a freelance editor, as Katie guesses, IS a great learning experience)
Writers who haven’t managed to find a good critique solution despite trying
Writers who don’t work well in a classroom or workshop environment
Writers who are starting out and want to strap rocket boosters on their learning curve
Writers who are so stuck that their loved ones fear for their sanity
Writers who are so close to a good, publishable manuscript, and know it, and want a more complex and professional opinion on the whole thing before querying or submitting

Then there are the types of writers who might not benefit from a freelance editor:

Writers who cannot handle critique or constructive criticism
Writers who have never been in a critique or workshop situation before
Writers who just want to give their manuscript to someone in the hopes that it’ll get fixed for them
Writers who don’t intend to learn during the process
Writers who want someone to decide, once and for all, if their book is saleable or not… Not everyone will have the same opinion of this and, unless your editor has had significant experience in publishing, do not ask them to make this call
Writers who don’t vet their freelance editors… Not all freelance editors are created equal… Ask for references, talk to them to see if you’re a fit, and don’t go with the first one you see…

The Caveat About an Independent Book Editor

Here is why I say I don’t want to send all writers to freelance editing services. And here is why, even if you get your book professionally edited, it might not be a magic bullet for the thing selling.

There are no guarantees, not even if you hire the country’s best, most expensive book doctor. The danger is this: Revision is the most important skill, after writing, that a writer has in their toolbox. Until you learn to revise successfully, I say you’re not ready to be published. (Check out some great revision techniques here.) An editor will edit you and give you suggestions for revision, but then it’s up to you to turn out the finished manuscript. If you like getting edited and lean on an editor for every manuscript… which is a very real thing that happens… you might not be learning the critical skills you need to see your own work with an editorial eye. And those skills are essential. You’ll be getting great advice, but you’ll be short-changing yourself. Revision will be your blind spot and, these days, it simply can’t be.

Another issue here, which I hinted at above, is expectation. Freelance editing services are expensive. And good freelance editing SHOULD BE expensive. This isn’t something to cut corners on, if you go this route. With expense comes the expectation that you’ll really get something out of it (in this case, a publishable manuscript). But do remember that the final burden is on you. You can get notes until you’re blue in the face, from teachers, critique partners, freelance editors, but it’s up to you and you alone what you do with them.

That’s why, to answer another of Katie’s questions, agents can’t really tell if a book has been freelance edited. When I was a literary agent, I didn’t spent time trying to guess … authors tell literary agents if they want to. It’s really what the writer does with the notes that ends up in my inbox, and if the writer can’t revise, or they take their revision in an unsuccessful direction, or they just didn’t have that strong of a manuscript to begin with, it’s an unpleasant surprise to hear that they’ve been edited already. There really is only so much even the best freelance book editor can do with a bad manuscript… they’re not God. It makes me wonder what kind of mess the writer had before the editor stepped in. On the other hand, if I see a clean, tight, and polished manuscript that has been freelance edited, I might be more wary of the writer’s revision skills, since I don’t know how much is them and how much is the editor they hired. It’s not a deal breaker, but I do want to see if they can revise with me, just to get a feel for how they do on their own.

As for working with editors who scout for literary agencies — a common practice — sure, that’s a way to get in the door. If your editor is good (see above) and well-connected, it could lead to a recommendation to an agent… but there are less expensive ways to get an agent’s attention (namely, writing an awesome book and querying or going to a conference) than hoping for an elusive recommendation.

Freelance Editing Services Are a Personal Decision

Those are just a few thoughts on this very complex subject. Like I said before, I think freelance editors are some of the hardest working and more under-appreciated people in publishing. They see a lot of messes. They labor quietly behind some great successes. They think and critique and inspire. But they’re not for every writer. The decision to hire one, when, and for which manuscript, in your writing career is a very personal one.

If you’ve read this advice and are ready to hire a book editor for manuscript critique, let me throw my hat in the ring for consideration. I’d love to work with you.

Resubmitting After Rejection: What Next?

Here’s a question from Michele about resubmitting after rejection:

What is a writer to do when and agent really enjoys their work but passes? Obviously a form rejection tells you you’re way off the mark. If you are rejected because of an issue with the writing you can look at fixing it. But a rejection because the agent doesn’t connect with the story leaves a lack of direction. Do we leave our work as is and search for other agents? Do we assume the MS isn’t marketable and scrap it? Do we consider submitting other another Ms to that agent in the hope it will be a better fit? And, if we did submit to that agent again (and got accepted) would he/she pitch the stories the he/she already passed on? If the agent works for a house we really respect, do we query a different agent there with a future MS because they might be more passionate about our work?

resubmitting after rejection, story feedback — Rejection is hurtful, disappointing, and frustrating. What do you do when you’re left with a lack of direction in your writing life?

Rejection isn’t just disappointing and hurtful, it’s frustrating, too. The writer is left with very little direction, as Michele so astutely points out. If the writer goes back to the agent with a question or a request for more detailed critique, the agent will usually decline to elaborate or not answer the email. We simply don’t have the time and energy to give personalized story feedback to everyone who wants it. So what’s next when you’re considering resubmitting after rejection?

Should You Revise Your Work After Rejection?

I’ll address Michele’s thoughts in order, starting with the first two. After an agent fails to connect with the manuscript, do you submit to other agents or do you scrap the MS and call it unmarketable?

When we submit a client’s manuscript to editors, we often get detailed story feedback. If we made our client do a revision after every rejection, the client would feel jerked around, it would take forever, and there’d be no guarantee that the editor who offered some thoughts would go on to buy the project. It’s exactly the same here. I personally submit to smaller rounds of editors to see if we get some of the same story feedback over and over. If we do, I can guide the client on a revision before submitting to other editors (or editors who wanted to see a revision). I suggest you do the same. Send to a group of agents and see if they all say the same thing. If they do, maybe think about revising. If they all hate it, try another group or, yes, it might be time to consider how saleable your work is. But do bounce it off several people before complying with an agent revision request or making the drastic decision to give up on that manuscript. There are so many tastes and opinions out there that letting one person’s rejection decide these questions isn’t the smartest thing to do.

Should You Try Resubmitting After Rejection?

As for resubmitting to a literary agent after rejection (or another agent or editor at the same agency or house) with a different manuscript… I say you can try, but only after some time goes by and you really hone your craft. We really do get annoyed hearing from writers we’ve just rejected, if we rejected them because of basic writing issues. We’re going to think their new writing has the same issues, because so little time has passed since we saw those issues in a previous piece. Michele astutely wonders, also, if resubmitting after rejection and then securing representation means we’ll have to represent the previous project, too.

This is a sticky situation. I firmly believe that all writers are on a path toward improvement. So I never swear off a writer just because they’re not “there” in their craft, their ideas or their execution just yet. You never know. Everyone starts somewhere and then they go on to grow and learn and really impress people. That’s why I’m always going to at least look at a project from a writer who I’ve read and rejected before. If I do end up offering representation to them after time has passed and after they send along a different project, we’ll talk about their previous project. In most cases, writers who improve a lot tend to hate their previous work because they can see all the flaws in it. I can’t stand to look at most of the things I’ve ever written because I know so much better now. If the client wants to pursue it, we’ll look at it together and see if it’s viable. If it’s not, I am under no obligation to represent a client’s past work and drawer novels because I put my name and reputation on the line with everything I send out to editors, too.

If You Do Resubmit…

If you still want to work with the same agency or house but want to try another editor or agent there, do make sure that you’ve done significant revision. And wait until you’ve heard from all the other agents and editors who you have submissions out with. One of them might have story feedback for you. If you’re really set on working with a particular company and they’ve already rejected you once or twice, really do put everything you’ve got into that next submission, since you may not have that many more chances. And, as always, patience is your #1 asset when you’re resubmitting after rejection.

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

Why Gloating Doesn’t Work On Me

This has only happened a few times to me personally, but this is the email I hate getting the most from a writer who I’ve rejected:

Dear Idiot (they usually use my name but this is the subtext),

I just want you to know that I got offered representation for the project you so viciously rejected and my new agent just sold it for big bucks.

HA HA HA! Go cry now, you sad little agent. (Again, usually implied instead of stated outright.)

Sincerely,

Suzi B. Writer

I just don’t understand this impulse. Sure, I rejected the project. Sure, that probably didn’t feel good to the writer on the other end of the email, but look! They found someone who loves it! They found someone who was able to sell it in this challenging marketplace! Congratulations!

Every book sale is good news to me because that means editors and publishers are still acquiring new talent. That doesn’t mean there’s one less book sale available for me to grab, that means there’s one more book hitting shelves, one more editor gainfully employed, one more publisher making an investment. That’s great news!

Suzi B. Writer, in the example above, is laboring under the false notion that I’ll… what? Fall to my knees and curse myself for rejecting her? No. I reject most things because they’re not a fit for me. Because I don’t see how to position the project in the marketplace. Because I can’t get through it once, let alone imagine how I’ll read it three, four, five times, or even more than that, while the writer works on revisions. And I reject things, always, with the caveat that the next agent might completely fall in love with them. And that’s great for everyone involved, me included. What else does the writer hope to accomplish? Me seeing the error of my ways and begging to represent them? No. The book’s already been sold. And besides, I’ll stand by my rejection and think that the project still wasn’t a fit for me, personally, because I give everything that comes into my slush careful consideration.

So I just don’t get it. Instead of celebrating the success of your project and your dreams coming true, why sit around and rub your book sale in other people’s faces? In publishing, it helps to have a good, grateful and generous attitude about everything, even if things don’t always go your way. It’s very much a difficult and emotionally draining business and there’s already enough negative energy about it, what, with rejections going around all day long. Don’t add to the pile by being anything less than kind and positive in your dealings with other writers and publishing professionals… especially if you’re going to be stepping up to the plate as a published author soon!

How to Approach a Literary Agent and Interpret Submission Guidelines

This answers a question that both Haylee and Siski asked a while ago, about how to approach a literary agent when you’ve got several projects kicking around your desk, and what to make of submission guidelines. Lots and lots of writers have multiple projects that they’ve completed. This is even more true for picture book writers, who may have 20 or more manuscripts. If this is the case for you, read on.

How to Approach a Literary Agent When You Have a Lot of Ideas

The problem is, if they are beginning writers, those 20 manuscripts likely have some of the same issues. If I look at a manuscript that someone has queried me with and it lacks a strong character, for example, or a strong plot, or the voice is wrong, or there’s a lack of active language, or there’s no scene setting, seeing that the author has 19 more, hot off the press and ready to go, isn’t going to be a draw for me. Plus, if a writer is sending me that much, they’re not following submission guidelines. If they were all written around the same time, or even before the one I’m looking at currently, they’re likely suffering from the same issues as the first manuscript. (Querying multiple projects is quite a problematic way of how to approach a literary agent to begin with. Learn why.)

Every time you sit down to write, you are getting better. You’re learning. Sometimes it takes writing an entire novel-length manuscript to teach you a valuable lesson about your own craft. And sometimes, that lesson won’t get published. Sometimes, in fact, it takes five manuscripts, ten manuscripts, twenty, for you to feel your way around the novel form. The same is true for picture books. In fact, it’s even more true. Picture books are deceptively simple and it is awfully hard to make a great one (tips for writing a picture book here). Lots of people think otherwise, and happily churn out an entire slew of drafts. I think it’s more reasonable to see your early work and your early, prolific output as more of an exercise rather than a finished product. As such, I don’t want to see all of your exercises in my inbox. Per my submission guidelines, I want to see your single stronger project at first any way. Some practice is better left for your eyes only.

Submission Guidelines for Prolific Writers

If you get the itch to query and you’ve got multiple projects, query with your absolutely strongest one. I read thousands and thousands and thousands of queries and manuscripts. I can tell where an author is from looking at their work. Not every project — especially not the ones you wrote when you were still beginning and figuring things out — will sell. Show me only your strongest work. (Read here for more on a successful query.) If I’m considering taking you on, I’ll be asking about your future projects and what else you have in mind, since those will more likely be even better. I will very rarely say, “Hey, do you have any problematic drawer novels I can sell?” unless you are a 12 out of 10 genius. Wondering how to approach a literary agent? With your best work, period.

Agents really dislike it, actually, when people send a stable of their work on first contact. I wish that was featured in more submission guidelines. Pick the best one. If I want to see more, I’ll ask. This is especially pertinent to picture book authors. If I like the project they query with, I always want to make sure they have at least two more that I love before I take them on.

Bonus Tip: If you query an agent and get rejected, wait at least 6 months before querying them — or anyone — with a different project. Some submission guidelines even say that. Per my thinking above, the new thing you send me is most likely going to have the same issues that I noticed when I just rejected your first project. If you send out a project and it garners lots of rejections and little personalized or positive feedback, the cure isn’t jumping back into querying with a different project. The smarter thing to do would be to go back to the drawing board for a while and work on craft.

If you have a lot of projects on your plate, let me help you zero in on the ones with the most potential, especially you picture book writers. I guide writers through bigger picture questions all the time as a book editor.

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Coping with Writing Rejection: Grow a Thicker Skin

It hasn’t happened to me yet, but I know that I’ll get ragged on for telling people the truth about writing rejection, as I see it. Writers are sensitive beings. I say some pretty harsh things. Like that you’ve got to write a million bad words before you can start writing seriously. Or that it’s easy to get published…after writing a great novel. Some of these things are not fun or easy to hear. I’m sorry for that, but I’m not sorry I say them. Why? Because they’re true.

writing rejection, confident writer — Writing is tough going. Develop a thick skin, learn how to take criticism and writing rejection, and keep writing every day.

Writing Rejection is Hard Because Writing is Hard

Writing is a difficult, solitary, extremely personal thing. People spend years of their lives pouring their souls and creativity into a project. I’m acutely aware of that fact every time I sit down to read slush. Not only am I rejecting a particular manuscript, I could be rejecting years of a person’s life. I have the potential to reduce a confident writer to one who’s riddled with self-doubt.

It’s a tremendous responsibility and an amazing act of trust. I don’t take it lightly, even if I do make jokes about bad queries or the slush sometimes to keep things lively on the blog. Many of my friends are writers. I make a living by working with writers. I write myself. I have the highest respect and reverence for both writer and the written word. And that’s exactly why I dish out the truth, even if it sometimes sounds harsh or callous.

Check Your Ego

The biggest thing that stands between a writer and their own success is their ego. A critique group can flourish on the idea of positive reinforcement. Unpublished writers sit around complimenting each other for hours and tiptoe around the problems. You may feel good, and you may feel like a confident writer, but you don’t learn or grow. You don’t go through that horrible revision that makes you want to eat a gallon of ice cream every five minutes. A lack of writing rejection or criticism means that nobody learns and nobody gets published.

It’s very difficult to divorce yourself from your writing, since writing is so deeply personal. However, writing is personal, yes, but the business of publishing isn’t. Divorcing the two in your mind is the only way to grow and learn anything. Feel free to have that “I’m a genius and nobody else understands me!” moment. But don’t get stuck there. The fact of the matter is, there are many aspiring writers out there who are constantly honing their craft. Don’t get behind just because you’re afraid of a little criticism. (Don’t follow all criticism and change everything about your work for other people, of course, but that’s for another post…)

The Facts About Being a Writer

Here are the facts, as I see them: Not everyone who wants to will get published. A lot of people’s writing is mediocre and will most likely stay that way because nobody has ever told them it’s mediocre. Some critique groups are more harmful than helpful because everyone is afraid to actually, you know, critique. Not every book deserves to be published… in fact, many writers practice with two, three, five, ten manuscripts before they ever start to see a positive response from agents or editors.

It’s tough going. Really tough. It’s in your best interest to develop a thick skin, learn how to deal with negative criticism and writing rejection, separate yourself from what you’ve put on a page, learn everything you can about the industry, get realistic, and keep writing every day. Don’t fall into the trap of being the confident writer who thinks they’re beyond learning. Writing is a never-ending learning curve, a constant uphill climb.

The one-in-a-million publication stories are the ones you hear because they’re glamorous. Most people get published through the tears, snot, spilled coffee, midnight breakdowns and rare moments of joy that comprise a long time spent chasing a dream. It’s not terribly sexy, nor is it quick. But that’s how people make it and that’s the truth.

Writing Success Isn’t An Accident

You come to this blog to learn things from the perspective of someone who sees thousands of queries, reads thousands of manuscripts and meets thousands of writers. Unlike well-meaning critique partners or clueless friends, it’s not in my best interest to sugarcoat. But I will tell you that books sell every day and that dreams do come true. When they do, though, it’s no accident or luck on the part of the writer, agent or editor, it’s hard work, determination and the hard-earned reward at the end of a long road. They’ve moved forward even after experiencing writing rejection. Unless you’re Stephenie Meyer, as this funny op-ed from agent Stephen Barbara recently pointed out. But that origin story is taken, so it’s time to find your own.

If you’ve experienced writing rejection and are ready to dig in and learn, I would love to be your fiction editor. I provide constructive criticism to writers of all levels, from those who are on their first manuscript, to those who are on their tenth.

Why Good Writing Gets Rejected

I know you’re all wondering, dear blog readers, so here we go — I’m going to address why good writing gets rejected. It has happened many times that I get a great story, full of believable characters, with good voice, and one that’s well-written. Sometimes I jump all over it and offer representation. Other times, though, I hesitate. These end up being the most difficult decisions for me. Why do I hesitate? Because this is the thought in my head: I really like this, but can I sell it? This, my friends, is why manuscripts get rejected — even when agents love them.

In other words: Is there a larger market for this? What do I think? Will publishing houses agree with me and buy this?

Why Good Writing Gets Rejected: Is There a Market for Your Story?

And this is a very difficult thing to say for sure. TWILIGHT was rejected by a dozen or so agents because, I bet, most people didn’t see a market for teen vampire romance. They were wrong. Very wrong. This is one reason why manuscripts get rejected — the inability to predict unpredictable market trends. If agents had crystal balls, Stephenie Meyer’s first manuscript would’ve been snapped right up.

Since I don’t have a crystal ball, I talk to editors and read publisher catalogs, follow publisher and librarian blogs, read industry publications, go to trade shows, the whole shebang. I also stop into every book vendor I see (from the neighborhood indie to big box stores to the airport) to browse and see what books are on the shelves there (what books that store is selling and keeping in stock because that store sees demand for those books). I see what queries I’m getting in and listen to rumors about the next big thing. Even with all this research, I don’t know everything that will succeed in the marketplace. Some books that I’m sure will sell, don’t. Other books that I’m iffy on, go to auction.

Even if I Love a Manuscript, My Job is to Sell Books

The most I have is an educated guess, a passion for the project and a gut feeling. It’s persuasive but not guaranteed. That’s what makes the “why good writing gets rejected” question so difficult. Even if I love it, there’s still a voice in the back of my head: “Can I sell this project? Is there a market for it?” When my gut and my market knowledge tells me “no,” I tend to waffle and put the rejection off anyway. Because it is — technically — a good book, and I don’t want to let a talented writer go. But it’s that last detail of selling it to a publisher and eventually getting it into the hands of readers (you know, my job) that prevents me from taking on every single good book that comes into my inbox.

A Different Agent Might Connect with Your Story

The great thing is, there are many agents with many different sensibilities. So if you’re trying to crack the code around why manuscripts get rejected, the answer might be to just query another agent. There are the types of (sad) agents who passed on TWILIGHT because they didn’t think they could sell it. Then there’s the one who took it on and is very much enjoying that decision. When I see a good book but decide that I can’t personally see a way to pitch it or imagine which editors will love it and buy it, there’s another agent out there who probably can.

It really does come down to that with the most difficult rejections I make. At those higher levels, the deciding factor regarding why good writing gets rejected is the fit and the passion. The projects I end up taking on are those that I’m 100% passionate about and think I can sell to publishers. A writer deserves nothing less from their representation. If I reject a great project, it’s usually because I’m not feeling confident and creative about the selling part. Someone else, though, might feel completely differently. (For more on this topic, check out my post on how to write a book that sells.)

Now, that’s not to say that I’m hot to reject the next TWILIGHT. If anyone has that kicking around, please do send. 🙂

When you hire me as your novel editor, I’ll push you to produce a piece of work that balances emotional resonance with commercial appeal.

When You Get an Offer of Representation

This is the situation every querying writer is looking forward to: getting an offer of representation. Awesome. Now what? Well, I want to write several posts on this issue, but here’s the first thing you need to do… let other agents know.

offer of representation, literary agent offer — You got an offer of representation: now what?

Literary Agent Offer: What About the Other Agents You Queried?

Don’t let everyone you queried know that you received another literary agent offer. Let only the agents who have responded with a partial request, a full request, or any other kind of encouraging sign, and have not given you their decision yet. The only exception is with a picture book submission, where you’ve queried with a full manuscript. Since you sent the full manuscript, contact all the agents you queried. Write them the following email and put “OFFER RECEIVED” in the subject line:

Dear Mary,

I know you’re still reading BOOK TITLE but I wanted to let you know that I’ve received an offer of representation. I’d like to see if you’re also interested in the project. Please get back to me by X day and let me know. I look forward to hearing from you!

Author

Offer of Representation: Timetable for Response

Give the agent a week to respond. Within the day, you should hear back from agents. They’ll either say, “Yes, I’m still reading and will get back to you within the week” or, “You know, I should probably step aside at this point.” Then you wait for the agents who still want to consider to either bow out or toss in their own literary agent offer. But yes, let them know immediately. It’s not being pushy. Someone already sees the value in your work, so you can call attention to yourself in this situation.

I hope all of you get to experience what it’s like to receive an offer of representation! Once you’ve crossed that hurdle, follow the link to read my post on questions you should ask your potential literary agent.

My editorial services aren’t just for manuscripts. I also offer confidential and discrete consulting services for authors who have questions about literary agents and career trajectory.

Sending a Multiple Submission to Literary Agents

Pretty frequently, actually, I get a question about sending a multiple submission to literary agents. And I’d get them all the time when I was an agent. What this means: an author tells me that they’re only sending to me. Sometimes they specify a time period—”exclusive for three months,” for example—sometimes not.

Unless an Agent Requests an Exclusive Submission, Send a Multiple Submission

This is a situation where I haven’t requested the submission, I haven’t requested exclusivity … the writer just sends it to me and says, “Here, you’re the only one who gets this.” I have some issues with exclusivity and I’ll explain why. Keep in mind, these are my thoughts, and I might not share these opinions with other agents. I usually have a mixed response.

I want the author to know that this is their choice, not mine, and that they shouldn’t expect any special treatment. I really appreciate their excitement about querying me, but it’s not really going to make a difference in the way I read their submission. The writing and the story idea are all that matter. Just like applying Early Decision to a college won’t get an unqualified student in any easier than applying the regular way, exclusive submission to a literary agent won’t give you an advantage. Go for a multiple submission instead.

Not to mention, seeing that a submission is exclusive causes me a little bit of guilt and anxiety … it makes me feel like I should rush and respond faster, like there’s pressure, which I don’t enjoy.

Exclusive Submission to a Literary Agent After a Request

Now, after the query phase, there are some agents who request exclusive submissions if they’re interested in a manuscript. It makes sense: you love something, you want to be the only one considering it. However, exclusive submission to a literary agent can create a huge disadvantage for the writer. If you query people exclusively or if you accept too many requests for an exclusive read from agents, you will be on the agent search forever.

Imagine that it will take 10 agents who read your full for you to finally find The One. Now imagine that each agent has asked for exclusivity for three months. That’s 30 months you’re waiting! If you went with a multiple submission, you’d only be out the three months.

Agents Have to Play the Multiple Submission Game, Too, and Exclusivity Is Cheating

What do literary agents do? They seeks out properties to sell. As with any other job, there are times when we get what we want and there are times when we lose out. That’s the nature of the beast. I never expect a writer to submit — either a query or a full — to me exclusively. In fact, I expect that most writers will be in a multiple submission scenario. If I want it, I will make the time to read it and try to get back to that writer ASAP, just like everyone else. That’s the fair way to play the game.

I’m not saying you should laugh in the face of exclusive submission to a literary agent, of course. If you feel like granting exclusivity to an agent, do it. It’s always your choice whether to grant it or not. You can tell them “no” or that you’re doing a multiple submissions so that you simply can’t grant exclusivity because you won’t withdraw it. They might still want to read your work if you can’t send it exclusively. It’s up to you.

When An Exclusive Submission to a Literary Agent is Appropriate

There is one situation, however, where I would expect exclusive submission to a literary agent, and that’s if I’ve worked with them before. Maybe I did a critique at a conference or talked to them at length about their project. Or sometimes I request and love a full manuscript that might not be ready for prime time just yet. So I give the writer notes for revision. I take hours of my time with it, before the writer is even a client, and really invest a lot of thought. It doesn’t happen very often, but sometimes I will do this with a manuscript I adore but that’s deeply flawed.

I usually tell them that they can consider my notes and, if they resonate with what I said and want to revise, I’d love to see it again. This is for more extensive notes, mind you, than a paragraph or two in my rejection letter; this is after I’ve talked to the writer at length and they’re well-aware of how much potential I see in their work.

When An Agent Gives You Notes, Give Them Preferential Treatment (But Not Forever)

Now, this next scenario hasn’t happened to me personally, but I hear about it happening frequently to colleagues. Most writers will send the manuscript back to the agent who gave them notes and invested the time, instead of forging ahead with a multiple submission. This is the decent thing to do. Other people take the feedback, revise, then send the manuscript all over Creation in its stronger, more saleable state, attract other agents and then choose to sign with them.

This isn’t necessarily a good thing to do but, like I said, it happens all the time. In this unique situation, yes, I expect them to send it to me if and when they revise, but I wouldn’t outright demand it. At the end of the day, it’s the writer’s choice who they want to be represented by.

It seems like exclusivity as a trend might be declining among agents. It’s no longer as easy to demand it when there are lots of people out there who understand how impractical it can be for the writer. So consider this before sending an exclusive submission to a literary agent, and do a multiple submission instead. At the end of the day, it’s your time and it is precious, especially when you’ve got a career to get off the ground.

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.