Working With a Literary Agent: What to Expect

There’s something I’d like to clear up about working with a literary agent: their job is to sell your already-polished work to a publisher. Their job isn’t to help you develop a half-baked idea or to provide free editorial services.

Granted, when I was an agent, I loved the editorial process of working with a manuscript. It said that right in my bio on the agency website. That’s why I started my own editorial agency — so I could focus on the work I enjoy the most.

working with a literary agent, literary agent notes, when to hire a freelance editor
Working with a literary agent means that your manuscript is ALREADY sparkling at the time of submission.

But when agents say, “I love to do editorial work with clients!” it opens up an ugly Pandora’s box. When certain unprofessional writers see an agent’s passion for editorial work, they think it’s okay to query with statements like:

I know this needs a lot of work but I’m fed up with it. I need professional help because, if I ever have to look at this manuscript again, so help me God…

I never done written nothin’ befor so I need sumone to healp mak this teh best book evar…

Together we can develop this into a bestseller bigger than Twilight and Harry Potter combined…

My idea is so great, and if you could only write it for me…

Working with a Literary Agent: What it Entails

An agent makes money by doing one thing: selling books. Not by developing projects (though that’s a huge part of the work they do every day…for clients), not by taking on the role of a freelance editor, not by ghostwriting, not by playing critique partner for free. That’s not an agent’s job, and is essentially wasting time on something that, most likely, will never amount to anything.

When I was an agent and I said that I loved doing editorial work with my clients, that didn’t mean that I had the ability or desire to rehabilitate every querier’s Ugly Ducking Manuscript into The Next Bella Swan. It didn’t mean I wanted to fix your hot mess. It meant that I was hands on and loved to give guidance to the clients I signed.

The Most Important Thing to Remember

The clients I took on already had manuscripts that were 95% ready for editors to see them. That meant I took the best of the best and made sure it was irresistible to publishers. If I saw promise and potential and, ahem, professionalism and craft, I worked with a writer until the ends of the Earth. If a writer begged for me to fix their thing for free, I shook my head and chuckled. Impatience, as you can see from the comments in It’s Easy to Get Published, is one of the biggest mental hurdles writers have.

The point is, if you can’t bear to look at your manuscript one more time, hire a freelance editor. If you’ve never written anything before in your life and you want to know whether you’re doing it right, keep writing because you’re probably not. If you want free guidance from another reader, join a critique group. If you want someone to develop a project with you, try to get a co-writer who will agree to work for free and take a risk on you.

However, if, and only if, you want someone to take your nearly-editor-ready, sparkling, beautiful manuscript and sell it, then working with a literary agent makes sense, because that is what an agent does.

The Diamond in the Rough

I know a lot of people will think “But what if something really is a diamond in the rough and working with a literary agent is what it needs to be the next Harry Potter?” I’m sure this has happened. But you know what? When I was an agent, I tried doing that with a few writers. I really saw promise…or convinced myself I did. There were glimmers of hope. I spent hours giving extensive literary agent notes.

But the problem with people who have promising yet unpracticed writing is that the writer doesn’t have as many revision skills as people who have been writing and honing their craft for a while. Every single one of the “diamond in the rough” projects I tried to rehab fell apart in the revision phase and I pretty thoroughly learned my lesson. If some writer were to come to me and say “Here, please fix my urchin of a manuscript and, oh yeah, I’ve invented a machine that’ll give you 24 more hours in every day”…then I might’ve given it a second thought, but not before. 🙂

I’m no longer a literary agent, but I love providing editorial services to writers of all skill levels who need help polishing their work.

How to Write a Query: The Myth of the Perfect Query Letter

Shannon asked this how to write a query question on my post about the second person and rhetorical questions in queries a few days ago, and I wanted to do a quick post about this myth of the perfect query letter in response:

Do you think that *any* question addressed to the reader of a query letter is irritating? Is it automatically “rhetorical” if you’re not actually there to give the author your feedback? I never thought that it might be a turn-off; I thought it was “marketing”. My goodness, this write a query business is intimidating.

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Think this is the set-up for the perfect query letter? Read on to write a query without losing your mind.

Write a Query Letter Without Stressing Out

I may completely misread her point here, but I do it intentionally, so stick with me. “Marketing” implies gimmicks to me, especially this early in the game. When you’ve got an actual published book out, then you can market your butt off (and should) to try and get people to buy it. At the querying phase, it’s not about selling and hustling at all. This is one myth of the perfect query letter.

Getting an agent means entering into a relationship because two people believe in a project and want to have a long working partnership. The author places a lot of trust in the agent and the agent works hard without any immediate gain. The choice to work together doesn’t originate from any flashy whiz-bang query letter shenanigans. You aren’t trying to trick an agent or use fancy misdirection when you write a query. You don’t try to “market” your way into a long-term romantic relationship, right? It’s the same thing here. The query exchange, to me, should come from a place of authenticity, as stripped free of gimmick as possible.

Adjusting Your Attitude When You Write a Query

If you’re getting intimidated by writing the perfect query letter, that might be a sign that you’re overthinking it. It’s very simple. Tell me about your idea and make me care. The perfect query letter, to me, is just a way to attract interest in your writing sample, which is the heart of the matter anyway. Once I start reading your manuscript and love it, the query letter is completely forgotten. If you want an easy suggestion for writing an appealing letter, you can read a previous post about the kind of query I like to see here: Writing a simple, compelling query. Or you can swim on over to Janet Reid’s blog, Query Shark.

It might seem hypocritical for me to say: “Don’t worry about your query, you’re overthinking it! It’s easy!” while, at the same time, writing so much about queries, but that’s what people ask me about. A query is a writer’s first step into the agent search and, understandably, they want to get it right. So, while I have and will continue to dispense a lot of advice about how to write a query, they’re really a much smaller deal — big picture-wise — than the manuscript that follows.

Every one of my manuscript editing services as a book editor comes with query notes. Take the guesswork out of this simple letter, and get feedback on the book itself, and hire me today.

Writing a Series Query Letter and Series in General

This question about writing a series query letter is from Elan:

How do you feel about authors querying about a series? Is it important to mention that in the initial query letter, or is that something that can be discussed once an author/agent relationship is established? Let’s say the first book is complete but the others in the series are not.

series query letter, writing a series
Writing a series query letter: do you have a series up your sleeve? Focus on the first book in your query.

Good question, Elan. Writing a series query letter is something a lot of writers should be researching beforehand, because — if you’ve been under a rock for the last year or so and haven’t heard — the rules in publishing have changed a little bit since the economy tanked. This might not be my answer forever, but this is my answer right now.

Writing a Series Query Letter: Past and Present

Series have been snapped up left and right by the big houses in the recent past, ever since Harry Potter proved that you could keep the cash flowing for many, many books. A few years ago, it wasn’t uncommon to see two, three or even four-book deals right out of the gate, a healthy number of these going to debut authors. Fantasy, sci-fi and paranormal are three genres that lend themselves especially well to series and, if you asked the blogs a little while ago, they’d all say that writing “This project has strong series potential and I’m currently writing books two through five” in your query could very well be melodious to an agent’s ear.

Now houses are taking fewer risks. The average debut author is lucky if they can secure two books with their first contract. I was talking to an editor recently and she outlined the way her house has been approaching series: they buy the first book, maybe in a two-book deal but maybe as a stand-alone, release it, see how it does, and only then do they consider turning it into a series. If they do, they’ll commit through probably a trilogy (so two more books) or more. I like this model, maybe not from a bank account or a prestige standpoint but from an intellectual one. It’s cautious. It’s logical. It’s practical. It doesn’t assume the risk of a series right away, it makes the author and their debut earn the subsequent books. Intimidating thought, I know, but are you really writing a children’s book series for the easy money? 🙂 Didn’t think so.

Series are Risky for Publishers

This isn’t fun to hear for the fantasy, paranormal, or sci-fi writer who’s planning to write a series query letter for their seven-book story arc. But it’s smart. Publishing can’t really be handing out four-book deals like candy anymore. It’s bad for the house because they’re spending a lot of money on untested talent and will have to compete in a very crowded fantasy/paranormal/sci-fi marketplace. It’s bad for the author, too, because the last thing you want people saying about you is: “Wow, poor writer, Publishing House gave her a four-book deal and the first book didn’t even sell that well. Now she’s stuck, her editor isn’t enthusiastic about the project anymore and the house lost a ton money. Bummer.”

It’ll be that much harder to get a new contract for future work from your publisher — why invest more in a product that doesn’t leave the shelves? — or attract a new house because everyone can see your dismal sales numbers. The conventional wisdom of “If a house pays more for a book or series, they’ll do more to promote it” isn’t necessarily true anymore. Big books and series still tank and, when they do, they tank big.

Create Stand-Alone Stories

So, when you’re imagining a series in all its shiny, multi-book glory, the best thing you can do with the first book is make it a complete, stand-alone story. There’s definitely a pattern with series, in terms of what function each book serves. A trilogy, for example, will sometimes go like this:

  • Book One: set-up and background and initiation
  • Book Two: exploration and character development
  • Book Three: showdown!

But if you send an agent a book that’s all set-up and background info and initiation, it doesn’t stand alone. I’m going to say: “Well, that’s great, but what actually happens? This all seems like prologue…” There has to be a full and compelling plot, rich character development, a climax and a denouement for this manuscript, and it has to be satisfying, even if there are other books planned. And why wouldn’t you put all of your best work and your best effort into this first book? Don’t hold on to the good stuff for Book Six. You might never get there. If the market can only bear your debut, you should still feel good that you’ve created a wonderful story. Even if GRACELING didn’t have two other books attached to it, it would still have stood alone and been a perfect, utterly satisfying fantasy novel. That’s what it takes in today’s market.

Gauge Interest Before Writing a Series

I’d also warn unagented, unpublished writers away from developing an entire series and finishing all those manuscripts a) before querying and b) before landing a publishing contract for your first book(s). The most painful thing to see is seven completed series manuscripts that are gathering dust because the author couldn’t attract an agent for or sell the first one.

So it’s fine to send agents a series query letter. But now, instead of hearing about how you’re working on Book Twenty-Nine, the following sentence would be music to my ears: “This project has strong series potential but this manuscript tells a complete tale and stands alone.*”

* And, you know, have this be true.

Writing a series? When you hire me as your children’s book editor, I can help you structure your novel so that there’s subtle potential for a sequel.

Elements of a Query Letter: Send a Manuscript Sample Anyway

You will see many a frustrated agent harping over and over again that the elements of a query letter should always follow submission guidelines. I will be the first to add my voice to the chorus: you should always follow submission guidelines when sending your novel query letter!

elements of a query letter, novel query letter
Are you confident that the first ten pages of your manuscript are exceptional? If so, they could be a strong addition to your query letter submission.

Elements of a Query Letter: Always Follow an Agency’s Specific Guidelines

But…you should always follow our submission guidelines. At ABLit, we request the first 10 pages as one of the elements of your query letter submission. I’m here to say something a little controversial that might raise some hackles. I say, send the first 10 pages to all the agents you’re querying, even if they don’t ask for them. (Sorry, guys!)

Before we proceed, I will write one note of warning here — this advice is for Advanced Users Only. Your first 10 pages have to be solid gold, or you shouldn’t bother with this strategy. Try to take an objective look. Try to determine whether or not you’ve got Conference Polish Syndrome. If your first 10 are a marvel and the rest of the manuscript is even better, send them with your novel query letter regardless of the guidelines. (Check out my post on how to finish a novel for more info.)

Why You Send Send Your First 10 (If You Know They’re Good)

Here’s why. When I read a novel query letter that catches my eye, I have absolutely no way of knowing if the writing is any good. And that’s all that matters at the end of the day. If I was judging a submission on query only, I’d have a very high chance of requesting something that ended up being totally off-base. Query writing does not equal manuscript writing, the two are completely different by nature. Or I’d request something and wait to receive it and forget what I liked about the query in the first place and so the sample would make no sense and I would’ve lost interest in the meantime or gotten busy with something else, etc. etc. etc.

If some sample pages are an element of your query letter submission, I can look at the writing  right away. There’s much less room for error in terms of requesting something that ends up a hot mess, and I have instant gratification. A query intrigues me and I can keep reading immediately. No wait, no chance to lose any enthusiasm. Sometimes, it’s a total let-down. Other times, I like the sample and get even more excited and request the full on the spot.

My Personal Experience With Sending the First 10

Before I joined the agency, I was an agented writer myself. My third manuscript and, hence, my third round of sending novel query letters, landed me an agent (full disclosure: I am no longer with that agent, as that would present a conflict of interest). When I sent out only queries for my first two manuscripts, I got a lukewarm response and it took forever. With my third try, I decided to send 10 pages as an element of my query letter submission, whether requested or not. I think Sarah Palin might’ve called that a “mavericky” move. Almost everyone responded right away, the whole process took two weeks and I got offers from six agents. I’m not saying that’ll happen for everyone, but this strategy made it easy for an agent to a) read me right away, b) like me right away, c) get really excited. (Note to writers: I did mention above that this was my third try at getting an agent…that means I’d tried and failed several times. It takes a lot of practice to write a novel that agents consider publishable enough to offer on.)

That’s why I’m so happy the first 10 pages are part of our submission guidelines at ABLit. And I think there’s a good case for making it your submission strategy, regardless of guidelines elsewhere. Just make sure you paste the text in the body of an email if you e-query. Also, the “No attachments” part of many submission guidelines is one you really shouldn’t ignore.

Are you struggling with how to pitch an idea effectively? Hire my query editing services and I’ll guide you through the process.

Appropriate Rejection Response

I hope this post will lift the veil a bit regarding rejection response and let writing hopefuls see some of my thought process as an agent. There’s some truth here about publishing rejection that might not be fun to hear. Sensitive souls might want to turn back now.

rejection response, publishing rejection
A simple “Thank you” (or nothing at all) is the perfect response to publishing rejection.

An issue that some writers wonder about is rejection response, aka., what to do once you get a rejection in your inbox? Tread carefully, writers! A rejection is, by its very nature, unpleasant. There are many different types of query rejection and some rejections are better than others, but at the end of the day, it’s still a “no” when you want to hear a “yes.” Here are two frequent rejection responses agents get:

Rejection Response: The Salesman

“Oh, you don’t like this particular manuscript? Well, I’ve got something else here in my Bag o’ Tricks that might just fit the bill instead.”

Here’s the ugly truth, writers: when we reject something, it is because we don’t believe we can sell it to a publishing house. About 90% of the time, this is because the manuscript is just not ready to be shown for possible publication. The writing is weak. There’s no voice. The idea doesn’t have any spark. (The other 10%, of course, is reserved for people who are rejected because they’re just plain crazy…) I try to give some constructive feedback if I see the opportunity. But most of the time, it’s simply because the writing is not ready. (The good thing about that, of course, is that every day is a new opportunity to improve your craft and get it ready!)

This problem is not going to be fixed by trotting out another manuscript. Or two. Or three. I used to let people show me a few things if they so insisted but the results were always the same and now I dread this situation.

Whatever you have in your stable, chances are, it still has the same general writing issues as the thing I just rejected. It’s already a less-than-pleasant part of my job to reject you. Don’t force me to do it again.

Please don’t start going through your roster of manuscripts and offering up everything else you’ve ever written unless you can categorically say that the quality is a huge improvement (and if it is, why not just send that in the first place?). Instead, hone your craft, get opinions from readers you trust and query around after some time has passed and you’re confident that your work is stronger.

Rejection Response: The Rage

You are the stupidest/most incompetent/ugliest/smelliest person in the world and you are missing out on MILLIONS, LITERALLY MILLIONS of dollars by rejecting my genius opus. I thought you were one of the smart ones and could recognize brilliance when you saw it. Well I guess I was wrong.”

Nothing needs to be said about this other than: email makes it easy to fire off a rejection response, no matter what emotional state you happen to be in. That doesn’t mean you should.

Long story short? Don’t take a publishing rejection to mean that the door’s wide open for everything you’ve ever written and don’t be a psycho.

What are the two preferred rejection responses?

  • “Thanks for reading!”
  • Nothing

Simple as that.

Feeling unsure about your query letter, synopsis, or manuscript? Hire me as your freelance editor and we can work on your submission materials or dig deeper into your picture book, novel, or non-fiction proposal together.

How to Write a Query Letter

There are a lot of “how to write a query letter” articles out there about what not to do. A lot. And I’m going to write some here in short order. But this is a different article. An article on how to approach a literary agent query letter, just so you can see my philosophy on queries.

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Writing a query letter that’s simple and compelling is an art form.

How to Write a Query Letter: The Beginning

Want to know how to write a query letter? It’s simple, really:

Make me care.

Cut out the cutesy jokes, the rhetorical questions, the extraneous subplots, the superfluous biographical details and get to the heart of your story.

Start simply, without a lot of throat-clearing, and get to the point:

Dear Name,

I’m writing to you because you represented BOOK/because I saw you at CONFERENCE/because I like your philosophy of WHATEVER. I’ve got a complete manuscript I want to tell you about: MY BOOK, a WORD COUNT – length novel for AGE GROUP.

So far, so good. Personalize the literary agent query letter and then give them the bare bones details of what your project is.

The Key to Writing a Fiction Query Letter

Now we get the meat. The meat is a longer paragraph (or two shorter paragraphs) that creatively presents the answers to the following questions:

  • WHO is your character?
  • WHAT is the strange thing going on in their life that throws them off their equilibrium and launches the story?
  • WHAT (or who) do they want most in the world?
  • WHO (or what) is the main character’s ally?
  • WHO (or what) is in the way of them getting what they want most in the world (their obstacle)?
  • WHAT is at stake if they don’t get what they want?

The above questions are essential to a complete story. They are, in effect, designed to get you thinking about the most important elements of your book.  They’re also the key in terms of how to write a query letter that’ll grab an agent’s attention. The funny thing is, when I read the answers to these questions, I start to care about the character! I start wishing I could read the whole story! (For more on this topic, check out my post on writing fiction that makes readers care.)

Unfortunately, you can’t just present the above information in Q&A format. These are the questions you’ll have to answer in prose, in a maximum of two paragraphs, in a style that tells the agent something about you, your book and your voice. Yes. It is moderately difficult to do. But now you’ve got tons of ideas for how to pull it off and what the meat of your query should include.

How to Write a Query Letter: The Closing

Then, you’ll finish your literary agent query letter with:

  1. Some brief biographical information. Things that are relevant: if your life has somehow inspired something in your novel, like you’re writing about a kid who’s obsessed with physics and you happen to be a physicist, also mention previous publication credits, advanced degrees like an MFA or anything else that is applicable to writing, etc. Things that are not relevant: how many cats you have, that your kids loved this book when they read it, how great the weather/food/backpacking is in your neck of the woods.
  2. A cordial invitation to request the full manuscript.
  3. Your signature and contact information.

Voila! Now you have a query letter format that hits the very heart of your story, doesn’t waste any space and makes the agent or editor reading it care about the character and the character’s journey.

This is by no means the only answer to questions about how to write a query letter, but it does cut to the chase rather simply and brilliantly, doesn’t it?

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

When to Use Second Person Writing

Is everyone clear on what second person writing is? It’s the you POV in a narrative. Many narrators, usually first person, use the “you” occasionally.

second person writing, you pov
Leave me out of it and get on with your story.

Examples of Second Person Writing

“My heart pounded with the kind of beat you only get after running for your life.”

“I’m telling you straight, man, she was so hot you could fry an egg on her.”

There’s also implied second person writing, which is sort of like the second example only the you POV is never explicitly stated. This implied 2nd person is usually used with a storytelling sort of voice:

“It rained so hard, honest to God, I never thought it’d stop.”

In all of these examples, there is either a “you” addressed or hinted at. The narrator is always talking to someone (usually interpreted as “the reader”) and breaking the fourth wall. (Theatre geek here, remember? “Breaking the fourth wall” is a theatre term, meaning the actors break the barrier between the stage and the house and address the audience directly.)

There’s also a less widespread use of second person writing… that’s when the “you” is another character in the story and the narrating character is talking directly to them. An excellent recent example of this is WHEN YOU REACH ME.

Finally, there are books that are written entirely in the you POV, where “You” is the main character. These do not work for me, at all, as the direct address feels like it’s pulling me out of the story the entire time. A book that I have recently been unable to get into, despite knowing how brilliant it is and having deep respect for its writer and editor, is (the aptly titled) YOU by Charles Benoit.

Avoid Carelessness With the You POV

Now that we’re all clear on what second person writing is, I want to make a point about it. A lot of writers are very careless with the occasional you POV because it has become very common in our way of talking. Everyday speech is studded with expressions like “you know?” and they translate into our manuscripts. Sometimes a narrator will go on a 2nd person jag, and every simile has a “you” embedded in it. Other times, the you POV will be absent for hundreds of pages at a time only to show up randomly.

Be very careful with the 2nd person. It is confrontational. It breaks out of the 1st or 3rd person and crosses the line between story and reader, fiction and the real life of the person reading it. It makes the reader part of the story and, when used intentionally, can have a really cool effect (which I still probably won’t appreciate, as is the case with YOU, because I don’t personally enjoy 2nd person).

Second Person Writing Tip

But I’m seeing a lot of sloppy, careless second person writing outbursts in narratives that don’t necessarily demand the 2nd person. My tip, while you’re just feeling out a story and getting the hang of writing it, is to leave the 2nd person out, if you can. If used correctly and consistently, it rocks. Otherwise, it just seems spotty and annoying. From me, it gets the reaction of: “Leave ME out of it and get on with the story!”

So that’s what I’d say. Either you use 2nd person consistently in a manuscript (and I’m talking narrative here, not dialogue) or write a draft without the 2nd person and see if you miss it. All I’m saying, folks, is make it intentional.

Bonus Query Tip

If there’s one thing that bugs the jeebus out of me, it’s the use of second person writing in your query letter POV:

“What would YOU do if a flesh-eating virus was descending on YOUR town and only YOU had the antidote… locked in a small capsule in the base of YOUR spine?”

Um… are you honestly asking me? Because I’d probably mess my pants, eat a pint of ice cream and go hide in the basement with my back to the wall.

See, when you get the 2nd person involved, it automatically elicits a reaction from your reader. By starting a query with a rhetorical question, you’ll get on your reader’s nerves and most likely elicit the reaction of: “I don’t want to hear about ME, I’d rather hear about YOUR book, dingus!”

Not that any serious publishing professionals have ever been known to use the word “dingus.” (Okay, that might be a lie.)

If you’re still struggling with POV, tense, or revision, hire me for freelance editing services. I’m well-versed in these and all other craft topics and we can tackle big changes together.

Sending a Revision to a Literary Agent While They’re Still Considering Your Work

So I hear you’re considering sending a revision to a literary agent while they’re still considering your work. Should you be in this situation? No. Because ideally, you would’ve queried only your strongest work. Because Mary told you to send query only your strongest work. But you didn’t believe me or didn’t know any better and then you decided to revise and here we are. It’ll be okay.

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Dearest Agent: About that submission you previously received from me… Funny story, my account was hacked…

Writers frequently ask about submitting a revision request to an agent. Here’s the situation: you polish a manuscript draft (so you think) and then you send it out to agents. Then, since publishing is notoriously slow, you sit around and have some time to think about what you’ve done. And think. And think. You realize things about your manuscript that you should’ve done differently. You begin to revise and realize there’s a LOT you could’ve done differently. Finally, you realize that “how to get my novel published” does not entail submitting the piece of garbage that’s out there in agent-land.

Oh no.

Will Sending a Revision to a Literary Agent Make you Look Bad?

Now you can’t even begin to fathom how awful your last draft is and you can’t believe that it is sitting in Dream Agent’s inbox in that deplorable, horrid, unfinished condition. An anxiety flares up and makes your pinkie toes tingle. Sending a revision to a literary agent is an unquenchable compulsion.

But there are lots of questions involved. Will the agent take it? Will it make you look bad? Will even submitting a revision request to an agent guarantee a speedy rejection?

Here’s the thing, and I can’t say it enough: there are only a finite number of agents in the world (or, only a finite number worth working with… The point, remember, is to get a good agent, not just any agent…). You’ve spent all this time writing a book and you can only show it to those agents once, unless they ask to see a revision down the line. Why wouldn’t you take the absolute maximum time you can to make sure this book is polished and perfect?

Because you’re human and you’re impatient and you want to get feedback from publishing professionals on it now now now. It’s okay. I understand this urge. I’ve sent out manuscripts to agents only to do a huge revision. I’ve sent that dreaded “Actually, can you look at this instead?” e-mail.

Making Your Request to the Literary Agent

So if you find yourself in this situation — having rushed out a manuscript that wasn’t ready and sending a revision to a literary agent– you are in the same boat as many, many other writers. It happens. Agents know it happens. So when you e-mail us and ask to submit another draft, it is likely we’ll say “Sure, send it in,” unless we’re already reading your manuscript. If we are, we still might still say “Sure, send it in,” but only if we like what we’re reading so far. Or we might reject you, because some agents have no tolerance for this. At this point, it’s up to you whether you want the risk.

The fact that writers pull the trigger too early is no secret in agenting circles. Besides, there are precious few debut manuscripts (if any) that go out on submission to editors without some revision. Whether you do that revision for an agent before or after signing their contract, you will do some revision. So, agents know that a manuscript is a malleable thing.

If You’re Going to Send a Revision to a Literary Agent…

It doesn’t exactly impress us that you submit a manuscript and have a brand new draft the next week, but it happens. Just make sure the second draft you submit is really, really, really good. Otherwise, you will lose points in the competence and professionalism departments. I repeat: if you plan on sending a revision to a literary agent, take your time, for the sake of all that is holy. Don’t just rush through this draft, too! Someone once said that the definition of insanity is doing the same thing over and over but expecting different results…

I will say it once, I will say it a thousand times: patience is a virtue, my dears. You’ve got a list of agents. You’ve got a manuscript that represents your tears, blood and late-night tiramisu binges. That stack of words and paper better be your damn best piece of work before ever the twain shall meet. Don’t be That Guy who’s submitting a revision request to an agent. Dig?

Are you revising and revising only to figure out that you don’t know what you’re doing? It’s okay. Make your next revision your best revision yet with me as your manuscript editor. I’ll give you feedback to not only inform your next revision, but your entire approach to fiction writing.

The Reassurance Query: Don’t Do It

So, I was talking to a writer today and they said something about the reassurance query that many writers have thought before:

I wish I could just query agents, even if the book isn’t finished yet, just to see if they like my idea and if they’ll request it.

reassurance query, query letter follow up, slush pile
An agent’s job isn’t to give you a reassuring thumbs-up, at least not until you’re their client and you’re working together.

As and agent and as a writer who has done the reassurance query, I say unto this writer and all others pondering this same path: Don’t. Do. It.

I know you will, against my advice. I know that writers misjudge the words “I’m ready” all the time. I know it’s part of my job to go through my slush pile, read reassurance queries, and gently hint to writers that they may not be ready for publication yet. I know that the most resounding lessons are learned through experience, through querying, through feedback. I know. But this way, I feel like I’ve at least said my piece about it.

Why Writers Send the Reassurance Query

First, let me say that I know why you reassurance query. It would be so very nice to know that an agent likes your idea and whatever sample pages enough to request more of your manuscript before you sink a year or two into writing something that could just languish in the slush pile. But here’s the problem: if you get a literary agent request for more of your manuscript…what will you send them?

Nobody wants to hear about the really awesome Christmas present they’re getting…in July. I assume that you’re querying me because you have a book you want me to sell. My job isn’t to stroke your ego, at least not until you’re my client and we’re working together. I can’t be expected to give feedback to everyone who sends along an idea. Don’t clog up my inbox with queries for things that aren’t done, just because you want reassurance that you’re on the right track.

Other Avenues for Reassurance

If you need reassurance, get a critique group. If you need reassurance from someone in the industry who’ll be a good judge of whether your project is saleable or not, go to a writers conference and pay for a critique. At a conference, at least, you’ve paid for my time and I’ll happily oblige. Maybe find a freelance editor. See if any agents or editors or industry types are auctioning off critiques or giving them away on their blogs.

Most of these options, as you might guess, cost money, but such is life. If you don’t have an agent or a finished manuscript yet, you can’t expect someone in the industry to make you feel better for free. There are not enough hours in the day and, besides, I can’t really tell how good your project is until I see it finished. An idea and a snappy first 15 pages are one thing…the execution of that idea and the rest of the pages are what will either make you or break you.

But again, I know humans. And I know writers. And sometimes humans and writers are even one and the same! (Just kidding!) So I know I will get the reassurance query for as long as I have a slush pile. It’s part of the service I provide, and at the end of the day, I can make peace with that.

Feeling unsure about your query letter, synopsis, or manuscript? Hire me as your freelance editor and we can work on your submission materials or dig deeper into your picture book, novel, or nonfiction proposal together.

Manuscript File Name Mishaps

Your manuscript file name may seem inconsequential, but it’s an important element of submission etiquette. Whenever you send your manuscript to an agent, you should be super aware of what the file name is. That seems like common sense but you’d be surprised.

manuscript file name, submission etiquette, document file name
Your manuscript file name contributes to an agent’s first impression of you and your work. Keep it concise and professional.

Manuscript File Name Do’s

When I scroll down to the bottom of a query e-mail, I expect to see a mundane manuscript file name, like:

LastName_Title.doc

Title.doc

Name_First_50_pages.doc

Something nice and neutral.

Manuscript File Name Don’ts

What I don’t really want to see is:

Title_Revision_37.doc

Title_TOTAL_OVERHAUL.doc

Or, worse yet:

LastName_First_Draft.doc

Details Matter

Keep your manuscript file name really simple, really professional. If you track your revisions with the document title, make sure to take the ten extra seconds and “Save As” a copy of your document with a nice, generic title.

In acting class, my teachers always said: “The audition doesn’t start when you begin your monologue. From the second you enter the building to the moment you leave, you’re auditioning.”

So watch the message you send with your manuscript file names. The ones about “first draft” or “revision 37” or “overhaul” can sometimes make me either dread what I’m going to find when I open the document or make me wonder what’s wrong with it. All those numbers and markers are part of your process… keep them behind the scenes.

Hire me to do a manuscript critique and I’ll guide you towards making a positive first impression when you’re ready to submit to agents.