Writing Encouragement and Literary Rejections

Wow. Here I am again, writing about literary rejections. This one will be short because I think the point is easily made but it also has some writing encouragement as well. Writers: I invest my time and energy in the success of my clients. That is what I am paid to do. I brainstorm ideas with them, talk to them, figure what houses and editors are good fits for their work, give them notes on their manuscripts and, in general, spend a lot of time thinking about their careers. I do not do this for the people in my slush. Unless what they send me completely blows me away and they become my clients.

literary rejections, writing encouragement — Literary rejections can be confusing and lonely, but remember that agents aren’t there to provide free feedback on your work.

If you query me, please do not expect me to critique your manuscript for you after I reject it. Do not turn around and ask what was wrong with it, what parts didn’t work, what could be better. I understand that you want these answers. I understand that querying agents can be a lonely, confusing process fraught with pain and dealing with rejection that can hurt your writing confidence.

Literary Rejections: Don’t Expect Free Feedback

But it’s not my job to provide free critiques and writing encouragement on all of the literary rejections that cross my desk. At conferences, organizers charge a lot of money for a critique with an agent. Because they’re worth that much. That’s not my ego talking. Let me explain (with a brilliant analogy I borrowed from another writer). A person usually balks at a repairman who comes and fixes their appliance with a 15-cent washer and charges them $500 bucks. “All he had to do is stick that washer in there!” they shout. What they don’t take into account is the years that repairman spent learning the trade or the time he spends practicing it. Sure, the washer cost 15 cents, but it’s not like the customer knew where to stick it himself.

Skills Come With a Price

It’s the same thing with the skills I’ve learned. They have come through me from an expensive education, work experience and years and years and years of reading, writing, and soaking up the wisdom and expertise of agents and editors. If I send you a query rejection, do not ask me to trot out my skills for free. That repairman’s job is to learn how to repair things well enough that he can make a living. My job is to work with a select list of writers and sell their projects. Your job, as a writer who wants to attain publication, is to learn how to write with a level of skill and craft that lifts you out of the pool of literary rejections. Like with any other job, you need to invest time and, often, money (in the form of classes, conferences, books, etc…. but never pay an agent or agency to read your query or manuscript!) in order to build your skills and writing confidence.

Seek Out Resources for Writing Encouragement

There are tons of resources out there, including the SCBWI, conferences and other writers who you can include in a critique group. I would love to be a resource for new writers and provide writing encouragement, because I know and understand where they come from and what they’re going through, but I can’t provide individual assistance to everyone who’s struggling through literary rejections. That’s why I keep this blog and reach out to as many as I possibly can with articles that are as relevant as possible to the greatest number of people at once. I hope I can boost your writing confidence through this blog — just don’t ask for specific agent feedback unless you’re my client.

I have ten years of experience in the publishing industry. When you hire me as your manuscript editor, I’ll provide helpful feedback that’ll help you grow as a writer.

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.

How Does A Literary Agent Work?

How does a literary agent work? I wrote a post a while back about what to expect when you’re working with a literary agent. Personally, I love to get editorially involved in client manuscripts. I think I’m part of the majority on this and that majority doesn’t just include new agents. Most agents, whether fresh on the scene or established, are finding themselves doing more editorial work these days.

What Do Editors Do?

Why this shift towards editorial agents? The publishing industry is in flux right now. Houses have been restructuring, having layoffs, piling more work on their remaining staff. Book editors, associate editors and editorial assistants are finding themselves faced with a lot more to do, including all sorts of in-house duties that most writers can’t even imagine. Editors are finding less time to do the actual, you know, editing that probably attracted them to publishing in the first place. In fact, most editors routinely report that part of the editing they do for their authors — let’s not even get into the reading they do for manuscripts that come in on submissions — takes place at night and over the weekends.

How Does A Literary Agent Work?

Editors are the ultimate gatekeepers in publishing. Agents are the first line of defense, in this analogy at least, against the slew of submissions that would inundate all major houses if they accepted anything unsolicited. Now that the gatekeepers are finding themselves with less time to edit, it has become that much more important that agents send out projects that are polished, compelling, carefully revised. That means agents have to do more work with a client before going out on submission, and the barrier to entry has gotten higher.

Gone are the days when editors feel like they’ve got the time and resources to take on a severely flawed book and uncover the masterpiece hiding somewhere deep inside it, like Michelangelo liberating David from the marble. That’s now mostly an agent’s job, I think, and that’s only if they want to invest the time.

This doesn’t mean editors don’t edit once they acquire. Editors still work just as hard — and oftentimes much harder — now than they ever did. They give brilliant insight, amazing notes, gentle suggestions and really help an author learn and grow. An editor-author relationship really can be a wonderful thing. But the beautiful disasters aren’t going to catch an editor’s eye or convince their acquisitions committees as much anymore. Since their jobs have changed, the job of the agent has, too.

Agents in the Children’s Market

In children’s books, there’s an additional obstacle that’s developed this past year or two. Children’s is a market that has, so far, refused to go as deep into the toilet as many other book markets. In fact, it has done rather well throughout the recession. So a lot of agents who never would’ve thought to represent children’s books are now picking up clients and going on submission when they perhaps don’t know the market as well as agents who are experienced in the children’s book world. These newcomers haven’t read a lot of children’s books themselves, they don’t know what makes a good one, they might not be able to give the best editorial advice for the market.

This is an additional problem for editors, who are getting submissions of lesser quality from a first line of defense that has some newbies in it. This isn’t an issue at my agency — we’ve been exclusively representing children’s books for almost 30 years — but I’ve heard about this problem from editor friends and saw it with my own eyes when I worked at Chronicle.

How Does A Literary Agent Work: Do Your Homework

Not only should you be querying with a manuscript polished enough to make an editor’s acquisition argument easier down the line, you should also query agents who are experienced in children’s books. A lot of people are trying to get into the game. If you want editorial guidance and the benefit of real experience, make sure your list of potential agents is full of real children’s book pros, not just people who hear the siren song of a strong (as strong as it can be in this economy) market.

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.

WooHoo!

I’m a little late posting this but that doesn’t mean I’m any less excited. I’m so thrilled for my author/illustrator client, Lindsay Ward, and her first author/illustrator project, PELLY AND MR. HARRISON VISIT THE MOON. It’s going to be a really fun story… and gorgeous art, of course! You can visit her website here: Lindsay’s Bake Shop. I can’t wait until 2011. My first projects will be coming out then and it’ll be so fantastic to finally hold a client’s book in my hands and see them in stores!

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.

How to Find a Publisher: The Unagented Submission

I want to follow up my post about getting a book deal with more detail about how to find a publisher by shopping around an unagented submission…and also getting an agent.

Reader MM asks:

If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? Is there a ticking clock on the initial publisher’s offer?

Also, what of the situation in which an author has queried publishers directly, received all rejections, and then acquires an agent? I’ve heard agents warn against direct querying of publishers, saying that in the case of all rejections, now the agent’s hands are rather tied and it’s much more difficult to find a publisher.

unagented submission, find a publisher — Don’t leave publication offers on the table while you wait for something better to come along.

Great question, MM, and one that agents often have to struggle with. A lot of the time, we get clients who have submitted on their own or who have had previous agents who’ve done submissions, and we really have to consider where the manuscript has been before. We also get writers who have an offer on the table when they come to us and they want us to negotiate better terms for them. Both situations have happened to me.

When An Unagented Submission Becomes Agented

I’ll answer the first part first, and I don’t know if this is what you want to hear. If you want to find a better offer than the one you received on your unagented submission, you will have to decline the present offer. The offering publisher expects you to get back to them within a reasonable time frame, sure, but they’re also not going to be very pleased with you if you go around with your new agent and pitch everywhere else to find a publisher with a better offer… while their offer is still on the table. Imagine coming back to them and saying, “Yeah, I guess we’ll accept your crappy offer, even though we wanted that shiny publisher over there.” You won’t be saying that directly but they’ll know because a) a suspicious amount of time has passed and b) people in this small community of publishers talk.

Don’t Burn Bridges

That’s going to be a horrible working relationship with a publisher you’ve offended, if they don’t pull the offer themselves. You will have burned a bridge and nobody wants that. So if you hate the offer you received on your unagented submission, your new agent will try to negotiate the best possible situation. If it’s still not enough — if your agent has said that you’re considering taking this elsewhere and you find a publisher still won’t fight to keep you — you will pull the project and decline the offer. It’s a risk because you may not be able to find a publisher now or, if you get another offer, it may be equal to or worse than your first. But if you’re really unhappy, nobody needs that business relationship.

In this situation, I usually advise people to get the best possible terms from the offering publisher and then have their agent fight for no option clause, so they can go elsewhere with their next project. It’s not an ideal situation because nobody wants to be unhappy, but… read to the end of the post for my big advice before even getting into this mess.

Shopping a Manuscript That’s Been Rejected

Second, our hands are rather tied if you’ve been rejected all over Creation with your unagented submission. It’s true. That’s why we really do warn people… if their eventual goal is to get an agent, then get the agent first, before you try to find a publisher. At a lot of places, you only have one shot per project. I guess how doomed you are depends on if you know which editors read it. If you got a form rejection from that house, it means an intern read it. But they could’ve shown it to their bosses first. If you get a personal rejection from an editor, that means your agent knows who read it and might be able to pitch to another editor there or at a different imprint. Either way, you do risk the editor saying, “Oh, my colleague has already passed on this” or, “Oh, my intern showed me this and we’ve already passed.” We really do remember what we read and a repeat submission sticks out. That’s the worst that can happen but it still doesn’t look very good for you or your new agent.

Act With Integrity, Protect Your Reputation

Same with burning the initial offer on your unagented submission. This is a small industry and reputation is key. So here is the main thing I want everyone to take away from this post. If you don’t want to be published by that house–or represented by that agent, or working with that editor, etc.–then why did you query them in the first place?!?!?!? Agents get this all the time. I’ve heard colleagues and friends talking about extending an offer of representation only to have the writer start waffling. They want more time, they want to check in with other agents. Then they frantically appeal to all their Dream Agents because their last choice agent has offered representation and, since it’s not who they hoped would offer, they are queasy about working with that person.

When you pitch your project or query an agent, the person on the other end of that pitch assumes you really want to work with them (tips on how to pitch a book). Don’t query them if you wouldn’t be happy to work together. Don’t let your eagerness for someone to publish or represent you cloud your good judgment.

Did you find this practical advice useful? I am happy to be your manuscript editor and consultant for writing and publishing advice that’s specific to your work.

Asking for a Literary Agent Referral

When writers ask for a literary agent referral after rejection, it really gets my goat. (I’ve already done posts on rejection response, but there really is more to be said about it.) Some writers, after a query response that’s a pass, will ask me if I can refer them to an agent who might be a better fit. Before anyone gets upset and defends this, let me say that I understand it perfectly well. Agents are inscrutable to most people. We are intimidating. How can you possibly know what we want? (Especially when we sometimes don’t know what we want until we see it, as frustrating as that is.) I totally sympathize with writers who want any clue as to who might be a good fit for them.

literary agent referral, query response — When an agent’s query response is a pass, maybe it’s time to go back to the drawing board — not ask for a literary agent referral.

Reasons NOT to Ask for a Literary Agent Referral

However, there are two reasons why I dread this question after a query response that’s a pass. First, the easy-to-hear reason: I don’t know much more about other agents than you do. I know the agents at my own agency very well, but not agents at other agencies, unless I happen to be friends with them or see a lot of their recent deals posted. Besides, even if agents are friends in their off hours, they compete for projects and for editor attention at work. It’s not one giant share-fest between agencies. At Andrea Brown, if you read our guidelines, you’ll see that a “no” from one agent means a “no” from all. So if I’m passing on a manuscript, I’m saying that it isn’t a good fit for me or any of my colleagues.

Believe me, we do think about this. We routinely pull manuscripts from the slush and pass them around if we think they’re a good fit for another ABLit agent’s tastes. This only happens with excellent manuscripts, however, and projects that show great promise. Something we really want to hand off to a colleague because it is an amazing project but not up our alley for whatever reason.

Is Your Work Ready for Publication?

This brings me to my second point, the one that stings a little: 99% of what I get in the slush is not ready for publication. The majority of the time, when I reject something, I reject it because it isn’t good enough for publication. If I reject your project but think it shows great promise, if I reject your project but think you have talent as a writer, believe me, you’ll know. You’ll know because I’ll tell you. If I send you my standard query rejection note, however, please don’t follow up and ask me for a literary agent referral to someone else. My colleagues and I all have a finely-tuned sense of what makes a saleable project. If the writing or the story aren’t there yet, another set of eyes reading the material won’t change that. Think about it. Why would I want to forward you on to another agent? So they can reject you for the same reason? Besides, reputation is everything, for both authors and agents, and I don’t want to attach my name to a bad referral. (Dealing with rejection? Tips for moving forward.)

Identifying Potential Agents is the Writer’s Job

The agent search is aptly named. It is a quest. It is part careful craft, part shooting blindfolded. And it is a writer’s job to do. Unfortunately, you have to research agents, try to decipher their tastes and query them yourself. The only people who get a literary agent referral from me are those who seem like they’d be a fit for someone else at the agency. If this happens, I’ll tell the writer about it first thing. In any other situation, please don’t ask.

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.

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.

All About a Full Manuscript Request on Your Novel Submission

Here, I want to explain my philosophy on the full manuscript request. I only request full manuscripts for a novel submission, not partials. Part of it is the same rationale as why I say you should send 10 sample pages with every query, regardless of an agency’s submission guidelines: instant gratification. When I see an enticing query letter, I want to move on to a novel submission right away.

full manuscript request, novel submission, literary agent, query letter — Look at this dutiful agent seriously considering a full manuscript request.

How Some Agents Handle a Full Manuscript Request

Imagine if I followed the partial request plan of some agents:

Ask for the first 30 pages, evaluate
As for the next 50/70 pages, evaluate
Ask for the next 100/150 pages, evaluate
Ask for the full manuscript … eventually

This is a bit extreme, but I have seen all sorts of iterations of this for a novel submission. Why bother? Well, here’s the rationale. An agent who asks for a lot of partials ultimately ends up rejecting fewer fulls, because their decision process is long and fewer manuscripts get all the way to the full manuscript request (Dealing with a query rejection? Read the linked post). On the other hand, there are also agents who request a full after reading only the query. They probably reject the vast majority (~99%) of their fulls, since the first time they see a writing sample is when they make a full manuscript request. I request a full after reading the query and the first 10 pages. I reject a vast majority of my full manuscripts, but not nearly as many as the person who reads only a query and asks for the full.

The one downside to asking for a full is that, to a writer, a full request is a Big Deal. It is More Serious and More Important than a partial request for a novel submission. I wish this wasn’t the case. I only request a full so that I can read through the first 30, 50, 70, 100, 150, etc. etc. etc. and keep reading until a) the quality of the writing takes a nosedive, b) the plot stops making sense, c) the story takes some kind of bizarre turn, d) the characters warp, e) I lose interest. All of these things, unfortunately, happen sometimes. However, sometimes they don’t!

Why a Literary Agent May Stop Reading a Novel Submission

There are a million reasons to stop reading a manuscript but there are also a million reasons to keep reading. With requesting a full and not a partial, I don’t have to stop, ask for more, stop, ask for more. I can read for as long as I’m riveted and, if that extends to the end of the manuscript, I’m a very happy agent. With a full at my disposal, I’m free to take my time, have my process, really dig in and mull things over without going back and forth with the writer.

I wouldn’t advocate sending a full when asked for a partial, like I’d suggest you send a writing sample anyway, but I just hope you understand a little bit more of what goes through my mind as a literary agent and exactly what a full request from me means.

If you want to make a literary agent read more, you’ll want the strongest possible manuscript. Hire me as your novel editor and we can increase your chances at success together.

Happy New Year! And… Contest!

Hey readers, Happy New Year! May 2010 bring you closer to your writing dreams and be filled with joy, prosperity, craft and laughter for you and your loved ones.

I’m ducking in quickly to dispense good wishes and also to reveal my new contest for January! Since the new year is all about new beginnings… this contest is, too. This round, I’m accepting entries for the beginnings (up to the first 500 words) of your MG or YA novels (sorry, no picture books this time around). Then I’ll dissect what makes a strong novel opening — one of the most difficult and crucial moments in your manuscript.

Head on over to the Kidlit Contest page to find out more!