Questions about comp titles in a query are common, because book comps can either be a powerful part of your pitch, or a bit potential pitfall. Here are some more thoughts on whether to use them, or not, and how. (My original article on comparative titles is here.)
Comp Titles in a Query and How to Use Them
The conventional wisdom about book comps is that, if you have good ones, use them. If you have outlandish ones that communicate your delusions of grandeur (I’m Rick Riordan meets Suzanne Collins!), skip them.
The purpose of strong book comps is to make a realistic comparison between your work and someone else’s. Ideally, the author or book you’re choosing is thoughtful, rather than just a runaway bestseller. It’s always best to give reasoning for your choices, if you can. For example:
My manuscript has the quirky sensibility of How to Say Goodbye in Robot and the freewheeling voice of Sorta Like a Rock Star.
Both of these comps are older than I’d use (see below), but they came easily to the top of my head because they’re both so very specific. Here are some more considerations, gleaned from questions asked over the years:
Age of Book Comps
It’s best if your comp titles are recent, published within the last three years or so. This does double-duty and communicates to the literary agent or publisher not only your comparison, but that you’re keeping up with the marketplace.
But don’t despair if your perfect comparable title (an alternate term for “comparative title” that you’ll sometimes see used) is older. If you simply must weave The Giver by Lois Lowry into your pitch, pair it with a more recent comp and ta-da! The best of both worlds.
Relevance of Comp Titles in a Query
Per the “reasoning” point, above, your comp titles should be relevant to your current pitch. It’s okay to compare your middle grade historical to a young adult dystopian comp onlyThe Hate U Give if you give a specific rationale. For example, The Sun is Also a Star by Angie Thomas and by Celina Yoon don’t have a lot in common in terms of premise. But they both explore societal pressures and race in different ways, and those are connections you can draw for an unlikely “meets” comparison.
As long as you’re thoughtful about it and guide the literary agent or publisher on why you made the choices you did, and the choices make sense, you can do whatever you want here.
Similarity to Your Book
You can get away with book comps that aren’t really similar to your book, except for an element or two. But what if your comp titles are too The War That Saved My Lifesimilar? This is a fine line. If you’re pitching a story about a disfigured girl whose mother hides her away during World War II and using by Kimberly Brubaker Bradley as a comparative title … uhhhhhh … you’re maybe calling too much attention to the fact that your idea already exists. And then you may have to justify how yours is different or better. It’s a better idea to pick books that are similar but not eerily so.
Picking Comp Titles from the Agent or Publisher’s List
Some smart writers customize their comp titles in a query to reflect books represented by the literary agent they’re querying, or the publisher they’re submitting to. This can be an effective strategy. Keep in mind, however, that agents and publishers won’t want to cannibalize their own lists. So if the book you’re pitching is too close to one the agent represents or the publisher has published, this might actually be a liability for you. Their loyalty will always be to the author and project that already exists in their portfolio.
Number of Comp Titles
The ideal number of comp titles in a query is two or three. I recently read a query with six book comps mentioned. That writer had clearly done their research, but they need to tone it down. Two strong comps are better than four lukewarm comps and way better than six comps that just all happen to be in the same category. The more specific the better, so you don’t want to dilute your pitch by citing too many other books.
How to Find Book Comps
This is a quick answer: Read! (Here’s my argument that reading not only exposes you to your market, but helps develop great writing voice, which every writer should care about.) Read in your category. Read outside your category. I will never, ever, ever understand writers who refuse read because it pollutes their process. Spinning in your own echo chamber is fine, but it also tends to produce (ironically) derivative fiction because the writer doesn’t know enough about what’s out there to realize that they’re repeating common tropes, using cliché language, or not exposing themselves adequately to what’s possible.
Reading is a delightful way to get to know the publishing landscape, discover new voices, add fresh ideas to your own writing toolbox and, yes, discover book comps that you can use in your pitch.
As a freelance manuscript editor, I not only work on your book, but I help every client with their pitch, query letter, and book comps, too. Let me set you up for success in submission!