Manuscript Query Letter: You Need a Finished Book

I often get questions about sending a manuscript query letter…without having a finished book to go with it. This may seem like a “duh” question to writers who are familiar with the publishing industry, but everyone learns new things at different times and new readers are always showing up, so I am happy to repeat more basic information.

manuscript query letter, finished book — You need a finished book to present to agents. They won’t offer you a contract based on a slice of your writing.

Sending a Manuscript Query Letter? You Need a Finished Book

When you’re a debut writer looking to publish in children’s books, you will need a complete manuscript 99% of the time (especially in the case of my readers, who are primarily fiction writers). That means that you’ll need a finished book when you’re sending a manuscript query letter for:

Board book
Fiction picture books
Nonfiction picture books
Fiction early readers and chapter books
Same for nonfiction (though there are fewer of these on nonfiction shelves)
Middle grade fiction and most MG nonfiction
YA fiction and most YA nonfiction

The only exception to this rule is if you’re writing older nonfiction, like something for the middle grade or teen age range or a reference book/textbook. And picture books from author/illustrators will, of course, need to have a dummy attached with some art sketches.

(Picture book dummy: A sketch version of what the book might look like in real life, with the art and text blocked out on 17 spreads/32 pages. Two or three of the spreads should be rendered like they’d be in a finished book…this is called a “mock finish.” The dummy should convey quickly, with the sketches, and in more detail, with the mock finishes, what the book will ideally look like. If you’re curious about dummies, this explanation is a great resource.)

Selling On Proposal

I bet you’ve heard about a lot of authors selling something “on proposal.” That’s a lot more common with adult nonfiction, a business or diet book, for example, or a cookbook, than it is with children’s books. And in fiction, writers only sell on proposal if:

They’re an established author
They’ve sold multiple books to this editor before
The agent decides the project is really, really strong and wants to entice an editor with a partial
You’re working with a book packager and have only developed a sample before going on submission

If none of this applies to you or you’re just starting out with some fiction ideas, I’d urge you to forget the word “proposal” and work on your full manuscript. A large part of the writing craft is reaching the end and starting the revision process. There’s nothing like it. You learn more from finishing and revising than you did from just writing the thing out.

Plug Away and Finish

If you haven’t had this experience once or several times before trying to approach agents or editors, you most likely will not have all the skills necessary to get edited and published. So plug away and finish. (Check out my post on how to finish a novel if you need some inspiration.) Besides, a strong, finished book is a much more convincing sales piece than just a partial that could potentially fall apart in the execution. When you’re sending a manuscript query letter, having a complete project works to your best advantage and is a huge learning experience.

I provide editorial services to writers at all stages and skill levels. I’d love to help you develop an idea, finish a draft, or polish a completed manuscript.

Beta Reader Opinions: Do They Matter to Agents?

This question about beta reader opinions comes from my Writers Digest webinar. The reader asks:

I recently conducted a focus group made up of 68 teenagers (male & female between the ages of 13-18). I had them read my manuscript and complete an anonymous survey at the end. I received many wonderful comments and scored an 8.5 on a scale of 1-10. Should I mention this in my query to agents or not?

The average child or teen who reads maybe a few dozen books a year will see something and think it’s pretty good because, well, why not? They don’t really have to be all that picky and entertainment is entertainment.

An Agent’s First Customer Isn’t A Beta Reader

The writer has done a lot of work to gather beta reader opinions, which is always admirable. But does it matter? Will it sway my decision? Not really. Why? Because an agent’s first customers in publishing aren’t teenagers. In the trade process, my customers are publishers: the editors bringing my manuscripts to acquisitions, the sales and marketing people evaluating the work’s sales potential, the finance guys upstairs crunching numbers (in the form of a P&L, a “profit and loss” statement) to determine whether the project makes good business sense to bring to market.

While teens are the “end user” in the YA publishing business, they’re not my first buyer. They’re not even a publisher’s first buyer. After a house buys one of my manuscripts, they will edit it and then pitch it to booksellers and librarians. Those are my customer’s customers. And it’s booksellers and librarians who will then reach out to the teens: my customer’s customers’ customers. So before an actual reader gets their hands on a book, it will have gone through several layers of gatekeepers and decision-makers.

The Trade Publishing Landscape is Business to Business

Is a B2B system that ignores its end-user in favor of a customer with more capital a good one? There are people who say that this is one of the things wrong with the publishing business model. Most publishers simply don’t collect beta reader feedback like this writer did for their manuscript. But while these questions and issues are definitely valid, this post isn’t an attempt to address them. And for now, that’s the way things are in the trade publishing landscape.

With the above in mind, I say that I don’t really care what a focus group of teenagers said about a manuscript. Because I’m going to be pitching this project to editors, not teenagers. And most readers who don’t work in publishing and don’t read as much as the people who work in publishing may not have the discerning taste of those who work in publishing, so they’ll usually rate random things pretty highly.

It’s All A Matter of Context

Agents and editors, who read thousands of manuscripts a year, can be picky and choose the best of the best because they’ve also read the worst of the worst and the meh-est of the mediocre. An average focus group is comprised of teens or kids who read maybe a few dozen books a year, and will see something and think it’s pretty good because, well, why not? They don’t really have to be all that picky and entertainment is entertainment.

This is also why I’m not a fan of sites like Inkpop and Authonomy. Sure, they’re sponsored by HarperCollins, and, sure, highly rated manuscripts posted there get some official Harper eyeballs on them (having spoken to a few of the people who are on duty to vet these manuscripts, I can tell you it’s less glamorous than described), but your chances of getting a book deal out of posting there are still about the same as your chances of going through the slush or self-publishing something that becomes an international bestseller.

Writers often come to me with beta reader praise or high ratings on these online writing communities. But since most kid readers and most online community participants don’t have the kind of context and standards that I have — and since they’re not my immediate customers, publishers are — I don’t really weigh their opinions heavily when making my decision. I know that I have to impress publishers first, then impress the reading public with the products that publishers create on my client’s behalf.

When It Comes To What I Represent, My Opinion Gets Top Billing

I’m an agent. A tastemaker. A gatekeeper. My unique opinion and judgement, after all, is why people come to me in the first place. (And if they don’t like my judgment, they can go to another agent.) My personal list is what I shop around to editors. Who I rep and what projects I attach my name to are a matter of my opinion. When I’m considering a project, that’s the only opinion that matters to me; not the opinion of a beta reader.

The best thing you can present to an agent is a polished manuscript. My editing services will help you make your project the best it can be before you go out on submission.

Publishing Assistant vs “Actual” Literary Agent

Here’s a question from a recent webinar about a publishing assistant reading a writer’s work rather than an “actual” literary agent:

What can we do to ensure that an actual agent sees my query? I’ve received rejection letters directly from publishing assistants, therefore I know that the agent hasn’t seen my query or sample work. Perhaps the agent would have liked it, but if he or she wasn’t able to see it, then both the agent and I miss out on what could have been a wonderful opportunity.

literary agent assistant, publishing assistant — Ditch the toxic publishing assistant attitude. Don’t miss out on the opportunity to have a patient, well-trained, excited pair of eyes on your manuscript…and to get a very close ally within the agency you’ve queried.

This writer seems to have what I would call Assistant Attitude. It’s a belief that the literary agent assistant isn’t really important and that only the big names at an agency can make or break a writer’s chances at representation. A lot of (beginning) writers think very poorly of publishing assistants and are shocked — shocked! — to learn that these are the people reading their queries.

The Strengths of a Publishing Assistant

You’re More Likely to Get a Timely Response

I invite everyone currently suffering from a case of Assistant Attitude to consider, perhaps, the complete opposite viewpoint. The truth is, publishing are amazing. Especially when it comes to going through the slush. First off, they are often the hard-working, unappreciated souls who make sure your queries get a response. Would you rather you submission languish in obscurity while a big shot agent caters to clients, makes book deals, speaks at conferences — you know, agents — for a few months or years, or would you rather an eagle-eyed publishing assistant go through submissions and respond to you in a timely manner?

They’re More Likely to Give Your Work Careful Consideration

Here’s another thing to consider: Publishing assistants are hired directly by the agent and know the agent’s tastes intimately. They also tend to pay more attention while reading. Would you rather a literary agent assistant read the whole query and sample or the agent glance at it and reject after reading a sentence because they are overwhelmed with a deluge of other submissions?

Assistants are also on the hunt and spend more time and energy giving writers a chance. A really busy agent may not invest a lot of time on a promising-but-not-ready-yet writer. Their publishing assistant, though, could really spearhead a writer’s growth and give someone some editorial feedback, a shot to revise, an invitation to resubmit, a phone call, etc. Some assistants can even take on their own clients (see how to select a literary agent for more thoughts on this). Since this is a chance for a literary agent assistant to prove him or herself — and use the training they’ve received directly from the agent you’re targeting — most assistants and new agents are really hungry and eager to lavish prospective clients with attention.

They Have Access to the Agents

Finally, literary agent assistants are often the ones who champion things they find and recommend them to their bosses. “Stop what you’re doing and read this right now. It came in through the slush but it’s really good” is a very compelling argument when it comes from the right source. Who do you think an agent will listen to? A random query or a personal recommendation from their trusted colleague?

I don’t have a full-time publishing assistant because I work from home, but I do have a wonderful, savvy, genius intern-slash-reader. My intern sometimes cruises my slush and picks out which queries sound the most promising. Sometimes, she emails me to tell me that I need to request something ASAP OMG it is the single best thing she’s ever read. (My intern can get really enthusiastic and persuasive.) So what do I do? If I’m near a computer, I zoom immediately over to that query to see what’s getting her so excited, of course. My intern is a tough cookie and has very discriminating taste — like me — and so I trust her judgment completely. When she gets excited, I’m often not far behind.

Publishing Assistants Are People, Too

Assistant Attitude is toxic and it’s actually the writer missing out on the opportunity of a patient, well-trained, excited pair of eyes on their manuscript…and to get a very close ally within the agency they’ve queried. Assistants are people, too, and some of the smartest, brightest, and most dedicated I’ve ever met, to boot.

My manuscript editing services will help you improve your project so it has a better chance at rising to the top of the slush.

Trendwatch 2011

So, this post comes with the caveat to NEVER bank on a trend when you’re writing. There are people in my submissions pile still writing vampire paranormal romance, fallen angels, and dystopian. The vampires, I’d say, are very much over and there’s no way for me to convey that nicely. The angels and dystopian will stick around for a while but, by now, with editors’ inboxes so saturated, your premise and writing quality better be unbelievably good in order to stand out. Steampunk and mermaids seem like false trends, unless that rumor about Stephenie Meyer’s next series being mermaid-related is true. But a lot of mermaid books are coming out now and not really hitting as well as I think a lot of publishers have hoped.

Publishers create books two years in advance, usually. With picture books it can take longer. With really hot ticket books that are sold in great shape, it can take a year or so. Still, the average is about two years. This means that if you’re just hearing about a trend or some books coming to market that seem to have a common theme, you’re about a year to two too late (Holy Homophone, Batman!). Don’t start writing to trend when you hear about it. Just don’t do it.

With that caveat, I do have an advance eye on these things, as I see manuscripts before most editors see them. I’ve been catching up on submissions lately and can spot something shimmering in the distance. Dreams. Not only have I seen some dream manuscripts for critique (for example, a manuscript that came in for my Do the Write Thing for Nashville auction) this fall, but now I’m seeing dream-related queries by the truckload.

What do I mean by “dreams”? I’m mostly seeing messed up dreams where people are screwing around with other people’s psyches. Is this a direct result of Inception? Probably. But that’s problematic because Inception is a movie and lives by cinematic rules, and books are fiction, with their own related-yet-different workings. Anyway, I feel like your dream manuscript, if you’re cooking one up, has to be really intelligently done. Inception was mind-boggling and very sophisticated. Dream manuscripts, since you’re dealing in a very freewheeling fantasy, are going to be difficult to believe and even more difficult in terms of world-building, right off the bat. Plus there’s the challenge of something happening entirely in the psychic sphere: it’s all mental. What is your real world, external conflict going to be? You still need one. Anyway. I don’t really envy those with this challenge. It seems tough, and I’m already skeptical. All ye dreamers, beware!

What other trends are you all seeing in your literary travels?

How to Query When You Have Multiple Projects

Here’s a good question about how to query when you have multiple projects to submit. This one primarily applies to picture book writers, but is useful to novel writers who are wondering about requerying (if only a bit less relevant). Read on, everyone! Megan asks:

I’m wondering how to query an agent with different projects? For example, I’m in the process of sending queries for project A and writing project B. By the time I wait for agent responses to trickle in, I may be ready to query project B. Is it crazy to send another project to an agent who rejected me within 3 or 4 months? Am I just being annoying? Or, since picture book manuscripts can be written, revised, revised, revised, and polished faster than other genres, maybe this frequency for queries is expected?

how to query, requerying — When you’re requerying agents, how much time should you allow between submissions?

How to Query: Not Every Idea is Publishable

I tell my picture book writer clients — AND THESE ARE CLIENTS…people who’ve already cleared the “hurdle” — that one out of every ten of their picture book ideas/manuscripts is going to be saleable. Picture books are “easy” to write and generate and revise and get 700 or whatever words into shape, sure, but it’s infinitely harder to hit upon a winner idea. GOODNIGHT MOON was first published in 1947 and parents still read it to their kids every night, all over the world. Publishers are tightening their lists and, ideally, would love a book with that much power and longevity. In other words, everyone wants something that will backlist for eternity. It’s not easy. I would even argue that’s it just as hard to hit upon such a picture book idea as it is to write a publishable novel, especially in this current marketplace.

Personally, I balk a little when writers approach the “how to query” question with a little too much enthusiasm. It’s overwhelming when writers hit me up with picture book after picture book, even if some time lapses between attempts. The point is to evolve and go to the next level between picture book manuscripts. Every submission round to agents will bring you valuable feedback and insight. (If you get absolutely no personalized feedback, that’s feedback in and of itself. See my post on types of query rejection for more info.) Keep writing while you’re on submission, of course, but you should also, in my opinion, wait to see how a submission round goes before you jump back into requerying. You don’t want to give off the idea that you’re just churning projects out without stopping to learn and grow in between attempts.

Keep Your Currency With Agents High

Look at “how to query” from my angle. I have, oh, six picture book clients. They can all, in a good year, give me 10 manuscripts. That’s 60 manuscripts. Say I decide to just go out with them all (which I would never do). For each submission, I go out to about 8-10 editors at various houses. That would be between 480 and 600 picture book projects that I would send out. About 10 submissions a week. There are about 300 editors actively acquiring in children’s books these days (at the major, mid-size houses, and smaller houses), so even if I cast my net as wide as possible, I would still hit up every editor at least once, sometimes twice, regardless of whether they’re a good fit or even looking for picture books (if you want to know, that particular number of PB-hungry editors is at about 70-100). You also have to consider that, if an editor and I have a good relationship, existing projects together, or similar tastes, I will send to that group of particular editors more frequently over the course of the year. Those editors — the ones I really love and want to work with — would probably get more like five or ten projects each.

Do you think all those editors are going to see my email or get my phone call and think, “Wow, I haven’t heard from Mary in a while, and I know she only goes out with projects she thinks are really top notch, so I am really excited to hear all about this one!” Absolutely not. They will most likely think, “Yikes, another call/email from Mary. What does she have for me this month and how quickly can I get it off my desk?”

Develop High Standards and Only Submit Your Best Work

I don’t go out with everything my clients give me. I have to be selective and keep my currency with editors high, so that if they see something from me, they don’t roll their eyes. The worst position you can be in, I think, is if someone gets an email from you and groans. So I’m selective. And I have extremely high standards for the work that I pitch to publishers. (just ask some of my impatient clients…and we all know how I feel about patience. Check out my post on how long does it take to publish a book for the full scoop.) You should strive to be this way, too, when you’re approaching how to query. That way I don’t groan when you’re requerying me for the second or third or fourth time that year.

If you want to take your destiny into your own hands while you wait, hire me as your manuscript editor and revise your way to the strongest project possible.

How To Pitch A Book: Confident vs Bombastic

Some writers are notoriously shy — or at least timid — when it comes to approaching how to pitch a book. I’ve heard lots of published authors say that they’re writers, not salespeople. They rely on their agents to vouch for their work and pitch it to editors, so they can focus on their craft and building their readership. Contracts, pitching, negotiation…that’s the domain of agents.

how to pitch a book, query letter author bio — When you’re pitching your book — in person or in writing — you want to take a confident stance without being bombastic.

How To Pitch A Book: Be Mindful Of Your Tone

Well, what happens until you get an agent, or if you choose to go without one? You advocate for yourself. From your query to your networking at conferences to meeting librarians and booksellers and telling them about your book, you’ll have to consider how to pitch a book at least a few times in your career (ideally, you’ll have the opportunity to sell it to lots and lots of readers). So how much plugging is too much? Where’s the line between confident and bombastic?

Minimize Self-Praise

Bombastic: This is an amazing story of wonderful proportions, full of thrilling adventure and poignant emotion, lovable characters and a breathtaking plot…
Confident: My thriller pits my main character against his biggest enemy in a high-voltage climax, with a surprising twist ending.
The Difference: Don’t be lavish in your self-praise and, for goodness’ sake, cut down on the adjectives. Everyone knows you love your story…that’s why you wrote it. Nobody wants to hear you praise your own work in your query letter author bio. It means nothing coming from your mouth, so I’d avoid all the fluff.

Don’t Include Praise From People Who Aren’t Writing Professionals

Bombastic: My uncle, who is a (unpublished) writer, thinks this is the best book ever written. My children love this story and ask that I read it to them every night. My professor, who has a PhD (in, ahem, civil engineering), said I was an exceptional writing talent.
Confident: Award-winning sci-fi writer, Writer McWriterpants, says of my book, “A rare debut full of heart and fantasy thrills. A great new voice on the scene!”
The Difference: When you’re considering how to pitch a book, remember that praise doesn’t count as much when it comes from a relative or friend of yours — unless maybe your brother is Stephen King. I’d much rather hear what an unbiased third party has to say about the book, and ideally have it be someone who knows what they’re talking about (ie: a writer, not an engineering professor). If you can’t get any casual blurbs like this (and that’s totally fine), don’t include something just for the sake of including it.

Don’t Put the Cart Before the Horse

Bombastic: This will sell like hotcakes and there are endless opportunities to leverage my idea. It lends itself easily to greeting cards, music videos, apps, video games, theme parks, movies, t-shirts and other merchandise, and, of course, sequels!
Confident: The ending of this manuscript gives my story sequel opportunities and, as a trained screenwriter with a cinematic writing style, I can see potential for the screen as well.
The Difference: We all want our work to go from book to screen to the toy store to the clothing rack. If you have experience and possible connections to another industry that can be a great cross-promotional avenue for your book idea, you can hint at it. Maybe bring up some marketing or subrights ideas if you talk to agents or editors on the phone after they express interest. But when you considering how to pitch a book initially, keep the pie out of the sky and don’t rattle off all your merchandising dreams in the query. (For more on this topic, see my query letter tips on not putting the cart before the horse.)

Use Adjectives Sparingly

Bombastic: My self-published/previously published book was a bestseller.
Confident: I sold 200 copies of my self-published book in its first year and it is regularly reordered by two independent bookstores in my community. My previously published book enjoyed three printings in one year from a small press.
The Difference: Words like “expert,” “bestseller,” “hit,” and others are a bit like adjectives. They sounds like fluff. If a book sells five copies at a local indie bookstore, sure, it can end up on their bestseller list, especially if your book has a regional tie-in to the region or if you recently did an event at the store. But that’s quite a different level of bestseller than what Stephenie Meyer gets to write on her resume. Use words like this sparingly in your query letter author bio, and be really specific as to what they mean in your case.

The Takeaways

Be specific. Instead of blowing your pitch full of hot air with adjectives or buzzwords like “bestseller,” be straight and direct with the reader. You want to project a healthy amount of confidence, but make sure everything you’re saying is grounded in fact and doesn’t go flying off into Hyperbole Land. All that stuff isn’t what I’m reading for when I read queries. In fact, I skim over most of it.

Caveat: I often tell people to look at the copy on the back of book jackets when they’re crafting their queries. That’s about the length and tone that you’re aiming for when you write the meat of your pitch. However, book jackets can get away with adjectives and buzz and blurbs and all that hype because they’re actually trying to make someone go to the cash register and buy the book.

Your Story Is The Most Important Part Of Your Pitch

When I look at queries, I care more about the story you’re pitching to me than how you’re pitching (check out my evergreen article on How to Write a Query Letter), but I would greatly prefer a writer who falls on the confident side of the fence rather than the bombastic. If you’re having the opposite issue, and you tend to undersell yourself in your query letter author bio, look at the confident examples again and see if you can’t take more of a stand for you and your writing. Either way, remember: we want to be sold. We just don’t want the sweaty-handshake-used-car-salesman hardball sell. Nor do we want the looking-at-your-feet-and-mumbling sell. We want the simple, compelling, concise, and thoughtful pitch that comes from your confidence in your work!

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

Should You Revise and Resubmit To The Same Agent?

Estee came up with a really interesting question about whether or not you should revise and resubmit to the same agent:

I’m curious if you remember the slush. I mean, if someone submits something that isn’t good enough, revises it and re-submits it at least six months later, do you recognize them?

revise and resubmit, writing agents — Oh YEAH! I totally remember Zolten the Zebra!

Submission Deja Vu

Other comments joked about writing agents and their all-remembering powers. Since we see thousands of submissions a year, it’s a funny idea that we’d remember them, right? Well, I have news for you. I remember submissions pretty well, considering the circumstances! I can’t really remember what I had for dinner a few days ago or to pick up the one thing I really need at the grocery store, but I do start to get submission deja vu when reading something I’ve seen before.

For me, and I don’t know about other agents out there, it’s always a turn of phrase or a description that triggers my memory. In cases where the query or submission had a really focused premise, the premise will jog my memory if I see it again. The same goes for other random tidbits: funny character names, strange author names, jokes, exotic locations that the author is writing from, random connections we have that they might have brought up in their queries, etc. There are a million different things that catch my attention, of course. And I probably wouldn’t recognize everything I’ve ever seen if it was presented to me again, but my memory has been pretty accurate so far.

Always Be Upfront About a “Revise and Resubmit” Scenario

If the question was asked in the context of whether to mention a “revise and resubmit” scenario in the query, I say you should always mention it. If you’re writing agents again, don’t count on them to forget your previous submission. Most of us who use email can search for your previous correspondence. And it’s not a bad thing if you’re resubmitting to a literary agent. We all know that writing is a craft and that writers end up revising, sometimes days after they send their first query, sometimes months or years.

What To Say

How about something simple along the lines of:

Dear Mary,

You saw this query and passed with some really insightful feedback (Ha! My fake letter is laying it on a bit thick, but if you did get a response after writing agents the first time around, don’t be afraid to mention something about it…). I’ve since revised the project and am hoping you’ll be interested in taking a second look. To refresh your memory, the story goes like this:

And then you launch into the meat of your query again because, as good as my memory may sometimes be, I’ll always appreciate another pitch to remind me of the key points of your project.

If you’re unsure how to handle your own “revise and resubmit” scenario, hire me as your query letter editor. I’ll help you pinpoint what you should include in your query.

Literary Agent Response Times

This post is all about literary agent response times. How long does a literary agent take to respond? Does a longer wait in the slush pile response queue mean a bigger chance at rejection? This clever question comes from rifferaff, in the comments:

I have a theory, based on the many writer blogs and forums I read, that when agents offer representation, they usually do so quickly, usually within two weeks, but often days. Is there any truth to this? Would you hold onto a full for 2 to 3 months and still offer representation? Or if you’re offering representation do you usually do it as soon as possible?

literary agent response times, how long does a literary agent take to respond, does a long wait mean rejection, slush pile response — Waiting too long for your love letter from a literary agent?

Decoding Literary Agent Response Times

I can see why a lot of writers would think this with regard to literary agent response times. Blogs and forums are full of sexy stories: “My agent offered representation the same day!” or “An editor read it overnight and pre-empted with a huge deal!”

It’s a little less exciting to get on your blog or a public forum and be like “I heard absolutely nothing for six weeks, turned myself into a basket case, and then my agent offered representation, but by that point I was locked away in the attic, murmuring to myself, and my husband had to coax me out with a bottle of wine!”

No News Is…No News

I’m exaggerating, of course, but there’s a reason why the stories shouted the loudest on the Internet are about quick literary agent response times that come with offers of representation. A long wait and lots of daunting silence — which is often what happens with writers who end up with representation — just doesn’t make a good headline.

While it’s true that agents who spot a really hot premise or really great writing in their submissions pile will be compelled to read quickly, and those really big-sounding projects will most likely have multiple offers of representation, also quickly, that’s not the only way that writers get representation. (I’ve noticed a lot more of this happening recently, with everyone pouncing on the most commercial projects. Read more about it in my post about the book bidding war.)

Getting Behind the Scenes in the Slush

Unfortunately, sometimes slush pile response times have nothing to do with you. It’s not like we “hold onto” a project for two or three months, actively considering it. Sometimes forces outside our control or an overwhelming submissions pile keep us from reading full requests that we’re genuinely excited about.

Other times, a writer will get another offer, which usually shoots that manuscript to the top of my To Read pile. Sometimes, though, nobody else has expressed interest and the manuscript just waits in line until I can read it and give it the consideration it deserves. Unfortunately, it could be months before this happens.

When offering representation, I’ve gotten my clients by offering the next day, by winning contests where a lot of agents were interested, and also by offering in a few weeks or a few months after the initial submission. I’ve also offered representation and gotten a client whose previous manuscript I’d rejected, and then had them come to me with a new, stronger project.

Try Not to Drive Yourself Crazy

Every writer will have a different experience with literary agent response times. If you have a knockout commercial idea–and you’ll usually know it–expect things to happen quickly. But don’t despair if they don’t. It is perfectly fine, and more common, in fact, to wait.

The worst thing you can possibly do when you’re waiting in the slush pile response queue — and I tell this to my clients who are out on submission to editors — is to start reading into every little thing. Sometimes, wait times and rejection letters and communications with agents or editors are laden with meaning. Other times, they’re just a natural part of the process.

While out on submission, I would highly encourage you to start working on your next project, even if it’s just an idea brainstorm or an outline. This will be a much better use of your time. And I can only hope that you don’t have long to wait, but if you do, that’s fine, too.

Help your writing stand out in the slush pile. Hire me as your developmental editor. My Submission Package Edit covers the first ten pages, query, and synopsis–everything an agent wants to see.

Breaking In as a Children’s Book Author Illustrator

Breaking in as a children’s book author illustrator is very desirable in today’s picture book market. If you have artistic talent and want to try your hand at children’s book illustration, read on.

author illustrator, picture book author illustrator, picture book, picture book dummy, how to write and publish picture books, children's books — If you’re trained in art, make your debut as a children’s book author illustrator.

This question comes from Priscilla:

I have heard that an author illustrator needs to first “prove herself” as an author or an illustrator before being published as a children’s book author illustrator. Is this the case? What is your advice for an author illustrator on submitting a picture book when the text and images are dependent upon one another for meaning? As the Andrea Brown Literary Agency does not accept attachments with queries, a mock-up or dummy would be out of the question. But would an agent be interested in receiving written illustration ideas alongside a text query, or should the illustrations come later, only after an agent expresses interest in the project?

This is a great question, and one that might have a controversial answer. I am in the school of thought that picture books sell a bit more successfully these days, at least in my experience, if they come from an author illustrator: one person trained to do both text and illustration.

A Children’s Book Author Illustrator Is an Illustrator First

Furthermore, most of my author illustrator clients are trained illustrators first, then writers. I’ve done a lot more work with them on improving storytelling, structure, and writing. Because if the illustration quality isn’t there to begin with, there’s not a lot that I’ll be able to do, since my expertise is primarily in text (read how to write a children’s picture book for tips).

A lot of the editors I talk to express interest in children’s author illustrator projects simply because the whole package is there: the text, the art, the interplay of word and image, the design of it. Some agents and editors are more talented than others at imagining what kind of illustrations to marry to text and vice versa. Picture book texts that sell (and many text-only sales are still made, every day) and illustration portfolios that land on an editor’s desk are incomplete. They need their mate in order to become a book.

It’s up to the right editor and to chance to make the match between an author and an illustrator. Sometimes this alchemy doesn’t work. Sometimes texts or art bought separately take longer to get into production. It can get complicated. So if an editor buys a project from an author/illustrator, they have a tantalizing snapshot of what the finished book will be — right there in the dummy — and they know they’ll only have to work with and juggle one creator for the project instead of two.

How to Combine Illustration and Text in a Picture Book

This simplicity is, frankly, why I love working with a talented author illustrator. They also tend to have the best understanding of how text and image can combine to become greater than the sum of their parts, how word and illustration enhance each other.

For me, opening a dummy from a fantastic author/illustrator is like diving into a miraculous treasure trove. And that’s how it should feel. I’m extremely picky about author/illustrators, and do prefer to work with them over just illustrators or just authors, though I have those clients on my roster as well. This, of course, is just my personal preference.

Does, however, an author illustrator need to get their start as an author illustrator? That depends. If they have a fantastic picture book author illustrator project that is very commercial, it will probably sell, even though they are a debut talent. If they extend themselves to land a text or an illustration deal (the latter being more common) first, then they can enter the marketplace with some illustration credits, then move on to an author illustration combo. But I don’t think prior illustration credits are necessary to land an author illustrator book.

If you are most certainly not an illustrator, you are probably wondering how to find an illustrator for your children’s book, if you need one at all. I have a post that discusses this issue at length.

Client Case Studies

One of my clients, Bethanie Murguia, was an experienced illustrator but had no book credits to her name until she landed Buglette the Messy Sleeper from Tricycle Press. That was her first book deal and her author/illustrator debut. As it happens, I have sold two more books for Bethanie, and both of them will be author/illustrator projects. One other client of mine is on the cusp of becoming an author/illustrator debut with a medium-sized publisher (more details after we finalize the deal!). He is an experienced illustrator, and we finessed the text and story.

Another client, Lindsay Ward, was a trained illustrator who got her start on her own by sending out postcards to editors and art directors. From there, she landed a cover and interior spot illustration project for Doubleday Canada, and two illustration projects: The Yellow Butterfly from Bright Sky Press and A Garden for Pig from Kane/Miller. I was on board at this point and we were able to work up to an author/illustrator project with a smaller house (Pelly and Mr. Harrison Visit the Moon, from Kane/Miller), and then land her an author/illustrator deal with a larger house, the newly retitled When Blue Met Egg, out from Dutton/Penguin in Spring 2012.

So, you can break in to author illustrator-hood either way. And I don’t think it’s out of the question to land a children’s book debut deal … at all.

How Do You Submit a Book Dummy to a Literary Agent?

Now, a lot of folks do have questions about our submission guidelines. We don’t accept attachments, so how do you send a dummy of your work? Simple. You copy and paste your query and the text of your picture book project (even if the text is dependent on illustration, we understand how that goes) and mention that you’re an author/illustrator. Then include a link to your online portfolio (every illustrator should have one, even those who are technically illiterate but could easily hire or ask someone, there’s really no excuse and you will get steamrolled by your competition if you don’t) where, ideally, we can see a few sample illustrations. If I like your art style, I will ask for the dummy, and then you can send the attachment! (Make sure to check out our full video on this topic, too!)

My passion for picture book editing is alive and well. Hire me to edit your picture book manuscript and provide art notes on your dummy.

How to Write a Picture Book Query

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

Melanie phrases the question quite well:

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

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

Picture Book Query Sample

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

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

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

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

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

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

How to Get A Picture Book Literary Agent

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

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