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by Susan Dennard —- This was originally posted on Let the Words Flow, but I have tweaked it slightly to share with our new world of Pub(lishing) Crawl readers. One thing writers hate doing but wil…
This is my forever go-to post when I need to write a synopsis. So so very helpful.
The longlist for the 2014 Man Booker has been announced, the first of its kind to have writers from all over the world competing, including American writers Joshua Ferris, Karen Joy Fowler, Richard…
From #readwomen2014 to #WeNeedDiverseBooks, hashtags are helping to build community in the literary world
Useful information for ay writers who spend time on Twitter.
Check out our #readwomen2014 monthly, the amazing Sharon Salzberg.
This here stuff is gooder than snuff…
Quick 50 Writing Tools - Roy Peter Clark
So we’ve discussed why you need an agent (if you want to publish traditionally) and how not to get an agent. But now I want to talk about picking the right agent for you. So here’s the thing about literary agents: the legit ones are all publishing savvy, business-minded, all around nice people who just really love books. Or at least, the ones I’ve come in contact with are. Every agent (like every person) has their own set of strengths and weaknesses, which often dictate what genres they do and don’t represent. And knowing those strengths and weaknesses is just a teensie bit important to know before you query. That’s right. You need to research agents before you start querying. Why? The answer’s simple, really—not every agent is the right agent for you. Some agents are editorial, some agents are not. Some agents represent a huge range of genres, some are much more focused on a couple genres and categories. Some agents have been in the business for over a decade, others are much newer to the publishing game. I’ve already blogged about where to go to research agents (see that link above? Click it), so I’m not going to delve into that again. What I want to focus on instead, is what you need to be looking for when deciding what agents to query. There are a couple questions you should be asking yourself while researching agents:
Does this agent represent my genre? This is the basic filter—the very first requirement is to make sure the agent you’re considering querying represents the genre and category your manuscript falls under. If they don’t, don’t query them. No exceptions. No, it doesn’t matter if you think they might make an exception for your manuscript (they shouldn’t and they won’t). No, it doesn’t matter if you really like that agent (that doesn’t change the fact that your MS is not a genre they represent). No, it doesn’t matter if your manuscript is supposedly unlike others in its genre or category (if you think that’s the case, are you sure you know that genre as well as you think you do?)—if they don’t represent your genre, do not query them. You’ll get an insta-reject, and you’ll only be wasting your time and theirs. Note: if you’re not sure what genre your manuscript falls under, check out this post.
Does this agent represent other genres I want to (or already do) write in? This is important, because you’re not just looking for representation for the manuscript you’re querying—you’re looking for representation for your whole career. Ideally, you’ll have the same agent throughout your career (though that isn’t always the case, which is okay). If your manuscript is a Historical Fantasy and you know going in that you also love writing Sci-Fi, make sure the agents you query represent both Historical Fantasies and Sci-Fi’s. Why? You want an agent who can potentially sell any manuscript you write, and if you write in multiple genres, you’ll want to make sure the agents you query represent all of them.
Is this agent editorial? Is this important to me? As I’ve mentioned before, not all agents are editorial (meaning not all agents go through the extra process of revising and editing your work with you before going on submission). This is an extra job, and agents are not required to edit your work (remember: it’s your job to get your manuscripts as polished as possible before sending it to agents). If you know you want an agent who will help you with some of the revision and editorial process, then make sure you query agents who are editorial. (You can find this out through interviews and sites like Literary Rambles).
What is this agent’s sales record? Do they have a lot of sales? A few things to remember with this one: not having a lot of sales doesn’t necessarily mean the agent is a bad agent. Some agents don’t report all of their sales, and some agents don’t have a lot of sales because they’re new agents, which is totally fine (and in that case, you’ll want to look at the sales for the agency they’re at, instead). But if an agent has been around for a couple of years, they should have some sales reported. That being said, how much stock you put into the sales thing is up to you. When I was querying, I personally didn’t query anyone who didn’t list sales or their clients, but that’s just me.
What is this agent’s reputation? What is the reputation of their agency like? Both of these are important to consider when researching agents. If the agent is established, what is their reputation like? If they’re new agents what is the reputation of their agency? (Note: it’s important to check on agency reputation for established agents, too). Check interviews, forums like Absolute Write Water Cooler and sites like Preditors & Editors as well as the aforementioned Literary Rambles to learn about agent and agency reputation.
Does this agent seem like someone I would work well with? Granted, this is a little more difficult to determine online, but if the agent has a Twitter, follow them long before you start querying. Also, take the time to read every interview you can find—both of these sources can give you insights into the agent’s personality and what their work process is like. There are a couple agents, for example, that I decided I wouldn’t query based off things they said or the way they behaved on Twitter—after all, if your personalities clash, it’s going to make the relationship between you and you future agent more difficult.
Finally, two rules to remember while querying:
Thou shalt not query every agent known to man. Use the criteria above to narrow down your list to agents that would work well for you and your manuscript. Consider every agent you query carefully. Think, if they offered representation, would I accept? If your answer is “no” then there’s little point in querying—you’re just wasting everyone’s time.
A bad agent is worse than no agent. I’ve often heard of writers jumping to accept the first offer the get, just because they finally get an offer of representation. I understand this temptation, but the fact is, a bad agent will not help your career. Make sure you do plenty of research on every agent you query, and even more research on every agent who reads your full, and even more research on every agent who offers representation. Know what you’re getting into ahead of time to avoid unfortunate circumstances later on down the road.
What tips do you have for choosing the right agent?
News: Game of Thrones author says readers' worries that he might die before finishing novel series the TV show is based on are 'pretty offensive'
“The struggle to improve our sentences, is the struggle to improve ourselves,” writes poet Mark Tredinnick. What is it that improves our writing? Essentially, clarity, connection, brevity and staying away from cliche. Here are some easy principles to help us get there:
1. Keep asking...
so it looks like i will be working with my first author to revise her manuscript!
this book will be published one day <33
With new books from Lydia Davis, Tiphanie Yanique, and other amazing writers, the remainder of 2014 is looking pretty great.
writing my first editorial letter!
here’s hoping the author is open to the revisions.
Those of you who follow me on Twitter may or may not have seen this last week:
The more I do this interning stuff, the more I see why agents advise against prologues. 9/10 times you really don’t need it. #pubtip — Ava Jae (@Ava_Jae) April 29, 2014
Ah, the joy of the prologue debate.
The thing is, I’ve been finding more often than not, people need their prologues much less than they think they do. And it’s understandable—I mean, it’s tough to be able to look at your work objectively and decide what scenes you need and don’t need, and it can be even tougher when you’re talking about the opening of your book. So without further ado, I thought I’d share seven signs that you may want to consider cutting your prologue.
Your prologue is your main character’s birth. Listen, I know people say to start where you story starts, but we don’t mean literally. I can’t think of a time when I read a prologue recounting the protagonist’s birth that I didn’t think it wasn’t unnecessary. I promise you, we don’t need to know the details of your protagonist’s birth. We really, really don’t. Also, in the spirit of full disclosure, I did this with my first manuscript. And it wasn’t necessary then, either (I just didn’t know it at the time).
Your prologue is all (or mostly) exposition. Nope. Don’t start your book with exposition. Why? Because you’re telling. And if you start your book off with a load of telling, then readers are immediately going to think the rest of your manuscript has tons of telling. Not only that, but exposition tends to be a really slow way to start a book and not an incredibly effective hook. I understand that you want to get information across—you should! But there are way more effective ways to get information across than with an expository opening. Consider sprinkling that information throughout your prose, instead—not only will it help you avoid the evils of info-dumping, but it’ll be much more interesting to read.
Your prologue features not your main character. I’m not saying this never works—in fact, I’ve seen it work. However, this can be a very confusing way to open a book. Think about it—a reader who opens up your book, knowing little to nothing about it, is going to read the first few pages and think that the character it’s focused on is, indeed, your protagonist. When they finish the prologue and learn that the character is in fact not your protagonist, it can be a little jarring. Very jarring, if we’re being honest.
Your prologue isn’t directly related to your main character. If it isn’t clear how the events that unfold in your prologue affect your main character (and thus the main plot), then your prologue is going to not only be confusing, but most will consider it unnecessary (and so should you).
Your prologue is a false start. I’ve seen prologues that are full of action and mystery and intrigue…and then the first chapter is incredibly slow and has little to do with the prologue. Don’t do this. The reason you want to avoid false starts is it doesn’t accomplish what you think it does—sure, it might get people reading through the prologue, but once they reach the first chapter they’ll realize that the prologue was really just a bait-and-switch hook. I get that you want to start with an interesting hook, and you should start with an interesting hook. But the answer isn’t through a super exciting and mostly unrelated prologue–the answer is to look at your real opening (that is, your first chapter) and figuring out whether you’re starting in the right place and how to include your hook in that opening scene.
Your prologue features your antagonist doing something super evil. I’m not saying this never works, but it’s so painfully overdone, especially in fantasy novels. For me, they don’t give the dramatic affect they may have when this trope first started—now I just tend to roll my eyes and think thoughts that rhyme with “melodramatic.” And that’s not how you want people reacting to your opening. And again, full disclosure, my first ever manuscript’s prologue did this, too…yes it committed two grave sins.
You’re not sure whether or not to include your prologue when querying or submitting. So this isn’t something you’ll see in your manuscript—this is actually your subconscious letting you know you don’t need your prologue. If your book doesn’t absolutely 100% need the prologue to be understood, then you don’t need it. Period. Which means if you’re even considering sending your query off without your prologue, then your inner writer is tapping you on the shoulder and letting you know it’s time to get the scissors.
What signs can you think of to add to the list?
*cocks head* You know where I think these have come from?
Movies. I mean…think about it! These are all things that happen pretty commonly in movies, where they work better….because the audience very rarely doesn’t stay for the whole movie, no matter how bad or uninteresting the first five minutes are.
You don’t have this leeway in books!
You know, I actually thought the same thing as I read through it. I haven’t read books that do these things (well, not good memorable ones) but I’ve seen PLENTY of movies that do.
The comments above make a great point! I actually hadn’t really thought about where these prologue problems come from, but come to think of it, they are pretty common in movies. But as white-aster said, while people don’t usually leave after the first couple minutes of a movie, people put books down after a couple pages (or sentences…), so the same format rules can’t always apply.
Really interesting thoughts.
World Book Night US will suspend operations after three years. The organization said in a statement that the expenses of running the effort "are too high to sustain without additional outside funding," especially considering the "significant financial and time commitment from publishers, writers, booksellers, librarians, printers, distributors, and shippers." WBN…
"This sentence has five words. Here are five more words. Five-word sentences are fine. But several together become monotonous. Listen to what is happening. The writing is getting boring. The sound of it drones. It’s like a stuck record. The ear demands some variety. Now listen. I vary the sentence length, and I create music. Music. The writing sings. It has a pleasant rhythm, a lilt, a harmony. I use short sentences. And I use sentences of medium length. And sometimes, when I am certain the reader is rested, I will engage him with a sentence of considerable length, a sentence that burns with energy and builds with all the impetus of a crescendo, the roll of the drums, the crash of the cymbals—sounds that say listen to this, it is important.” - Gary Provost
Reading this was so satisfying woah
WRITING!
A manuscript page from Jeffrey Eugenides’s Middlesex.
Literary Agent Directory - Get free access to the Official Directory of Literary Agents, compiled by a former NY Times bestselling book agent.
