I’ve donated a query letter and first 10 pages critique. Literary agents often ask for your first 10 pages when you submit your query. This is why the beginning of your novel is so important. Get in-depth and personalized feedback on your query and first 10 pages if you win this item. It’s already gotten 38 bids! There’s still 24 hours left to bid and donate to this wonderful cause. Visit the SFWC auction page for more information.
Comparable titles, agents love ’em, writers hate ’em.
They are a required part of my submission form, so I’ve seen the gambit of writers attempting to get out of answering the question. Multiple “n/a,” several “I don’t know,” and more than I care to count of “my manuscript has no comparable.” Even had annoyed emails asking why agents ask writers to jump through so many hoops.
There is a staggering amount of advice on how to query agents online, including how to choose your comparable titles. Search “comparable titles query” and multiple posts by successful writers and legitimate agents pop up.
#QueryTip = great comparable titles are: published in the past 2-3 years by major publishing houses and have a clear relation to your story.
Rather than regurgitate this easily accessible information, I’ll focus on what comps mean to me when considering a submission.
Whittling down submissions is like any other job application process, first the applicant has to meet the bottom line. I developed my submission form to ensure those that queried me already fit the mold of clients I’m looking for. It’s not a perfect system, but it works for the most part. I do have the occasional chuckle at some of the gaffes I’ve seen especially, as mentioned above, with the answers to the comparable titles section. Don’t worry though, there is only one answer to this section that will actually get you an auto-reject. To win this distinction you have to be an author who claims there is no comparable to your book, i.e. your manuscript is totally unique.
Not only is this not true, it’s incredibly egotistical on the part of the author, and that kind of ego is not one I want to work with. Close behind these “one of a kind” types are writers who say they are the next big franchise series, e.g. “My book is the next Harry Potter.” Perhaps it’s not their ego, but they might have the expectation that they will make the kind of money JK Rowlings does. And their agent will be expected to fulfill this dream or die trying under a mountain of anxious and demanding emails.
For instance, if you compare your book to #FSOG, agents may wonder if it’s a real comp, or if you just think your books is BIG #querytip
Answers such as “n/a” or “I don’t know” may not win you any points, but I won’t toss your sub. I will assume however that you are either lazy (not a great first impression) or unknowledgeable about the publishing industry (which makes me wary as I’m looking for long-term clients i.e. understand the time it takes to get published and the professional demands of being an author).
Moving on to authors who actually come up with comp book titles. First, thank you for trying. It is appreciated.
Those of you who use my clients’ work as comps. Clever idea, however be aware that I know these works more intimately than almost anything else on the shelves. I’ve helped edit, revise, flesh out characters, even out pacing, catch plot holes, develop marketing copy, title it and so on and so on. If you’re using one of them as a comp, be damn sure you’ve read it and your manuscript really does compare. Because I sure as hell will. . . and kudos for having the cajones.
Then there’s the chart-toppers like Divergent and Game of Thrones. These are over-used, and will not give your sub any distinction. I guarantee the past five fantasy submissions used GoT as a comp, so I’ll just glaze over these. Or there’s the old, even out-dated comps like Wicked or The Hobbit. I don’t mind these as much as many agents seem to, it at least shows me the author knows vaguely who their target audience is. What prevents old comps from adding to your submission package is that the odds that I know the editor are slim, and the imprint that first published these books may not be publishing similar books currently or may even be defunct.
Because that’s really why agents want to see comparable titles. If they are good, nay great, comps, then they will give us an instant idea of who and where to send it to. Recent books like The Star-Touched Queen and Certain Dark Things have both been mentioned or reviewed by me online. I know the editors of these books and I know the imprints that published them. If your book is comparable, then you have honed in on the right agent.
Not that I’m expecting you to stalk my social media or have perfect knowledge of what I’ve read recently. But if you write in the genre I represent and you choose comps that are moderately successful titles from the past year or two in that genre, chances are I’ve read them or at least heard of them and so know who published them. (If not, that’s on me.)
In closing, if you use recently published successful books as comps, they can really make your submission stand out of the pile. But if you don’t manage that, it’s okay. I’ll still consider your submission.
You will get 4 hours over the course of two days to ask any and all questions to the literary agents of Kimberley Cameron & Associates (including me!). Once you’ve asked all the questions, you will craft a query letter and opening 10 pages of a submission, and a KC&A literary agent will critique it for you. A great way to polish your submission package. I’ve had two writers secure an agent after taking this boot camp, so I like to think it’s useful.
A quick Google search will bring up a host of useful articles with tips on how to title your novel. Rather than regurgitate the information already easily available, this post will dig into my own personal (and I like to think professional) point of view and focus on those books that are in the manuscript phase, i.e. soon to be out on submission or wallowing in the slushpile.
As I evolve and grow into my occupation, I am surprised by how much I am continually learning and changing. Writing rules that I believed were absolutes in my first year are now not as important to me as writers who have clear longterm career goals. Genres/writing styles that I once thought to be marketable fall behind as marketing trends point me in a different direction. And the amount of time I spend on each submission, has dramatically fallen. Before you get indignant, hear me out. I know, more than ever before, what type of client I’m looking for and what kinds of projects I want. Eighty-five percent of the time I can tell from the query alone that we are not a good match. The other fifteen? Those will eventually get a closer look. They will queue in my inbox (hopefully not too long), waiting for the day I can muster up a few hours to examine them. When that day comes, first I have to recall why the submission is sitting there. Perhaps the author’s website or bio impressed me. Maybe their opening pages caught my interest or their particular writing style intrigued me. But if I have difficulty pinning down why I kept it, odds are I will pass. If it didn’t stick with me after percolating awhile, then I move on to those that did.
One of the biggest aspects of a submission that will help it stick in my memory is the title. If I remember the title, most likely I’ll remember the query, the writing, and the reason I’ve kept it around. And I’m going to boldly make the conjecture that most agents and editors would agree with me.
Titles that tend not to stick are those that are hard to pronounce or have made-up words (here’s looking at you SFF writers!). Long titles will be a problem as well, unless it’s a catchy phrase. In general if people give you a “huh” expression when you tell them the name of your book, time to rethink it.
The takeaway from this? Your title shouldn’t be a half-fast decision nor a personal choice (most titles will change a few times through the publishing process anyway, so you don’t want to get attached), rather it should be considered another tool to market your book, a piece of the submission whole package. Research the craft of titling your book as carefully as you are researching the agents you choose to query (operating under the assumption that if you are reading this, you are researching literary agents) and hopefully you will come up with a title will make your submission stand out in the slush.
And, given my baby girl has let me sleep that night, I’ll remember your submission.
It’s harder than ever for debut books to break into traditional publishing. The struggle is real. And it prompts authors to seek out any and every avenue that will boost their chances. Conferences, webinars, classes, critique partners are all in a writer’s potential arsenal. One of the biggest weapons, and the most dangerous, is the freelance editor. “Will hiring an editor make a difference, and if we did should we mention it in the query?” is a question often posed to agents; which is difficult for us to answer on the spot. One because there are different types of editorial and we aren’t sure what your manuscript needs:
Developmental? An examination of the overall structure/plot/characters/pace etc. Helps a writer find plot holes, fill out flat characters, remove unnecessary tangents, and ensure the story arc is complete. This is the most common type of editorial that agents already do, but if there’s more than a few of these types of issues, it will be rejected.
Copy-editing? An examination of the structure of the prose itself. Helps a writer enhance their prose line by line, streamlining sentences and fleshing out the narrative. If a submission desperately needs this, an agent will pass (unless the project is something they are very specifically seeking or it’s nonfiction). All manuscripts will go through a copy-editing phase before publication, but a basic sound narrative should already be there when submitting.
Proofreading? An examination of grammar and spelling. Helps a writer catch any grammatical or spelling errors. This is the last edit on a manuscript and the first issue noticed by a reader. An agent will not take on a manuscript littered with errors, as they would have to spend valuable time correcting them before submitting it to editors.
Two because, with the internet, the self-publishing revolution, and the economic recession that squeezed the traditional houses, there has been an explosion of freelance editors hanging out their shingle and not all are right for your work. We don’t want to be the one to tell you that you may have wasted your money (if a traditional deal is your goal).
If the author decides to hire an editor, they should tread lightly and do their research.
The Good, The Bad, and The Ugly.
Although the movie that inspired this title has some gorgeous cinematography, stellar story arc, and an awesome theme song, due to its casual racism and utter lack of female characters, here the Good, Bad, and Ugly have been replaced by real-life badass female wild westerners.*
The Good.Mary Fields, often called “Stagecoach Mary,” was born into slavery around 1832, and after being emancipated at the age of 30, made her way west to Montana. Fields, who was very tall and extremely strong, worked as a general handyman and laborer at a school for Native American girls. She had a reputation for being strong, blunt, and more than willing to get in fights with people who annoyed her. At one point the local medical examiner claimed, she had “broken more noses than any other person in central Montana.”
Hiring a freelance editor can absolutely help whip your manuscript into shape. With the right editor, your story will be polished until it gleams, trad-publishing-ready, thus appealing to agents. How to find these miracle workers? Look for editors who are experienced publishing professionals in your genre. They have either worked as an editor for one of the traditional houses for a few-plus years or they are a traditionally-published successful author. They may even be literary agents (but be careful, more on this under The Bad). If they do not have the prerequisite publishing experience, then they will have a resume of books that they edited which have gone on to be successfully published. These editors are costly, but they will give you the highest odds of producing a manuscript that will eventually make it to the top. Often agencies will have a list of these editors on hand that you can ask for if an agent shows interest in your work. If you work with one of these editors, then yes, definitely mention it in the query letter.
The Bad.From a young age, Laura Bullion was destined to be an outlaw. Her father was a bank robber, and while working as a prostitute in Texas she joined the Wild Bunch gang, where she ran with outlaws like Butch Cassidy and the Sundance Kid. Bullion helped the gang with their robberies, and came to be known as “Rose of the Wild Bunch.” Bullion would help sell the stolen items, forge checks, and is suspected to have disguised herself as a man to help with heists.
These editors you want to avoid at all costs. They are predators eager to take advantage of the vulnerable author. If an editor solicits you and/or promises you will be published at their “house” after hiring them, it’s probably a vanity press scheme. If an agent offers to edit your manuscript, claiming they will represent you after you’ve paid them for said editing, this goes against AAR’s (Association of Authors’ Representatives) Canon of Ethics. If an agent pressures you to work with a freelance editor and is insistent on a specific company, or an editor claims they can get you signed by a specific agent, be wary.** This is an old scam in which the agent gets a kickback from sending authors to said editor and visa versa. A quick online search of any suspicious person with “scam” in the search line will usually bring up red flags right away. Also be sure to check out Writer Beware on the SFWA website. They are constantly updating publishing scams to watch out for.
The Ugly.Eleanor Dumont was called Madame Moustache because of her appearance later in life. But when she was young, she was regarded as exceedingly beautiful. Dumont first made her reputation as a gambler in San Francisco in 1849, determined to cash in on the California Gold Rush. Her casino in Nevada City was a success, and led to Dumont opening a second casino with additional games of chance. After the Gold Rush subsided, Dumont bought a ranch, but lost her fortune when she fell in love with a con man named Jack McKnight. When he sold the ranch and absconded with the proceeds, Dumont tracked him down and shot him dead.
These are the editors that are perhaps qualified to edit, but have never edited in the traditional publishing world. MFA students, other writers, English teachers, librarians, etc. fall into this category. To be clear, these are not actually ugly editors (just using the name to make it fit my oh-so-clever blog structure). They are often great proofreaders and much cheaper than The Good. Because of their lower rates, hiring them for a developmental edit over the more expensive experienced editors, is tempting. However, due to their lack of traditional publishing experience, they may not steer your manuscript in the direction someone in the industry would. These editors are more of a financial gamble, and you could be better off finding a critique partner that will do the same work in exchange for a critique from you. But you also may get lucky and stumble on someone who has a natural knack for developmental editing. If you hire one of these editors, it’s not necessary to mention this in the query.
As always, your best weapon is research. Before making a decision to partner financially with anyone in the industry, do your research to determine if they are the best option for your writing career.
**I have recommended on occasion that an author work with a freelance editor because I really loved their story concept, but it needed too much editorial for me to take on. I also have a client who went to an editor on their own after I passed with notes, a year later the manuscript was in fantastic shape. I signed them immediately and sold the manuscript within three months.
It turns out it was a popular request with quite a few claiming to fit the bill. I was stoked to discover there were so many epic fantasy writers out there, as it’s one of the most difficult and time-consuming genres to master. Since I am currently closed to submissions to catch up on my slushpile, a few writers tweeted/pitched me asking if they could submit anyway. Hell yes they could, if they really did fit my MSWL! More questions rolled in as did submissions, and my enthusiasm waned. Turns out, most were not in fact epic fantasy but rather more traditional fantasy. Some landed in the high fantasy realm, but weren’t quite epic enough. I realized my tweet needed to be clearer.
I’m craving fantasy that is epic with a capital E.
The biggest difference between epic and traditional fantasy is the size of the cast and the scope of the plot. Generally, epic fantasy is a sweeping saga of a secondary magical world and its people. They run long (hundreds of pages per book) and world-building is paramount, think detailed maps in the front matter and comprehensive family trees in the back. There are multiple characters and multiple storylines and a lot of history and lore is woven in. Usually they are set in a Western European medieval type background. The most famous of this subgenre are LORD OF THE RINGS and GAME OF THRONES.
On my particular wish list is epic fantasy that is not set in the standard European-inspired world. I want matriarchy and magical beasts that are atypical. Weapons that are not swords and guerrilla warfare over bloody battles. I want the people to be colorful, and diverse. Magic that is thoughtful and wild. Jungles and deserts and tropical oceans. I want epic fantasy that chews up the tropes and spits them out again.
But I do want it to be EPIC.
Sidenote: Anxious writers should be reassured that the lines between subgenres are often blurry, and there is no harm in pitching what you think is a space opera but is actually a military scifi thriller to an agent who represents science fiction. We may mumble to correct you, but as long as you are under the main genre umbrella, we’re happy to consider. However, when it comes to #MSWL, at least in my particular case, what we are looking for is pretty focused. So a gentle reminder, when you are following up with an agent on their manuscript wish list, make sure your submission actually fits their MSWL. Otherwise you’re getting their hopes up, and then letting them down. Better off submitting through their regular channels where there are no expectations that it fall true to a subgenre. On the flip side, if you’re positive your manuscript fits, then make sure to let them know!
We all want our characters to be special, unique, stand out from the crowd. And often writers attempt to achieve this, in part, by giving them “piercing” or “soulful” or “wide” eyes of a lovely shade of blue, ice, green, violet, hazel, etc. Basically any color except that plain old brown.
But if you were given a peek into the slushpile, you would be a bit embarrassed to realize by giving your character such special eyes, you’ve actually made them quite ordinary. If we were to postulate eye color statistics based off of characters in submissions, the world would be made up of mostly green and blue-eyed persons with a good chunk of beauteous hazel/violet-eyed gals in one corner and steely, silver/amber-eyed hunks in another. (There would also be a looot of white people, but that’s a post for another day.)
I may sound like a broken record at this point, but write with awareness. Don’t default to the easy way. Your character’s uniqueness should not be shown through their eye color but rather through the situation they are in (the plot) and how they handle it. Their looks are a part of who they are, but not what makes them stand out. Their appearance should be realistic, for many reasons, number one so many different readers can relate to them.
This is not a rule, just a suggestion to consider. Unless their eye color is super important to the story (for example Alanna’s violet eyes in the Song of the Lioness series. Her magic is purple to match, and the blue-eyed prince’s magic is blue) consider defaulting to brown, especially when there are many characters in the story. Because brown eyes can still be attractive, unique, special, windows to the soul, etc. (full discloser, my eyes are brown). And because statistics.
Percentage of eye color in the world according to the American Academy of Ophthalmology:
amber (quite rare)
violet (extremely rare)
TWO PERCENT OF THE WORLD’S POPULATION HAS GREEN EYES. Something to think about. *While we are at it, two percent are red heads too. So that gorgeous green-eyed woman with the rich red hair? Reconsider. (I’m looking at you, romance writers!)
Remember those days when you so naively believed to be an author all you had to do was write? How I long for that innocence. In the current market, whether traditionally or indie published, authors are expected to be self-promoters, indeed have to be to survive. You hear a lot of buzz at conferences or online around the term “author platform” and a quick online search will find many great posts explaining what that is from Jane Friedman’s Blog to Writer’s Digest to The Book Designer and so on. However, all that information can be somewhat overwhelming, especially if you are just starting out and/or have a bit of a social media phobia. It’s also a bit of a catch-22; how can you have an online presence if you’ve never been published, but how can you get published without an online presence?
As I represent mainly fiction, an author’s platform doesn’t make or break my decision when I’m considering a submission. Nonfiction is a different story, more on that here from Rachelle Gardner who does represent a lot of nonfiction and here from Brooke Warner who works with a lot of nonfiction writers. However, I do like to see if the author is online savvy, which means they have the potential to build a good platform in the future. This will help my judgment whether I want to take the time to request and read their full manuscript or even offer them representation. The best way to show you have the chops to make it in this crazy online world? A solid author website. What constitutes a solid author website previous to publication? Basically it’s an online resume for agents, editors, and future readers.
A home page that is either an introduction to you and your writing or a blog. If you are a terrible blogger and can’t sustain blogging regularly, do not have a blog. A dead blog is worse than no blog. If you can blog, try to blog about things of interest. Try not to blog about writing, there are millions of those blogs out there. Post about something related to your WIP, e.g. if you’re writing cozy mysteries themed around knitting, blog about knitting. For example, my client Lori Bentley Law blogs about women riding motorcycles and vintage cars, which features a lot in her writing and will pick up fans that might actually read her books. Some good advice about blogging here from Chuck Sambuchino at The Write Life.
A visual theme that relates to the type of writer you are. If you write high fantasy, then the website should reflect this. Not that you have to have unicorns farting rainbows over wizards, but the site shouldn’t be hot pink with kisses all over it. Now if you’re writing YA romance, that’s a different story. My client Laura Palmer writes epic fantasy with artistic themes and the artwork on her site brings you straight into that world.
Publications page. Any publications, i.e. short stories, interviews, guest blog posts, that fall under your author brand should be listed and linked either on your home page or on a separate page. If you have short stories published, congratulations! This is important information for potential editors/agents.
Your work-in-progress page. This is where you have a pitch/summary of all your WIPs (that you consider ready or soon-to-be ready for submission). Gives the agent an idea of what more you’ve got under the hood. This isn’t an absolute must, but it’s nice to see. My client Rachelle E. Morrison has two pages dedicated to this and it definitely piqued my interest when I was researching her before our initial phone conversation.
A bio page. If you don’t have any writing credentials, than this should have what inspires you to write, who your favorite authors are, why you write in the genre you write, and any real world experience that relates to your writing. My client Stacey Berg has a great example of simple but interesting bio.
A professional bio photo next to your bio. No cartoons, avatars, cropped shots, just a simple and clear headshot of you. Does not have to be professionally done, just professionally appearing. See my client Sean Danker’s smirk. Also, this bio photo should be used on all your platforms that are linked to your online author presence.
If you are on social media or participate in forums or have any other links relating to your writing and genre of choice these should all be clearly linked to your page. My client G.C. Nash is extremely active online outside just social media. However, most authors aren’t this active, and that’s okay.
Should be easy to navigate. These days you have seconds to catch a browser’s attention. If your site is too full of stuff in the navigation bar, side bars, cluttered up pages, it can be distracting and turn the viewer off.
A great example of a simple but effective author website is my client Rati Mehrotra’s at ratiwrites.com. Although it’s not a professionally designed website, it straightforwardly gives all of her information as an author. Her bio, her credentials, her WIP, and a consistent blog, all linked to her other author online presences. And there is a subtle but clear theme that directly relates to her writing. I like to direct new authors there, because her site, in particular, helped me make my decision to represent her, and it’s not a hard site to replicate.
In the end although you don’t need an author website, it does make a difference, at least when I’m considering your submission.
Digging through the slushpile is hard work. For every query an agent answers, two more come in. We must get through them quickly or risk drowning, so as horrifying as it may be, often those that are formatted poorly go straight to the rejection pile. In the interest of giving your submission a fighting chance out above the hundreds of others, your best bet is to have a clean concise query letter and a well-formatted writing sample.
This particular post focuses on how to format your sample writing. First, remember that your sample/partial or full manuscript is a draft, not a published piece, so you are looking to create pages that are stripped down to just the writing. You want the quickest and cleanest read for the reader without all the fancy parts. (And yes this is true of picture books too!) Here are some tips on how to format your sample correctly.
Top left hand corner has your name, contact information (address, phone, email, and website)
Top right hand corner has the word count of the ENTIRE novel, not of the sample
A few spaces down has the title
Directly following is the opening line of your manuscript
Do not include a table of contents, an acknowledgments page, quotes, title page, or any other front matter. It is unnecessary and simply takes the reader longer to reach that important first line.
First line of each paragraph should have a 0.5 indentation
Simple font, (Times New Roman or Arial are safest), black, 12pt, you may use italics or bold for emphasis, but avoid using colors, different fonts etc.
Page number, title, your last name in the top right header
Do not include images, fancy headers, or blank pages between chapters. Do not use underline for italics or double spaces after a period (these are outdated).
There are reasons for these formatting requirements, if you don’t know them ask in the comments. Samples of a front page and body page below.
As a literary agent, I see the starry eyes of newbie writers everywhere, their idea of what it means to be a writer skewed from the famous tales of authors who have made it big.
Did you know Stephenie Meyer had a dream about sparkling vampires and Twilight was published 6 months later?
Amanda Hocking made 2 million dollars self-publishing her series.
JK Rowling went from sleeping in her car to becoming a billionaire.
You hear these recycled lines everywhere on forums and in writing groups. The stuff of legends. The writers who did it. These anecdotes give hope with each rejection, fuel the fire, keep the dream alive. It’s like the waiters in Hollywood dreaming of becoming the next Brad Pitt or Halle Berry without the star-studded veneer. We need these stories to inspire us in this highly competitive industry.
The other side of the coin though, is these anecdotes give rise to high expectations. I’ve met so many writers who believe by self-publishing they’ll be the next Amanda Hocking, or by finding a literary agent their series will be the next franchise. It creates an unrealistic perception of what it means to be a career author. And when a literary agent sees that idealism shining through a newbie writer’s pitch, they become wary (and weary). Because, writing is a career. And like any other career it takes time. On average it takes about 10 years to get your first book published. And that’s probably not the first book you’ve written. Following that, it takes about six successfully published books for you to start earning a living as an author. That’s potentially a few decades. Which requires a lot of patience and dedication. An author who doesn’t understand this, will put a lot of unnecessary pressure and unrealistic demands on themselves and their agent, and that is not the type of business relationship we want.
For every legend, there are thousands of writers who haven’t made it, whose rejections litter the pathway, whose debut novel was a dud, who gave up, because the dream was taking too long and was too much work. My favorite response to those who ask how long it takes to become a successful writer is to ask, “if you started a job tomorrow at an entry level position, would you expect to be the CEO within the year?” Not to say that it hasn’t or won’t happen. Just be ready to fight to keep the dream alive for more than a few years. So before you approach your next literary agent or editor or consider self-publishing, ask yourself, are you willing to do the time? Once you know and accept the reality of becoming a career author, the more likely you are to succeed.
And don’t forget to submit to me when you do have it figured out.