Submissions

Mary C. MooreSeptember 15, 2019

I will be closed to submissions September 23 through October 14 for travel and work. Will also use the time to catch up on query backlog. Reopening in time for #DVPit! For those of you planning for the future, I will also be closing to submissions for a few weeks over the holidays.

Write on.

Agents Query Too

One of the most important and also hardest aspects of my job is getting a project past the publishers’ editorial front line. For those of you who aren’t familiar with the process: once an agent has sent a manuscript to editors, said editors will read and consider whether or not they want to take the ms to acquisitions. That means the editor has to be passionate about it enough to get their team to read it fairly quickly (all of whom are swamped with their own tbr pile), draft a profit and loss statement, convince a room full of people that the ms is worth investing in. Basically stake their reputation on it.

This excruciating process can take weeks, and it is a lot of time and energy away from current work (not taking into consideration the project going to auction). So an editor can like a project–they mostly do like the client work that I send, as I work hard to maintain a standard and appeal to individual tastes–but simply liking a project isn’t enough. So I have to do everything in my power to get them excited before they read it, which means creating a letter that indicates why they are a great fit for the project, and one that includes a powerful pitch, current successful comparative titles, and a clear author bio. Sometimes I will pitch in person or on the phone, but the power points remain the same. Sound familiar?

If it works then they go in primed to love the manuscript. Which gives it the best possible chance to make it past the front line. And ideally go further–then the editor will use those same power points when lobbying your manuscript to marketing, financial, the publisher itself. And those points will be part of the final decision, i.e. if you are going to be made an offer.

So remember, that’s the end game. Your query is not just a way of introducing yourself to an agent, but to show how your manuscript can be positioned positively in the market and that it has potential to sell. You’re clearing the road blocks, so the decision gets down to the writing itself.

Don’t be intimidated by this, we don’t expect new authors to navigate the market with years of experience and execute the perfect query letter (that is why you’re looking for a literary agent after all), but at least understanding why these concepts are important can only benefit you on your road toward publication.

And even if you do pull off everything perfectly, you will probably still get rejected. It’s incredibly frustrating and heartbreaking, but you’re not alone, and we feel it too. Every agent has a few of those projects that they’ve never forgotten and were stumped as to why they didn’t sell.

But you can and will navigate the process with more confidence and knowledge and eventually there will be a project that will get that yes.

Grammar and the Inferiority Complex

It is universally claimed that one of the major reasons submissions get rejected is because of grammar errors. That an agent will take one look at the spotty pages and toss it out. 

So those of you who have done the research and understand the submission process to the best you can, of course you comb through your pages, even futilely AFTER you send it (I see you, you anxiety-ridden worker bees). And upon re-reading you discover that you misplaced a comma, or even worse, misused a homophone! So you agonize when that rejection letter comes in, was it because you spelled the witch’s altar with an “e”? How could you have been so dumb?

I’m here to reassure you. We are human, we make mistakes. Publishers have entire departments whose soul job (see what I did there?) is to make sure their content is grammar-error free. And even then it’s not a hundred percent, we’ve all caught a random error in a published book. 

Sure, there are professionals (or people in general) who will judge your pre-published work based on its grammatical precision. But before you label yourself stupid or inferior for making those mistakes, try to see the bigger picture.

“Perfect” grammar is an inherently classist concept (PrintRun Podcast has a wonderful episode about this: Grammar and Power). Someone who belittles others about grammar, had the privilege of an elite education. They are attempting to wield power–their intention is to make you feel inferior, nothing else.

And by default, agents sit in a position of power. Power creates hubris. It’s a reality we’ve all been faced with. Some deal with it better than others.

So turn the picture around. Consider what you want in a literary agent. If an agent actually rejects your submission because of specific grammar errors (potentially rules that you were not educated in) do you want to work with them? Coming from such different perspectives, will they understand or relate to the content and be able to champion it with the passion and sensitivity it deserves?

This is not to say you should toss all your grammar concerns aside. Odds are your submission isn’t getting very far because your writing is underdeveloped. Writing is first and foremost an apprenticeship. You should be continuously honing your skills, including your proof-reading abilities, so your prose reaches toward your ultimate goal, whether it be more elevated, more streamlined, easier to read, more beautiful etc.

This may seem like conflicting advice, don’t worry and do worry about grammar. To be clear, understanding why grammar is important and how to wield it, can and will strengthen your writing. This education is an attainable power, but there is no shame in your ignorance of it. Your path is different, but your work is not inferior. Anyone who tells you different, whatever position of power they hold, is the one with the complex.

UPDATE: April 26, 2019

Closed to Submissions

I am closing to submissions for the month of May for travel and work. Will also use the time to catch up on backlog and hopefully respond to any outstanding fulls and partials.

Reopening June 1st!

(If I favorited your tweet during #DVPit, you may still submit via this link. I look forward to reading.)

Write on.

Personalizing The Query: How Much Is Too Much?

With the wealth of query tips, agent advice, and submission guidelines out there, you’ve probably honed your query to the finest point. You’ve had it proofread and polished. Maybe this isn’t even your first go, maybe this is the third or fourth time you’ve drafted a query letter. You’ve researched literary agencies extensively. At this point you’re not worried about the basics, you know what you’re doing.

But the finer points still nag you. Like do you include that short story that was published six years ago? Or do you put the comp titles at the beginning or the end? And, the question that seems to come up again and again, agent personalization, how much is too much?

(For those of you new to the query trenches: Agent personalization means that you have researched said agent before querying them, and you indicate this in the query.)

In this current age of social media, it’s hard to know where the line is. Agent X is always posting pictures of her beloved cat, and you also love cats, so why not mention Mr. Whiskers? But then Agent Y is tweeting about that creepy vibe he got from the author who mentioned his dog’s name. Did you say too much? (Probably yes you did.)

To prevent yourself from getting into the creepster zone, remember this. Literary agents have online personas. We want authors to find us, to know about us AS LITERARY AGENTS. So if Agent X is posting pictures of her cat on her public agent profile, and engaging with authors about her pet, and your book happens to be about cats, then by all means, mention Mr. Whiskers. (For example, I make my love of Doctor Who widely known, because I would love to find a project that has a similar vibe.)

But if Agent Y posted pictures of his dog on his personal page, even if it’s “public” better to leave it alone. Because although we agents understand that some authors will go to extensive lengths to research us, we do have personal boundaries and want them respected. Agent Y may be a more private person than Agent X, and if you can’t find any information about him other than what genres he represents, that’s okay. All you need to personalize his query is:

“As you represent [genre], I think you will be interested in my 75k [same genre] novel entitled XXX.”

That’s it. You’ve personalized the letter. Far more than average actually.

Pssst. This personalization will work for Agent X as well.

Happy Holidays!

I know I haven’t posted much this year. I blame this adorable face. But she’s going into pre-school in the new year, which means I’ll have more time! If you have any posts you’d love to see in 2019, questions about publishing, peeks behind the agent curtain, editorial advice, comment here.

Many exciting things happened in 2018 for my clients, deals, awards, sequels, and I couldn’t be prouder.

I will be open to submissions January 1, 2019, and I hope (this may be too optimistic) to respond to all remaining queries, partials, and fulls by that date. Until then, may there be lots of joy and celebration and cozy reading time for everyone.

Happy New Year!

The Evolving Client List: Notes From A Literary Agent

I can see it. A break in the deluge, a light at the end of the tunnel. A clearing of the slush. Am climbing determinedly for it. I vowed I would not reopen to submissions, until I had responded to every last sub in all of my inboxes (yes, I said inboxes plural, writers have interesting ways of worming into every contact I have). It’s down to a handful of submissions, and these are the ones that I have been hanging onto for far too long. One or two will hopefully result in an offer, at last. But I have to face the heartbreaking reality that I must let most go. I can only take on a few more clients this year, and I need to make myself available for submitting authors once again.

So why would I suddenly make an offer on something I’ve had for months and months? And why would I open to submissions when I already have a full client list, plus some great submissions on hand?

An agent’s client list, both the current and seeking, ebbs and flows. Even mine–despite the fact that I tend to keep clients for multiple projects meaning less and less room for new clients–still morphs month to month. This is in response to a few factors, the ever-changing market, the evolution of my literary tastes, and the statuses of my current clients. For example, although I love love love YA (young adult) high fantasy, it’s super saturated and hard to sell right now, plus I have a large handful of clients who write in the genre. So where I was once eagerly reading all the YA fantasy, now I’m much more selective. On the flip side, MG (middle grade) is seeing a surge, and I’ve recently read more than a few really inspiring MG stories, e.g. THE GIRL WHO DRANK THE MOON, which has made me hungrier for it. I wasn’t into adult thrillers a few years ago, but then I read some of the popular ones that came out, e.g. THE GIRL ON THE TRAIN and found myself ready to sign one, but way after the market had peaked. Thus I’m seeking that super high-concept yet unique thriller that would be hard for a newer author to pull off. I’m a big fan of lady pirates, but a current client totally by coincidence pitched me a lady pirate fantasy and so I’m no longer looking for one. And so on and so on.

To make matters more confusing, I keep the projects that I saw potential in, because maybe in the future my client list will open up or the market will shift.

But it’s impossible for submitting authors to know any of this happening behind the scenes. Their best guess would be to check out the agent’s social media and watch the market. And agents understand this. We’re pretty happy if you’ve simply done a bit of research on us.

We wade into the slushpile, hoping for that one manuscript that fits the market and our current tastes and that we fall in love with. Not too much to ask right?

All this to say: I’m getting my waders ready. Hoping to open again to submissions this summer.

Submissions Update: Remaining Closed

As many of you know, I closed to submissions back in September. Thank you everyone for your kind words of support. Happy to report all is well. For those of you wondering when I will reopen, I did have plans to open again in the new year. However, due to an unexpected surge of client work, I’m going to remain closed to submissions for the immediate future.

Hope to be back mid-year! Keep an eye on this space for updates.

Cheers.

 

Mary C. MooreNovember 30, 2017

 

The versatile and talented editor Sangeeta Mehta hosted a Q&A on powerhouse Jane Friedman‘s blog. Myself and literary agent DongWon Song answered her provocative questions as honestly as we could! Check out the interview here. If you post a comment or question there, I will try to answer it.

Link address: https://www.janefriedman.com/ethics-and-literary-agents/