Pub Rants

A Very Nice Literary Agent Indulges in Polite Rants About Queries, Writers, and the Publishing Industry

Category: submission

#1 Reason We Requested Only 216 Sample Materials In 2015

At the beginning of 2015, I implemented new submissions guidelines. Instead of reading queries and then requesting sample pages, I now request that authors include the first ten pages of their manuscript along with their query letters.

What a difference! Instead of reading only 45 full manuscripts (like I did in 2014), I read 87 full manuscripts in 2015, plus 129 sample pages, and although many of these projects weren’t right for me, they did end up being right for another agent.

Now, having tried this new submissions process for a year, I can definitely identify some pros and cons.

PRO: I’m guessing writers probably love it. It gives them a chance to wow me with some opening pages, whereas before, if they didn’t perfectly nail the query letter, they might have been out of luck.

CON: Sometimes it takes me weeks longer to respond to queries than I would like. If I know I have to read some pages with it, I can’t just breeze in and get it done in 30 minutes. I need at least an hour to read the sample pages attached.

PRO: I’ve learned that some writers can nail the query letter, but their actual pages are not quite ready for an agent to read. And I can decipher this pretty quickly. This allows me to ask for full manuscripts of novels that are ready.

CON: It’s more pressure for the writer to really nail those opening pages.

PRO: The number of novels I read all the way to the end went up in 2015. It’s pretty rare for an agent to read an entire manuscript if they know early on that the project isn’t for them. I actually read many more novels to the conclusion before making a decision about offering representation.

CON: Man, I was a bit slow in getting back to some writers. I had several manuscripts for an embarrassingly long period of time.

INTERESTING TIDBIT: When I do ask for a full, I almost always make my decision on whether it’s right for me within the first 60 pages.


Your Writing Should Not Be Your Main Source of Validation For Who You Are as a Person

I think this can be the most debilitating mistake an aspiring writer can make. There be dragons if you start down this mental path.

I recently gave a talk to Regis University’s MFA in Creative Writing students. In the fifteen-minute Q&A, one participant asked why it was so hard to get a literary agent to even look at her project. I could hear the frustration in her voice. I didn’t have a ready reply because the truth is that there is no good answer.

Writing is personal business. And any response and/or rejection can definitely feel like a commentary on your talent and who you are as a person.

But here is the reason you need to start thinking like an agent and less like a writer when it comes to submitting your material. If someone passes on your work, that rejection is not a commentary on your qualities as a human being. In a lot of instances, it’s not even a commentary on your ability or talent as a writer!

Let me repeat that: A rejection is often not a commentary on your writing talent.

I can cite a bundle of different reasons why an agent or publisher may pass on your work, reasons that have absolutely nothing to do with your writing ability. Don’t believe me? Here are a few (and in no particular order):

  • The agent/publisher has seen two-dozen concepts just like that one in the last four weeks.
  • That concept trend was hot, so now the Publisher has bought too many similar projects for their list and will not be acquiring any more.
  • The agent has an aversion to that type of story. I know a well-respected literary agent who personally cannot handle any story in which a child is in danger, and so will pass on any submission containing such scenes.
  • The editor could not get support in-house from the sales/marketing team to acquire the novel.
  • An agent read the story and thought the writer was talented, but for whatever reason, just didn’t connect with it enough to offer representation.
  • Bad timing. The agent was on vacation or at a conference, or just back to the office, and is simply swamped. It’s hard to be excited about taking on someone new if you are buried in work that can’t be accomplished in a 40-hour work week. And, LOL, no good agent works only 40 hours. It’s more like 60+ a week.
  • There’s talent on the page, but the editor or agent might think a significant revision is necessary, and taking the hour to write up an editorial letter isn’t going to happen.
  • The novel just has an element the agent is never enthusiastic about. For example, some agents are never going to take on a fairy-tale retelling or superhero story. It’s just not his or her thing.

I could go on. There are so many reasons that when I spoke at Regis, the best advice I could offer is this: Do not use writing as a means of validating who you are as a person.

No matter what an industry person’s response is to your written work, your writing is only one facet of who you are as a human being. Don’t make it everything, or you may lose your joy of writing and find the whole business very depressing indeed.

Photo Credit: BK


#2 Reason I Pass Even If The Writing Is Good

Writers tend to assume that good writing trumps all when it comes to getting an offer of representation. Not true. Here is the #2 reason I will pass on a full manuscript even if the writing itself is stellar (for any of you who don’t read my blog, Pub Rants, see the #1 reason here):

Lack of story conflict for the protagonist.

To put this another way, the main character doesn’t have enough at stake to drive the story.

I recently read a full manuscript in which the writing and world building utterly charmed me. I loved spending time in the space the writer had created. But I arrived at the end of the novel and realized that being charmed was all there was to it.

Even if the writing and the world are charming, no stakes means no conflict. Why is that a problem? Because no conflict means no story. Conflict—or what’s at stake for the main character—is the engine writers use to tell a good story.

In this particular case, I did write up a lovely but short revision letter outlining my concern. I shared that with the author, along with an invitation to revise and resubmit. I’ll be delighted to give that one another look.

Still, the novel would have been stronger had the writer nailed this necessary element the first time around. It’s harder for an agent to read with “fresh eyes” the second time.

So remember, writing talent + story conflict = masterful manuscript.

Photo Credit: Ken & Nyetta


#1 Reason I Pass Even If The Writing Is Good

I’m not sure this has ever been said aloud….

For submissions, I’m pretty certain that writers assume that if the writing is good, an agent is going to be interested in offering representation to the author.

No doubt–good writing is essential but as an agent, I’ve passed on any number of submissions that exhibited some stellar writing. Why? Doesn’t talent trump all? Nope.

The #1 reason I pass on manuscripts with good writing is because of a lack of pacing.

Just recently, I read a submission where I thought the writer was extremely talented. As I was reading, I couldn’t help but think that the beginning seemed ponderously slow. I gave up before page 100 despite some lovely lyrical prose on the page. I glanced at the query letter again and there it was, the word count for the story. It was well over 100,000 words for a project that needed to come in more around 80,000 words.

Yep, that confirmed it for me. The plot pacing was way off. Sadly, I just didn’t have enough time in my schedule to try and take on such a big edit to fix it.

So remember, writing talent + pacing = masterful manuscript.

Photo Credit: Marc Falardeau


A Query That landed A Mid-6 Figure YA Book Deal

Emily Easton at Crown Books for Young Readers has won, at auction, Scott Reintgen’s debut science fiction young adult trilogy beginning with THE BLACK HOLE OF BROKEN THINGS. In the novel, a Detroit teen accepts an interstellar space contract only to realize the promised millions must be won in a brutal competition where winners face the ultimate choice—take the money and become pawns in the corporation’s sinister plans or find a way to fight that won’t forever compromise their humanity. Publication is scheduled for 2017. Kristin Nelson at Nelson Literary Agency brokered the mid-six figure deal for North American rights.

To celebrate Scott’s awesome news, I’m delighted to share with my blog readers Scott’s original query letter that landed me as his agent and resulted in an auction for a mid-6 figure young adult book deal.

Date: July 1, 2015 at 1:58:01 AM MDT

To: querykristin@nelsonagency.com

Ms. Nelson:

I have the highest respect for you and how you represent your clients. After looking through your submission guidelines, I felt that my novel might be a good fit for your list. Thank you for your time and consideration.

THE BABEL FILES [title was changed for the actual submission to editors] is a completed, YA science fiction book of 83,000 words. Readers familiar with Pierce Brown’s Red Rising or Fonda Lee’s Zeroboxer will find similar elements in my work. I do feel one of the most important features of this novel is the focus it has on a main character who is a PoC. Having worked in urban schools my entire career, I so often find my students have little to no representation in these types of books. I was hoping to give them an opportunity to see themselves, vibrant and on the page and victorious. To this end, I followed advice I received from author Mary Anne Mohanraj at the World Fantasy Convention. She suggested I seek readers of a diverse background in the beta process. I did just that and was incredibly pleased at the response to Emmett’s authenticity and relevance.

Emmett Atwater isn’t just leaving Detroit; he’s leaving Earth. Why Babel recruited him is a mystery, but the number of zeroes on their contract has him boarding their lightship and hoping to return to Earth with enough money to take care of his family, forever.

As he and nine other teenagers wormhole their way through space, Emmett discovers the promised millions aren’t a guarantee. Each recruit must earn the right to travel down to Eden. There, Babel will use them to mine a substance that’s quietly become the most valuable in the world. Emmett’s year-long flight will act as a competition. Every training session is measured, every point matters, and Emmett will do anything to win. But Babel’s ship is full of secrets. Secrets about the volatile substance they’re hoping to mine, about the reclusive humanoids already living on Eden, and about their true intentions for the kids that don’t win their competition. As Emmett uncovers the truth, he realizes he’s not fighting for wealth or glory, he’s fighting for his life.

I am a 10th grade English and Creative Writing teacher who has spent years sharing my favorite science fiction and fantasy novels with my students, and I’ve started writing stories with them in mind. THE BABEL FILES is my third completed novel, and the first in a science fiction trilogy. I have included sample pages below for your consideration. I look forward to your response.

All best,

Scott Reintgen


#querywin – An MG Novel Sparks Memory

This week I requested a full manuscript for a middle grade children’s novel. When I was reading, I was instantly captured by the voice of the narrator. So original. But I see good writing all the time.

Q: Do you want to know what tipped the balance and made me request the full manuscript?

Answer: As I was reading, it made me recall exactly the way I thought when I was that character’s age. And I had forgotten that I had felt that way when I was that age. Right there, that’s brilliant writing at work.

And that’s when you know the writer has nailed the MG voice as well as the MG character. As an agent, I’m compelled to ask for the full to give it a read. If you are writing for a middle grade audience, that is what you should capture on the page. And if you don’t, dig in and get back to work. You were that age once. Tap into the resource that is you.

Photo Credit: David Robert Bliwas (Creative Commons)


Perils of Waking Character Openings – Take 2

Q: Why does the opening character awakening scene of the HUNGER GAMES work when 99.9% of slush pile opening pages do not?

Wowza. With over 7000 people reached on Facebook and untold number of Twitter shares, I obviously hit some kind of nerve. We should entitle these last two Pub Rants blog entries: The Perils of Writing About Novel Openings with Characters Awakening.

So let’s talk about this some more.

I spotted a lot of comments where writers mentioned the opening of the HUNGER GAMES. Fair enough. So let’s take a look at that first paragraph and analyze why that waking up character opening works and 99.9% of what agents are seeing in the slush pile doesn’t.

When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and climbed in with our mother. Of course, she did. This is the day of the reaping.  (Copyright: Suzanne Collins, Hunger Games, Scholastic Press 2010)

1) Opening 2 sentences. The importance is not on the character awakening but to alert the reader to what is different from normal.

2) Third sentence. We know Prim is a child and that it’s fairly normal for her to have bad dreams. Right away, in the hands of the master writer, even though we as readers don’t know much else about the characters etc., we know that whatever their life is, easy it is not.

3) The reason for the bad dream. The Reaping. I don’t know about you but I finished the first paragraph with an instant question that I had to know more about. What is the reaping? And why would it cause a child to find comfort with her mother when normally she wouldn’t? It can’t be good. I’m compelled to read on.

So trust me when I tell you that the majority of character waking up novel openings we are seeing in the slush pile do not remotely achieve the narrative momentum achieved in just 5 sentences shown above. The opening scenes we are seeing is literally about a character waking up and not much else. Sometimes they’ll then go to the bathroom to look in the mirror (so as to describe what the character looks like to the reader).

I’m not pointing this out to ridicule beginning writers who may recognize they’ve done this. I’m pointing it out because it’s less about the action (waking up) then about the purpose for starting the novel there. Most slush pile submissions with this construct are not using the awakening character for a compelling purpose.

And thus why agents pass on sample pages with this construct 99.9% of the time.

And here are a couple of other things new writers should keep in mind:

1) Already established authors can get away with an opening that most beginning writers can’t. Why? Because their agent and editor already trust them as writers. Once that trust is earned, you can play with all kinds of constructs or break all kinds of rules and publishing will even embrace you for it.

2) Established authors are not held to the same rules as new writers. Fair? No. But it’s the bald truth. Established authors can dump back story, input too much exposition, or do other lazy writing tactics and their fans will simply forgive them.

If you are first-timer trying to break in, the length of forgiveness is short indeed.

Photo Credit: Vic


The Perils of Waking Characters

OBSERVATION: Beginning your novel with the main protagonist waking up in bed will have agents passing on the material 99.9% of the time.

Here’s why:

It’s an opening we see way too often (not sure why) and 99% of the time, this opening simply is not the best place to launch your story.

1) In general, this action in an opening scene is static (read: uninteresting). It’s a struggle to make it interesting enough to merit beginning your novel here.

2) I’m going to venture a guess that a lot of newer writers don’t know where to begin their story so starting here seems like a safe place.

3) Just trust me on this, there is a better place to begin your awesome story. My suggestion? Connect back to what made you excited to write this novel in the first place and see if you can’t tap into that energy and channel it into your opening scene. Chances are good, you won’t then choose to begin your story with your main character waking up.

And LOL, wouldn’t this make a fun writing challenge? Have already successful, established authors participate and make it a requirement that their story has to begin with character awakening. Could be hilarious. Could be the first time we see a kick-ass opening with this construct.

Photo Credit: James Theophane, Creative Commons


Kristin’s Original Pitch Letter to Editors – Under A Painted Sky

 

And as further celebration, my original pitch letter to editors when this work was on submission. A couple of things to note:

1) As my letter reveals, UNDER A PAINTED SKY was not the original title. We have Stacey’s estimable editor Shauna to thank for that! It was a great suggestion and way more evocative than Golden Boys. LOL Titles can be tough. As an agent, I either come up with a terrific one right away for the submit or it doesn’t happen until after the book is sold etc. But editors trust me so I know they’ll read the manuscript even if the title isn’t 100% golden. Pun intended.

2) This novel has received a lot of accolades and two STARRED reviews from Publishers Weekly and Kirkus. Over the last two weeks,  several editors have reached out to me with congratulations and a request for me to keep them in mind for future stories like this. Given how wonderfully this title is coming out of the gate, it’s easy to assume this might have been a slam dunk of a sale when on submission.

It was not.

Putnam really took a chance and with Shauna’s (and Jen Besser’s) wonderful editorial guidance and vision, Stacey worked hard to perfect the story of Sammy and Andy for the novel you get to read today. My fingers are crossed that this is a sleeper hit in the making.

 

Hello EDITOR NAME REDACTED

It was so lovely to see you while I was in New York. As promised after BEA, I’m sending along GOLDEN BOYS by Stacey Lee, a  young adult historical western a la True Grit.

After I had offered rep and Stacey accepted, I dug in to do the slow read. I was worried that my lack of sleep caused by staying up to read the manuscript had impaired by judgment when offering rep. *grin*

Lucky for me, it was just as good, if not better, than the first time I read it! I love love love it! Get ready to hold on to your saddle because I think you are going to love it as much as I do.

After a suspicious fire burns down her father’s dry goods store with him in it, newly orphaned Young San-Li, who goes by Samantha Young, confronts the landlord she suspects of setting the fire. When she accidentally kills him in self-defense, her only option is to hit the Oregon Trail. She knows the law in 1849 will not side with the daughter of a Chinaman.

With a whip-smart runaway house slave at her side, “Sammy” and “Andy” disguise themselves as boys and join a band of young seasoned cowboys headed for the California gold rush. Sammy must evade bounty hunters and hunt down Mr. Trask, the man entrusted with her dead mother’s treasured jade bracelet. When she also falls for West Pepper, a cowboy with no tolerance for greenhorn boys let alone girls, Sammy is convinced that the trail poses more hazards than a demure violinist can handle. 

When the wild West doesn’t prove big enough to hide her, Sammy must choose–avenge her father, forsake the memory of her mother, or embrace a new identity forged in the frontier and forever lose her history. 

Stacey Lee wrote her debut novel GOLDEN BOYS because her great great grandfather was one of the first Chinese to come to California at the time of the gold rush. She wondered how a Chinese girl born in the U.S. during its expansion west would have fared.  This novel won the 2012 Golden Gate award at SCBWI Asilomar Conference. This work is also a finalist in the Chicago North Romance Writers of America Fire and Ice Contest.

Enjoy!

All Best,

Kristin


9 Submissions in 9 Sentences

What I’ve seen in the last 2 weeks and why I passed:

4 Full Manuscripts (2 with offers of rep on the table)

1 – New Adult/wm’s fic. Recommended by a former editor we know well and like. I totally enjoyed the writing but for me, the story didn’t have a foot solidly in one genre or the other. I didn’t have the vision/passion for it so I passed.

2 – Wm’s fic/erotic leaning. Probably one of the more interesting concepts for a story that I’ve seen in a long time. What was interesting is the writing was quite literary but if I were to explain the plot, it would feel like contemporary romance. I went back and forth on that one as so intriguing. I did end up passing despite how smartly it was done.

3 – Middle Grade. Great great concept. But I had reservations that the voice didn’t quite nail the middle grade age range and although cool, a lot of the story felt too sophisticated but not exactly right for YA either.

4 – Middle Grade. Multicultural main character which I love. Great MG voice. Story line needed some work and with my current work load, I was afraid I couldn’t give the author the attention deserved.

5 Sample Pages

1 – Adult literary. Too literary for what I can be successful with. But terrific writing and a wonderful multicultural story.

2 – Young adult. Previously published author with great background. Fun paranormal. Snappy writing. I liked it but didn’t love it.

3 – Adult steampunk. Author had very cool background and the writing was nice but the opening didn’t grab me.

4 – Adult literary. Same as the other above. Too literary for what I tend to have success with. Wonderful multicultural angle though.

5 – Contemporary romance. Previously published author with great backlist and background. I liked it but didn’t love it. With a full client list, it makes a difference on what I’ll take on.


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