Pub Rants

Category: passing on sample pages

#1 Reason We Requested Only 216 Sample Materials In 2015

by Kristin Nelson

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

by Kristin Nelson

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

Sending A Rejection Email Is Sometimes The Worst Thing Ever

by Kristin Nelson

Last week, I just had to share on Facebook and Twitter an article I saw in Publishers Weekly called “Trying To Find A Literary Agent Is the Worst Thing Ever.”

I had a sneaking suspicion that it would ring true for a lot of aspiring writers. With over 7,000 people viewing the post on FB, I guess I was right!

But here is a little tidbit I bet most writers don’t know. Sometimes being a literary agent is the worst thing ever. Agents are in this biz because we love books, admire writers, and want to make dreams come true. Sending out a rejection is none of the above. I really don’t want to be in the business of crushing dreams.

Crushing dreams truly sounds like the worst job ever.

When I sell a debut author, a first-time writer finally realizing his or her dream, that is the biggest high. I’ll be giddy for weeks after because I just helped fulfill someone’s long-held dream. How awesome is that?

In 2015, I had the pleasure of selling two debut authors. Not only that, but each project sold at auction for an amount that could reasonably entice the debut author to quit his or her day job. Writing as your full time job—talk about ultimate wish fulfillment!

But trust me when I say that sometimes being a literary agent is the worst thing ever. The majority of us don’t sit in our office chuckling maniacally with glee at every rejection we send. The truth is that I hate sending rejection letters. And two of my former assistants ultimately moved on to different jobs because they, too, hated having to say no.

Some days it’s truly the worst thing ever. I see many a worthy project that I simply can’t take on. Every new client is a big-time investment because agenting—and agenting well—is a huge commitment.

I don’t expect a lot of sympathy from writers. But do know that I, for one, don’t take pleasure in hitting the send button for a rejection.

Photo Credit: Tilemahos Efthimiadis

#2 Reason I Pass Even If The Writing Is Good

by Kristin Nelson

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

by Kristin Nelson

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

Fixing These Three Mistakes Could Transform Your Manuscript

by Kristin Nelson

With the fall leaves, I finally wrap up four months of travel and two wonderful Society of Children’s Book Writers & Illustrator (SCBWI) conferences. I’m delighted to be spending the rest of the year right here in Denver.

As a participating agent at the two SCBWI events, I enjoyed doing several read-and-critique sessions. I read participants’ opening sample chapters, then sat down with each writer for a one-one-one discussion.

While doing these critiques, I made a big discovery: I repeatedly wrote the same three comments in the margins. Three beginning-writer mistakes that if resolved could significantly improve the writing.

Here they are:

  • Less is always more. Why say “a grin wiggled and danced across her face” if “she grinned” would suffice?
  • Beginning writers often try too hard with language. If you are always trying to include a perfect turn of phrase in every paragraph, then when you really need one, it won’t stand out. Here’s an example:

The breeze danced across my face, brushing my skin like the gentle tap of a woman’s fingertip, caressing my skin like a kiss.

It’s too much, and it’s all clumped together in one sentence. Even if the writer split it into several sentences, it would still be overkill for a scene moment in which all the reader needs to know is that there’s a breeze.

  • Anchor the reader in the physical space of the scene setting. I see lots of dialogue coming from a disembodied voice floating around in the ether of scenes that lack physical descriptions to solidify who is speaking and from where.

That’s it! Three easily solved craft issues that can make you a significantly stronger writer.

Photo Credit

Perils of Waking Character Openings – Take 2

by Kristin Nelson

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

by Kristin Nelson

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

#NLAquerytip #9

by Kristin Nelson

Question: Why can’t agents simply skip the query pitch altogether and read the sample pages the author includes with the letter?

Here’s why:

One blog reader has called my series of query tip blog postings as a “much needed foot to the groin.” That certainly creates a visual! What they are really trying to say is that I’m not pulling the punch here. I’m outlining the bald truth about the query process.

At conferences when I’m teaching my query workshop, participants will often lament about how difficult it is to write the one page query letter. A hundred times harder than writing the novel itself.

Why can’t agents simply skip the query pitch altogether and read the sample pages I’m including with the letter?

The answer? Because all agents get far too many queries in any given day. Since I began blogging regularly again on Pub rants and using Twitter (egad!), my per day incoming email queries have more than doubled from 40 to 50 a day to over a hundred.

That’s crazy! And here’s the truth of it. In all the years of agenting, I’ve discovered that this is true:  mediocre query pitches are rarely supported by really excellent opening pages of a novel. I’ve tested this theory numerous times because I’m an optimist. I’ll sometimes give a mediocre query pitch the benefit of the doubt and I’ll pop down to the pages to give it a read. It’s a pass for me every time.

So your query letter is the place to show off your talent in the short form first. Convince me to read the pages you’re including.

#NLAquerytip #8

by Kristin Nelson

FACT: Spending time perfecting your novel’s pitch in your query letter is the gift that will keep on giving for the life of your novel.

Here’s why:

In publishing, simply put, a novel’s pitch is not just used once.

1) Writer creates the pitch for the query letter to get agent/editor attention.

2) Agent signs author, uses the pitch for Agent’s submission letter (or uses it as a base to to create a submit-oriented pitch for editors).

3) Editor loves the pitch, asks for the manuscript, reads it, loves it and now needs to get enthusiastic second reads. Editor will use the author/agent’s pitch to get second reads on board.

4) Second reads love it too. Editor now has to go to editorial board to pitch the novel to decision makers. You guessed it! Editor will use the pitch to generate excitement in this meeting so as to get permission and funding to buy it.

5) Editor buys novel and readies it for publication. The pitch is then shared with the catalog/jacket copy department to write the copy that will go on the book jacket or online for description of the novel.

6) Editor heads to Sales Conference with the pitch in hand. Time to get all the sales reps excited who are going sell-in the title to booksellers & libraries to generate the pre-orders that determine the initial print run and marketing dollars that will be spent on the book.

7) Sales reps hit the road. They use the pitch to get booksellers to read the Advanced Reading Copy (of which they get hundreds in any sell-in period).

8) Booksellers love it. Order copies for their stores. Book gets published and now booksellers will use the pitch to hand-sell to customers.

I think you get the picture. The pitch you are creating in your query letter is the second most important asset for your novel and directly impacts the success of your career. And just in case you are wondering, writing a great book is the number one most important asset.

No pressure or anything. LOL.