It's More Than Just Your Story

When editors and agents look at submissions, we often all say that it all comes down to the writing. It is the story that matters! And, while this is true, this is not really the complete picture. When I look at a submission, and I am sure other editors and agents do the same thing, we look beyond the story and take some time to get to know the author as a person.

A great many writers seem to think (either consciously or unconsciously) that the process a book goes through is pretty simple. They write, send it out for edits, revise and then it is published. While this is certainly an element of the process, those people involved other than the author are not just tools in the process. These are professionals that authors must interact with.

We often talk about the author-agent or author-editor relationship as being a marriage. This is a long-term commitment. We are not looking for you to simply write one book and move on. We are attempting to work with you to build your career. This means that we need to really be involved in you and your writing.

When I talk to potential new clients, I am often looking at several things that go beyond that story.

DOES THIS PERSON HAVE A REALISTIC PICTURE OF HIS OR HER FUTURE This is a big one. We often hear at conferences, authors talking about how much money they plan on making, or how they already know their story is going to be on the New York Times Best Seller list. Authors also go on and on about how they already are planning on their books going straight to movies. When I hear this, I already see this person really does not see a sense of their future. They simply do not get the business of publishing.

It is good to have lofty goals and we certainly want you to set your goals high, but, with that said, these goals need to be realistic. Thinking that after your first 3 books in a series romance, you are immediately diving into single titles and 10-20 K for each book is not realistic.

IS THIS PERSON OPEN TO LEARNING AND GROWING We all think we have a full grasp of our writing. We know how to write a great book! But in this business, we also need to be able to adapt and grow with the times. We have to be able to listen to critique and feedback, and then be able to make those changes.

I have worked with authors in the past who simply do not want to make changes to their stories. They are in the mindset that this story is fine the way it is, despite the fact that we have gotten feedback from editors that say otherwise. Those relationships stopped fairly fast.

HOW MUCH "EXTRA" WORK WILL I HAVE TO PUT IN TO GET THIS PERSON READY I think I talked about this just recently. We get that new authors will have a bit of a learning curve. We are open to that. We know that we will have to take initial time to make sure the author knows how to get from Point A to Point B. But, this is where we have to really stop and think. Is this author going to require a year of just education and training before we get to a project that is going to sell? Is this author going to require a ton of emails and phone conversations just to explain concepts he or she should already know? This is where we have to ask, is it going to be worth it?

IS THIS PERSON PROFESSIONAL Authors need to understand that while the publishers and agencies represent them, they are representing the agency and the publisher. We want to make sure that when an author is out there in public, they are demonstrating a strong sense of professionalism. It makes it really hard when I have to go to talk to an editor and hear that they are frustrated with how that author is acting or behaving. Yes, I have had these talks and I can honestly say, these conversations are not fun. As an agent, I have to attempt to run damage control between the editor and the author. Not fun.

So, in the end, yes the story is important. But we are signing a complete package and not just a book!

Paying For Professional Editing

One thing I see a lot of in query letters are authors using the comment, "The manuscript has been professionally edited" in an attempt to make the project even more marketable. I wanted to take the time to address the concept of paying for professional editing.

Let me first say, this is just one person's opinion on the subject. There are a lot of varying opinions on this. Like everything in this business, once size does not fit all.

Now, should you go out and pay someone to edit your project? Personally, I think it is a waste of time. If you are writing, you should already know basic rules of grammar. If not, I would highly recommend A WRITER'S REFERENCE. I would also argue that if you are lacking in those basic grammar skills, then maybe writing a novel might not be the direction you want to head. 

I would also argue that a GOOD word processing program already has things such as spell checkers and grammar checkers. This is always a great source and you should not ignore these. Of course, these programs are only as good as the user. Remember, computers cannot read and may often over-look basic spelling errors. As for the grammar, these checkers only say "This may be a problem" and once again, it will require you to know what to look for and fix the issue.

But what about content? Could these editors look for issues that would make your manuscript better? Sure! But, if you have a critique group, you can get this service for free. I would also add that if you are someone who is a pretty good critical thinker, you can often find these issues on your own. Another aspect of this type of editor is that you are just getting the feedback from one person and everything is subjective. It is also important to remember that stylistic approaches to a story will vary from one publisher to the next.

Look, paying someone for this service is not going to make us want to sign you on as a client or buy your book. I would personally recommend saving up that money and using it for marketing later on when you do make that first sale!

Why Are You Sending Your Story To THAT Editor or Agent

Writers are simply making huge mistakes when it comes to the submission process. In simple terms, they have no clue why they would be sending that story to that particular editor or agent. Oh, they THINK they know. They many even come up with all of these specific reasons, but in readlity, those reasons are probably way off the mark.

I thought I would take the time to use myself and the Greyhaus Literary Agency as a model for this discussion today.

For most authors, they start with the simple submission list (or at least they should). This is where I have listed the things I acquire and the things I do not acquire. So let's start there:

The following is directly from the website. I have eliminated all of the specifics for each, but this is the list. As shocking as this may seem, I reject so may authors submitting things on that bottom part of the list.

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WHAT SCOTT IS LOOKING FOR

Greyhaus represents both Single Title and Series romance/women's fiction.

Please note I ONLY acquire these two genres. If you submit something other than traditional romance or women's fiction, expect a rejection letter. 

HARLEQUIN AUTHORS 

Word Count should be according to the Harlequin Guidelines www.eharlequin.com 

NEW ADULT

SINGLE TITLE CONTEMPORARY ROMANCE

SINGLE TITLE HISTORICAL ROMANCE

SINGLE TITLE PARANORMAL ROMANCE

SINGLE TITLE ROMANTIC SUSPENSE

SINGLE TITLE WOMEN'S FICTION

WHAT GREYHAUS DOES NOT REPRESENT

Fantasy

Single Title Inspirational

YA or Middle Grade

Picture Books

Memoirs

Biographies

Erotica

Urban Fantasy

Science Fiction

Screenplays

Poetry

Authors interested in only e-publishing or self-publishing

For most authors,  

Writers need to go beyond this list. This is where you need to take the time to get to know the likes and dislikes of the agent or editor. Although we might acquire many of the same genres, we really do have different things we are looking for. This is where you have to spend the time following the agent or editor on social media, or even taking the time to visit with those people at conferences. 

So, when it comes to Greyhaus, let's talk about things that I like or don't like. 

HARLEQUIN STORIES: I like this company. I have spent a lot of time researching each of the lines. So, with that said, if you are someone who does not read this genre, then you might want to reconsider submitting stories. Now, with that said, I am someone who will reject a story that is just trying to copy plot lines from other books. The goal with writing category is to know the voice and the nuances, but develop your own voice. 

NEW ADULT: First of all, this genre is not simply teens having sex. This is  not just a tamer version of 50 Shades of Anything. These are stories about people making a transition between youth and adulthood. These are stories about people finding themselves in situations of "Oh S...T, Now what?" These need to be authentic voices. These need to be from the heart. These need to be stories people in this age group can relate to. Do not go over the top and dump EVERY teenage angst situation into the story. 

CONTEMPORARY: I say this over and over again. I want stories of REAL PEOPLE. Does this mean a fictionalized story of someone real. NO!!!!!!! I want to read a contemporary and be able to say, "I know people like this." One pet peeve I have here are stories that dump a ton of baggage on the characters. Not happening here! I will reject. I will also tend to reject the following tropes: wife finds that husband had an affair, stories about band groupies, and stories with adultery.

HISTORICAL: First of all, I have great historical authors so you have to be up to their standard. I can spot a mile away authors who write historicals from what we call "Source Books." These are the equivalent of Wikipedia. You have to know your research. Please also note, that some time periods just do not sell. At this moment, Victorian is making a comeback. Stores set in strange countries are not selling. Civil War is still a tough sell. 

PARANORMAL: I hate Vampire, Werewolf, Shapeshifter and Psychic stories. I think that sums it up well.

ROMANTIC SUSPENSE: I am going to reject stories that are unrealistic. A good example would be when someone being stalked from a sexually abusive husband suddenly is thinking of having sex with the detective. Also, dump those standard tropes of trapped in a remote location and then falling in love. Not buying it. 

WOMEN'S FICTION: Let me just say, this is not just large stories with female protagonists who are older. Women's fiction focuses on the female journey. These are stories that allow us to get into the female psyche. These are stories that any reader can connect with. I always use this as an example, even though it is not women's fiction - the novel, UNDER THE TUSCAN SUN. First of all, I am not talking about the movie, but the book. This story gives us a chance for the reader to relate to Frances Mayes through the analogy of renovation of a house. We get to see culture and others as she comes to understand who she is. 

Like the contemporary stories, I am going to reject stories such as road trips, husbands who are adulterous, overly melodramatic, and stories that are "not real." Please remember, when I use this phrase, I am talking about stories that people can relate to, not memoirs that have been fictionalized.

AUTHORS: I am also pretty picky when I see authors who simply have no clue about the business As an agent, I am here to assist with careers, hold hands in tough times and so forth, but, I am not here to teach you how to write. I am also going to reject a ton of authors who simply cannot follow directions. This would include, but no limited to:

• Inserting your whole story, or even a partial in the query letter.
• Using the submission form on the website to include information I have not asked for.
• Attaching your general query letter you use for everyone as an attachment
• Telling me how you are going to do things differently
• Telling me you are the next great author and I will regret passing on your project.
• Telling me you are currently being considered by major studios, the Nobel Prize selection committee or the like.

The point of all this is pretty simple. Get to know who you are sending the project to and WHY you and your story fits what that agent or editor is looking for in a client. If all you look at is your story matches the genre they have on their websites, you are SOOOO MISSING THE POINT!!!!!

Greyhaus 2018 Wish List #MSWL

It is that time of year when I look back over the submissions I saw and the trends I saw, so that I can start shaping how the next year will look. This year, I am going to take a slight twist and discuss the things I am going to be looking for in the authors and projects that come across my desk. I am not going to go into what I think are "potential trends." This is directed more to the authors and the voices of the stories. Here are 6 ideas to consider:

Authors with patience
I saw this a lot from authors over the year. These are people who wrote a book, tried to sell it to editors and got no where. So they immediately ran to self-publishing services to prove to the world they could be published, only to find the book isn't selling there.

This business takes time. There are a lot of authors out there and only so many readers. This is an issue of supply and demand and it is currently not balanced. This means that the books that are being bought have to be AMAZING. It also means that authors need to take the time to get it right.

The patience issue also plays into people who submit a manuscript to an editor or agent and then, within a week are immediately writing back to see if the project made it to their "to be read" pile. Remember, editors and agents have a lot of reading and work to do. They have a lot of clients. Some even have other jobs. Translation = they are busy. Oh, and they probably have a home life and family that they like to see every now and then.

If you are someone who expects everything to happen on your time line and everyone else around you has to adapt to it, then publishing is probably not the industry for you.

Authors who have taken the time to learn to write
Yes, there are some people who are "natural storytellers", but I am sorry to say this, 99.9999% of you out there are not that type of person. Just because their are opportunities out there for you to be published does not mean you are ready to be published. This again plays into the time issue. You have to learn how to write.

Think of it this way. My son wants to do some work in the biochemistry field. So what is he doing? He is in college right now "learning" the basics. He will eventually be "learning" to do lab work. After that, he will "learn" how to craft his own labs. He is not going to go out there, right after high school and get a job.

And neither will you as a writer.

You have to go beyond simply knowing that books have chapters, plots, settings, characters and dialogue. You have to know how to put all of those ideas together effectively.

I should also note that editors and agents are not there to help you learn how to write. They are there to shape the writing that you are already doing well, into something that sells.

Figure it out before you submit to anyone!

Authors who have taken the time to learn the business
Another learning moment here.

My wife and I had a friend who was getting to graduate from my wife's college with his BA. He was all excited because he knew he would be getting a 6 figure salary immediately upon graduation. So, after the professors and everyone in the room got off the floor laughing, we had to break it to him. For his career, that was NEVER an option.

He did not know the business.

For an author to be successful, you have to know how everything works. You need to know all the components and cogs in the big publishing machine to get your 75,000 word manuscript to the bookshelf.

If you think it is:

• Author types story
• Author sends to publisher
• Publisher prints book
• Author makes a ton of money

Then this is not the business for you.

Authors who are not looking for the short cut
I have seen a lot of authors this last year looking for short cuts. They start stalking us on all social media outlets and then attempt to by-pass the submission process. They think they are being aggressive and showing persistence. In reality, they are giving us one more reason to reject them.

This last year, I was at a conference where an author showed up, but did not pay to attend the conference. She did not go to the sessions to learn the craft. She just hovered around the lobby areas and watched for the editors and agents. When they were alone, she would immediately "go in for the kill" attempting to sell her project to them. Of course she got no where. But here is the kicker. About a week or so after the conference, she submitted a project to me saying, "I loved the conversation we had at the conference about my book, [insert title]. After seeing your excitement over the book, I am submitting it for your consideration."

Ummmm, no! Immediate rejection.

If you cannot follow the rules. If  you think rules and submission guidelines are for the weak and only those how can show the initiative to "be different" will make it in this world...

Then this is not the business for you.

Stories that don't rely on clichés and gimmicks to make it interesting
I am so tired of this. In this situation, it comes back to the idea of learning how to write. These are the authors who read another author's book, borrow a cliché or gimmick and just shove it in their book. The problem is, they have no clue what they are doing.

Since I only focus on romance and women's fiction, let me tell you the following ideas are not the only way to make money:

• Secret babies
• Women's fiction where the wife, after an amazing life, finds her husband in bed with another woman (or even guy)
• She is a secretary with an Associate's degree but wants to become a lawyer with a full law firm and thinks working for a hot lawyer will get her what she wants.

I am simply not looking for authors who seem to think stringing together a ton of these will make a story.

Stories that are realistic
I say this over and over again. I want stories that are real.

Now, before I go any further let me say something really clear here.

Greyhaus Literary Agency ONLY focuses on traditional romance and women's fiction. This is ALL fiction. That is it!

I said it this way because every time I say I want real stories about real people, I end up with a ton of memoirs, true-life crime, biographies, auto-biographies and so forth. I also end up with people who say, this story is about my grandmother but I fictionalized some of it. Not fiction.

The key to a successful romance or women's fiction is the connection it makes with the reader. They want to feel all of the same emotions and passion the characters feel. To do this requires the things happening in the story and the people living these stories to be realistic.

We want characters who get angry for a real reason. We want characters who will not violate their work ethic for some random reason (just read one where a pastor swore like a sailor and his relationship reminded the reader of a BDSM story).

The stories too need to be realistic. We have to know that something like this "could" happen.


So, hopefully this will give you some things to think about, not just for what I am looking for in a project, but for what, I am sure, other editors and agents are looking for.

Sales Sell, Reviews Don't

When authors submit query letters to editors and agents, they are often told to show the success of your writing. This is so true. If you have written in the past, we want to know of those successes! We want to see that we are getting someone who not only knows the business, but has found a way to do well in the business. We do the same thing when we submit resumes and cover letters to potential employers. The goal is to demonstrate that new company is getting a winner.

When it comes to query letters though, many authors miss the mark. These authors rely on reviews and comments they have received for their novels and not sales. Now, why is this not going to work for us? For the simple reason that reviews are not only subjective, but can be written by anyone. Let me give you some examples.

Let's start first with Amazon. This is a known procedure that many companies have used around the world. To hype up the quality of their business, they write their own reviews. They have their friends write reviews. Yes, they get great reviews, and yes, they now show up as 5 star reviews, but it isn't really an accurate reflection of what the whole public is thinking about. Authors do the same thing. When their novel comes out, they "take to the streets!" They get their followers to hype up the quality of their book.

I am not saying those reviews are lies. Those followers love their books. They would buy anything that person puts out. But these are VERY subjective and don't give the editors or agents an accurate picture.

Another twist to this would be getting those advance reviews for your books. This is always a great way to add comments to those advertising campaigns. but again, this can be a bit subjective and still will not give the editors and agents an accurate picture. Why?  Because authors know which places to send their books and where to avoid. If they already know a particular review site tends to be extra critical, or is not a big fan of a particular genre, they avoid it. Smart move, but again, not an accurate

picture.

What gives us a true picture are sales. How many units have you sold? How much money have you brought in on that book that you now want to be represented? Give us an accurate picture.

Again, be accurate with this. Don't try to hide the fact that you sold a ton of books, but did so marking everything down to $.99 to hype up sales.

Here at Greyhaus, I am always willing to look at books that have been previously published, but I always ask for authors to send me sales figures. If you show us the last three months worth of sales, this gives us a great idea.

A couple of days ago, I posted something similar when it came to the Shark Tank concept. I mentioned one guy heading into pitch to the Sharks but only had $200 worth of sales. Despite the fact that the product sounded like it was amazing (note, this came from reviews), when he showed sales, he demonstrated that the product might not be as strong as he had hyped it.

I want to remind you of something you have all been told when it comes to your writing. SHOW DON'T TELL. The same holds true with your stories and the marketing!

Learning From Shark Tank

I fully admit it! Watching Shark Tank is a guilty pleasure of mine. No, I don't DVR the show, but if it is on, I love to swing by and watch these people up there pitching their products. What I find most appealing is how these people try to convince the Sharks as well as, listening to the reasons they end up with their decisions. I bring this up today, because I think it is important for authors to spend some time watching episodes of this show. Through this, they might be able to finally realize why everyone has passed on their project.

I watched one just a couple of days ago and there were several rejects that stood out as analogous to the things I see authors doing.

One guy had, what seemed to be, a lot going for him. Great back story! Great enthusiasm! Great product! And yet, he almost lost it, and frankly, I seriously doubt even the sharks will save him. He had several problems.

First of all, when he pitched his product, he spent all of his time talking about his personal growth story. He spent the time talking about the people he was helping through his work. He only spent a little bit of time talking about the product. So, what was wrong with that?

I see authors do this all of the time when pitching a story to me, either face to face, or through a query. If you are not showing us your story and showing why your story is the most amazing thing out there, you are missing the point. A frequent mistake I see in a query is the author spending over the first third of the query telling me all of the other stories their project is like (but never being specific). Then the spend a small paragraph giving me a back-cover blurb that really doesn't give me a sense of the character, the plot of the story. Then, the spend another large block of time telling me how they got into writing, the books they read and why their debut novel was a "labor of love." Mistake! Tell me about the story.

Now, here is where the guy on Shark Tank made another mistake. He had not done his research. He didn't know how the product would get made. He did not know how it would be distributed. And, what is worse, he had only made a total of $200 in sales.

For authors, we see the same thing. Authors write a story and immediately start shipping it out to agents and editors and not having a clue about the industry. I don't care what approach you want to take with publishing. you have to understand the business you are entering.

On a second level, there are a lot of authors who have been selling their stories independently, or simply getting feedback from others on their books, and tell editors and agents that a ton of people like their project. A Lot means more than just your extended family. Fantastic reviews mean much more than just your friends on Amazon and Good Reads. Show us objective review. Show us sales of 50K or more.

On that same show, their was another person pitching to the Sharks who had a pretty good product. The problem is that their product was not as big as they projected it to be. Look, you can be enthusiastic about your product, or a story for writers, but know the true potential of your story. Don't think your story is bigger than it really is. I am sorry to say this, but your novella is not likely going to be a movie that hits the big screen.

This same person on Shark Tank made another huge mistake. She argued with the Sharks. You can be persuasive. But remember you are coming to the editors and agents because you believe they can help you and you need their expertise. Telling them they are wrong is not a good political or professional move.

Take a look at the show Watch it and listen. But when you watch it, don't get hung up on the people or the products. Listen to the arguments and the pitches. Now go and think about your query letters and your pitches. Think about the books you have pitched and gotten no where with. Think about your critique partners who also may have gotten less than favorable responses. Do not think about the story or the catchy things in their story. Listen to the words. You may be find what you have been missing.

Bigger Isn't Always Better

Along with working as an agent, I help out with Writer's Digest and their 2nd Draft Editing service. This is a chance to help out writers drafting query letters, or putting together their synopsis. I recently read a query where the author was targeting an agent at a pretty large agency. This particular agency has locations all around the world and handles everything from screenplays, to novels, to television shows and movies. This is BIG!


As I read this query, I was really trying to figure out why the author had chosen this agency. Was it the size of the agency and the fact that it looks as if there are connections all over the place for the story? Was it the reputation for making big deals? I don't know. Sure, on the surface, it would seem that if this author works with this agency, there are more resources available, but that does not mean this author's writing is going to have access to all of these services.


What authors need to consider is not necessarily the size of the agency, but what that agency can do for the author. Along the same lines, authors need to consider what their personal needs are as an author and whether or not the agency is going to meet those needs. Although all agencies offer many of the same services, the approach each agency takes will be different.


I think it is all about deciding if you want to be a big fish in a small pond, or a small fish in a big pond. Sure the agency is large, but if you are a new author and they have nothing but the big authors in the agency, where do you think the agents will be spending their time? With the people who make the big money. Until you get tot he point that you are showing you can earn money, you will probably not get all of that attention you want.


This is also an issue of knowing where your writing belongs. Your story does not fit with every agency out there. It also does not belong with every publisher out there. Your writing has a voice and style that will limit your market. You need to know that market and send that story to the place that fits the story the best.


As far as that author who wrote that query? I really don't know if he will get the response he wants. It would be great if he did? But, from this angle, it looks as if he may be shooting for something that is too big for his story and his writing career.

Editor/Agent Appointments: Don't Just Sign Up For Anyone

Although I will not be at the RWA Convention this year (bummer me), I do want to remind all of you who are signing up for, or have signed up for editor and agent appointments to do so CAREFULLY! Just because there is an opening does not mean you should be pitching to that person.

One of my authors was signing up yesterday and saw that her choices had already been taken by other authors. This did not shock me in the least bit. Those authors who have won the Golden Heart or RITA or are nominated always get the first pick. But here is the thing. My bet is that many are pitching stories that will be destined for a rejection for the simple fact that the story does not fit with that person they are meeting with.

Too many authors simply grab something and believe "At least I have something and there is always a chance." But, this is where the chapter in your statistics textbook comes into play about Possibility vs Probability. If you have honestly not done your research, or not done it effectively, you may be wasting a great opportunity. Not only are you pitching to someone who will reject you because the story doesn't fit what he or she is looking for, but you are losing out on a chance to pitch to someone who would have said yes.

"But Scott, I don't want to write for those other companies," you might say. That might be true, but if your story doesn't have the voice and style of the company you want to work for, then you are simply out of luck! If you want to write for Harper Collins, or St. Martins, then you need to have the Harper Collins Voice" or the "St. Martins Voice."

This is something that has always frustrated me about pitches at conferences. Too often, people just sign up because there is an opening and not always because it is the right place. This sucks up a space from someone who it would really work for. It is also frustrating, that we get to listen to such a small number of authors. As agents and editors, we listen to two-hours of pitches. That is only 10 authors! Maybe 12 if we can sneak in a couple more.

Look, if there is not an editor or agent there that your story fits with, then DO NOT SIGN UP! You can still get your story to that person via the standard submission process. Now, if you are really going to be proactive and you really want to meet with a particular agent or editor, make it happen by inviting that person to your local writing chapter. Have them do a SKYPE pitch session.

And one final note!!!! If  you do not have a completed manuscript (that means it is 100% ready to go at that exact moment), DO NOT PITCH! You are simply not ready to be talking to an editor or an agent, and again, you are taking up a place for someone who is ready!

Do You "Know" Who You Are Submitting To?

It is really a shame that I end up rejecting so many authors simply because the person has sent a project that would never have worked for me here at Greyhaus. Far too many authors simply print off a list of agents and start cranking out those emails and submissions without taking the time to really know if the project is right or not. But, there is a bigger issue. How well do you know this person you are handing over your project to?

Before I go any further, I do need to stress that this doesn't just apply to editors and agents, but also to those of you who want to take the self-publishing route. It is beyond important to take the time to really get to know who you want to take care of your "baby" that you worked so hard on.

Here comes my "Captain Obvious" statement... Every editor, agent, or publishing company does things differently. REALLY????

But let me be serious here. While we all might offer the same services, the approaches we take to the process do differ. Along the same lines, the "atmosphere" of the company you want to work with will be very different. For anyone who has ever worked in the same industry but for different companies will know exactly what I mean. How much of an open door policy do the bosses and administrators have? What is their policy for dealing with conflict? How aggressive are they when it comes to marketing? This is just a basic list, but I think you get the idea.

What frustrates me is the approach I see too many authors take. They simply send projects out and which ever company says yes first "is the best one." And yet, how many times do we see these people in situations years, or even months later, in situations they wish they were not in. I will tell you, there isn't a day that goes by when I read a submission from an author who says, "I tried to publish with X company, only to find out that Y was happening." Did they not investigate?

As an agent, I take the same approach when sending out submissions. While I might have a paranormal romance I want to sell, and I know of a lot of places that take that type of project, I still determine what is going to be the best approach for my author on a personal level. Will this author really be able to work with the climate and the personality of that company? Is this a right match.

Now, I know what some of you are saying. There is no way to find out about these people. I am sorry to say this, but there is a lot out there. Authors do talk. Companies do have pretty transparent websites that give you a sense of who that company really is. It may not be in writing, but the personality does come out. It is just up to you, as an author, to keep  your eyes open.

Why We're Quiet About What We Want

A common question that is asked over and over again during those editor and agent panels is, "So what type of project are you really looking for?" When writers hear this, they all lean forward, eagerly waiting that golden gem of an answer that will get them to that coveted "published status."

Instead, they often hear, "We are looking for projects with great characters, great settings and a story that really draws us in."

Um, like, no duh! That didn't give us anything.

But here is the real rationale.

Several years ago, I was at the International Women's Fiction Festival in Matera, Italy and a writer asked just that question. One of the editors openly said she "refused to answer the question." She went on to say that her reasoning was clear. If she were to say she wanted a story about a given topic, all of the writers in the room would immediately run out and attempt to write that story. That was not what she would want. What she wanted, and what all of us want, is for an author to write (as is often described), "the best damn story you can write."

Now, there are ways to find out a bit more of what we are looking for in projects. Reviewing those submission guidelines will give you a sense of the type of story. There, you will often find a bit more other than "contemporary romance." You might find examples of the common themes or characters types we like.

Another place you might find this is on social media with the hash tag #MSWL. Every now and then an editor or agent will post a genre or a genre type he or she is looking for. Pay attention to this!

But here is the thing.... WE DON'T WANT YOU TO WRITE THE STORY.

When we make comments like this, we are hoping you might already have something equal to what we are looking for, or maybe something close to it. As agents, we might have had an editor ask us if we have anything in that genre and we are just looking for them. If the story is not written yet, don't waste your time to drop everything you are doing and write it. By the time it is finished, we have either forgotten we asked about it, or more likely, have already found it and moved on.

Look, we do tell you what we want. We try our best to give you as many specifics as possible. But in the end, we still want that story "...with great characters, great settings and a story that really draws us in." We want the best you can write!

Agent Preference Matters

If you are someone looking for a literary agent, you will see a huge list to choose from. Large agencies, small agencies, boutique agencies, the list goes on and on. But it is important to note that all agencies are not the same. Sure, you may find a ton that all acquire the same genre as you write, but all are different. All have different preferences and it is up to you to find the right match.

We often describe the agent/author relationship as being a marriage. You are both committed to seeing the success of not just that first book, but all of the books you write. But, like a marriage, you have to have a lot more in common other than just wanting to "get married" or in this case, "sign a contract." You have to share some common interests.

Authors need to spend some time getting to know these agents. Start with finding that list of people who "acquire" what you write, but take it a step further. Really examine those lists. Examine what they have signed in the past and look for patterns. Listen to what they write in those blogs (there are a few of us who still do this). Attend conferences and listen to what they say during those panel discussions. You will find that we are not all alike.

I get a lot of people who send in queries that state, "I am submitting to you because you have an interest in women's fiction so this project is a perfect fit." The problem here is that the author IS NOT referencing what I like to read in women's fiction, but simply the genre I represent. What is it about your project that fits what I like in the genre of women's fiction? That is the question you should be asking.

Agents do the same thing when we send projects to editors. We don't just throw darts at a wall. We find who would most likely enjoy reading this project. While this person might not end up with that editor after the contract is signed, getting in the door required really making that right connection.

So, before you hit send, ask yourself. What do you REALLY know about the preferences of the editor or agent you are sending it to. Is this a marriage that will last?

Are Freelance Editors Worth The Money

A common feature we see in query letters is when the author tells us he or she has gone out and had the story "professionally edited." In other words, the author has gone out and paid someone to either completely edit the project, or to have provided an extensive content edit from someone often called a "Book Doctor." But the real question is whether or not this type of service is worth the money.

Let's first consider the cost. In many cases, the rate will be somewhere around $2.00 a page and can even go up from there depending on the type of service the freelance editor is providing for the author. If, for example, you took care of the changes and then sent it back for a second read, that cost could go up even more. Yes, this can be a pretty hefty expense considering many manuscripts will hit around 300+ pages for a smaller 75,000 K word count project. Again, the question is whether or not this type of service is worth the money.

The first thing I would have to consider is the knowledge the author has of three things: story development, the publishing process, and the most important one - grammar! Now much of this can be learned over time, but if the author is really missing out on these skills, it might be worth the approach.

The second thing to consider is the publishing approach the author is taking. If he or she is going through traditional routes, this staff will already be in place to help. The agent will likely help with some of the plot development and guidance for the direction the story should take to be published. The publisher will also have a huge staff with more plot development and certainly line and copy editing assistance. This is all part of the "package price" included in the advance, the commission and the royalties. If, however, the author wants to take the self-publishing approach, he or she will need to pay someone on the outside to do this. In this case, it is a trade off.

I think there is another issue that many authors simply do not consider when they start hiring these freelance editors to do this work for them. What are the qualifications of the editor? This summer, when I was at both the PNWA and the RWA conferences, there were a ton of "editors" advertising and enticing authors to use there services. They had fantastic displays, amazing presentations and sales talks, but I kept asking myself, what are their real skills? Sure, they often told of how many authors they have assisted in the past, or how long they have been in business, but I kept coming back to thinking about their training in the business. I did casually meet one of the authors and after talking with her (and a little bit of my own research) I found out that she had only published two books in her entire life, these two books were over ten years ago after winning a contest, but now, she was a book doctor guiding authors. I should also note her day job was that of an accountant.

Don't get me wrong. There are some good freelance editors out there. There are authors who really do need the services of these people. But, personally, this is not a service that every author needs to be spending his or her cash on. These are skills that are already at your finger tips that you can learn and do on your own. Consider...

• Use your grammar and spell checker appropriately This is a big one. Most people only passively use their grammar checkers. They wait for the infamous wiggly line to tell them the screwed up. You have to do two things. The first is the change the settings on the grammar checker to GRAMMAR AND STYLE. The second is to put that cursor on the first word of Chapter 1 and then click on the CHECK SPELLING AND GRAMMAR button to truly find the majority of the mistakes.
• Get yourself a great writing reference tool This goes hand in hand with the grammar checker. When the computer finds "mistakes" these may or may not be wrong. Often, the grammar checker says something such as "This may be a fragment, consider revising." This is when you turn to a grammar book, learn what you did and determine if it is indeed a mistake. My recommendation is A WRITER'S REFERENCE by Hacker and Sommers. This covers EVERYTHING.
• Get yourself a great critique group to assist These cannot simply be good friends, but people who are critical thinkers. These are the people who will assist you with the content issues, character and plot development. 
• Learn the business and don't rush Yes, I am saying this again. The business takes time and learning how to write is not something that happens overnight. Attend conferences, read blogs, read books, talk to other authors. I don't care how you do it but take the time to learn the business. 
• Research and dissect stories to understand WHY they do what they do Read, read, read! This is research for you. Take the time to figure out what the authors are doing with their stories to make them so good. Don't look at the surface level of things such as the hero being totally hot. Look to the levels of use of dialogue tags, when they insert introspection and so forth. 

If you haven't figured this out, having that outside editor is really something that is really on a case by case basis. Use it only if you need it, not because someone told you it was something you had to do to be a successful writer.

Do You Really Know Who You Are Submitting To?

I have been seeing a lot of blogs and articles lately about the power of social networking and getting your manuscript in front of editors and agents. While I do believe most of these articles have great intentions, what I find all of them truly missing is a key element to long term success as a writer. These articles never tap into the crucial question of "knowing" who the person is you are submitting your project to.

Several years ago at the RWA Conference in Florida, I, along with several other fantastic agents ran a session called query fest. Not only did we have a chance to talk about writing query letters and discuss what we like or hate in queries, we also had a chance to do a lot of cold reads to let you into our minds. At the end of the session, one writer came over to me to thank me for the session but then she followed it up with an interesting comment. She had been submitting to one of us for some time with projects she truly thought were right. As she listened to us talk, she had now realized why the story was never going to work. It wasn't the query. It wasn't the story. It was the simple fact that she had now had a better understanding of the agent after two hours of listening to us. This was a relationship that would never work.

She had gotten to know the agent better.

I do believe that moving into the digital age like we have, while it does seem to speed things up a bit, creates a huge sense of not knowing the person on the other end of the Internet. We can look up a lot of different pieces of information out there but we never really get to know the person. Think about it. If I get on LinkedIn, Query Tracker, Publishers Marketplace or any number of other sites that have lists of editors and agents, I can quickly search anyone who might be "acquiring" my genre. It doesn't take much. I can get their email, I can get mailing addresses and so forth. The one thing I can't get is learning who this person is.

If you are someone reading to take that plunge and start sending projects out to editors and agents, slow down. Take the time to learn a few things first:

• What is this person's personality?
• How "aggressive" are they when they promote books?
• Where do they like to send projects? Where do they avoid?
• What is their approach to "marketing"?
• Do they like certain genres over other?
• Do they have pet peeves?
• How do they interact with their authors?
• etc.

Following that conversation with that author at Query Fest did get me thinking about something that I have said to numerous authors after that. There are a ton of editors and agents I respect highly. I think they do great work! But, if I had a project to send them of my own, that list would be much shorter. Although I respect and admire the work of some of the agents out there, a working relationship with them would simply not work out. Their approach and my approach wouldn't mesh.

Look, I don't care how "connected" you get out there with your social media and your networking, to truly be successful, you have to take it that additional step and get to know those editors and agents first!

Why Researching Editors and Agents Is More Important Than Ever

One of the biggest reasons for writers getting rejection letters from editors and agents is the simple fact that they sent the wrong project to the wrong person. In simple terms, it wasn't an issue of the writing being good or bad, it was the fact that the writing was not going to fit with that editor, agent or line. I started thinking about this last night so I did a little scanning of the information you can find out there on the Internet about the editors and agents. Please note, this was a QUICK scan, but what I found was pretty revealing.

There isn't much - at least not much on the surface.

I looked at submission guidelines for publishers and agents. I also looked at the "bios" and information about editors and agents writers would normally find for conferences. Again, it is pretty darn vague.

You find broad lists of genres and certainly the requirements for what needs to be included in a submission (send a query letter, the first three chapters and a synopsis, type of stuff). Many of the bios simply say they want "great stories with great voice and great characters." Again, pretty vague. To add to the vagueness, many of the 3rd party sites out there to "help" authors, such as Writers Market, Query Tracker and so forth, are even more limiting with just the contact information, and, more often than not, out of date information.

Now, before you start blaming these sites or you start blaming the editors and agents for not including the information, we need to understand a few things. The problem is not entirely theirs. The problem is also on your shoulders as an author.

Let's start with the publishers and the agencies. Leah Hultenschmidt summed up the reason for this vagueness at a conference I attended with her a while ago. She was asked what trends were out thee and what she wanted in particular. She refused to answer, but here was her reason. She noted that if she said she wanted stories that were a certain word count and about a certain topic, all of the authors out there would immediately write exactly that story and her submissions would be flooded with poorly written projects. Instead, when we say we want a really good story, we are hoping you, as an author, are taking your time to craft that really good story, and you know why it would fit with us.

Publishers also make comments over and over again on their websites advising authors to "read what we publish." The goal is simple - you should know the voice of the publisher. The assumption is that an author wishing to write for a particular publisher will take the time to know the line inside and out. The author will have read books (and not just one or two) from that publisher, and yes, even books that agent has sold, to know if their individual voice fits.

The assumption is also that you have taken the time to visit the blogs of those prospective editors or agents. You have "followed" them on social media. It is amazing what you will find out based on the books they talk about, the books they grumble about and the books they personally read. It will tell you a lot.

I know when I send out a project for one of my clients, it is not a mass email to every editor out there. I only send it to those people where there is a direct fit. I know which editors like those steamy stories and which editors like the sweeter romances. This is not because they personally sent me an email or told me at a conference (although that happens). It was from the research.

Now, would it be nice if we had some more specifics in terms of books we like and want as editors and agents. Yes! I do believe there is room for improvement from our end. But, remember that you need to do more than simply look up contact information and start firing off those query letters. Take the time to research.

If you have specific questions for what I am looking for in projects, post those comments here. Read my submission guidelines first but certainly ask away!

What Are We Thinking About During Your Pitch Session?

There are times, I am sure, that some of you are thinking that editors and agents are simply thinking of "what they could be doing" instead of sitting there listening to pitches. I have had several authors say to me, "I could never do your job! You just sit there for hours and hours listening to one pitch after another. Doesn't it get tiring?"

O.K. I do have to admit, there are times it has gotten tiring, but to tell you the truth, it wasn't because of the pitches, it was due to uncomfortable chairs, weak coffee, a long flight or a long conference. It wasn't the writers.

Still, I was thinking about this last night. What does it look like from the other side?

First of all, you have to understand why we do these pitch sessions. We are indeed looking for new authors and new projects. Yes, we do tend to reject a lot of people after pitch sessions, but that is more due to the fact that authors are pitching things to A) the wrong people; or B) stories that aren't ready yet. But we are looking and yes we are interested.

Let me walk you through the thoughts going on in my head as you pitch. In many ways, we're going to attach a speaking voice to my head, much in the same way we made Doug the Dog talk in UP!

I am a firm believer in an author beginning with the title, genre and word count of the story. I push for this in query letters and I certainly push for this in a pitch session. Here is the thing... Once I have the context for what type of story you are going to pitch, my brain starts thinking about potential placement of the story. In other words, based on that initial criteria, what publishers would this go to and which ones would I eliminate. This is especially true when it comes to a series romance. If someone tells me they are pitching a Harlequin American, I start listening to the story to see if it fits that line, or if it potentially fits another line at Harlequin.

Now, as you start into the central story arc, I am now thinking of how I would pitch this story to an editor. What are the critical elements of the pitch that I would need to bring to the forefront of a pitch. This block of thoughts will also revolve around thinking of other projects that might be out there already that are similar to this. In other words, if I have heard this story over and over again, then the project will either have to be AMAZING in the writing, or provide some unique twist in the story itself that the author is failing to bring up.

I am also thinking of how much work this story will require. We get that stories might need a little bit of work when you pitch it. The question is, how much? Is this project going to require a complete over-haul, or is it something that we can tweak and turn a little? Maybe this is a project that just needs to be fleshed out a little and cut back in word count?

Finally, after you have gone through your pitch, or I have heard what I need to hear, I will often ask you a series of questions. This varies from one author to the next based on what you told me in your pitch. Sometimes, I ask more questions about your story. This may be due to some missing pieces that I didn't catch or you didn't tell me. I might also have to ask these story related questions because I think that might be the piece of the puzzle that isn't going to work for me. But through all of this, I am also asking questions because I want to learn more about you as a writer. I am not so much interested in the scripted pitch you carefully prepped and ran through your critique group. I am interested in who you are. Remember, we are looking for a long-term relationship here.

So, the next time you pitch and you start seeing that "deer in the headlight look" from the editor or agent, it might not be so bad. We are thinking about your story. We are thinking if this is going to work for us, or maybe one of our colleagues. We are thinking if we have the skills and knowledge to fix the story if it is something that we might not normally work with in a project.

Or maybe we're just thinking about....SQUIRREL!

Social Media is a Great Tool For Research

Time and time again, I find that I end up rejecting stories from authors who simply had no idea what I was looking for in a project. In the end, the reason for the rejection was simply the author's lack of proper research before sending the project out. I know I am not alone either. Other editors and agents are faced with this daily. As I have said here on the blog, your story does not fit with every editor or agent out there. Each of us has a unique voice and characteristic.

Fortunately for authors, the internet is providing an excellent view into the offices of all those editors and agents that you might be interested in working with. If you know what you are doing, you can certainly insure that your project falls into the hands of the right person. The tool you use is social media.

Yes, I know, this shouldn't come as a shock to you, but those tools such as Twitter, Facebook, Blogs and what not tell you a lot more about the editors and agents that you want to target. In a virtual experience, you can learn a lot about these professionals beyond the information they may post on submission guidelines and FAQ pages. We have to remember, even though the business is about your manuscript and your writing, the personalities of the editors and agents play a huge role in the success or failure of your writing career.

So, what do you look for?

• If the editor or agent posts frequently of the types of stories they accept or reject, watch for patterns. This is especially useful if that professional is Tweeting while they read submissions or editorial notes and telling you what they think. I have done that in the past and I know Angela James of Carina and Sara Megibow of the Nelson Agency does this every now and then.
• Read those #pubtips they post on Twitter every now and then. When you see those, the odds are they stumbled across a project that did something really stupid and they want to remind you of these. Sure, tweets like this are great reminders, but you also learn to understand their pet peeves.
• Read those blog posts. I do have to say, the number of editors and agents blogging is decreasing daily but if you can track those people, listen to them. Don't just look at the message, but read between the lines. You should find out a lot about that person. If you are someone who reads this blog on a regular basis, you should be able to sense that I try to provide writers with a lot of craft ideas as well as things that should make your life easier as a writer.
• Check out who they read. In this case you can see other people they might follow on Twitter, other Blogs they quote or even the stories they frequently talk about publically. Pay attention to the patterns here. They tell you a lot.
• Watch for the personal stories they tell. When it is time to pitch face-to-face with these people, this becomes some great small talk elements to bring up.

Now, does this mean that you will get signed with these editors and agents faster? No, this is not a certainty. But, taking the time to figure some of this out might move your project a bit further up the reading pile.

Think Like An Agent Or Editor Before You Submit

Writers are interesting people. They spend all of their waking hours thinking like a writer. Their minds are full of writing craft and it seems that everything they do and say during the day can somehow link back to their independent time in front of the computer typing out their stories. When you talk to them, they understand everything (or at least pretend to) about point of view, crafting the right line, goals, motivations and conflicts. And yet, when it comes to the real world, we often find they are lacking. 

No, I am not talking about that introvert side of writers that we see (yes this is a generalization). What I am referring to is how they think of their books and their submissions they send out to editors and agents, and yes, even the products they send out to the readers on their own if they chose that route to publishing.

I know that I am not alone on this one. There are far too many times when I have read a submission or listened to a pitch, when I ask myself "What were they thinking?" There have been cases when I am completely stunned at what was presented to me. In every one of these cases, I do believe it stems from the writer not really thinking.  More specifically, they were not thinking like the person on the other side of the table.

I teach a research writing class and one batch of writing they do are analysis essays of other writer's work (not peer editing). They are to really spend the time dissecting what works and doesn't work with the articles they read and then respond to each. Now part of this activity is to learn to write in this format as well as to understand analysis. But the bigger picture is to think like a reader. If you read something and you simply don't like what the person did, do you want to take that skill and put it into your own writing? On the reverse side, if you love an approach, would you want to use that skill the next time the situation arises for you?

With that idea in mind, as you craft your current story, is this really something you would want to read if you were someone buying a book. You need to ask yourself (honestly), "If I were looking for my next book to read, would I buy this book?" You would also extend it to ask a few more questions"

• What is it about this book that intrigues me?
• What do I like about the voice?
• Do I like the characters?
• Can I personally relate to the characters?

The key is that you have to be honest. Yes, I understand you are biased because it is your own work, but that is probably you thinking like a writer...NOT A READER!

This skill doesn't apply just to the writing. Before you hit send with that submission, stop and look at not just the product but the query letter and the entire package. You are now an editor or agent and have received this letter in the mail. Based on what you just sent, based on that "first impression" would you want to work with this person.

Before you answer this, let me put you in the right mindset. It is now 5:30 pm. You have been in the office since 7:00 am and have been in editorial meetings, talking to the art department, on the call with some agents about other projects, spent time editing a few of your own clients' works-in-progress, sending out letters, and probably eating lunch at your desk. It is late, you want to go home but there are 100 new submissions sitting on your computer and want to get through a couple before you leave. You might even transfer a few over to your e-reader to look at on the commute home. Now...

• Do you see enough in the query to want to read more?
• Is this writer showing you a marketable product?
• Are you seeing something that intrigues you in this story.
• As you scan the synopsis, does the story look like it has enough structure that you can work with it without months of revision?
• Does this writer sound professional? Remember, you are going to have to work with this person?

In simple terms, after that small submission, would you ask for more?

I do honestly believe that many of you would reject that person on the other side of the submission. The reason is that you are now looking at your submission from a different perspective. And yes, the same goes for pitching to!

I hear too many times writers complaining that "if editors and agents would read the whole story, they would understand and like my writing." They are thinking like a writer. Would you really do that if you were seeing it for the first time?

Just something to chew on for a Monday!

Question from a writer - On Responses From Editors and Agents

I've got a topic for your blog. Address why some (most) agents don't have the simple courtesy of an auto-reply in their query boxes. I sent our five agent queries yesterday, all reputable, and I've no idea if any of them received it or if the query is in a spam file or cyberspace.

I spent considerable time researching and meeting their different requirements, so why can't they minimally have an auto-reply so I can start counting the weeks or months they state to get back to you? Or, again, minimally, so I can count the time and know if I don't hear from them to consider it a rejection or lack of interest. It just seems rude. I've never sent a MS to a publisher's slush pile who didn't have this auto-reply working, so it seems to be an agent problem.

 

First of all, I do have to say that every agency out there does have a different approach to things and they all have reasons for what they do. But with that said, let me address a couple of things here.

 

I want to start first with the comment you made, "so I can start counting the weeks or months they state to get back to you." This is not so much a responsibility of the agent or editor, but something you need to keep track of. With every submission I send out to editors, I have a record of A) who I sent it to; and B) when I sent it. I know how long it normally takes to get to that submission, and, if after some time has passed, I do send a quick reminder. You have to remember that editors and agents are not immediately sitting down and reading your material the moment it comes in. They are getting to this work in their free time, between working with their current clients and other professional obligations.

 

I would also add here that if the agent says "3 months for a response" don't start getting on their case on the exact 90 day point. This is a rough estimate.

 

Let's move on.

 

Technically, the auto response option does have drawbacks. This is mostly for those of you writers with an "auto-response" option on your end. If you send me a manuscript, for example, you get an auto response. But because you have one it gets sent to me and then we are in a closed loop. Not cool! Now I have an email box full of the darn replies, and yes, at that point, the computer algorithms (or what ever controls the email) will see this as a SPAM message and then you are gone forever.

 

But there is also another issue, and this deals more with the lack of response in general instead of the auto-response. There are many authors out there who just mass mail their manuscripts to to every agent on the planet without doing their research. You would be shocked at some of the submissions we get. When this happens, frankly I just delete their email. Why? It really wasn't worth a response. If this person didn't take the time to find out what we want, then why respond.

 

There is a solution, however. Use the DELIVERY CONFIRMATION button on your email. Most of the programs have one. You don't need a command that says if it was read. To be honest, I never click the button on my end that tells you I did read it. Also, it won't work if I have a "Reading Pane" up in the email program. I am just "previewing" the document. Still, try the confirmation button.

 

Please remember that there are a lot of you writing and a small number of us reading your projects. I would simply have to say to just relax about it. And besides, if the person doesn't ever get back to you, is this really someone you would want to work with?