A Manuscript Checkup: Are You Really Ready to Query?

I sometimes hear of querying authors lamenting the decline of “editorial” agents. In truth, all agents are editors of their projects. It just depends on where along a manuscript’s evolution do they want to jump in. What these authors aren’t realizing is that they might be looking for representation too early in their writing process. Most agents look for a project in its later stages or last stage of development. And the reason is simple and practical. The sooner an agent can get a project in front of editors, the sooner (hopefully) he can see a paycheck. If he’s very lucky, he might find a project that only needs one round of editing, but most likely, that one round of editing will uncover the need to do more.

I’ve been working on a client’s book project for over the last month. This is my third time going through the manuscript for this editing round. I’m fairly sure this is either my fifth or sixth time reading the novel. One thing is certain, though. I loved this story the first time I read it, and I love it more now. It’s true that with each edit and revision, the manuscript improves. But it’s more than that. While I could see issues when I first read the story, I could also clearly see solutions. And now that the changes are on the page, the story is better than I first imagined it could be.  

Often I'll get submissions that are so early in their development that I cannot even begin to unravel their issues, much less envision solutions. Those novels, while "completed," are not "market-ready.” Occasionally, time permitting, I’m able to send feedback. When I do, I am struck by how often the same recommendations come up.

Even after countless rejections, some authors may still find it easier to keep querying and keep submitting rather than go back into their novels to fix what is not working. Often it’s because they’re too close to the work and can no longer see problems in it. Some do see or sense there are issues but are unable to pinpoint them or don’t know how to solve them, or where to start.

I have put together some questions that you can use as a checklist to see if you should start or keep querying, or use them to jumpstart your next revision:

1. Are the stakes clearly defined within the first few paragraphs, or at least within the first chapter?
2. Are the scenes grounded with specific and unique details that make them tangible and immersive?
3. Do the main characters have inner lives with complex thoughts, reflections, memories, etc.? Even if they do not reveal their fears, faults and vulnerabilities to the outside world, do they let us in to see them?
4. Do we have context to the main character(s) emotional journey? Is there a personal journey at all?
5. Can we clearly envision distinct physical features of the characters that also reveal their unique personalities (or do we only see their hair and eyes)?

If you have answered “no” to any of the above questions, then this could be why you are receiving rejections or no responses at all.

Keep going through your manuscript, asking the next questions:

1. Is there an over-reliance or repetition of facial movement or expressions to portray emotions, such as “sighing,” “grimacing,” “groaning,” and “cringing”?
2. Are there large blocks of dialogue where nothing else is happening in the scene, or it is unclear what the characters are physically doing during the conversation?
3. Is there a lot of expository information (explanation of background, characters,  ground situation, etc.) revealed through dialogue?
4. Are there words, phrases, gestures, physical sensations that are used commonly or repetitively (such as “heart pounding” or “pulse racing”)?
5. Is there filtering language? (for example, a character sees something happening rather it just happens on the page, or rather than saying the thought, the character’s “sees it through his mind’s eye”)

If you have answered "yes" to any of these last questions, it appears, you have some work ahead of you.

Hopefully by going through these questions, you'll have a better perspective on your manuscript, and be in a better place to decide whether or not you should keep querying or look at revising. These questions also aim to provoke ideas on ways to tell your story better, so that the next time you query, there’ll be an agent or editor who not only falls in love with it, she’ll love it more each time she reads it.

In Defense of the Form Rejection

I recently wrote a short story, my first in over a year. Inspiration struck and I listened.

Unlike novel writing, short stories are short-term rewarding because you reach "the end," while you are still loving that muse whispering in your ear. I was particularly excited about this story, as I knew exactly which magazine I was going to submit it to. A few years ago, said magazine had rejected another story of mine, but with glowing praise and a request to see more of my work. I kept that in mind, because this magazine is a professionally paying market and one that would be quite a feather in my writing resume. Thus after some furious late nights, anxious waiting for the beta reads to come back, and a lot of editing, I sent off my beautiful 3k-word gem to this magazine.

Another rather sweet aspect of short stories is these days most magazines use submission software. This means you can stalk, I mean track, your submissions. And, at least in the SciFi/Fantasy professional market, many of them have fairly quick turn around times. This is in part because they don't allow simultaneous subs in part because the stories are shorter. Altogether it's a much quicker and less frustrating process than novel submissions.

So a week full of checking the website later, there it was, that email. I took a deep breath and opened it to find... a form rejection letter.

The range of emotions that followed is one every writer is familiar with. But there was one more. Understanding. Working for a literary agency, I've sent out hundreds of form rejection letters over the years. And recently I opened up my own inbox to queries. In the beginning I tried to make each response a bit personal, a note here, a comment there. I knew what it was like to be on the other side, and that experience pushed me to communicate personally as much as I could, especially if the writing had potential. However, I discovered, to my dismay, that the majority of personal rejections were not appreciated, in fact they were often responded to with a "could you clarify this?" or "can you take this further?" or "what can I edit to change your mind?"

My personal notes were not received as the compliments they were meant to be, but rather as an opening for an editorial conversation. One that I had to ignore. It made me feel guilty, not continuing the conversations, but there is not enough time in an agent's schedule to answer every author question that floats through our inbox. I was also spending more time coming up with ways to make the reason I was passing on the project sound nice and encouraging and editorially useful, rather than focusing my energy on considering each submission carefully. Which made me reluctant to open my inbox. I had burned out. Thus more and more I found myself responding with a form rejection, both in the interest of time and clear communication. My defense of the form rejection:

• It's a clear answer.
• You receive said answer faster. 
• It's less emotional. 
• It helps prevent slushpile burnout, so the agent/reader can focus on what's important, considering the submission itself, rather than coming up with something to say in response to it. 
• The form rejection helps to keep expectations in check. 

I know most authors who don't do their research don't understand this, because they don't see the other side. I can't count the number of times I've heard writers say, "it couldn't be that hard to respond to a query!" Let me tell you, yes, yes it can.

Every once in a while, if the writing jumps out at me, or if I've met the author in person, I will still respond personally, but for the most part I've become a fan of the form rejection. Sure you could argue that if I hadn't gotten that personal response back in the day, I wouldn't have been as eager to submit to the magazine, but I also wouldn't have had as high of hopes. At least you can take comfort in the knowledge that I'm getting them as good as I'm giving them. We all just have to keep on keeping on. My so-called gem of a short story is already sunk into another slushpile.

*All artwork by street graffiti artist Banksy.

Follow Mary on twitter @Mary_C_Moore for more tips and updates on her query slushpile. To submit to her visit her website: marycmoore.com.

Twitter Writing Contests: #PitchWars2015

This summer my blog partner, Lisa Abellera, wrote about Twitter contests from the agent perspective. With Brenda Drake’s PitchWars approaching the finale, I've tackled this Twitter contest with a Q & A from THREE different perspectives. 

What exactly is PitchWars, you ask? 

A contest <check> 

Publishing industry crash course <check>

Twitter hangout for writers to procrastinate <uh..>

Super fun <check>

Yes, it is a contest. But it's also so much more. Published/agented authors, editors, or industry interns choose one writer each, read their entire manuscript, and work with said writer in a “Mentor” capacity for two months in preparation for the agent round.

The competition for Pitch Wars is fierce with more than 1500 applicants for 101 mentors. The agent round begins Nov 3 and FOUR dozen agents will be perusing the offerings and making requests. 

Now, with PitchWars 2015  coming to a close, I have interviewed three participants:
Mentee, Anne Lipton (@AnneLipton) Mentor, Nikki Roberti Miller, and Agent Uwe Stender.

I asked all three participants the same five questions, noted below:

1) How many times have you participated in PitchWars? If more than one, please state the capacity. 

Anne: I also submitted a manuscript in 2014

Nikki: This is my second year in Pitch Wars. My first year, I was a mentee who was mentored by the talented Rachel Lynn Solomon. Within two weeks of Pitch Wars, I landed my own agent. This year, I’m paying forward by being a mentor myself.

Uwe: This is my third time, always as an agent.

2) What were [are] you looking for in PitchWars?

Anne: A mentor who can help me revise my manuscript to its full potential

Nikki: Last year, I was looking for that extra level of revising that I hadn’t explored before. I learned so much from Rachel as a mentee, and it really revolutionized my writing. Not only that, but it prepared me for the intensity of agent revisions. I try to apply everything I learned to each manuscript I CP for, and this year for Pitch Wars, my main goal is to help another author just like I was helped. Learning to revise is the best skill anyone can have, but it takes a lot to get there.

Uwe: I am looking for GREAT projects. I am actively looking for brilliant clients.

3) What words of wisdom do you have for the Mentees the morning of Nov 3?

Anne: Eat a good breakfast. We have a really supportive Facebook mentee group and I will probably go hang out there for moral support.

Nikki: First piece of advice: DO NOT STRESS. DO NOT OBSESS. 

Seriously…walk away from the computer refreshing. It’ll be okay. And know that even if you get no requests from the agent round, you can still query (including the agents who participated). I had five requests on my entry but ended up with seven offers of representation between the agent round and querying---and most of them came from querying, including Pitch Wars agents who didn’t request during the agent round.

The main reward of Pitch Wars is your shiny MS and new skills. Embrace it. Trust it. Be proud of what you’ve done. And keep querying. You’ve got this!

Uwe: Enjoy the process. Don't take it personally. If you don't get any requests, it does not mean that your book is not publishable. If you get many requests, it does not guarantee an agent offer and/or publication in the future.  Have fun with it, no matter what happens! And if several agents request it and I am one of them, send it to me first! 

4) The PitchWars selection process is comparable to the query process in the publishing industry. What advice do you have for querying writers? 

Anne: Submit. Revise. Repeat. Read blogs on how to write a good query. Write yours a million times. Read other writers’ queries. Have other writers read your query. Contests can help, too. Read submission guidelines. Personalize the query. Keep the query under 300 words and your bio not more than one to two sentences.

Nikki: Make sure your queries and manuscripts are as polished as they can be. Polished does not mean proof read your rough draft. It means sharing it with others, tearing it apart, and putting it back together. Put in the work first to avoid querying too early. 

Uwe: Be persistent, be polite!

5) What is the single best thing about PitchWars for you?

Anne: Receiving invaluable feedback from my mentor to improve my manuscript. Than you Max!

Nikki: The online writing community. I have loved every moment of getting to know my fellow writers, and they have truly kept me sane during the ups and downs of this industry. Meeting them has been the most rewarding. 

Uwe: That I will see many projects that normally may not have come my way in the regular query process.

And there you have it.

NEVER INTERRUPT A WRITER: The Secrets of Survival for a Writer's Significant Other. by Janice M. Wilson

I CONFESS, I panicked this weekend knowing that I had to write a post for this blog and do it quick, yet I had nothing.  In fact, I went to the lake last week to be outdoors; all those picnics, hikes, and lakes put me in the best mood to write.  As I wrung out a few ideas one thing clearly kept me from finishing a first draft - a big fat fly that taunted me every few minutes as I tried to finish brainstorming and eating a picnic lunch.

THERE'S ONLY ONE WAY TO KILL A PESTERING FLY WHEN I'M WRITING!

Try to get my food, yeah - you get swatted away quick.  But interrupt my train of thought? BAM! You’re dead.    Finally, I got him and he met his maker. No more interruptions, I thought. The sunlight beamed through the tree branches, a fish jumped in the water, and the world was at peace again.

WHATEVER YOU DO, JUST DON'T KEEP ME FROM WRITING!

Let me put it to you this way, if you live with a writer – first, you have my support and some sympathy.  It takes a special person to keep loving and take the extra time interpreting their mood of the day and still make it through without needing serious therapy yourself.  Perhaps you have to endure one or probably all of these famous traits of writers:

YOU DO KNOW ABOUT 'WRITERS", DON'T YOU?!

1/         Lets get one thing perfectly clear – YOU WILL END UP IN A STORY OR BOOK AT SOME POINT.  Even if your beloved writer changes your name, town, vocation.  It doesn’t matter.  Somewhere in a tome they write you will see yourself described perfectly and there’s not a damn thing you can do about it.  If you pack up and leave now – that act will also be in some ‘cad-who-left-me’ romance novel.  You’re doomed no matter which way. Your soul just becomes immortalized – that's all.   It’s okay. It’s just a story. They still really love you.  Just accept it and be you.

I CAN STILL TASTE YOU....I WROTE ABOUT IT TOO

2/         Your writer might be ‘the quiet one’ in that bunch of friends.  It’s not that we are social recluses (well, never mind), it is just that they may have been in the middle of a pivotal chapter and reluctantly stopped it to come to the party, but they know that the rest of that great scene is sitting around their laptop and tapping fingers impatiently waiting for their return to finish it.  How dare they go to a party before it’s done!  Believe me; I’ve been accused of writing in my head at parties sometimes. ‘Uh…….there she goes……writing that book in her head.’ 

Guilty.

JUST LET ME ADD THIS TO MY NOTES, THEN I'LL SWIM.

3.         If you’re talking to a writer and they suddenly seem to be peering into another world with greater interest, don’t take it too personally.  It’s not that you’re boring.  Actually the opposite, they probably got an idea for a great story or novel from something you said and were off writing it already in their heads. If you can look into their eyes and see her dancing in a fountain for an audience, pat yourself on the back for being an inspiration!

HONEY, ARE YOU EVEN LISTENING?

Or maybe, yes, you are boring and your writer is distracted like the recluse in #2.

4.         It could be the folks at the table next to you that gave your story-teller the spin.  Writers are super curious creatures and practice eavesdropping faithfully.

THEY WILL NEVER KNOW I UNDERSTAND ITALIAN.  HE!

5.         Your shared living space becomes a library.  I lie not!   Show me one writer in this world who doesn’t come with book shelves that are already full and the rest of your furniture somehow artfully balances a new stack of books.  The true addict has stacks on the floor as well, and it’s their secret way of making an obstacle course to find them much later in the night as they pound away on the keys.

I ONLY HAVE A FEW BOXES OF BOOKS TO KEEP.

4.         They make strange bedfellows.   You could be minding your own business somewhere in the house and suddenly your writer slinks up to you, knocks you down, ravishes you, then kisses you, thanks you, and then goes back to writing.  THAT – my friend is one of the perks!  That means your writer just finished a successful love scene so much that they were consumed with passion and YOU were the lucky bastard nearby. Or sometimes the writer needs you as the guinea pig in a passionate scene act-out, needing to experience first-hand new twists in the tryst, watches your expression with interest, and they often suggest new romantic evening setups.  They need dirt and emotions to describe in their love scenes.  Don’t argue why. Just leave it alone and enjoy the occasional rewards for putting up with them.  You’ll read about it later anyway for a replay.

YES, THAT DID WORK! I HAVE TO GO WRITE THAT DOWN!

5.         Feeding your writer can be tricky business.  It’s one extreme or another.  Either your writer is superstitious enough to demand a sacred meal routine to inspire their thought process, and you have to comply or live with the dog in the shed.  Or – at the opposite side of the stick - Meal times may be erratic with some writers.  Writing makes them hungry, and if they were writing for hours, don’t be surprised if dinner time is at 1am.  I am famous for late night trips to the diner after a writing spree. 

HE JUST FINISHED A BOOK, SO KEEP THE LAMB FRIES COMING!

Tip:      Pancakes usually do the trick, a ‘safe-food’ peace offering to turn your ravenous and tired zombie back to the placated writer that you loved.

PJs AND PANCAKES - PERFECT AT 1AM!

6.         Writers know their way around by navigating with coffee shops or book stores, knowing about every single one within 50 mile radius, maybe 100 miles.  Bet on it. Name a town and they will say ‘Oh! I know a great little bookstore on Main Street!”

New town to explore?  They will sniff one out and YOU WILL VISIT THAT PLACE!

A BOOKSTORE IN FAIRBANKS, ALASKA?  I KNOW THAT SHOP!

7.         NEVER EVER RUN OUT OF COFFEE IN THE HOUSE!  I can’t even……….just don’t.

SNAKES, BUGS, DEAD BODIES.......AND HE RAN OUT OF COFFEE!

8.         They were truly born that way.  Always encourage your writer to keep going. They can’t help it.  REAL WRITERS CANNOT STOP WRITING, even if they suck at it.  Even if they take a break and swear writing to the tenth hell, the characters in their head will climb out of that dark pit and find them again. It could take an hour from then or a few years.  But your word-burner will be found and enslaved again to their journal or laptop.   They suffer strange fits of passionate highs and sea depth lows.  They really can’t help it.  If a scene isn’t going well, it could plague them for days.  And you will dwell in it with them to some extent. 

I HAVE TO FINISH THIS CHAPTER BEFORE THE BUFFALO COME!

9.         Writers are better detectives than PI’s and the CIA.  They are deep into research, read novels for tips and most precise dialect changes, weave the slightest goriest details into their tale for effect and can pick up the same little tricks in other novels to often figure out the outcome of the book better than any other avid reader.  They can be nosy and often ask questions about something you may not have thought about.  Let them do it.  Just read their stuff later on to find out why they asked that strange question to the old lady at the gun shop. 

I TOLD YOU - THIS EVIDENCE WILL BE PIVOTAL FOR THE NOVEL!

10.       For the same reasons as #9, many writers are good judges of people, probably more attuned than a lot of therapists or cops.  All are very curious, often nosy and watch for the slightest details in books, novels, peoples’ habits to use in novels to keep it real.  And they constantly people watch, studying body language so they can use it later on.  The ‘vibes’ they pick up on people are also found in their stories later.  You have already been analyzed so breath and relax now.

(NO WORDS NEEDED)

11.       Their minds are like having 100 tabs open on the internet at the same time.  In fact, they probably DO have that many tabs open right now.  Most are for research, and you may find some disturbing topics on them.  Don’t worry about finding some topics regarding cannibalism or gun cleaning 101.  Other tabs are blogs (either your writer’s or other peoples’), some are editing how to’s, and then there are the other 85% of them – those distracted writers’ time wasters while they suffer writers block.

SCENES...IMAGES.....PLOTS, 100 WAYS TO DIE, HAPPY ENDINGS, AND PRETTY NURSES

12.       Never put too many expectations on your writer.  Just because they go to a writer’s conference or has lunch with an editor does NOT MEAN THEY WILL GET A BOOK DEAL.  Repeat after me: THAT DOES NOT MEAN THEY WILL WALK AWAY WITH A BOOK DEAL. They may want one.  But it just means that they are trying to perfect their craft, make some connections, have some fun, fume and cry with other writers, probably drink, and then come home inspired to write.  Keep your day job and just smile even if they say their new book idea will put you both in the sweet life.  Don’t believe them.  Learn the industry, encourage them to do their best and network, but never put them into the frying pan before it’s time. 

THEY HAVE TO LOVE AND PUBLISH THIS ONE! I'LL BE RICH!

As wine needs to ‘mature’, so do writers.

I FINISHED ONE WHOLE CHAPTER!  ONLY TOOK ME 3 YEARS!  CHEERS!

13.       Speaking of alcohol, most do drink some.  Some drink a lot.  Some become drunks.  Most just write and cry. Then drink.  It’s either caffeine, booze or both. Truth. Next point.

MAYBE I SHOULD JUST OPEN A VINEYARD INSTEAD OF WRITING THAT BOOK!

14.       Most writers have cats.  Most. Or a dog.  I don’t.  I’m not normal but it’s not because I don’t want one.  But because my desk is often a picnic table.  Or my lap.  A café table.  I’m not home much.  But furry friends ALWAYS make it into the stories and novels – with you.

DON'T WORRY, FELIX, YOU KNOW YOU'RE IN MY BOOK!

15.       They do often talk to themselves.  It could be to talk out some dialogue, telling themselves how brilliant they are, or telling themselves how pitiful they are and why did they continue to write, or the mumblings of someone insane.  Don’t call the army of white coats yet.  All of the above are normal for writers. 

WHAT IS SHE WHISPERING ABOUT NOW?

16.       Chores and life sometimes get in the way of their writing time, or even quality time.  Learn a hobby.  You will spend some time alone.

LETS JUST MAKE THIS QUICK AND EASY! I  HAVE A BOOK TO WRITE.

17.       Which brings me to the final point.  Don’t interrupt them when they have their nose over the laptop, saying or mouthing the words as they type or long-hand, steam coming out their ears and sweat on their brow, they’re crying, drinking or swearing as they write – in that order.  Just let them get that fit out of their system.  They will lose sleep, they will spend money on books and conferences and probably a few self-pubs crates to slowly sell or give away from the garage over their lifetime.  But for the sake of your life and those of loved ones – NEVER KEEP THEM FROM WRITING! 

OH INDY......DON'T LOCK ME UP SO NEAR THE END!
GOTCHA!

They will come back to you – I promise.

IT WASN'T OVER...IT STILL ISN'T OVER!

It can be done – living with a writer.  It’s been sung about, used in clinical studies and statistics, sometimes became the basis of many therapy groups, and even written about. Oh that’s right! That WAS you - immortalized in a novel in some sort of way - believe it!

I COULD NOT HAVE DONE IT WITHOUT YOU!

Now it’s 2am and I’m hungry after writing this. I need some pancakes and a carafe of coffee.

Know Your Rights

Most newbie writers believe that you get your book published and that's where the publishing train ends. So when they seek out an agent or publisher, or they self-publish, they tend to overlook one of the most important aspects of publishing, the subsidiary rights.

Sub-rights are a great way to bring in more money and get more exposure for your book. If you are self-publishing then you have the responsibility to see if these rights can be sold. If you land an agent or a publisher, they should be taking care of these rights for you. An agent will be shopping these with your interests in mind, the publishers in their own interest. There are a bunch of subsidiary rights that you may not know or care to know about, even after you've published, but there are 3 major ones that you should be asking about before you sign anything.

Film/Media: 

This is the obvious one. Most writers have already dreamed of that actor that will play their characters in a film. 

Audio: 

Audio sales have seen a steady increase over the years, so much so that publishers are more often trying to retain these. With the advent of digital content streaming, companies such as Audible are carving out a place in the market.

Translation:

Where in the world and in what language your book is being published is determined by which rights you have signed away. Did you give the publisher only North American English or did they retain World English? What about the right to translate and sell it in different countries? 

If an agent has offered you representation, ask what their process is for retaining and selling these important rights. How does the commission percentage break down? Do they have a sub-agent or do they partner with an agency that specializes? If the publisher insists on keeping one or all of these rights, what sort of parameters does the agent set in order to make the deal worth it? Most agents should be able to answer these questions easily and happily. 

If you went straight to a publisher, make sure you understand what is happening with these rights. If said publisher is keeping all these rights, there should be a time limit so if the publisher does not doing anything with these rights they revert back to you. 

So before you start shopping your manuscript, know your rights.