Yes, agents love debuts!

Don’t get down if you’re querying with a debut. Agents love finding and working with undiscovered gems.

Yes, a fantastic track record is great, but an inconsistent track record can muddle editors’ decisions, while debuts have such fresh market appeal. A debut has potential you can carve out of it and start a new brand. It’s exciting for authors, agents and editors.

Yes, debuts are the most difficult to query an agent with, but have faith if you have a fresh concept and terrific writing–you will be found.

Yes, you have a lot against you in order to stand out from the pack, but a lot of the ‘big books’ from the past couple years have been stand out debuts that have found their way.

Yes, you will get shot down by beta readers and some agents if the concept is new and no one knows what to do with it. But rest assured that someone recognize this. Agents and editors often pass on good writing only because they don’t think they’re the person to bring it to the market and know what to do with it–consider this a favour because you’re waiting for the team that does believe.

Yes, larger agencies have full lists and take longer to get back to you. So, why not try agents that are building their list? They’ll get back to you quicker and have more time to devote to your manuscript and you if they take you on.

Yes, the market is tough right now and it’s hard for anyone to get a deal, published authors included, but it’s times like this that electrifying debuts are looked upon to breathe new life.

Updated: What I’m looking for

Many frequent visitors to this blog know about what I’m looking for in queries and new projects. Here is an updated list of things I’m dying to see come in to me:

• Upmarket women’s fiction (high stakes, family issues, love, troubled heart, travel) with a new fresh concept
• Small town romance
• Historical fiction (i.e. The Tudor period, Regency, in the tradition of Philippa Gregory)
• Platform based non-fiction: must have a demonstrable expertise and know your quantifiable market
• Pop science and pop psychology proposals (i.e. brands, consumer behaviour, creativity, business with a commercial spin)
• Gritty contemporary YA
• High concept YA with a fresh new concept that hasn’t been done (i.e. light fantasy)
• High concept picture books that stand out from the pack

When material is requested, get it in the agent’s hands!

If/when your work is requested by an agent it’s in your best interest to get it to them ASAP.

If you take a long time to get your work to an agent (I’m talking 1 to 2 weeks) it says that:

a) You haven’t edited your work and you queried too soon

b) You haven’t finished your work and you’re finishing it now

c) You aren’t taking this process seriously and aren’t checking your query emails

Competition. It’s tough. Are you prepared?

The competition to get published is greater than ever before.

Us in the trenches will let you know that the expectations are very high, editors are on the lookout for specific books, and querying with something good won’t cut it; you need to go on submission with things that are great.

Yes, agents can help you get your novel into tip top shape, but when we get your manuscript and start reading we don’t know if this is the best you’ve got or whether we can push you. Getting back in touch and suggesting revisions takes time, and we don’t have a lot of it. So never, ever, send out something that is ‘good’.

Hook, Synopsis, Pitch: What’s the difference?

Something that can be very confusing is the terminology agents and industry professionals use in the submission and query process. Many agents and editors ask for different things so how do you know what is what?

Hook

One or two sentences on how your book is different from other books on the shelf and in your genre.

Synopsis

A detailed description of the plot points and the ending.

Pitch

One to three lines that describe your book in a sales-y way. How are you going to tell what your book is about, sell your book, attract attention, and stand out? It is a focused angle introducing the heart, high stakes and conflict of the story.

Q: What happens if my agent doesn’t like my second book?

This is a common question, fear and concern for many writers.

You finally get an agent after all your searching. Your first book either 1) sells or 2) doesn’t sell.

In situation 1) you’re in a good position because you might see the direction your writing is moving in to be a commercial success. Continuing on the path of what is successful is a smart career move.

In situation 2) things get complicated because you might want to try a different genre or have cold feet about the direction you want to move in.

Most agents want to work with writers for their careers, however, we don’t always fall in love with our clients’ body of work. It’s heart breaking for everyone involved because of the close relationship and the effort that has gone into working on the first project together.

You can:

• Get a second agent for the body of work in a different genre if your first agent does not represent it.
• You can shelve the project that your agent doesn’t like and start again.
• Or

“It ain’t over ’til it’s over”

Aspiring writers have heard how long it can take to get representation (if at all) and how long it can take to get an offer on their book from a publisher (if at all). But still, so many writers ask how long it will take for them. Agents are vague about this not because we are trying to keep cards close to our chest, but because it simply varies between each project, and that’s the truth. I’ve had a project sell in three weeks and a project sell in thirteen months. So there is no definitive answer. I know it doesn’t help you in planning and with expectations, but you must have patience, trust in your agent and your work and read the signs that you are being given.