Query.Sign.Submit. with Jessica Sinsheimer

Jessica represents literary, women’s, young adult, middle grade, and nonfiction. The agency is open to all genres. Please send query and the first ten pages (in the body of the email) to Submissions at SarahJaneFreymann dot com.

She responds to all queries addressed to her. If you don’t hear back within three weeks, please check in.

To connect with and learn more about Jessica . . .

Twitter

Sarah Jane Freymann Literary Agency

 

Now for Jessica’s insight on querying, signing with an agent, and going on submission!

QUERY

What WOWs you in a query?

I’m going to have to give that infuriatingly vague, indefinable answer—and I hate when people use this answer too, but—I’m looking for great voice.

It’s a business letter, yes, but it’s also your first introduction to me as a person, so I want to like you on emotional (and, hopefully, sensory—great imagery when describing your work always helps) levels, not just intellectually.

I love varied sentence rhythm and advanced punctuation used correctly—but none of that matters if you’re coming across like, “Ugh, if I have to have an agent, and agents are evil, I guess you’ll do” (one writer actually opened a query this week with “Selling our writing is a process so noxious, it seems as bad as selling our fellow beings”). But some writers show right away that they’ve done their research and are pleasant humans, and those are the ones most likely to get requests.

Remember that we’re looking for a creative partnership. You’re not looking for an assistant to add to your collection (if you’re fancy); I’m not looking for someone to boss around. I want us to get along as equals. That’s the relationship that works best for creating something amazing together.

I like a first line that shows that, to you, I’m not just some random person with “agent” on her business card—if you know and cite anything specific about me at all, something that couldn’t be pasted into a letter to another agent, that puts you ahead of about 85 percent of the people in my inbox.

Follow me on Twitter. Chat with me about cheese, or coffee, or cats. Or anything else I bring up. Match your Twitter icon to your Gmail icon and tell me in the first line that you know me on Twitter. This works so much better than telling me your book will sell a million copies and I’m an idiot to turn you down. Promise.

Do you always read a query all the way through? If not, what would make you stop reading?

I don’t. Truth be told, I stop the moment I’m sure—whether it’s a yes or a no. I’ll stop reading if it’s clear that the writer hasn’t put any time into the letter (you wouldn’t believe how many we receive that look like careless text messages), if the project is something that, no matter the writing, will never work for us, or if there’s offensive or unworkable content.

On the other hand, sometimes I read a first, amazing sentence and go, “Yup, I want this” and request right away.

I’ve been doing this long enough that there’s a huge element of intuition in this process. I can’t always pinpoint why I feel one way or the other. But I’m happy with the choices I’ve made.

Also, we ask that writers paste the first ten pages (in the body of the email) beneath their query. We’re aware that writing queries is a very different skill than writing a book. I’ve seen some great pages attached to terrible queries, so it helps for us to evaluate both before making a decision.

Is it okay for a writer to nudge concerning queries or partial/full requests?

Yes—in fact, I hope they will!

Here’s what I prefer:

For a query/ten pages: please check in after three weeks, then again at six, if I haven’t replied. Please send these check-ins to the queries account.

For a manuscript: please check in at three months, then once a month thereafter. Please send this email to the manuscript account.

If you get an offer on either: please send me an email at Jessica at SarahJaneFreymann dot com.

And, since so many feel uncomfortable with checking in, here’s a form check-in that works for me:

Dear Jessica,

I’m writing to check in on [title of work], which I sent to [email address] on [date].

Thank you—hope this finds you well!

All best,

[Author]

See? Easy. Please check in when it’s time to do so.

Do you ever offer a Revise & Resubmit? When would you do so?

I often do this, actually—sometimes I see a lot of potential, but am not sure if the writer can bridge that gap between where the work is now and what, at least in my mind, the work can become.

I need to know that we communicate and collaborate well—that the writer is willing to put in the time and effort—and that we have the same vision going forward. Revising can be, and often is, just as important as writing. Collaboration is incredibly important, whether working with an agent or an editor.

Do I feel somewhat guilty making a writer work more without a promise? Yes. But if I’m very sure that the book will be better for it, I think we both come out ahead, whether we ultimately sign a contract or not.

What does it take for you to offer representation?

I have to really love a work, and not just love for a short period of time, but love it in a way that will last. We have a saying in the office—it’s either an unqualified yes, or it’s a no. And this has been very true. Going out on submission can be hard for all involved. I need to like and trust you.

I don’t want my feelings on a work to be so shaky that, at the first rejection, I wonder if I’ve sent something out that isn’t ready. Instead, I want to be able to write to the author with a genuine feeling of, “Eh, they missed out. On to the next!”

I’m a very hands-on agent, from polishing a work before submitting, all the way through publication and beyond. I don’t just sell a book, finish the contract, and wish the author good luck—I expect to hear from all of my clients frequently throughout the process.

I also love to have side projects with clients—to find unique ways to promote their work.

To have everything work out this way, to have all of the work and stress and ups and downs ultimately end up worth it—I have to love the work and really like the author.

What would you love to find in the slush pile?

I love smart, dynamic female characters—especially if there’s a hint of mischief, otherwise fun bad behavior, or justified violence involved. I can’t watch violent TV—I’d love to watch Game of Thrones or Breaking Bad, because they’re so smart, but the gore will give me nightmares. Still, in books—perhaps because I’m not getting this with my television—I get a little bloodthirsty if it’s justified.

A combination of highbrow sentences and lowbrow content often works for me, too.

Romance and erotica, or elements of these, would be wonderful.

I love women’s fiction that sets itself apart from other works in the genre.

All brands of YA are welcome. I think I’m starting to go through a fantasy phase. Please note, though, that I need a large dose of intellect with my fantasy to feel grounded in this new world.

I love sentences that describe normal things in a new way. I love reading a work and pausing to think, “Wow. Yes. I never realized that about [something totally mundane in life], and now the mundane things seem a bit more beautiful.” (Yes, I’m typing this while my morning coffee works on my brain. Hush.)

In terms of nonfiction, I’d love a food memoir—but I never get any! I know they’re out there. I’d especially love one with a younger narrator—in his/her twenties or thirties, say.

I’d love some popular science. I’m fascinated by the intersection of food, hormones, and emotion. If someone does this book, please send it my way. I also really like reading about neuroscience, psychology, parenting, history tied to a theme (I’m reading a great book on the history of gin now), environmental issues, and works that speak to life in the twenty-first century.

I’m pretty nerdy. I spend way too much time watching NOVA. And if you haven’t seen Through the Wormhole with Morgan Freeman, you’re missing out.

Honestly, though, we’re open to all genres. We like pleasant surprises.

Sometimes a challenge can be particularly enticing—I sold an informative, hilarious “ADHD isn’t all bad—here are the unique advantages of this diagnosis, and how to work them into a successful teen life” book in a saturated market of “Here’s how to pretend you don’t have ADHD.” Same with a novel featuring a dominant woman—in a market that firmly believed women (and female readers) only like alpha males.

And both books are doing great.

If I believe in a cause, I want to fight for it.

SIGN

Do you sign a client as a career agent or on a book-by-book basis?

I like long-term working relationships. Before I sign a client, I want to know their hobbies, what else they’ve been working on, and ideas they’ve been kicking around.

I prefer clients who have a number of interests. One of my clients is making an album to go with her book, and it’s going to be this amazing combination of words, art, and music. I couldn’t be happier. I have a lot of interests outside of the book world—ideally, you should, too. If I call up and everything in the world is boring to you but your book—that’s a problem.

How editorial are you?

Incredibly. I actually really love this step of the process. I love watching a work take shape, having idea breakthroughs, watching something change from very good to “Wow, this is amazing.”

I actually prefer working on projects that are a few edits away from fulfilling their potential. It’s kind of like looking at houses with a real estate agent—as soon as you can say, “Well, I’d put the couch here, I’d paint this room this color”—you’re interested, you’re making a plan. You feel like a co-creator, which is an amazing feeling—even though, of course, it’s the writer doing the heavy lifting.

A client came to me once with a scene, two characters, and an idea—and, together, we worked it into something very different (and totally spectacular). We ended up getting two two-book deal offers. I’m happy to do that, but for that level of collaboration to be possible, we need to get along on a lot of levels.

What is the revision process like when you’re working with a client?

I start with larger-scale edits and work down to the line edits. I usually go through the work three to five times, depending on where it is. I want everything to be perfect when the work goes out.

I’m occasionally a control freak and a perfectionist. I’ve been known to call up writers with, “Nope. Nope. Take that off your blog. Here’s why”—they’re immediately thankful. Usually. :)

How do you put together a list of editors to send to?

It’s a bit like chess—if I had a giant whiteboard in the office (and maybe, someday, I will) I’d make a huge chart of who gets what when. I take into account not only what that editor is officially looking for, but his or her personality, what he or she has been up to lately, and—of course—intuition.

Sometimes it’s like recommending a book to a friend—you’re not sure why, but you just know he or she would love it. Of course there are times when it’s an educated guess, but I like to put a lot of thought (and, sometimes, research) into each choice.

SUBMIT

What kind of feedback or response do you hope for after sending a manuscript to an editor? A book deal, of course, but what kind of feedback is a good sign?

It’s really exciting to send out a project and, throughout the evening, get a lot of “Looks great! Can’t wait to read!” responses.

For whatever reason, I tend to go to Trader Joe’s right after sending something out, and have many good memories of leaning on my cart, waiting in the enormous line, grinning stupidly at the other shoppers, and hitting Refresh on my phone.

Also, the “I’m really enjoying this so far, and will be sharing with my team” emails are fantastic. I’ve definitely received those and, in my excitement, made a delighted squeaking sound that made my whole office jump. (Sorry, guys. Couldn’t help it.)

How much contact do you have with a client when he/she is out on submission? Do you send weekly updates or update as responses come in?

Unless the client requests otherwise (some prefer not to see anything but positive responses), I forward emails as soon as they come in.

Is it okay for a client to check in if there hasn’t been any news in a while?

Of course! But I email a lot. Not always business stuff. I want to know what’s going on in their lives, how their kids and pets are, if they need a brainstorming session, if I can help with anything…I love hearing from them.

Thanks so much, Jessica!

See other Query. Sign. Submit. interviews
Read inspiring stories of writers getting agents
Find out about agent-judged contests

Posted August, 2013 – Always check for current info and guidelines.

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Scrivener - Keywords

  

Scrivener - Keywords

There are all kinds of ways you can use keywords in Scrivener. And the beauty of it is that they’re so simple to use.

For my latest project, I used keywords for three things. One, to keep track of several storylines. Two, to make sure characters showed up consistently throughout the story. And three, to see where I had included communication (and what type) between two of the characters.

  *The information panel is expanded on the right so you can see the keyword section.

If you’d like to use keywords as you go, make sure you’ve clicked the appropriate choice in the binder (to the left) to tell the program if you want the keyword associated with the chapter or just the scene. Click on the little key over to the bottom right (highlighted in blue above).

Click the + button at the top of the keyword panel, type your keyword, and hit return. It will then be connected with the chapter or scene you’ve linked it to. To delete a keyword, just highlight it and press the – button.

If you’d like to add more keywords or add the same keyword in other places, follow the same procedure.

Or, once you have at least one keyword set up, you can click the gear button (next to the + and –) and chose Show Project Keywords. You can then drag and drop the correct keyword (from the pink Project Keywords window) into the keyword panel on the right.

If you’d like to set up your keywords ahead of time, open the pink Project Keywords window- either with the gear button and then Show Project Keywords, or by going to Project and Show Project Keywords.

To add a keyword at the same level, choose the first button on the lower left of the keyword box, which will say Add Keyword as Sibling. (You can also choose the next button- Add Keyword as Child- if you’d like to add others as a lower level of a keyword.) For example, under Communication, I have “child” keywords of Text, Email, and IM.

Use the delete button (the circle with the line through it) in the box to delete unnecessary keywords.

You can then drag and drop the keywords from the list or add them with the + sign as described above.

**You can add keywords to multiple places at the same time by selecting all the places you’d like to connect it to. (In Windows- hold the Ctrl key and click each folder/document/index card. Or if you’re not skipping any in between- click the first document, hold the Shift key, and then click the last document.) You can do this in the Binder (to the left), Corkboard view, or Outline view.**

Searching

When you pull up the Project Keywords window, you have the option of searching through the document for specific ones. Just click on the keyword you want to find and hit search. It will bring up a list of places over on the left where you’ll find that keyword.

The keyword colors will also show on your index cards. (Head over to the Scrivener-Corkboard post to learn more.)

There is a lot more you can do with it and there are other ways and shortcuts to do the same things, but I don’t want to overwhelm you. :)

Good luck!

To learn more about Scrivener, head over to the Tools for Writers page.

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Query.Sign.Submit. with Tina Wexler

Tina represents Middle Grade and Young Adult fiction and nonfiction, and Adult nonfiction.

“I do respond to all queries, so no response means I’ve either not received the query (stupid SPAM filter) or I haven’t read it yet. Queriers are free to follow up if they haven’t heard from me within four weeks.”

To connect with and learn more about Tina . . .

Twitter
Agent Query

  Now for Tina’s insight on querying, signing with an agent, and going on submission!

QUERY

What advice would you give to querying writers?

Do your research. As a writer seeking publication, you’ll have to learn how to handle rejection. But there’s no need to suffer needless rejection by sending your query to agents who don’t represent what you’re writing. Stack the deck in your favor. Find out what agents are looking for and only query those agents who have expressed an interest in the type of book you’ve written. Follow agents on Twitter, read the acknowledgement pages in the books that mirror—in style, content, and tone—the manuscript you’re querying. Subscribe to Publishers Marketplace so you can view agent deal listings. Visit writersdigest.com. Read interviews. (Hey, you’re reading this one. You listened!)

What WOWs you in a query?

A working knowledge of the querying process and familiarity with some of my clients’ books: wow. A unique idea expressed well, in 200 words or less, and in a category I represent: double wow. Sample pages that deliver: WOW WOW WOW.

Do you always read a query all the way through? If not, what would make you stop reading?

No, I don’t, which is why it’s important to say up front if you’re a referral and from whom, or if you’re someone I asked to query me and where/when we met. Given the number of queries I receive daily, I’d actually advise putting that info in the subject line of your email so it grabs my attention right away. “Subject: Query, referral from [Author/Editor/Agent/Scout].” But back to what makes me stop reading:

I stop reading for several reasons: 1) Dear Agent. 2) I’ve written an erotic fiction novel. 3) It’s going to be a bestseller. 4) It’s about [insert nonsensical/derivative plot description here.] 5) Actually, it’s too complicated to summarize. Just trust me when I say you’ll want to read it. 6) You can find sample pages if you follow this link [that won’t work.] 7) If you don’t ask to read my book, that’s fine. I don’t think I want an agent anyway.

I’ve found variations of all of these in my inbox, and they make for an easy pass.

What are some important things for querying writers to consider when researching agents?

Consider the sideways submission. What does that mean? I don’t really know, as I just made it up now. But I think what I’m trying to say is that queriers should look at what an agent has represented and see how their manuscript sits beside those books, what conversations they would have. I get a lot of “You represent Gina Damico’s CROAK and so I thought you’d enjoy my grim reaper YA.” Well, now, that may be true that I’d enjoy it, but I won’t represent it, as I already have Gina’s grim reaper YA series. I’m not going to risk cannibalizing ICM’s resources for that book in order to promote another one. So think sideways. If I fell in love with Skila Brown’s CAMINAR, a heartbreaking yet inspiring MG novel in verse about a boy living in Guatemala during the 80s, maybe I’d like your literary YA novel about a girl who’s first generation American, who…

SIGN

Do you sign a client as a career agent or on a book-by-book basis?

ICM’s agency agreement is book-by-book, which favors the author, but the commitment is to the author’s whole career, which favors everyone.

How editorial are you?

Very.

How do you put together a list of editors to send to?

I know I want to sign an author when I’m reading their manuscript and the names of editors who MUST read it start coming to me. Those are usually the first names that go on my submission list and stick. Next, I’ll scroll through Publishers Marketplace to confirm that those editors haven’t bought anything too similar since I last talked to him or her. I’ll think back on lunches/drinks/coffees/phone chats I’ve had with editors so I may recall who mentioned wanting something like the manuscript I’m about to shop. I’ll write out a list of all the houses I want to submit to and make sure I’ve got someone at each one, checking my notes (yes, I have notes on you, editors) to see if there’s a reason to send to one editor over another. I’ll talk to my colleagues about who they like at XYZ imprint if I’m debating between two editors. And, in some instances, depending on the author’s level of involvement in the industry, I’ll discuss editors with the author, though I don’t in any way rely on my authors to come up with their submission lists.

How do you get to know editors and what they’re looking for?

Over breakfasts, lunches, coffee, and drinks. At conferences and parties. Through email and phone calls. Via Twitter, Facebook, PW and Pub Lunch deal announcements. According to the books or galleys they send me in the mail, and through the books and galleys I read and see they edited when I check the acknowledgements.

SUBMIT

Do you forward editor feedback to writers?

Before we start the submission process, I’ll ask my client whether they want to see the editors’ responses as they come in, at the end all together, only if it’s relevant/editorially specific, or ever. The choice is theirs, and I respect that choice, whatever it is.

What kind of feedback or response do you hope for after sending a manuscript to an editor? A book deal, of course, but what kind of feedback is a good sign?

Unbridled enthusiasm for the material along with a smart understanding of how the editor would position the book in house and a clear sense of the kind of editorial work needed to bring about the best version of the author’s vision. Calling to say, “Holy shit. This is awesome.” may also prove sufficient.

What do you suggest a writer does while out on submission?

Adopt a kitten. They are the perfect distraction.

Is it okay for a client to check in if there hasn’t been any news in a while?

It is always okay for a client to check in.

Thank you, Tina!

See other Query. Sign. Submit. interviews
Read inspiring stories of writers getting agents
Find out about agent-judged contests

Posted August, 2013 – Always check for current info and guidelines.

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Scrivener – Comments & Annotations

Scrivener - Comments & Annotations

It’s no secret that I think Scrivener is one of the best writing tools out there. It has so many amazing features and makes it easy to get started and keep a project organized.

If you’ve never used Scrivener, go get the free trial! It’s good for thirty days and they don’t even have to be consecutive.

I’m going to get you started with some of my favorite things about the program. (And this is only Part 1!) A lot of the features you use in Word are also available in Scrivener.

Annotations

To make annotations in the text, you just need to click where you want it to appear, go to Format, and choose Inline Annotation. It’s also possible to change the color, search for annotations, and convert them to comments.

To delete an annotation, simply highlight it and hit the delete key.

Comments

When you make comments, Scrivener highlights the text and puts your notes over to the right. Click in the text where the comment applies, then choose Format and Comment.

Or if you have the Comments & Footnotes pane open to the right, you can click in the text where you want to comment and then simply click the + button on the top bar of the pane. You can open up this pane by clicking the speech bubble icon on the bottom of the Inspector pane to the right.

You can also change the color or change comments to inline annotations.

To delete a comment, click the X in the comment box.

Searching

To search through the project for annotations or comments, go to Edit, Find, Find by Formatting and then choose either Inline Annotation or Comment.

If you’d like to specify further, you can mark your annotations and comments with a code as you make notes and add that in the Containing Text box for your search. For example, an R for things that need to be researched or the name of a character so you can focus on one at a time.

 
Export

Want to see all of your comments and/or annotations at once? You can export them to another program. Use “File,” “Export,” “Comments & Annotations.”

*Of course there are shortcuts you can use for these features as well. :)

To learn more about Scrivener, head over to the Tools for Writers page.

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Query.Sign.Submit with Natalie Lakosil

Natalie’s specialty is commercial fiction, with an emphasis in children’s literature (from picture book-teen), romance (contemporary, paranormal, and historical), upmarket women’s fiction, and select nonfiction.

Bradford Literary tries to respond to all queries in approximately two to four weeks. If you don’t receive a response within one month, they ask that you resend your query and note that you are sending it again.

To connect with and learn more about Natalie . . .

Bradford Literary
Adventures in Agentland – blog
Twitter

Now for Natalie’s insight on querying, signing with an agent, and going on submission!

QUERY

What advice would you give to querying writers?

Research agents; find the right fit – read Twitter, blogs, bios on agency websites. Don’t take rejection personally, or let it stop you – it only takes one yes.

Do you always read a query all the way through? If not, what would make you stop reading?

No. Most of the time what will stop me is if it’s just not what I’m looking for – and that can mean a person who is sending me a memoir, when I specifically say no memoir in my bio, or another dystopian vampire novel. I only turn to sample pages if I’m intrigued by the hook.

Is it okay for a writer to nudge concerning queries or partial/full requests?

Yes, though only when it’s truly time – we have our reading period listed on our website, and my personal reading periods are listed on my blog as well.

What would you love to find in the slush pile?

I’m still dying for contemporary romance (adult) and upmarket women’s fiction/magical realism women’s fiction (think The Help or Time Traveler’s Wife). Something with a unique hook I haven’t seen before. Horror, gothic, and that doesn’t mean ghosts, more scary and chilling and atmospheric.

SIGN

Once a writer has signed with you, what’s the next step?

It depends! Typically, edits, which can be brief (a few context points) to line edits, if the book calls for it. Very rarely, it will be me putting together the pitch and submission list and sending out.

How do you put together a list of editors to send to?

I research recent deals, look at my notes from meeting with them in NY, conferences, or phone chats, while others surface to mind as I read the manuscript.

Does the writer have input on the pitch to editors or do you take care of that?

I write the pitch letter, though I’ll usually start by looking at the query letter the author sent me as a starting place, and re-working it. If there’s no query letter, I start from scratch. I do ask the author for a bio, if I don’t have a few lines to pull from the query or blog/website. I’ve never had an author not happy with my pitch. J

Do you want to see sample chapters as a client writes or do you prefer to wait until the manuscript is finished? Or is it up to the client?

Usually this is up to the client. I’m never opposed to seeing a partial, though I do prefer polished manuscripts, which means, both author and critique partner edited. Some clients like to send me a synopsis to work with and polish before they start writing! I like throwing around ideas and brainstorming next steps to offer direction as well, which often happens when thinking of next books and career steps.

SUBMIT

Can a client make suggestions or share a wish list when it comes to editors/imprints to submit to?

Yes – which ties in with sharing connections an author may have from conferences or workshops. I’m always open to ideas, though I may not agree – I may have some background info that steers me in a different direction or an editor I think is a far better match from interactions with him/her. I love to hear about a client’s dream houses – and often, it’s good to share what publishers the author has on his/her shelves – often they’ll write in an area that fits those publishers, which can be helpful to define the right fit, especially if it comes down to multiple offers later.

Do you forward editor feedback to writers?

I do, though I won’t ever forward on an editor’s email address or contact information. And of course, if it’s a phone call I’ll summarize. I send updates as I get them – if I’m checking in and expect several in a week, I’ll wait and send a weekly update rather than a daily email. And it is absolutely ok for a client to check in if there hasn’t been any news; the answer may be: no updates, but it’s ok to ask.

What kind of feedback or response do you hope for after sending a manuscript to an editor? A book deal, of course, but what kind of feedback is a good sign?

Personally, I think it’s a good sign when editors are offering detailed feedback, vs. a generic “just not for me.” It’s also good to get “nibbles,” such as an editor getting second reads or wanting to set up a call.

What is the next step if an editor shows interest?

This varies by publishing house. Some editors only need to ask their editorial director if they can buy a book, while others need to take it to several meetings (ed board, where the imprint editors read and weigh in, and then acquisitions, where sales and marketing will also weigh in). If we’re getting interest, I will tell a client what that house’s policy is, and how many hoops are left to jump through.

What do you suggest a writer does while out on submission?

Keep writing! Network with other authors, start paying it forward. Work on a new idea to keep your mind off the one on submission!

*Just a side note, I have a client welcome kit which covers pretty much everything from these sign and submit sections! :)

What a treat to have you join us, Natalie!

Want more?

See other Query. Sign. Submit. interviews
Read inspiring stories of writers getting agents
Find out about agent-judged contests

Posted August, 2013 – Always check for current info and guidelines.

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Write a Book . . . with Write On Con

Today’s post in the Write a Book series is a little reminder. :)

Write On Con starts August 13th! In case you missed my posts on it, here they are so you can be ready . . .

Ten Tips for Write On Con – Online Writing Conference

Who and Where are you at Write On Con 2013?

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The Apollo Academy Has Launched!

THE APOLLO ACADEMY:

As the heiress to Titon Technologies, eighteen-year-old Aurora Titon can have whatever she wants—clothes, expensive gadgets, anything money can buy. All she really wants is to escape her pampered, paparazzi-prone life for the stars. Becoming the first female pilot to train as an astronaut for the Apollo Academy is exactly the chance for which she has been waiting. Everything would be perfect if it weren't for her unreciprocated crush on a fellow student, the sexy astronaut bent on making her life hell, and the fact that someone keeps trying to kill her.

The first in a four book new adult science fiction series, The Apollo Academy, is an action packed story of love, discovery, and survival.

ON SALE NOW!

Available at Amazon and Barnes&Noble

BOOK TRAILER:

About the author:

Kimberly P. Chase holds a Bachelor's Degree in Aeronautical Science from Embry Riddle Aeronautical University, which basically means she's kind of a geek and loves flying airplanes. Naturally, her books tend to include aviation, hot flight instructors, aviator glasses, and—let's not forget—kissing! When Kimberly's not writing or reading, she's hanging out with her husband, four-year-old son, and two dogs.

Find Kimberly here:

AND BECAUSE IT'S KIMBERLY'S RELEASE WEEK, SHE'S GIVING AWAY FREE STUFF ON HER TOUR. CHECK THE SCHEDULE HERE! (Kindle/Nook/Writer's Dream Package, etc. on the tour)

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Query.Sign.Submit. with Christina Lee

Christina Lee's NA debut, ALL OF YOU will be published on September 17^th, 2013 by Penguin/InterMix! BEFORE YOU BREAK releases in February, 2014. She is represented by Sara Megibow of the Nelson Agency.

 

 

 

Connect with and learn more about Christina . . . 

Website
Facebook
Twitter
Goodreads

 

Now for Christina’s insight on querying, signing with an agent, and going on submission!

QUERY

What advice would you give to querying writers?

Gosh, querying can be so daunting. I’ve queried four different novels and it’s tough to keep your chin up and take rejections in stride. So it’s important to have a support system of other writers. People who get it, because writing can feel so solitary.

But querying absolutely prepares you for what’s to come. Because there’s waiting and rejections at every stage in the industry. You wait when you’re on submission to publishing houses and receive rejections from editors. And then once you get a publishing deal, you wait until your book is finally released. And then your rejections come in the form of reader reviews.

It’s just part of the business. So that very first stage of querying really helps prepare you.

The most important thing I did while query was begin my next novel. Doing so gave me hope. Hope that if this novel wasn’t it, the next one might be. And that aspiration kept me going—and helped me learn the craft of writing.

What resources and websites did you use when querying?

I primarily used Query Tracker.

How did you keep track of your queries?

Old-fashioned pen and paper. LOL! No, really.

What do you wish you’d known back when you were in the query trenches?

That agents have subjective tastes—as do editors and readers. A rejection doesn’t necessarily mean your book sucks. If you’ve been querying for a long time and been told your writing is good, other factors may come into play, such as the market and timing. I took a risk after years of writing YA. I wrote something for me. I stepped outside the box and it paid off—maybe because the timing was right, the risk paid off, or I found my niche.

SIGN

Once a writer has signed with an agent, what’s the next step?

My agent is Sara Megibow. The next step was getting feedback from her on revisions. Once the novel was ready based on her suggested changes, we discussed sub list strategy and off we went.

Do you have input on the pitch to editors or does your agent take care of that?

I did, but I also let Sara do her job. I knew she had an amazing business sense just by speaking to her that first time on the phone. She knew the market and had amazing contacts with editors and pub houses. If I was stepping all over her feet then we’d have a problem.

At what point do you share new story ideas with your agent?

Sara keeps a file of her client’s ideas. We sold two books right away to Penguin so I’ve been crazy busy these last few months on deadline. But soon we’ll discuss what’s next for my career.

SUBMIT

What is a typical first round like once a writer goes on submission?

This was my second novel on submission. The waiting and stress level is typical of how you feel with querying—except now you have an agent in your corner, supporting all of your highs and lows.

Do you see the feedback from editors?

That depends on your agent and something you should discuss upfront. Some authors want to see the feedback, others don’t. Most editors gave me specific feedback regarding what did and didn’t work with each novel.

What is the next step if an editor shows interest?

When the first couple of editors showed interest in ALL OF YOU, phones calls were set up to make introductions, discuss the book and goals—much like you would in your agent phone call. I ended up accepting a pre-emptive offer from Penguin before going to auction with six other houses and those phone calls helped me listen to my gut.

Thank you, Christina!

Want more?

*See other Query. Sign. Submit. interviews.*
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Who and Where are You at Write On Con 2013?

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