To connect with and learn more about Lucy . . .
Now for Lucy’s insight on querying, signing with an agent, and going on submission!
QUERY
What are some
important things for querying writers to consider when researching agents?
It’s a tougher process than it would at first seem, because
we agents tend to have healthy variation in terms of our submission
requirements, let alone personal taste! And believe it or not, we feel strongly
about those requirements, especially when we take the time to post submission
guidelines in detail for writers to access easily. Before you even get to
submission guidelines though, ask yourself if your book belongs, in theory, on
that agent’s list. It’s not a good use of your time or the agent’s time to
submit a query for a category that they blatantly do not represent. I would add
that another important thing to research, if you can, is not just the number of
deals that the agency has reported (many agencies claim to have the most deals
on Publisher’s Marketplace, etc) but rather the quality of the deals that the
agent is negotiating. In a given year, an agent who does 10 deals that are all
with digital publishers and likely don’t have aggressive advances is quite
different from an agent who did 3 deals with major print publishers. You’re
making a long-term decision (one hopes) so that distinction is key.
Do you always read a
query all the way through? If not, what would make you stop reading?
I wish I could say that I read every query all the way
through, but while I certainly give each query my individual attention, I will
stop reading if there’s a bad attitude, or if the attempt to “stand out” strays
too far. An example of bad attitude could be excessive sarcasm, or a tone
that’s meant to be comical but is instead derogatory. If you are asking
yourself “is my tone derogatory?” then it probably is close enough to warrant a
second look from you. An example of when “standing out” goes too far could be
an author who sends their query in the format of something completely
different, which confuses agents enough to piss them off. That’s the wrong kind
of attention—annoyance! If you insist on submitting the query in the form of a
letter from your character or something of that ilk, at least put “query” in
the subject line so the agent understands the conceit as soon as they
open.
Do you ever offer a
Revise & Resubmit? When would you do so?
Sort of! I don’t like to call them that because each
scenario is fairly unique. Basically, there are three responses you might get
from me if I request and read your manuscript. Besides a firm (but hopefully
polite) pass, the other two possibilities are that I will offer you
representation on the project and give you my best possible pitch for why you
should accept, or that I will write you a long and detailed letter with my
thoughts about what areas concern me editorially, and an invitation to discuss
those editorial ideas further, together. There are certain kinds of editorial
notes that are fairly straightforward and don’t affect the integrity of the
book, but there are others that I might suggest which would require a real
re-thinking on the author’s part. I only want a resubmitted manuscript if the
author is truly game to tackle these ideas—I don’t ever assume that you will
be, because each writer feels differently about editorial feedback. That said,
even the authors for whom I am offering concrete representation are most likely
getting an editorial letter to guide them through the next draft… but it’s
clear in those cases that the work I envision is well within the author’s
ability and willingness.
SIGN
How long do you
prefer an author take to get back to you once you’ve offered?
I’m always happy with an immediate yes! But I do understand
that if other agents have requested reading materials, it’s courteous to give
them a heads up about my offer. I think one week is sufficient to give an agent
time to respond—this is assuming they already HAD the manuscript and simply
haven’t gotten to it. Once they know of an offer, it’s their job to move
quickly or stand aside if they are too busy to give it priority. There is no
obligation (and I would argue that it’s unfair to the agent who has made an
offer) to let agents know of the offer if they have not already requested
reading materials. That becomes a scramble to request the manuscript only based
on another person’s good taste and hard work! It’s not necessary to give all
submissions a chance to read in that one week window, or before whatever
deadline has been set. A simple withdrawal of the query letter will do, so that
those agents can remove the query from any pending files.
Once a writer has signed
with you, what’s the next step?
I can’t remember a book that I’ve taken on without doing
editorial work pre-submission, so I’m pretty sure it’s never happened. A writer
can expect to be in close touch with me about my editorial concerns and ideas well
before representation moves forward—it’s very important to me that we be on the
same page. The extent of the editorial work and the number of drafts is
completely dependent on the project in question, but it’s essential that we
work together to make your book the best it can possibly be before I send it
out into the world. When we’ve got a killer manuscript in hand, I put together
a strategy and a submission list that I then present to the author and explain
at length. If the author has any special relationships I need to know about, or
history with another book/editor that I should factor in, this is where that
discussion happens and we incorporate that feedback as needed.
At what point would a
client share new story ideas with you?
This depends on whether the new story ideas are intended for
(and contractually tied to) their option publisher. If my client is writing
something new that is completely different from the work that is under contract
and wouldn’t qualify as an option book (i.e. a children’s book when their
current contract is with an adult publisher) then we can discuss the new idea
at any time, and develop it together if needed. If we are between contracts and
there are multiple ideas to consider before presenting to the editor, I love to
have the chance to weigh in about what I think is best for my client’s career,
prior to editorial presentation. We want your editor to see your best work and
hear your best ideas, so I try to provide that early feedback in order to get
the new ideas that much cleaner and more appealing before an editor joins the
conversation.
SUBMIT
Do you forward editor
feedback to writers?
Before I send the book anywhere, I ask my client to let me
know what feedback they want to see if any. Some want ALL feedback, every last
detail—which is fine! Others want to know if there’s a pass, but they don’t
want or need the reasoning, it’s the bottom line that’s important to them. (I
follow the same process for reviews, which not every writer wants to see.) Once
we establish how the client wants to hear from me along the way, I respect it
and keep it consistent unless otherwise requested.
What do you suggest a
writer does while out on submission?
Anything and everything to keep your mind and body occupied
while at the same time staying within close reach of a phone so that I can get
you at a moment’s notice if I need to. Waiting sucks and I hate it almost as
much as my clients do! But while I’m doing my submission work and the follow-up
that it often entails, a writer is best served to stay busy as it will help to
pass the time. As long as I can reach you easily, let me be the interruption
and not the boiling kettle. I do need clients to stay “reachable” (meaning,
please don’t keep busy by leaving for a remote island vacation) so that if an
editor loves the book and wants to discuss with the author directly, there’s
immediate access. In the happy event that we go to auction, I ask clients to be
available to me by phone and email throughout the day or two days, whatever it
takes to conclude. There are MANY points during an auction when I will need to
update a client or get their emotional feedback on a decision—money is only one
of many concerns in that scenario.
What is it like to
tell a client there’s an offer on the book? :)
It is the absolute best conversation in the world. Closely
followed by my phone call to offer them representation, but that’s sometimes
tainted with my own nervousness! News of an offer, a real home for their work,
is a pure and unadulterated pleasure. I can ride high on that phone call for
weeks—it’s one of many reasons why I love my job! And feel privileged to be
doing it.
Thank you, Lucy!
See other Query. Sign. Submit. interviews
Read inspiring stories of writers getting agents
Learn about Tools for Writers- like Scrivener
Posted October 2015– Always check for current info and guidelines.
See other Query. Sign. Submit. interviews
Read inspiring stories of writers getting agents
Learn about Tools for Writers- like Scrivener
Posted October 2015– Always check for current info and guidelines.
Now
for Michelle’s insight on querying, signing with an agent, and going on
submission! - See more at:
http://www.writeforapples.com/2015/04/querysignsubmit-with-michelle-richter.html#sthash.gEzZAp7B.dpuf
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