Congratulations on finishing your novel! Savour the moment, then buckle up. There’s a whole new skill set to learn, resources to peruse and critique partners to work with, on your query and synopsis craft. To help you with this, and on the challenging and honestly, often discouraging querying journey, I’ll also delve into networking with querying writers for mutual support (you’ll need this!).
Crafting a Query Letter: Suggested Steps
Research: the Content of Query Letters
If you google ‘what should I put in my query letter’ you’ll get a list like:
-Greet the agent/ publisher by name
-write a hook for your book
-pitch your book in 2-3 paragraphs and around 300 words
-include two comparison titles which give an idea of the tone and style of your novel (within its genre and audience range, published in the last 1-5 years)
-write a short bio, including your day job and publishing credits (if applicable)
-thank the agent/ editor for their time
Research: How to Write Effective Queries
Query letter ingredient lists will tell you what goes in a query letter, but often neglect to tell you how a query letter is written. For example, the above list says nothing about how to craft a pitch which clearly introduces your main character, your conflict and the main characters personal stakes in it. It gives no advice on crafting a query likely to entice anyone to read your opening pages. To learn how to do these things, I suggest reading detailed resources like:
Patrick Bohan’s Mad Libs Formula Blog Post (a fictional query, which uses humor to nail pitching).
Susan Dennard’s first (and annotated) successful query letter.
My detailed query letter and query pitch break down.
Then read some of the 600+ successful query letter examples in your genre linked to this spreadsheet.
Take notes on what the above resources do that you haven’t, what they do more effectively than you have so far, and any ideas they give you for revising your query.
Query Revising and Critical Feedback
This is how I write and revise queries. Whether you’re editing for the first time or are mid-revision, I hope it gives a good idea of steps you can take to avoid VERY common premature querying.
- Revise query, multiple times.
2. Cross check query with notes on query letter ingredients to check you’ve included everything.
3. Read successful queries and detailed query advice blogs above (again). Make more notes on what they do well and you’re still revising.
4. Revise your query using step 3’s insights.
5. Feedback. Get writer feedback on your query. Author bias can blind you to how successfully you implement everything you’ve read. And as you know everything about your book, it can be very difficult to tell how clearly you’ve communicated your character, conflict and stakes to someone who knows nothing. As for your novel, so with your query letter and synopsis, fellow writers are your rear and sideview mirrors, helping you see your blind spots.
6. Content Revision. Revise using writer feedback (suggestions which fit your story, its tone etc). Your goal here is to get all the details that belong in a query pitch in, everything that obscures key pitch ingredients out, and to word everything clearly enough for unfamiliar readers to understand. This may take more than one round of feedback and revising.
7. Wording Revision. It’s easy to go round in circles of query pitch feedback, revise, query pitch feedback revise. BUT, I suggest once you and your readers are happy with your pitch contents, get one more round of feedback. When your pitch ideas are solid, it’s easier for other writers to suggest removing unnecessary words, rearranging your ideas for effect, or adding imagination catching details/ adjectives. Your goal this time is to polish your wording for maximum reader impact.
What Feedback Should I Discard?
Some query feedback might be, ‘but what about’ and ask you to explain EVERY thing your query mentions (or alludes to). In your query, it’s unimportant whether the murder victim was found inside, or outside, or on which day of the week. The ONLY thing that matters is the victim was found at your MC’s house, because that’s the inciting event which gives your MC personal stakes and pushes them into the conflict. The ins and outs don’t matter and are details which can overload the reader, and obscure your character, conflict and stakes.
As with beta readers, its handy to get feedback from multiple people. Do multiple people flag the same points as needing editing? Or does one get hung up on things you don’t think matter -and no one else seems to think they matter? And while feedback will aim to make your pitch sound great, does it represent your story and tone well enough? Or is that great suggestion open to misinterpretation, and potentially selling a story other than the one you wrote?
Query Readiness Checklist
According to you and writers who gave you feedback, does your query pitch clearly:
State your conflict, MC’s role in it and your MC’s (and world’s) stakes?
Include details which make your characters motives/ goals/ conflict/ stakes unique (eg. the MC is the only one without special powers)?
Evoke the tone/ style of your novel?
Is it around the 300 word mark?
(SFF may have good reasons for being nearer 400, but if you have only one point of view character and one main conflict, a 500 word query letter probably has details it doesn’t need, which can weaken your pitch.)
Do the writers who gave you feedback think its ready?
Yes, some feedback will be subjective and not a sign of unreadiness. No, not everyone will realise when they are or aren’t being objective, including you and all of your critical readers. This is where it gets messy, and having multiple people’s feedback agree can help you make decisions about what to edit and overall readiness.
A word of warning, “That sounds great to me, I don’t have any(more) suggestions,” may not mean your query is agent-ready. It may just mean that person hasn’t read enough successful queries, or spent enough time revising their own, or had enough experience critiquing pitches to identify and suggest possible improvements. So when using feedback to help you decide whether your query is ready, consider whether feedback from multiple writers agrees, AND how much pitch critiquing experience the people giving it have. If you know someone whose quite experienced with pitching and they can’t see any objective holes/ weak points -that’s a good sign of readiness.
Querying writers I know have tended to either confidently begin premature querying, or not know when to stop editing and begin querying (or do both in that order.) So how can you judge querying readiness?
- After each major edit, did you shelve the book and query long enough that when you returned, you clearly, instantly spotted multiple areas for improvement? (For me, this is a good indicator of whether I still have the ability to view my work objectively, or have edited it too many times and lost perspective).
- Acting on the Best Feedback. Yes, as the person most invested in your book, you know it best and will spend the most time evaluating its and it’s pitches readiness. But don’t undervalue critical feedback just because it surprises you. Keep an open mind when considering critical reader feedback to act on. If you’re unsure, try it out. If it doesn’t work, you can be confident you’ve edited based on the best feedback you have and made your book and query the best you can.
- Do you think you AND and a second round of readers think you addressed the areas of development/ clarity your first critical readers raised?
As a pantser, for me this step is crucial. My latest wip has been through three rounds of feedback, the first and second compensating for my tendency to underwrite, the third to forth targeting specific critical reader feedback and elaborating on ideas that gave me.
- If after 2+ rounds of critical reader feedback and editing, all you are doing is taking a word out here, substituting that word and generally making minor changes, then it sounds like you’ve done the best you can alone, with feedback. It’s time to let go, and send out your first round of queries!
The First Query Round
Querying in rounds is popular among Twitter’s #WritingCommunity. While those 5-10 queries are out, you’re taking a break from editing your query, hopefully talking to other querying writers, and perhaps pitching in Twitter’s pitch parties. This gives you more time to learn about querying and pitch craft, and to distance yourself from your query. After getting 5-20 form rejections -variations on ‘thanks, but no thanks, my opinion is subjective, other agents may disagree, etc’, you’ll likely realise you’ve learnt some new things. You may find that your query is not so ready as you had thought (many of us do to a greater or lesser extent 😉).
Sending batches of queries gives you time, space, and a chance to revise, so agents you query later get a stronger version of your query. This is why I highly recommend not querying any agent you have any emotions about in the first round. Seriously, pick 10 or so agents who represent your genre and audience age, whose MSWL only vaguely relates to your manuscript (or just ticks ‘surprise me’), and query those ten agents.
“But what if one of them offers to represent me and there were others I wanted to query first?”, you ask. I’ve talked to several hundred querying writers, and do you know how many got an offer of representation on their first round of queries? Zero. Some got full requests, when querying their second, third or later novel, but they all resulted in rejection. If you can’t bare the thought of not having an agent you’re keen on in round one, pick the one you’re happiest to be rejected by, and query them.
Time for the bad news. Expect rejections. Many of them. Expect form rejections, which will occasionally not even include your name or will spell it wrong. “Dear Author, Your book is not a good fit for my list at this time. Other agents may feel differently. Best of luck -Agent.” You’ll see many variations of this. Some are helpful, for example, some form rejections say “the pages didn’t pull me in”. Then, you know your opening chapter, and perhaps manuscript need editing. So you can post pone sending your next round of queries until you’ve finished editing (yes, you may well need to pause querying to edit your MS. This is not unusual).
Do Rejections Signal an Issue with My Query or Pages?
Many rejections unfortunately, leave you guessing. Does my query or manuscript need more editing? Or did the agents not fall sufficiently in love with it to help me edit it to publisher submission standard? Do I need to work on my craft, or did the highly subjective (and competitive) nature of the industry mean I missed out on one of very few client vacancies at an agency? If you keep getting short, vague form rejections, yes, your query may need editing and agents may not be reading your pages. But how many form rejections signals this?
I suggest seeing how many agents you want to query in total, then deciding after how many form rejections you want to edit your query package. That way, you’ve still got people to show your hindsight-benefitted, most polished query to. For example, if you’re only querying 60 agents, consider getting more feedback and editing at the 20 and 40 rejections marks, so you don’t get 50 rejections, THEN realise you need to fix something after most agents have rejected your query.
These are RARE. I’ve had a form rejection from someone who requested my full manuscript. Yes, you might get personalised feedback on a query and opening pages an agent really liked, but didn’t think they had the editorial or marketing experience to take on. But don’t expect personalised feedback. Even if you get a full request, be aware that you may get not only a rejection, but a form rejection. When I first started talking to querying writers early in 2020, personalised feedback for (full or partial) requests was the norm, but unfortunately that seems to be changing.
Why Was My Manuscript Rejected?
Reasons we’ve read about and discussed in one of my querying groups.
“The pages didn’t pull me in.”
“There wasn’t enough voice/ the voice didn’t resonate with me.”
“I don’t have the burning passion required to provide one or more sets of edit notes to prepare your novel for submission to a large publisher and to sell it.”
“I don’t feel I have the editorial experience to help you prepare this particular book for submission.”
“Don’t believe I have the knowledge/ experience or contacts to sell this particular book.”
“One of my clients has or is planning to write something similar to your book,” and existing clients come first.
I say ‘particular book’ because maybe they rep SFF and you sent them an SFF of a sub-genre or with a strong theme or element they don’t have experience with. So your book could be ‘of the genre’ an agent represents and still not the right fit.
Then there are things form rejections are too polite to mention: underdeveloped characters, underdeveloped plots, structural issues like lack of story tension and pacing, and general craft issues. If you’ve bothered to read this post down to here, I doubt you’ve skipped enough homework to have this issue, but critical readers only have so much time to analyse your writing and communicate feedback to you, and sometimes things get missed that way. That’s another reason I like a second round of critical readers for everything -they may catch things the first round missed, or tried to tell you, but couldn’t convey clearly enough.
If there’s any chance you still harbour unrealistic querying expectations, here’s literary agent Rachelle Gardner’s list and rebuttal, covering unrealistic expectations all the way to promotion and sales.
Don’t have a ‘Dream Agent’
Bearing in mind everything I’ve said about rejections, don’t have a dream agent. As you’ll see in Jericho Writers article Having Realistic Expectations, one agent may receive several thousand queries a year and sign 2-3 authors a year. In New York, those are the odds. The chances of you getting an agent aren’t good, while the chances of being offered a contract by your dream agent are astronomical. When researching an agent, I’d just take a cursory look at why they may be a good fit for you and your books -or why not. Then read/ view a bare minimum of details to perhaps personalise your query (if you have a relevant connection) and try not to get attached!
So the odds aren’t good and querying is a ton of work- Now What?
Find Your Querying Community!
If you’ve read my Querying Experience, How I Got My Agent or Indie Publisher interviews, you’ll notice a common theme is how important and helpful community has been to these authors. I created a group of querying writers on Twitter in March 2020, then one on Discord in September. Sharing our experiences, advice and helpful resources we found with each other (I’ve cataloged resources here), taught me pretty much everything I needed to know about having realistic expectations. Being in querying writer groups also made participation in Twitter’s pitch parties an infinitely better experience.
Where Can You Meet Querying Writers?
Twitter is the easiest place to find and talk to querying writers, partly because it hosts pitch parties throughout the year, which make their tweets very visible, as does the hashtag #AmQuerying.
Before & During Twitter Pitch Parties
Tweet to say you’re pitching, on the party hashtag. If you’d like to trade pitch feedback, say so. To get to know other pitching writers, ask them to share a pitch, mood board or other information about their novel to encourage them to interact.
If you’re happy to comment (word is this is just as effective a boost as RTs) on fellow writers pitches, say so. Talking to writers by commenting on their pitches and replying to their comments on yours is a great way to get to know fellow querying writers and to make friends. If you’re not in a pitch DM Group, its also a great way to feel less alone in a sea of pitching writers.
But I think the best option (in addition to tweeting) is trying to find a Direct Message Group of pitching writers, where pitch feedback, comments and rts may all happen, along with conversation and company. This gives you people to ask party, agent or querying related questions of, to get help from and to cheer on and be cheered on by. Its my favourite way to pitch in parties and the sole reason I’ve pitched in so many. Other writers make it fun, I’ve enjoyed their company and they’ve helped motivate me when the odds would otherwise have made me give up.
There’s some space in my group for all pitch parties, genres & audience ages, so reply to my tweet or send me a message if you’d like to be added to it. To find other groups on Twitter, you may like to search for ‘#AmQuerying group’ + ‘#Pitmad’ in particular, which can turn up tweets like this.
Finding Querying Writers On Discord
Originally a space for gamers to create their own forums, a lot of writers groups started on Discord in 2020. The Strictly Writing Discord Community (of which I’m co-admin) has a channel for querying discussion, one for seeking/ giving tweet pitch feedback and one for seeking/ giving query letter and synopsis feedback. If you’d like an invite to access it, send me a message on my contact page, or reply to this tweet.
To search for other Discord servers, you can you use the Twitter search bar to see who’s been tweeting about their server, by typing ‘Discord’ and ‘#WritingCommunity’ into it.
Where can I find Literary Agents?
For resources introducing you to literary agents (including warnings on finding a reliable, non-shonky one), databases to find literary agents and what they’re looking for, and advice on communicating with them, see Querying & Literary Agents in my Querying Links post.
How Long Do I Query?
This is a question to which I think every querying writer should have an answer. Sure, it would be great to sign up with a literary agent and a big publisher. But how many years and hours of your life are you prepared to invest in that process? And what if the novel you’re querying isn’t the one that will appeal to literary agents (or that publishers think will sell)? What if no-one you submit to feels the connection and burning passion required to help you edit that first novel and sell it?
If you tweet saying you’re thinking of giving up querying, many well meaning writers will reply encouraging you to keep it up. But some writers don’t sign a contract with a literary agent until their third, forth or later book (or don’t get a literary agent). So how long are you prepared to query each wip? If 100+ agents represent your genre and audience age, will you query them all? How many rejections suggests this book is not marketable (money making enough) for agents/ big publishers to take it on? 50? 100? Every agent you can find? Do you have other wips you want to query and when will it be their turn? And how long do you think you can sustain balancing querying, writing the next book, your life and wellbeing? (Burn out is real, and mental health matters!)
Things I Suggest Considering While Querying Long Term
How is my mental health?
When do I need a break from querying and how long for?
Have I fallen out of love with writing, and do I need to take time off querying to focus on writing and just enjoying the creative process again?
Do I know enough querying writers or need to extend my querying community for support?
Am I open minded to querying small presses and if so, when should I start?
Am I open minded to self publishing? Do I wish to learn more about it while querying? If I’m prepared to self publish, how much time do I want to spend querying before switching publishing paths?
If you somehow made it to the end of one of my longest blogs, well done and more importantly, I wish you well on your querying journey!
Patrick Bohan’s Mad Libs Formula Blog Post (a fictional query, which uses humor to nail pitching).
Susan Dennard’s first (annotated) successful query letter.
My detailed query letter and query pitch break down.
Querying Links: Letters Through to Literary Agents
Having Realistic Expectations by Jericho Writers.
Rachelle Gardner’s list and rebuttal of unrealistic expectations.
Querying Writer Communities
My Craft and Querying Discord.
Or search in Twitter for ‘Querying’ and ‘Discord’ or on Facebook’s writer groups and see what you can find.
Publishing Paths Interviews
Halla Williams #Pitmad Success Story
Signing with an Indie Publisher
Indie Authors on Indie Authoring
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