Tag: querying fiction

Querying Your First Novel

December 5, 2021 / Elise Carlson / 0 Comments

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 Resources, written on envelop with wax seal.

Realistic Expectations

Premature Querying

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.

Rejections

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.

Personalised Rejections

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!

Query Letters

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

Pitch Parties

Twitter Pitch Parties

Crafting A Quality Pitch

Text: For bi-monthly updates & blogs join my Fiction Frolics (newsletter).Image: Cloudy, pastel hues sunset sky reflected on calm waters, with silhouetted island in between.

Total Page Visits: 4392

Expectations

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

Halla Williams #Pitmad Success Story

February 25, 2021 / Elise Carlson / 0 Comments

What lies beyond querying, should we be fortunate enough to have a literary agent offer us representation? In this #Pitmad success story, Halla Williams describes how she came to write the March 2020 #Pitmad pitch which led to signing with her literary agent, and what signing and the early stages of working with her agent have been like, over the course of a year like few others (2020).

What was pitching your Epic Fantasy like?

My first experience of pitching felt like jumping in at the deep end without learning to swim first. After I’d got the manuscript as polished as I could, even getting a developmental edit to check the very complex multi-POV plot worked, I went to a writers’ day run by the SFF publisher at Gollancz. I paid £65 to go but it was worth it. Gollancz authors like Joanne Harris and Ben Aaronovitch and some agents and editors were doing panels and then they moved around the audience tables, heard what you were doing and gave you feedback. It was so useful. Jo Abercrombie loved the written pitch he kindly agreed to read. One of the Gollancz editors hated my very under-confident spoken version. I realised that I had no idea how to sell this book verbally.

I thought, ok, I need to slow down and think about what sells. What were the ideas that people could relate to and latch onto, that evoke what I’m offering – which is really complicated and multi layered, and doesn’t have clear main characters and doesn’t have a single clear plot? It was going to be a struggle.

I started writing my query then and foolishly sent it too soon to Joe Abercrombie’s agent and ‘said Jo Abercrombie liked it.” I got a form rejection. Those first few are hard because they just confirm that dread that it’s not going to be easy. So I took it slowly because I knew I didn’t know how to sell it. I only sent them out gradually.

Query Feedback

I started getting in touch with people on Twitter who were also querying. We talked and my query evolved. Then Flights of Foundry [an SFF convention that went online because of the pandemic] came up. There was a lottery for a critique of your query by Jose Iriarte and Elle Ire. I was lucky enough to win a place only 6 people got. I sent it off in advance and they were going to give feedback on the day but the connection was awful. They said, “We’ll email it and you can send your next draft as well.” Jose didn’t like it and Lisa loved it. She really related to the query and he didn’t at all. Then I re-wrote it based on that feedback and Jose said he was amazed at how much I improved it based on what they said. I thought, “Oo, I’m feeling a bit more confident now!”

What was your experience of pitch parties and follow up querying?

After that I wrote a few pitches in response and shared them on Facebook for people to respond to. I looked at feedback and went by my gut to choose which ones to pitch. I pitched in #Pitmad and got no likes. Then I pitched in #SFFPit and botched it. An American agent liked my pitch. He said on his Twitter, “Find out about me. It’s a wooing process. Don’t just send me stuff and don’t know who I am.” So I did loads and loads of research. I wasn’t aware of how far back in the past it went but I picked the most appropriate connection I found. I just got a form rejection back and was disappointed. But at the same con I mentioned earlier, Flights of Foundry, he said, not knowing I was there, “Don’t do what this stalker did and dig years into the past to find something that connects you.”

Elise: And you sat there going, “Awesome. That was me…”

Halla: Yes! I was mortified even though I wasn’t digging through his trash, or hacking his account! I guess it wasn’t meant to be. Just because you’ve got a like doesn’t mean anything. You still need to be able to connect with that person. Just be yourself. Have confidence that you’re offering something that will connect with that person. Don’t scrabble around like an idiot, trying to find a connection that isn’t there.

Query Length

By the time we got to the March Pitmad, I knew my query said what I wanted it to say. It was nearly 400 words – outside the guidelines for what people say is an appropriate length for a query! But the more good examples in high fantasy I see, the less I think it should go down to 300.

Elise I saw a post where an agent reported on average query length in their inbox. Some went up to 450 and the agent believed there were appropriate reasons for them to be that long. I guess that’s the problem with hard and fast rules -they don’t apply across the board.

Halla: It’s quite a long complex novel. At that point, it was 130k words of epicness.

You never know if someone’s going to like the enigmatic ex-mercenary, or the courtesan or if they’re going to be attracted to a rebellious Fae. Skimping too much means you could leave out the ideas that could appeal to the right person.

Getting that down into a Twitter pitch was hard but the same applies – get in the appealing ideas. Although there are so many pitches going by that you may not get seen by agents, it’s still great practice.

Elise: From the pitch parties I attended in 2020, I think if you’re writing adult there’s a chance, but for YA Fantasy the odds of being seen by the industry seem astronomical. I’ve had a few press likes in SFFPit, but that’s the only party my YA Fantasy has got industry attention in. I can see myself querying publishers and then self publishing.

Halla: That’s what I thought I was going to have to do.

How did you know that you have the right agent?

Good First Impressions

After I got the like in the March PitMad, I did some digging into him and I could see that he was a new agent. I liked what he’d been posting and how he came across on Twitter. When I sent the query in, he responded almost immediately. He rang me up and said, “I know people don’t normally ring, but I really like what you sent me and can I have the full please?” No one else had shown interest. He sounded really nice on the phone. We had a chat and a laugh. Afterwards, I realised I hadn’t sent the full to anyone, so I had to format it… chapters a third down the page… Times 12 New Roman 12pt. I worried whether I’d got the right, most up-to-date version. It only took me four hours, but it was really intense between feeding a small child and other things going on to distract me.

He emailed me the next morning and said, “I’m a few chapters in. I really liked when… has anyone else got it?” He was obviously really keen.

Three days later he said, ”Can I call you and talk to you about it?” I thought, is this going to be a revise and resubmit? A phone call was a good thing, but I didn’t know how good. I was having a hell of a day the day he wanted to call me, so I put it off to the next day.

More Good Signs

He called me up and said it was as brilliant as he hoped. He gave me some constructive feedback so I’d get a feel for his edits: “This is happening off stage and is reported. You need to write some actions scenes and get a thrill pulse going.”

He told me so much about my novel that resonated with me that I thought you get what I’m trying to do. We had a good chat and formed a good bond.

I got the references off him. He only had two other clients before me. He’d said, “I want to work with you for your whole career, not just this book.” That was what I wanted and needed. I thought he’s an agent with a small list, I’ll get loads of attention. And he seemed to be a rising star. I was pretty sure he was the one. But the other person who had my query was someone I was really interested in, so I did nudge her and she said, “Send me the full.”

Good References

Just after I sent her the full, I got his references and they were glowing. Both authors were keen to talk to me and sing his praises. Apparently, he’s got a great eye for edits!

I ended up emailing the other agent and saying, “I’m sorry, I’ve made my decision.” It just felt really right and I wanted to move forward. I contacted him and said “I really want to come and work with you. Let’s do it.” And he seemed delighted!

What was signing your agency agreement like?

There were a couple of things I wasn’t sure about, so we talked through the contract. After that I was happy and celebrated and posted a picture of me and my contract – blurred out – on Twitter.

And the next client he signed after me won the Rivers of London Prize. So he’s been able to talk to editors he wouldn’t otherwise have been able to. That book is fantasy, so it has opened doors to talk about mine. I’m very happy about that.

What stage is your book at now, and when might it go on submission?

2020 was a difficult year in terms of getting things done and moving forward. I got my full edits in January (2021). We’re going to make the changes we need to make, then we’ll go on submission. You think you’re going to just do some revisions then it’s going to go out there, but because it’s a big, complicated book, it’s going to take longer than I’d imagined.

Elise: Did he give you feedback officially to do some edits earlier? Has it been multiple rounds?

Halla: He gave me some things to work on when we did the signing at the end of May. I got some broad comments in December. The people he’s signed since are behind me in the queue, so they’re going to take longer. Somebody told me a publishing house editor had hers for 5 months before she heard anything.

Elise: It seems to be the thing with traditional publishing – that it will take time full stop – at all stages.

Halla: However keen I am to push it on and hurry it, you’ve just got to wait for other people.

Is there anything else you’d like to say?

How much of it feels like luck.

Just connecting with the right person at the right time is staggeringly unlikely. You’ve got to be good, but you’ve also got to be lucky. Lots of people saying no isn’t necessarily because you’re not good. There are so many reasons why people say no that have nothing to do with you.

I had been getting to the point where I’d queried for a while and I was wondering if it was the pages and whether I should cut the first few chapters. You get to a point where you feel like you should change something. I’m glad I didn’t because I didn’t need to.

What advice would you give people in the querying trenches?

Get lots of people to give feedback on your query and don’t believe everybody. Just take on board what makes sense to you and opens your mind to how other people are perceiving what you’ve written. You know the story so well that you can’t know what the words you’ve chosen are suggesting to other people. They may come across quite differently. Ask people to tell you what kind of person they’re finding that character to be. Are you finding that person engaging? What is charming about what I’ve written? What stands out to you? Really interrogate that.

[I was one who gave Halla feedback on her query. She wasn’t afraid to seek clarification or additional feedback from people who’d already given her feedback. I remember being impressed by how much her queries developed from one revision to the next.]

Different people are going to like different things about it. Take what seems to you to be good advice.

But if you’re trying to write lots of subtlety, you have to cheat it. Make your pitch not quite as complex as it is, to get an agent to read it. You’ve just got to get them to pay attention enough to get hooked into reading. Then they’ll see that it’s subtle and complex.

It is collecting together the ideas that make a good pitch, rather than trying to convey the essence of the story.

I think my pitch makes it sound a bit like a romantic relationship between Ashari and Westorr. That isn’t the case, but there is something about the ambiguity of that relationship which is intriguing. It doesn’t do what it says on the tin, but it was accurate as written and enough to pull somebody in.

More About Halla

Halla Williams writes high fantasy. She’s also a developmental and copyeditor and sings in an acoustic duo called Telhalla.

Having grown up in the small town of Nailsea in England, Halla studied Drama at Exeter University. She then toured as an actor for six years, performing in everything from Shakespeare to comedy musicals to children’s theatre.

Although she discovered many wonderful places, she came back to live in Bristol, near where she grew up, to work as an English teacher. After 16 years, she left teaching to become a proofreader and editor and finally finish Song of the Storm.

Total Page Visits: 4465

Bristol’s live music scene is a particular joy for her and she sings regularly at the ‘famous’ open mic at The Oxford pub in Totterdown. Her favourite local band is the Dusk Brothers.

As a fantasy reader, her favourites include Robin Hobb, Janny Wurts, Steven Erikson, Joe Abercrombie, Mercedes Lackey and Brandon Sanderson. She has a Facebook page and you can follow her on Twitter if you are interested in the writing/publishing process.

You’ll find her website here.

Signing with an Indie Publisher -3 Author Interviews

February 5, 2021 / Elise Carlson / 0 Comments

Most querying writers hope for a literary agent, but what if you get a pitch party like and ultimately are offered a contract by a small press? How will you know if they’re the right press for you, or for this particular book? And what would signing with them be like? In these publisher signing interviews, I talk to authors Nikky Lee, Alexandra Beaumont and C.G. Volgars about their experiences of querying, determining that the press making them an offer was right for their book and signing contracts with their small presses.

What was your experience of querying?

Nikky

Which pitch parties did you participate in and what responses did you get?

Pretty much everything I was eligible for: #SFFpit, #Pitmad and #PitDark were the main ones.

All up I got 18 likes from agents and publishers across 10 twitter pitching events.

The most interest I had by far was at my first pitching event, #SFFpit in Jan 2019, where I got 6 likes in the one event. Unfortunately, I blew it because my book wasn’t ready.
Lesson learned: don’t waste your pitch party “debut” pitching a book that isn’t ready.

I had the most success at the #SFFpit events – 10 of my likes came from those. I was pitching under Adult and YA. My book sits in that awkward New Adult space ideal for 18-25 year olds, though it could happily be read by a mature YA reader or adults who enjoy YA reads [YA crossover being the latest term for this].

How long were you querying all up?

Nikky Jan 2019 to May 2020. But in that were two periods where I stopped querying to do a round of revisions. In hindsight, I started querying too early. The book was not ready and it became pretty clear after that first batch of queries. I like to think of that as my test run. I stopped querying and did some big structural edits and a lot of darling killing. When I came back a second time, it was in August 2019 and I queried fairly consistently with it until May 2020.

Was your contract a result of cold querying or a pitch party?

From #PitDark. I got two likes from my editor at Parliament House Press in that event.

How did the way you got it and how long it took compare to your expectations?

Nikky To be honest, I expected to be querying for a while. I’d read stories of people querying hundreds of agents until one finally said yes, and all up I barely queried 30. I was prepared to query 100 agents before shelving the book and working on something else.

Alexandra

I pitched in #Pitmad in Sept, #DVPit and #Pitdark in October 2020. I got more speed on it by the time I did #Pitdark. It suited me better because my book is dark fantasy. That was how I found the small press that is publishing it. The responses I got were pretty good. Someone on Twitter commented, “That’s like something Neil Gaiman would write,” and I thought, “Great. Publishers and agents looking at pitches might , if I’m lucky, see that someone thinks its like Neil Gaiman.” I thought, “No way is my writing close to as good as Neil Gaiman’s, but I’ll take it if it gets me the exposure.”

When did you feel like you got the hang of pitching?

Alex I think at my second party I got a feel for pitches. I’m quite a straight spoken person, so it took me a bit to get a feel for writing really evocative pitches. I think for the second one I upped the drama a bit more. Its high drama stuff, which I guess is how you get the attention.

I never assumed that this would go anywhere, partly because my partner is a development editor and has worked with books before, as have some of our friends, and everyone said it’s really hard to get a publishing contract. I went into it hoping it was going to go somewhere but also with a very realistic expectation that probably it wasn’t going to. That said, their support and experience really helped get me over the line and helped me know what to do.

C. G.

C. G.’s Querying Experience

Looking back, I can’t lie–it wasn’t the most fun time period in my life. Every time I got an email alert, my heart jumped into my throat. A twitter friend suggested using a secondary email purely for queries, so I wouldn’t have a mini heart attack at every Gmail notification. That definitely helped. But no, I didn’t really enjoy querying.

That said, I met a lot of talented writers through #AmQuerying and #StrictlyWriting and learned a lot about pitching and querying with them. Also, because I’m with an indie press I’ve been able to incorporate some of my pitches into promo materials and even parts of my query and synopsis into marketing copy. Querying was rough, but it made me practice explaining and selling my book to people. So, I guess I got something out of it. Meh.

When did you feel like you got the hang of pitching?

I felt a lot more comfortable pitching the second time I started querying Static Over Space. The first time I had no idea what I was doing: I didn’t know the rules of writing a pitch. I didn’t know what made my story stand out. I didn’t know how to connect with other #AmQuerying authors.

The second time was about a year and a half later. I had several killer pitches ready that I’d been retooling for months, I had a good group of writer friends to help me hone them, especially the #StrictlyWriting gang. Most importantly, I knew what made my writing stand out–VOICE. By the time I jumped back in, I felt really excited and pumped!

Which pitch parties did you participate in and what sort of responses did you get?

The first go-around I was doing everything under the sun–#Kisspit, #Pitdark, anything you could remotely fit a genre fiction under. The second time I knew I had to be real and narrow it down. My first pitch party after rebooting was April 2020 for #DVPit. I got 16 likes… three of which were actually people in publishing! [In Twitter Pitch Parties, liking tweet pitches is reserved for agents and publishers to request submissions, but some writers always forget and like pitches anyway].

How long were you querying all up?

My querying journey was spread over three years, but totalled two. The first year and a half, I got one full MS request from a cold query and no Twitter pitch love. After I stepped back and retooled, I queried for 6 months before an offer was made.

How did the way you got a publishing contract and how long it took compare to your expectations?

Interesting question. I don’t love that it took as long as it did… But there’s also no question in my mind that this version of Static Over Space is infinitely better than the first one. So double meh.

Querying Specs

Authors	Home Country	Genre	Audience Age	How long did you query and where before signing your contract?
Nikky Lee	🇳🇿 (New Zealand)	Dark Fantasy	YA crossover	1 year & 3 months Mostly in US, some UK.
C.G. Volgers	🇺🇸	SciFi Fantasy	YA Crossover	3 years, mostly US, some UK.
Alexandra Beaumont	🇬🇧	Dark Fantasy	Adult	4 months (NB: this is exceptionally rare) Uk, US & Europe.

How did you know you had the right publisher?

Alexandra

You kind of go with the one you’ve got the offer on right?

Elise not necessarily. [We had an off the record conversation about other writer’s experiences confirming this statement].

Alex I did get an R and R, with a publisher that was more of a coffee subscription box who published books on the side. I didn’t go with them.

When I researched Gurt Dog Press, they seemed very friendly and professional and I liked the artwork that they’d done and some of their other books. A lot of their other authors seemed to have good experiences.

Elise Was there any particular person you had contact with who made you feel that way about them?

Alex I spoke to the editor and the marketing manager. They seemed to be everything that I expected and were really friendly. They’re early on in their publishing house journey. It was quite nice in a way, having a first novel being out with a publisher that’s also starting out, both being in it together. They are working on expanding and have had some great successes in their first year, so it feels like a really exciting place to be.

Elise Do you know who they sell to?

I think it’s mostly Amazon, Barnes and Noble, Smashwords and online, but they’re looking to expand. Some of the authors have got their books placed in local bookshops too.

Nikky

What struck me about Parliament House Press was they had a good range of books and they published regularly—they were clearly an indie press working towards becoming a mid-sized publisher.

They also had a “monster shop” section in their online store, which I loved. And I could see my book fitting into that. They also had very professional looking covers.

On the business side, they had recently teamed up with a digital distributor to help spread their books.

Audiobook rights were on the table too—I’m a big fan of audiobooks so that really sold it for me that this publisher was future focused and knew where the trends were.

I contacted three of their authors, and they had nothing but good things to say. There were the usual caveats of going through a small to mid-sized publisher e.g. you have to be prepared to roll up your sleeves and put in the effort to market and promote the book. But to be honest, you still have to do that anyway, even if you’re published with the big 4. And I work in marketing, so that bit wasn’t so daunting.

C. G.

I had sooo many signs Outland Entertainment was the right place for SOS! First, my editor, Alana Joli, made a really funny Avarian joke while we were discussing Outland’s offer. I knew right then not only did she understand the story, but really understood the characters and world. She also has a great sense of humor and a keen eye for what makes a story shine. Her idea to switch Yula’s gender (a big Wookie-like character) to female will forever be one of the most genius edits for Static Over Space ever.

The second sign was when I saw the Art Director and Founder’s art portfolio and larger career. Jeremy Mohler not only teaches art at the college level, he’s worked with some of the biggest comic book names out there- Marvel, Blizzard, and IDW Comics. His street cred and art style was exactly what I’d always dreamed of finding for SOS.

Third, I sent the contract to the Author’s Guild Legal team [the Author’s Guild offers free Contract Review to paying members]. They looked over the contract, gave me a few pointers, but overall agreed it was really fair and even-handed.

The final green light was from someone I trusted inside publishing. Through #LatinXpitch I’d made a connection with an editor from a prominent imprint. He wasn’t looking for a YA SciFi when we met, but he’d remained a trusted mentor. Later when Outland made the offer, he asked around and gave them the thumbs up!

What stage is your novel at?

I’m waiting on the full edits, and the book will be out in April.

I just handed off the MS to my editor [January 10th]. From here we’ll do initial editing, then copy editing, then layout!

I’ve just finished my first round of edits from my editor. There’ll be a few more to come in the next six months or so. My publisher has already set up the digital preorders for it.

We’re looking at a tentative April/May 2020 release for book 1. It’s still too soon to say for Books 2 and 3.

What Advice Would You Give Querying Writers?

Alex

I don’t have a lot of advice that I imagine people aren’t already doing, but perseverance is definitely a strong part of this. I was initially like I’ll just query 10 favourite agents and that didn’t go anywhere. My main one is everyone understandably thinks I’ll go through an agent, and my books will go to the big publishers and be published by the end of the year.

But that’s not always the case. I think there needs to be more recognition of other routes to publishing. Like it’s all valid. I came through it not knowing a lot about the small presses and only thinking about the big 5, but then I got into it and thought ok, there’s a mid band of publishing houses and a whole load of small presses as well. At the end of the day, getting your book out doesn’t have to be in that way. Getting a book out is still an achievement.

That’s the main thing i’ve taken away from it: not everyone’s going to be best selling authors and that’s ok. It depends what your ambitions are, but as long as your story’s out there, that’s the main thing for me.

The small press I’m going with is Swedish so I don’t think it needs to be in your own country. I was originally like ‘I’ll only query UK agents’ but someone said to me, “It’s a fairly international audience these days so you don’t need to pigeonhole yourself in your own country.” I think there’s no reason not to go wide.

Nikky

This is hard because everyone’s journey is so different. But based on my own experience, make sure the book is truly ready before you send it out. That means beta read -several rounds if need be, edited and proofed to the best of your ability. I blew my chances with several major NYC agents because I sent it to them before it was ready.

As for querying, I do think it is a numbers and timing game, and I do think it’s smart to try different avenues for getting noticed i.e. cold query, twitter pitching, conference pitching where possible.

C. G.

Find a great writer, preferably someone in the industry, to give you real, no-holds-barred feedback. After querying the first time I sent my MS to three #AmQuerying authors that I knew were amazing storytellers and Gina Damico, a YA author with several published books who offered novel consulting through Grubstreet.

I couldn’t afford to pay her to look through the entire MS, but I got her advice on the first chunk. She told me, point-blank: here’s what you’re good at, here’s what you have to work on if you’re going to break through querying. It was painful at first. I basically had to rewrite half my book! But in the end, it was worth it.

Is there anything else you’d like to say?

Alex

It’s become a Twitter #WritingCommunity cliche, but I never expected the level of support and community there is on Twitter. I’ve met some great people in a Query DM Group who have read the opening chapters. I’d say while the online presence is helpful, don’t worry too much about it.

Its easy to go down the rabbit hole of spending a lot of time thinking about your writing, and having an author platform -I work full time in a busy job, so my time is fairly constrained. Making sure you’re not spending all your time doing all of this stuff is important for your sanity.

Speaking as someone who both wrote a pitch and signed a contract within half a year, it was a big effort to do all that and I kind of gave my life over to it for half a year. So my reflection and advice to people doing this for the first time is: its great and do calve out time to do this stuff if you’re passionate, but don’t kill yourself, because the market will still be there next year.

C.G

Yes! Edelweiss.plus is a great way to find comps for books that have no comp. And trust me– I would know!

Alexandra

Nikky

Alexandra was raised on fairy tales, folklore and legends. She followed adventures at every turn: exploring the old parts of London, taking part in medieval re-enactments, and writing in every spare moment. When not writing, Alexandra has a wanderlust for exploring new places, roaming the countryside and taking part in Live Action Fantasy Role Play. (Meaning she’s often covered in mud, grass and leaves.) Her passion for exploring new worlds drives her creative endeavours. Her debut novel, Testament of the Stars, will be published in April 2021 by Gurt Dog Press.

On Testament of the Stars:

Astrologers govern the lives of both the blessed from the plateau of Gemynd and the downtrodden from the planes of Rask.

When Einya reluctantly joins the settlement’s ruling star-cult, she thinks only of the rights it will give her: the permission to marry her Raskian lover. Instead she is thrown onto a treacherous path of betrayal and political strife, trapped within the cult persecuting Rask.

Forced to drink the blood of the stars and steal their thoughts, Einya ends up at the heart of a fierce rebellion, caught between a fight for freedom and the strange luring power of the stars.

Alexandra’s website.

Nikky is a New Zealand-based writer who grew up as a barefoot 90s kid in Perth, Western Australia. With eight years in content marketing and copywriting, she’s published numerous articles on behalf of businesses and for magazines.

In her free time, she writes speculative fiction, often burning the candle at both ends to explore fantastic worlds, mine asteroids and meet wizards. She’s had over a dozen short stories published in magazines and in anthologies around the world. Her debut novel, The Rarkyn’s Familiar—a dark tale of a girl bonded to a monster—will be published by Parliament House Press in 2022. Nikky’s Website.

C. G. Volgars

CG Volars is the debut author of STATIC OVER SPACE, that Gender-Bending Scifi coming from Outland Entertainment in Spring 2022.

CG currently resides in California with her family and two grey cats—Skittles and Rosie. In her spare time, she writes, uses potty language and collects SciFi pins. Join the #SpaceShip today at www.StaticOverSpace.com.

Total Page Visits: 4058

Comprehensive Query Letter Tips

October 21, 2020 / Elise Carlson / 2 Comments

Letter flap in old fashioned door. — *Photo by* Gemma Evans

There’s a general structure for query letters and query letter pitches, but there are also specifics about which literary agents may have differing personal preferences. In the query letter tips below, I outline what I’ve learnt from giving feedback on an estimated forty queries, and reading a similar number of successful ones, to provide structure and advice on specifics (with tips on how to identify literary agent preferences 😉.)

Beginning Your Letter

The Greeting Yes, you want your greeting to be professional, but the formal “Dear Mr/ Mx/ Mz etc” may sound distancing, requires you to check a female literary agent’s marital status, and runs the risk of misgendering a literary agent. As a literary agent is a potential partner in bringing your book into the world, I prefer just Dear First Name, as do a few literary agents in this thread. If you’re not sure how best to greet an agent, you might like to do a Twitter search of their @, #AskAgent and ‘greeting’ to see if they’ve tweeted a preference.

If you Prepare Queries for Multiple Agents At Once -make sure you have their name right! Have a system to ensure you fill details like names and personalisation correctly- every submission. I fill in the email subject line for all first, name for each, personalisation for each, then copy the pitch, sometimes altering the bio to suit the agent, then paste my sign off and contact details. Is spelling an agent’s name wrong cause for rejection? Not for Kortney Price -just don’t call her “Dear Sir” 😉.

Line One

I never begin with ‘I am seeking representation for…’ If your query is by email, your subject line will probably read, “Query, TITLE, Genre, Audience Age” -so the agent will know what you want. If you’re submitting via Query Manager -again, they’ll know and can you imagine getting a few hundred (or thousand) queries a month all beginning with the exact same phrase? 😬

Paragraph One

There is a lot of advice saying that the title, genre, audience age, wordcount and comp title paragraph goes after the pitch. I’ve come across agents wanting to read the pitch first (eg. Carrie Howland & Pam Phonomena ), and agents who don’t mind (eg. Anne Rose), while Query Shark insists the pitch goes first. But I’ve also seen advice to put the manuscript title and word count upfront (eg. Susan Dennard). I include my title, genre, audience age and word count with personalisation. That way, the agent knows my genre (which could be Scifi or Fantasy from my pitch) upfront, and my word count shows straight away that my manuscript isn’t in dire need of editing and isn’t a hard pass on those grounds. (My comp titles go in a separate paragraph after my pitch.)

Personalisation -What Does it Mean and Why Does it Matter?

For some literary agents, a polite greeting by name is enough for personalisation (eg. Maria Vicente, Naomi Davis ). Other agents like to see indications you’ve done your homework about them, or their agency (eg. KT Literary). To see if a particular agent has a preference beyond being greeted by name, do a Twitter search of ‘@(whomever)’ and ‘personalisation’ with ‘#AskAgent’. If you’re lucky, the agent you’re querying will dislike personalisation sentences altogether (like Jessica Alverez), and you won’t need to bother with it.

If You Add Personalisation, What Should it say?

Don’t be weird -eg. don’t tell them the dream you had about them. Or gush about how wonderful they are. If you’ve had prior contact, via a conference for example, or if an agent liked your #Pitmad or other pitch, that’s worth opening with. (If they liked your pitch -embed it or paste its text and a link to it above your query pitch). If you’re keen on a particular agent and want to take time researching their clients and books, you might want to mention how an author or title they represent is similar (yet also different -your work not being a double up of theirs). Alternatively, you may google literary agent interviews or profiles to see if you have a similar taste in books or films with an agent (as Peter Knappe appears to like), or other shared interests which impact on your writing.

Close up of a horse. — Don’t get too close. Photo by Clint Patterson

What if you don’t fancy researching 50+ agents?

I personally don’t look at interviews and sometimes not even at Twitter at the query stage, because it’s a time consuming investment which I suspect is unlikely to pay off. I check the agent’s long Manuscript Wishlist, and their MSWL tweets, filtered on this site and usually make a connection between my novel and the agent’s MSWL. If the agent doesn’t have MSWL, I make connections to particulars on their agency or personal website. If that doesn’t turn up much, you might just jump straight to the pitch -the most important part of the query- as Mandy Hubbard and Naomi Davis appear to advocate.

The Pitch

The Hook

Something concise, which packs a punch about your MC (who ideally is a hook in and of themself) or something unique about your premise/ story, is an ideal way to begin your pitch. You want your hook to say “this book is interesting, original and you want to read my pages.” If you struggle, it may be easier to write and revise your pitch first, then single out what your hook should highlight. Writing a Killer LogLine by Graeme Shimmin may help with that.

Orienting the Reader in Your Story

If you’re querying SFF, Historical Fiction or any book in which your setting is crucial to its plot, and it isn’t contemporary Earth (or you’re querying in America but your novel is set elsewhere) -orient the reader at the outset. Begin with a clear indication of time and or location. Example, ‘It’s 1923 at the Bermuda Triangle…” If you don’t state your genre until after your pitch, you may like to suggest it by including genre specific clues (eg. referring to airships for steampunk), within the pitch.

The MC

Woman with brown floral crown wielding dagger, seated in a green dress. — Photo by Ferdinand studio

This isn’t just an introduction. This is your chance to tell a literary agent what makes your MC different to the many other MC’s in your genre and their inbox. It’s your chance to show off some of your MC’s personality in how you describe them and their job description, or their wants or goal in the first line of your query. In introducing your MC, you want to show an industry professional a character they want to spend time with, so they want to follow that character’s journey throughout the story. Try and show something about your MC which is relatable, and which invites a reader to make a personal connection to and to root for your MC.

The MC’s introduction is also a place to begin showcasing your novel’s voice. To help develop your voice, consider how would your MC describe themself? What would they want others to know about them? What would their friends or family say about them? Is there a key sentence of dialogue or narration you can adapt from your MS into your MC’s intro?

Inciting Incident

This may not be a sentence of its own. It might follow on from the MC intro or even combine with it.

Eg. “College student Lizzie didn’t plan on receiving her education by distance, but when a loan shark’s fists show up wanting the money her absentee uncle owes them, life on the run is suddenly appealing.”

You might also want to include how the inciting incident makes the MC’s initial goal or want harder.

“Lizzie thought balancing part time work with completing a dissertation was hard, but meeting assignment deadlines while dodging armed thugs is a whole new project.”

Conflict & Stakes

Two white birds grappling in mid air. — Photo by Chris Sabor

Clarity & What’s Unique

At this point, it’s crucial to remember that a literary agent has no idea the “government” your “rebels” are rebelling against are aristocratic werewolves, who enjoy hunting unsuspecting plebs at every full moon. This section of your query isn’t just about making your conflict clear, it’s about showcasing what’s unique about your conflict, and how the protagonist and antagonist (or contagonist) interests clash. SFF writers, if you name anything in your pitch which doesn’t exist outside your story world (or has a different role in your world) -tell/ show the reader what it is. I’ve critiqued a few SFF query pitches where the “whatever-that-thing-is” is crucial to the plot, and it makes for frustrating reading.

Character Role

I’ve critiqued pitches where there’s a big external conflict, and the draft query doesn’t actually say what role the main character plays. No matter how elaborate your external plot and story world may be -character is key and you’ve got to sell your MC at every stage of your pitch. Further, don’t stop with “MC joins the rebel fight against the evil empire.” Say what drives your MC . If you can, include something unique you’ve already introduced, which they draw on in fulfilling the role only they can play in combating the evil empire.

Stakes

“Or the world be destroyed” might be your stakes. But the reader doesn’t know much about your world, or its rebels. They’re just vague entities and faceless people the reader has no emotional attachment to, so why should we care if either dies? But if the evil empire decides to demolish the suburb where dear old grandad, who inspired your MC to join the Justice League lives, and he’ll die and your MC will be devastated, well then we might care. So while ‘stakes’ can mean external stakes, if you want your stakes to have an emotional impact on the reader -make them personal to your MC too.

Complication

Sure, my MC is only 16, the uncle he loves dearly -his mentor- is dead, his parents have been abducted and he’s under siege by a vastly more powerful enemy, but, what if there’s something else in your story which amps up the stakes? Speeds up the ticking clock? There’s already a war between two kingdoms in my novel, but both sides are humans. Until a monster horde unleashed by a third ruler with an unknown agenda rocks up, and the entire continent is threatened. If in fleeing for her life, and completing her college dissertation, Lizzie discovers that not only are loan sharks after her for her uncle’s money, but her uncle has indebted himself to the mafia to pay back the loan sharks, or the rebel learns the aristocratic werewolves have struck an alliance with vampires to dispose of their political opponents -you might want to mention how the complication threatens your MC (and their dog 😉) and makes their role in the conflict even more difficult to fulfil.

Man on a bike with tyres half bogged in mud. — It’s hard to rush to save anyone when your ride gets bogged en route.
Photo by Nandhu Kumar on Unsplash

End with Tension and or an Impossible Choice

The rebellion needs your MC’s help to fight the vampires who threaten everyone’s families, but it’s the full moon, and a werewolf aristocrat (mistakenly) suspects your MC’s best friend is the one who joined the rebels, is after said friend’s blood. There’s no-one to defend said friend -unless your MC abandons the rebels. In other words show how, to fulfil their goal and save the day, the MC must risk or sacrifice something precious to them. Or mention the complicating threat your MC can’t see, which is charging at them sideways, then end with that tension.

Ice hockey players skating for puck, one sliding along ice towards it. — Photo by Markus Spiske o

The Rest of Query

Business Paragraph

As said above, your title, genre, audience age and word count (if you didn’t share them above) go here. Different literary agents may hard pass on the basis of differing word counts for the same genre and audience age range. This thread by Kelly from Rees Agency gives an indication on certain genres and ages.

Comp Titles

How many do you need? Two seems preferred, as indicated by former Literary Assistant Christina Kaye here. The most common advice I’ve seen on these is published within the last five years, with variations being within the last three. Choosing two such titles shows there is a market for your book and that you know what it is.

If you struggle to find a title of a similar style book to yours, you can cite major elements in common.

For example, one of my titles is to comp a complex political and military conflict, while the second is for friendships and mentoring relationships. If you want to use older comps, it’s worth checking if a particular agent is ok with them, as three agents on this thread were.

Finding Comps

Woman walking sand dunes searching. — Seek and ye shall find. Photo by Katerina Kerdi on Unsplash

I google (genre), (audience age), top 20/50 books of (2020/ 2019 etc), sometimes including ‘Goodreads’ or ‘Amazon’. Local librarians can be a great help, as they tend to be avid readers, so I’d describe your novel to them and see what potential comps they can recommend. If you’re struggling to find a comp (most of us do and it can be time consuming), bear in mind that vague or ill-fitting comps can be worse than none, as Jim MacCarthy warns. For more information about comp titles and advice on how to find them, see this post by An Willis.

Bio

Put it last -you’re pitching a novel, not yourself. So keep your bio brief and highlight why you personally are qualified to write this book, including any publishing credits or writing qualifications, but also life or #OwnVoices experiences which relate to your MC, their situation, or your book’s audience. For example, I write YA and my bio mentions that I’m a teacher.

Shoes with laces tied hung over line above a laneway. — Leave your mark.
Photo by John Kappa ツ on Unsplash

If you’re a debut author (I wouldn’t state so), and you have participated in a mentorship (eg. #PitchWars or Author Mentor Match etc) I’d include that, as it demonstrates dedication to your craft and your willingness to grow as a writer. I’d also mention if you’re a member of a writers society, example Society of Children’s Book Authors and Illustrators, for the same reason.

If you don’t have writing qualifications, or publishing credits, you might just mention other qualifications, your day job, having a family, being a cat’s slave etc. As James Gowan says -simple is fine. Furthermore, this isn’t just the “Why I’m the right person to write my book and a professional writer” paragraph, it’s also the “here’s an insight into what I’m like as a person you may want to work with paragraph,” so you may also want to include a fun fact and or show some personality in the style in which you write your bio.

Sign Off

I wouldn’t worry about, “I have attached x in accordance with your guidelines”. For an email submission -they’ll assume you have, unless you aggravate them by not following their guidelines. But do thank the agent/ acquiring editor for taking the time to consider your work.

Contact Details

I’m not going through Query Shark’s archive to find and link the blog in which she said not to include the words ‘phone no.,’ ‘email,’ ‘twitter’ ‘website’ ect because literary agents can recognise such things. I’m just going to say, save words in the precious query letter word count by just stating each of your contact details -on a new line.

The Query Letter Feedback

I can’t say enough about how important it is to get other writers, with no idea what your novel is about and fresh eyes, to take a look at your query letter. If you can’t see the wood for the trees, seek feedback from writers you know, tweet offering to trade it, or join a Discord Server where writers can trade query feedback. If you’d like to join mine (which is open to all writers, but largely a querying writers support group), let me know by replying to this tweet.

Total Page Visits: 5902

As with your manuscript, judging when your query letter is ready to submit is a difficult decision -and premature querying is common (tips on avoiding that here). Circumstance with critical readers and my editor prevented me from premature querying not once, but twice.

Author bias can you blind you to ‘obvious’ mistakes or unclear sentences etc. Critical readers have an important role to play in helping ensure your query package is truly the best you can produce -prior to receiving a literary agent or editor’s assistance with editing.

Querying Experience Interviews

October 18, 2020 / Elise Carlson / 0 Comments

As a member of a querying writers group, I’ve watched writers wait 6 months to receive full manuscript rejections, or go months without receiving so much as a form rejection for queries. I’ve learned a lot about having realistic expectations and how to tackle the querying process. In these querying interviews, I interview some of those writers, with the aim of giving newly querying writers insights into what to expect on your journey, and advice. And to give those of you already on your querying journey a chance to reflect and possibly tweak your approach to querying.

Where Are You Querying From & Which Genres?

(Scroll right to see Debbie Hadad’s details).

	Cheryl Burman	Alexandrina Brant	Susan Waters	Juliana Savia Clayton	Melissa	Debbie Hadad
From	🇬🇧 UK	🇬🇧 UK	🇨🇦 Canada	🇺🇸 US	🇦🇺 Australia	🇮🇱 Israel
Genre	Historical 🗝	Fantasy 🐉	Scifi 🚀	Dystopian 💣		Scifi 🚀
How long for?	3 years	2 months?	5 months	7 months (Tapered off July to write second).	1 month	1.5 years

What did you Think Querying Would Be Like?

Susan Way, way back I thought it was going to be every door slamming before I could get near it, but then when I learned that normal people can get literary agents, I realised I could be one of them. But at any point you get reminded it’s going to be hard and you’re going to get lots of rejections.

Alexandrina This is not my first time querying. This time round I wanted to go in with my excel spreadsheet and make it as ordered as possible. 10 queries at a time, wait 2 months, do another 10. I came into querying with a definite plan. I didn’t stick to it.

Debbie I think I underestimated how disheartening it could be and how much emotional energy it takes to keep going. If only you could just hand it to an agency to keep submitting or if there was an app like Book Tinder! Put your query up and if an agent likes it they swipe right and get your pages!

Melissa I did a lot of research and had an idea of agents taking a long time to respond, or not at all. I knew it was pretty hard to find an agent -if at all. I never planned to write a picture book. I’m not relying on this to get an agent.

It would be wonderful to be traditionally published for that kind of validation…
–Cheryl

What has Querying Actually Been like?

Susan’s Querying Experience

I definitely know now that literary agents are normal people. Some of them have giant egos. Some of them are very, very humble. You learn which one you might want to work with.

And Twitter is a good way to see, at least, from what they choose to put out there, what they might be like. You still get an idea of their sense of humour and professionalism. It’s a good place to look for red flags, if nothing else.

Susan Personalisation, I don’t know what to do with that. Eg. “I saw on September 17th that you like spaghetti”. [My blog on query letters will address this later this week, and be included in my newsletter going out Oct 23rd].

Cheryl’s Querying Experience

In the UK you can only really query agents directly. The big publishing houses don’t take direct submissions, like some of them do in Australia. It’s a really time consuming process, just hunting down agents who potentially might be interested.

“Because that one (Cheryl’s second novel) is totally in my control… I have made the decision to self publish that. It could have been a minimum of four years before Keepers got on the market. I’ll be on my walking frame by then, so I just want to get it out there. I’m not interested in making gallons of money. That would be nice, though that’s not going to happen.

Alexandrina reclining in a hollow tree trunk.

Alexandrina‘s Querying Experience

Every rejection you get is a knock back. That feeling of ‘do I need to leave this for another month? Do I need to hold back on my next batch? And re-work it and look for more querying partners?

Elise Do you feel like you’re overthinking or being a bit too cautious?

I always go by the reactions I have per round. If I haven’t got a reaction out of ten or from agents with similar things on their list then something’s not quite right.

Alexandrina For my third round, I’m focusing on the whole novel, not just what could be wrong in the opening. There’s always a chance I could get that full request, so I want the whole novel to be the best.

Elise How long do you think querying might take and how long are you prepared to pursue traditional publishing?

Alexandrina I could send 100 queries then call it quits. It depends how much feedback I can get.

Debbie wearing a shirt saying 'Just Don't Care.'

Debbie’s Querying Experience

I sent out a few, then waited a few months. It’s like, will you please reject me? I rewrote my first chapter 6-10 times after letting it sit for a year. Then I got a request.

Juliana’s Querying Experience

Querying my novel was big because it was like a piece of my soul. I didn’t get my first full until June [she started in January]. I’d heard the stories. I thought I was going to beat the odds. I thought my first book was really good. And it is. But it has to be better than good. It has to be marketable, and timely and no-one wants a dystopia when the world is on fire.
–Juliana

When I got that request after 10 queries I was like, “I did it! I’m in. This isn’t so hard. What’s everybody talking about?” And then it was almost a year before I got basically a form rejection.

When I get a rejection I would have a cookie or a shot of bourbon to take the sting away.

I tried to send out a query for every rejection I got, but then you start running out of agents on your list. My list only had 100 agents.

I have 3 full requests out. Two with agents and a like from an Indie Publisher in #Pitmad. I was pretty solid (through the 7 months.) I’m pretty competitive.

To me taking a break wasn’t an option. Which may not be the best thing for my mental health. It naturally tapered to a halt when I started thinking my next book is better and not a dystopia.

What’s been Your Experience of Twitter Pitch Parties?

Alexandrina I’ve not had any likes on pitches, which is always disconcerting, as I feel like I’ve re-worked my pitches several times. This year I’ve made sure I was in DM Groups, commenting on other people’s pitches and being more social about it. It helps with the community.

Cheryl

[In September #Pitmad, Cheryl and her co-writer’s first novel] got 2 likes and… [two agents] asked for a full. We’ve now been waiting two months… [to hear back from one]. It took her two months to ask for the full after the first fifty pages. [The second agent asked for a proposal, then pages, then rejected the manuscript. Cheryl’s longest full rejection took a year to come through.]

Debbie At the first few I didn’t get agent requests. I kept doing them and I got better and more attention. I’ve had agent responses. I’ve had fulls requested through this. I’ve had a weird experienced where agent’s heart my pitches, I’ve started researching them and they have nothing on their list that has anything to do with what I’m writing, like no Scifi [Debbie’s main genre 😉].

Being in a query group has really helped, so you don’t feel alone. I think commenting boosts signal from an algorithm point of view. I like the fake likes… just this guy from somewhere. A kind soul or whatever. I feel better seeing five hearts and one real one than nothing at all, because nothing is so sad.

What have been your Biggest Learnings so far?

Alexandrina Be more social. I never actively searched for a critique partner via Twitter. I never found DM groups. Pitch parties… I feel like I have more confidence to say, ‘Hi. I see you’re doing x, y, z. Do you want to swap pages?’

Susan How much you should be ready to put yourself in a box. They want you to be clearly one thing. I wrote a book about an 18 yo, and it’s not really a dystopia… but it might be, and there’s serious situations, and comedy, and I don’t really know how to do comps but please just read this!

Melissa It’s well worth paying for services like Query Tracker. I learnt the value of it when it was discussed in my query group. Looking back, I probably queried prematurely. I had revised a lot. I did have feedback. But I think I needed to go through again.

Juliana’s Learnings

I didn’t make too many tweaks. I know a lot of people make many on their first pages. I think that way lies madness. At some point you have to let your baby go.

About a month in, when I wasn’t getting the response that I wanted I reached out to an editor, @AmQueryingH, and she’s amazing. She did my query and first five pages. I had the bones of the query, but she really amped it up and that was the query that got me a couple of responses.

I didn’t realise how competitive the market is. Its more about being better than good enough. And a million other things that you don’t know about.

That was such an eye opening moment. It wasn’t my writing. It wasn’t that it was a dystopia. It wasn’t that he thought it wasn’t marketable. It was just that he already had that book.

You don’t have all the reasons why (for a rejection). Sometimes that makes it sting a little less. Sometimes the bourbon makes it sting a little less. And cuddling the cats and a very supportive husband…

Debbie’s Learnings

People always say don’t take it (rejections) personally. To pick yourself up after a rejection is hard. After a while you develop fatalism. It’s like “has my rejection come through yet?”

The more I learned, the more I realised I didn’t know. I learned you need to let it (your manuscript) sit. You are completely blind to the first draft. You have to have other eyes on it. When you read for someone else you pick up patterns. You need someone to help you notice yours and break you out of them.

Listen to feedback you trust. Listen to your gut. If you listen to feedback from everyone, you’ll go mad.

Be willing to implement advice. Get rid of things you really like if it improves the story. You need to be confident enough to think you’re good enough and humble.

You’re blind to your manuscript’s faults because you’re so in love with it that you can’t see what’s wrong with it.

Like phrases you use too much. I removed characters and rewrote from third person past tense to first person dual point of view.

What Advice would you give to Writers Beginning Their Querying Journey?

Melissa I don’t put all my eggs in one basket. You can’t rely on one path to get you through. Have a process for dealing with rejections. (Some writers)… have a dream agent or a few dream agents in mind and I feel like that’s setting yourself up for disappointment.

Alex Take on feedback. Actively look for feedback. Know this agent looks for this because of this interview.

Susan Even if you do fit into more than one category, you have to know how to make yourself fit into the boxes the agents want to fit. Accept that you’ve got to follow the established rule for comps. Actually read at least enough of them to understand why you’re comping it. Ask people who have experience with querying… who’ve gotten to have informal conversations with agents (at conferences). Go to any conferences available to you. If not, find people who’ve been there (not stalking 😉).

Cheryls’ Advice

Do not start querying until you are super, super happy with your manuscript. Give it to as many readers as possible and beg for their honest views. Re-write. Re-write.
-Cheryl

Tell them you’re not just interested in where the commas are. You really want to know if the story works and how do the characters come across. So ask questions. [For an example of possible questions, see my chapter one critical reader checklist.]

Think about your comps very carefully. Think about style, tone, voice -is it similar? Don’t be too specific about the story.

Make sure you read the submission guidelines very, very carefully. If they ask for 50 pages, send 50.

In terms of getting your manuscript ready, make sure you’ve actually written it technically properly… point of view… dialogue.. make sure you learn those things from other writers. From reading books like Dave King and Renee Brown’s Self Editing for Fiction Writers.

Because an agent’s just going to throw it out the door… they need just the slightest excuse to move on to the next one.

Juliana’s Advice

After living the rejections, it gets easier. It really does.

By my 80th rejection it was, “well at least I heard back. That was nice.” I had 5 agents say, “That wasn’t for me, but I hope you’ll keep me in mind for future work.” So make sure you read your rejections all the way through, because it usually comes at the end if they say that…

If they say “I’d love to read this”, that means they want the full…

Keep track of it. Query Tracker is a really good website.

For my future queries, I have that sheet with who wanted more and whose responses were kind and personalised. I got a couple that were kind of scathing like, “consider joining a critique group.” Like, I am. I got one that just said, “Thank you. This isn’t for me.”

I can’t emphasize enough: have a support system. Nobody gets it like a writer gets it.

Debbie’s Advice

Seriously, make a list of 50 people. Collect 100 rejections. Treat it as an exercise. Be persistent. It’s a long long process. Finding an agent by Friday is like walking down the street and finding a bag of gold. It’s like going on a first blind date and expecting that person to be the one. You need to date a lot of weirdos before you find the one. It’s the same with querying.

Agents have to practically marry your manuscript to represent you. They’re going to be going over it so many times and pushing it to other people.

I need to make a decision if I’m going to keep querying or self publishing. I really love my books and I think they are publish worthy. I believe they will find a home in readers hearts. You can’t know if there’s a cavern of gold and you’re centimetres away. We don’t know how far we are from the cavern or if there is a cavern.

I kind of want to say don’t give up because you could succeed tomorrow, but you don’t want to be querying forever.

Debbie Iancu Hadad

Two short stories of mine appeared in the anthology ‘Achten Tan: Land of Dust and Bone (Tales from the Year Between, Book 1)’. Currently querying a couple of YA SFF novels, participating in three different anthologies, writing vss on Twitter and buying way too much stuff on Aliexpress. For my day job I give lectures on humor and serve as a personal chauffeur for my two teenagers. Residing in Meitar, Israel. You’ll find her on Twitter @debbieiancu.

Susan Waters

lives in Ontario, Canada. Her writing, however, usually features her east coast roots, whether by landscape or by culture. Her first novel is an upper YA Speculative Fiction she hopes is the first volume in a series. Currently she’s penning an adult romantic comedy while plotting half a dozen stories, most of which blend science fantasy and humour. You’ll find her on Twitter @storiesbysusan.

Cheryl Burman

lives in the beautiful Forest of Dean in Gloucestershire, UK. Her first novel was a fantasy middle-grade trilogy but she has since taken to adult historical fiction. Her co-authored novel The Shanty Keeper’s Wife is currently being queried and she has also written a romance set in Australia in the 1950s. Her current WIP uses the Forest of Dean as its backdrop and is a magical realism novel about a young woman who becomes a hedge witch – and a little bit more.At the end: She also writes short stories and flash fiction, a few of which have won prizes. She also writes short stories and flash fiction, a few of which have won prizes. You’ll find her on Twitter @cr_burman.

Juliana Savia Clayton

I write young adult novels and picture books. Currently, I’m working on a YA Romcom. I am an active SCBWI member, serving as the Indiana chapter’s Volunteer Coordinator. I am also a member of the Indiana Writers Center. In my day job, I edit environmental documents, and I have one published non-fiction article in my field. You’ll find her on Twitter @kidlit_writer.

Alexandrina Brant

Raised on a diet of Tolkien, Doctor Who, and Agatha Christie, Alexandrina Brant grew up around the city of Oxford, England. After graduating from the University of Reading with joint honours in Psychology & Philosophy, she hightailed it to London to study a Master’s in Linguistics at UCL, where her focus was sociolinguistics and dialect blending. She currently lives in Yorkshire with her husband and two warring cats. Her short stories have been published in several local anthologies and she is working on a Steampunk novel about a linguist’s journey to rescue her fiancé and a Doctor-Who-esque sci fi about lesbian aliens trying to save a corrupt planet. She keeps up with the bookish community on Instagram @lingua_fabularum. You’ll find her on Twitter @caelestia_flora.

Melissa-Jane Nguyen

is an Aussie freelance writer and editor and mum to two little ones. She has writing published in Kidspot and Essential Baby, she sends out a fortnightly newsletter that combines aspects of writing and parenting, and she runs a short story publication with her sister. Melissa is currently working on querying and writing picture books, planning a middle grade novel, and letting a young adult manuscript marinate for a while before turning it on its head and rewriting the entire thing. Melissa is (sort of) becoming an expert at juggling lots of projects simultaneously. If you can get her to sit down for a chat, she’s partial to any kind of tea and will happily relate all she’s discovered about celebrities and topics she has no real interest in but has researched thoroughly as a result of falling down rabbit holes. You’ll find her on Twitter @MJEditing.

Total Page Visits: 1690

Twitter Pitch Parties & Pitch Tips

September 15, 2020 / Elise Carlson / 3 Comments

Twitte Pitch Parties + Mentoring Programs

I know of 9 confirmed and others survival in doubt parties on Twitter (and 1 on a blog) to pitch your novel to literary agents and three author mentoring programs. In this post you’ll find links to each pitch party and mentoring program website, and parties and programs listed by calendar month. You’ll also find detailed advice on effective pitch and party preparation and on making the most of #WritingCommunity support. (Hint, RTs are the beginning -not the end!).

But First… Is your book Ready to Query?

Have you edited your MS for every aspect of character, conflict, story tension etc you’ve read up on? Have you received constructive feedback from critical readers focused on making the book a better reading experience? Did you edit again and possibly get a second (and third round) of critical readers? (Especially if you’re a fellow pantser 😉). Is your query letter up to scratch? Have you researched its contents, how to ‘sell’ the book to literary agents or acquiring editors in your pitch, and received critical feedback?
If not, see this post to kick your query letter into shape!

Which Pitch Party is for Me?

#IWSGpit Most fiction. January 25, 8am-8pm EST, 2023. IWSG Website

#KidLitPit Children’s books from PB to YA. January 26th 11.59pm in your time zone (all/ any), 2023. Website

#SFFPit Fantasy, Sci-fi, Speculative Fiction. August, 8am-6pm EST (Not yet scheduled for 2023. Its unclear if it will continue). SFFPit Website

Savvy Authors Pitchfest begins 9am Feb 15th 2023, June & Oct TBC. This event is by registration on their Savy Authors Site.

#PBPitch -Picture Books- February 16th 2023, June 15th & October TBC, 8am-8pm EST. PBPitch Website.

#PBParty Picture Books. March 1 2023, midnight to 1am EST OR 6pm -8pm EST via Google Form. PBParty Website.

#WMPitch -Picture Books through to YA- April, 8am-8pm British Time Cancelled? Website no longer exists.

#MoodPitch Fiction, all audience age ranges and genres. April 6th and November 2nd 8am-8pm EST, 2023. Moodpitch website.

#Smoochpit Romance. This is pitching to a mentorship program, not literary agents. 8am-9pm EST May 12th 2023. Website

~~#SWANAPit writers from South West Asia & North Africa (countries listed on website). May?~~ Cancelled? Website no longer exists and Twitter account inactive since 2022.

#APIpit Asian and Pasifika Writers, May 5th 8am-8pm 2023. APIPit Website.

~~#Pitmad Most fiction & non-fiction. (2022 TBC): March, June, September, & December, 8am-8pm EST. Pitmad Website~~ Pitmad is discontinued as of 16/02/2022.

~~#LGBTNPit Authors in the Queer Community, special focus on trans & non-binary authors. April 14th 2022, 8am-8pm. LGBTNPit Website.~~ Discontinued as of May 2022.

#CanLitPit for Canadian authors. June, 9am to 9pm (2023 in doubt as the organiser switches jobs. Latest news is this event is currently suspended). CanLitPit Website.

#PitchDis for authors with a disability & neurodivergent authors, June 22nd, 2023, 8am-8pm, PitchDis Website.

#DVpit -Marginalised Writers- August children’s and YA, Adult has moved to Discord (announced here, as of May 2023). Discord invites will be delivered via their newsletter. DVpit Website .

~~#KissPit Romance. 9am-9pm EST, May 6, KissPit Website~~. Discontinued as of July 2021.

#PitDark Dark Fiction. May 25th & Oct TBC, 8am-8pm EST 2023, PitDark Website .

#JoyPitch The opposite of Pitdark, for ‘light hearted feel good fiction and non-fiction’ of all categories and age ranges. June 1st, 8am -8pm 2023. Joypit website.

~~#FaithPitch -Christian Fiction- September (2022 TBC). FaithPit. website~~ Discontinued as of March 1st 2022.

#QueerPitch LGBTQIA+ Authors, August 1st 2023. Queer Pitch Website.

#LatinxPitch -For Latino Writers of PB-YA Fiction- August, 8am-8pm CDT (2023 TBC). Latinx Pitch Website.

#PitBLK For black authors, has been postponed to fall (date tbc, announcement here). PitBLK website.

Indie Book and Author Parties

#ReadGala All authors, genres and categories. Thursday, May 25th & Nov ?, 2023. Website

#SelfPitch For upcoming or recently released self-published and indie-published books. 7am-7pm PDT 13/7/23 Adult, 13/7/23 for Kidlit. Website

Preparing For Pitch Parties

1. Read Pitch Crafting Advice & Successful Pitches

If you haven’t taken this step, chances are there’s a lot you don’t know or understand about how to write a successful pitch. If you don’t know where to find tweet pitch advice, mine is here for starters.

Reading as many strong tweet pitch examples as you can also helps. To find them, search the pitch party hashtag and the hashtags you plan to pitch on. The ‘top’ feed may have some great examples, but it also has rather ordinary pitches by people with lots of rts them, so I also suggest skimming ‘latest’ too.
A third source of inspiration and understanding is successful query letter pitches. Here’s a spreadsheet of 600+ successful query letters by genre.

2. Comparison Titles & Formatting

Use comps in your tweet pitches. They can indicate more about tone, setting and themes than you have room to indicate in your pitch. For tweet pitches, you’re not limited to books published within the last 5 years (unlike query pitches). Film or tv series and older books are ok. Ideally your comps will be recognisable to agents and publishers, and or contrast with each other (e.g. my MG tweet pitch comps were MATILDA X kids INCEPTION). Alternatively, you could have a notable twist on a comp, e.g. gender-swapped (fairytale/ well-known story) or for example Downton Abbey —with witches. Putting your comps in ALL CAPs at the top of your pitch can help them stand out and encourage industry folks to read and pay proper attention to your pitch.

3. Party Hashtags

Agents and publishers will search genre, audience age and marginalised writer hashtags to find pitches of interest to them. Parties like SFFPit have their own official hashtag lists, which aren’t always the same. So whichever party you’re pitching in, check if it has its own hashtag list and if so, use hashtags from that list, so your pitches are seen by industry professionals. I’ve linked every pitch party I know of’s website above.

As you’re identifying the main relevant hashtags for your pitch, and having already chosen comp titles, now is a good time to type your pitch and hashtags into a tweet or do a character count to check each pitch with comps and hashtags fits Twitter’s 280 character limit. If you’re struggling with this, you might want to skip to step 4.

4. Get Feedback on Your Pitches

There are a few options for doing this, the first being great if you’re new to Twitter and don’t know many writers yet.

Pitch Feedback Parties

Like pitch parties, practice pitch parties run on a particular hashtag, day and time. Some general ones are #Mockpit (dates on their website), or #Pracpit ( #Practpit’s website), while some parties have their own practice pitch event. Eg. #WMPitch has #PeerPitch and #DVPit has #PreDVPit. These events are a great way to get pitch feedback if you’re new to Twitter and have few contacts, or want additional opinions on pitch revisions.

Asking For Feedback

If you can’t find or can’t participate in a practice pitch party, you can also tweet asking for feedback, or search your pitch party’s hashtag for anyone offering feedback. Or you can or do a Twitter search of ‘Discord’ and ‘#AmQuerying’ to look for servers which may have pitch feedback channels. If you’d like to join my Craft & Query Discord Server (which has pitch, query letter, synopsis & beta reader channels), let me know by replying to this tweet.

5. RT or Comment Lists

Tweeting offering to add writers to a twitter list where you can RT or comment on each other’s pitches is a good way to encourage each other and to boost your pitch visibility. With so many people pitching in parties, its also an increasingly popular idea. If you don’t want to make your own Twitter list (which stores handles of people pitching so you can check their feed or pinned tweet), I suggest searching the pitch party hashtag for people offering to put writers on their lists.

6. Join a DM Group

Pitch parties can be lonely, stressful and discouraging affairs on your own. Creating or joining a Group DM on Twitter, or a Discord Server to share pitches for RTs and comments, and to chat, commiserate, celebrate successes and cheer each other on makes Party Day much more enjoyable. It gives you a community, whereas spending time on the party’s hashtag feed on your own may give you the feeling of being a drop in the ocean.

If you’re new to pitch parties or have questions about anything, including agents or publishers who like your pitches, a DM Group gives you a bunch of people to ask directly. And as many people in my DM groups have said: pitch parties are more fun in a DM group!

To find people creating DM groups, search the pitch party hashtag in the Twitter search bar. As of August 2022 I still have a pitch party dm group going, so if you’d like to join it feel free to tag or dm me @ElisesWritings asking to be added to it.

The easiest way to share your pitches in a DM is to hit this button

on the bottom right of your tweet after you pitch it. Then select ‘Send via Direct Message’ and select the name of the DM group from the menu. On computer, you can also copy the url from your browser, paste it in the DM and hit ‘enter’ to share it in the group.

7. Tweet to Explain Pitch Party Etiquette

It never hurts to tell your followers you’re pitching and that they can support you by boosting your impressions and visibility on hashtag ‘top’ feeds to industry professionals (you may like to include a mood board for your wip in this tweet). Your followers can boost by comments (which are more effective for Twitter algorithms) and RTs (which make your pitch more visible to writers, who can then comment on them). If you don’t have many followers and aren’t getting many comments or RT’s, the other hashtag feed industry professionals can search is ‘latest’, which shows up EVERYONE’s pitch at the time they tweet it.

The other important thing to tweet is the explanation that during a pitch party a ❤️ is how literary agents and indie publishers request submissions, and that non-industry likes cause disappointment, or leave us fighting hope as we sift through tens of ❤️ ‘s wondering if even one is an actual request.

8. Mind Set

2021 March’s #Pitmad saw over 570k tweets on the hashtag (yes this includes LOADS of RTs). Its possible your pitches won’t be seen by industry professionals and its VERY common not to get industry requests. Some agents and publishers made under 20 requests -period not just per genre- in March’s Pitmad. But if you go in expecting nothing from the industry, and prepare with the goal of improving your pitch craft, making writer friends, and of testing how your pitches are received by fellow writers to learn what works well for future parties and query editing- you’ll be all set for a positive experience.

9. Decide Which Pitch to Tweet First

This is important because your first pitch will get the most impressions, as people who are supporting pitching writers are most likely to retweet and comment during the first hour. So try to identify which pitch sells your character best, makes your conflict and stakes the clearest and most engaging, and ideally also the pitch which has the most voice.
To get maximum retweets and or comments -pitch it in the first 1/2 hour. If you’re not sure how to write a pitch, or don’t know the difference between a pitch, a log line or a blurb (book pitches are different to both and must include certain things to be successful), here’s my post on tweet pitch crafting.

But when do you tweet your other pitches?

Hourly for some parties, but only 2 or 3 pitches max for others. Parties tend to get increasingly quiet after 1pm -especially in the finale hours- so you may wish to tweet all your pitches by as early as 1-3pm. That said, I saw a few agents tweeted that they were beginning to check Pitmad pitches in the last few hours of March 2021’s Pitmad, so if you are online during the party, checking when agents are online is your best way to decide. You’ll sometimes find their ‘I’m checking out (insert party)’ tweets on the party hashtag’s ‘Top’ feed, including agents searching party hashtags the day after the party. If you have particular agents or publishers in mind, you could also check their twitter profiles, as they will normally tweet when they start checking pitches.

9. Schedule Your Pitches on Twitter

Yes, you can use Tweetdeck or Hootsuite, but now you can use Twitter to schedule, so everything is in one place. Whether you’re home all day and awake during a party, sleeping because your timezone isn’t compatible with the US east coast, or working -or both- scheduling pitches takes pressure off you during the party. If you’re online, scheduling lets you focus on retweeting and or commenting on others pitches.

To schedule pitches on Twitter

1. Hit ‘tweet’.

2. Type your pitch.

3. Select this button (beside the emoji button).

4. Select your time and date.

Timezones: If you’re not on US EST time, most parties run on it, except for #WMPitch, which runs on British time and Latinx Pitch. So check your party’s times above (its often 8am to 8pm but again, not always) and convert them to your timezone! If you’re pitching from Australia or New Zealand, remember it’s often the date after the party because we’re a day ahead 😉.

5. Hit ‘confirm’ (top right).

6. Then you’ll see your pitch again. Hit ‘schedule’ (bottom right).

10. Pin your Pitch

This is so writers you know and kind random strangers can easily find and retweet it -if you’re also retweeting other writers and your feed is cluttered with RTs. I’m hearing a lot about how comments do more for Twitter’s algorithms, so I suggest commenting on pitches if you can and asking others to do so for you. (Bear in mind this only works if they’ve got time and it isn’t midnight or 2am in their timezone -fellow Aussies -and Kiwis- I feel your pain!)

To pin your pitch to the top of your profile, after its tweeted, hit the top right ̇ ̇ ̇ then select ‘pin to your profile.’

11. During the Party

Get in your DM group and or the party’s hashtags to comment on each other’s pitches. When you find pitches of writer friends, associates or pitches you like, reply saying what you like about them. We’re all nervous, so acts of kindness like words of encouragement can really make people’s days. And yes, hopefully you will get some of what you have given -and you will have earned it.

12. After the Party

Celebrate, commiserate -ask how writers how they fared and share anything you learnt or ideas you have for next time with anyone likely to participate again. If you pitch in a future party, try and connect with the writers you’ve met this time and see if you can continue supporting each other in future. This is also a great chance, via DM group, Discord or tweet, to offer to trade query letter and synopsis feedback with querying writers.

Whichever pitch parties you participate in, Good Luck!

If you’d like a concise PDF of most of these steps, you can download it on the right.

Pitch-Party-Checklist-4 Download

Pitch Parties By Calendar Month

(To see them listed by type as above, select here)

January #IWSGpit, #KidLitPit & (#AuthorMentorMatch -mentoring).

February #SFFPit, #PBPitch, Savvy Authors Pitchfest

March #PBParty

April #MoodPitch, #Revpit (Revision & Editor Mentoring).

May #APIPit, #Smoochpit, #PitDark

June #JoyPitch, #PitchDIS, #PBPitch, #CanLitPit???

July

August #LatinxPitch???

Sept #SFFPit???, #PitBLK???

October #PitDark, #PBPitch. #DVpit, Savvy Authors Autumn Pitchfest

November #MoodPitch

Dec

*All dates on this post are correct as of April 2023.*

MORE Pitch Parties.

My Pitch Crafting Tips

For a list of resource links spanning Query Letters & Synopsis to Finding & Communicating with Literary Agents, see this post.

Total Page Visits: 8365

Writer Mentoring Events

There are three mentoring programs which involve matching writers with mentors, who will provide manuscript editing notes and help writers hone manuscript for submission, #Pitchwars mentors also help with query package edits. For #AuthorMentorMatch and #Pitchwars the mentors are authors, for #Revpit they are editors.

#AuthorMentorMatch, is run by @AuthorMentorM atch in February.

#Revpit is Revision & Editor Mentoring for MG, YA & Adult Fiction, which begins with pitching on Twitter in April. For more details, visit the Revpit Website .

~~#RogueMentor is a new mentoring program offering mentorships in Northern Hemisphere Summer, Spring and Fall. For more details, visit the Rogue Mentor Website.~~

~~#Pitchwars mentors profiles can be viewed and the submission window for writers to submit via email opens in September. For more details visit the Pitchwars Website .~~ Discontinued in 2022.

Critique. #PassorPages by @OpAwesome6 is for query critiquing. For details on which genres and audience ages you can receive feedback on and when visit their website. Round one is in February, with rounds throughout the year, the last in October.

Querying Your First Novel

Crafting a Query Letter: Suggested Steps

Research: the Content of Query Letters

Research: How to Write Effective Queries

Query Revising and Critical Feedback

What Feedback Should I Discard?

Query Readiness Checklist

Realistic Expectations

Premature Querying

The First Query Round

Rejections

Do Rejections Signal an Issue with My Query or Pages?

Personalised Rejections

Why Was My Manuscript Rejected?

Don’t have a ‘Dream Agent’

So the odds aren’t good and querying is a ton of work- Now What?

Find Your Querying Community!

Where Can You Meet Querying Writers?

Before & During Twitter Pitch Parties

Finding Querying Writers On Discord

Where can I find Literary Agents?

How Long Do I Query?

Things I Suggest Considering While Querying Long Term

Further Reading

Query Letters

Pitch Parties

Expectations

Querying Writer Communities

Publishing Paths Interviews

Halla Williams #Pitmad Success Story

What was pitching your Epic Fantasy like?

Query Feedback

What was your experience of pitch parties and follow up querying?

Query Length

How did you know that you have the right agent?

Good First Impressions

More Good Signs

Good References

What was signing your agency agreement like?

What stage is your book at now, and when might it go on submission?

Is there anything else you’d like to say?

What advice would you give people in the querying trenches?

More About Halla

Further Reading

Signing with an Indie Publisher -3 Author Interviews

What was your experience of querying?

Nikky

Which pitch parties did you participate in and what responses did you get?

How long were you querying all up?

Was your contract a result of cold querying or a pitch party?

How did the way you got it and how long it took compare to your expectations?

Alexandra

When did you feel like you got the hang of pitching?

C. G.

C. G.’s Querying Experience

When did you feel like you got the hang of pitching?

Which pitch parties did you participate in and what sort of responses did you get?

How long were you querying all up?

How did the way you got a publishing contract and how long it took compare to your expectations?

Querying Specs

How did you know you had the right publisher?

Alexandra

Nikky

C. G.

What stage is your novel at?

What Advice Would You Give Querying Writers?

Alex

Nikky

C. G.

Is there anything else you’d like to say?

Alex

C.G

Alexandra

Nikky

C. G. Volgars

Further Reading

Comprehensive Query Letter Tips

Beginning Your Letter

Line One

Paragraph One