Writing and Publishing Q’s

1. I wrote a book. What now?

   Yay! Congrats! Writing is hard, but not as hard as finishing a novel. Don’t forget to celebrate yourself. The next thing you’ll want to decide is what publishing path you want to take, if you want to take one at all. Publishing, trad, indie, and self alike, can be quite stressful, especially when you’re getting started. Assess your options and what feels right for this book in particular, and go from there.

2. I want to traditionally publish my book. Where do I start?

   Trad pub has a lot of gatekeepers to pass before you can get your book in the hands of a big publisher. The first step is (usually) signing with a literary agent. The second step is getting your agent to submit your book to acquiring editors at Big 5 and major publishers. If you’re lucky, an editor will fall in love with your book and offer to buy it.

   There’s a lot of luck involved with this process, truthfully. There are a number of variables that all have to line up perfectly in order for you to make it through the gate, and the truly frustrating thing is that not all of them are in your control. Here are a few things that are:

   • Writing an awesome book.

   • Finding critique partners and beta readers who help you grow and better your craft.

   • Learning to differentiate between critical feedback that will help improve your craft and bad feedback/advice (or feedback/advice that doesn’t work for you personally).

   • Writing an awesome query letter (scroll down for more info on the elusive query letter).

   • Recognizing schmagents (bad agents), predatory publishing practices, and bad actors in the industry and steering clear.

   • Becoming an active member of the writing community online, making friends, and lifting each other up the way only writers can.

3. What if I want to self publish?

   Unfortunately, I’m the wrong person to answer this question. This isn’t my avenue of expertise, so I’d recommend finding someone who’s self-published successfully and sharing that process and transparency on their platform. They’re definitely out there, I’ve crossed internet paths with them!

4. What’s a query letter?

   A query letter is what you send to literary agents you’d like to represent you, in addition to sample pages per agency guidelines. It’s essentially a pitch letter that tells the agent what your book is about as well as a brief bio about yourself. If an agent likes what they read they’ll ask for the full manuscript, so it’s important that you only query agents when you have a complete, polished manuscript ready. Some agents may ask for a full synopsis of your book with spoilers, so you should have that on hand before you query as well.

5. How do I write a query letter?

   Great question! There are a few standard things your query letter must include in order for an agent to consider your work. Remember to also read over the agency’s guidelines carefully before sending off a query. The agency guidelines should tell you how long the query letter should be, which is usually no longer than one to two pages. Try to keep it as brief as you can. Generally, your query letter should include:

   • Introduction paragraph: Your name and a brief introduction about why you’re querying this agent in particular (they rep your genre, your book matches something in their MSWL, etc), the title of your manuscript, genre, age range, word count, comp titles (published books similar to your book), elevator pitch (optional, usually looks like “The Hating Game meets The Unhoneymooners”), and anything else the agent wants included per their agency’s guidelines.

   • Body paragraphs (2-3): What your book is about. When you go into a bookstore, the way you find books you’re interested in is by reading the back cover that tells you what the book is about. If you’re having trouble writing about your book, try analyzing the blurbs of your favorite books. Identify how key characters are introduced and described, as well as important plot points, conflict and stakes. Try and emulate that in your query.

   • Bio: This is where you share a bit about yourself! It doesn’t have to be long, and don’t worry if you don’t have any previous writing credits. An agent will assume you’re a debut unless you list any previous published work. Just say who you are, where you work, what kind of stories you write, any important facts about you that relate to the book you’re querying, etc.

   Your query doesn’t have to be perfect, it just has to be the best you can possibly make it. It may also be a good idea to let your CP’s read and critique the letter (your writing can always be improved, including your queries!) The body paragraphs are the most important part of your query, so make them shine!

6. How do I find agents to query?

   There are many different ways to find agents. The acknowledgement page of your favorite books are often where authors will thank the people who helped get them published, including their agent. Googling the agent’s name should direct you to the agency they work for, where you’ll find even more agents. Searching an agent’s or agency’s name on social media and perusing through the suggested following will also lead to finding more agents and agencies. The Query Tracker website is another great way to find agents, as well as stats on specific agent’s response time and more. The MSWL (manuscript wishlist) website is another great source for finding agents, but be sure to double check the info you find with an agency’s website because you may found out of date info or agent’s who’ve left the industry. Be sure to only query agents who’s inboxes are open to unsolicited queries, and make sure they represent your genre and age range.

7. Yay! An agent wants to represent me! What questions should I ask on The Call?

   Amazing news! You’ve achieved what every querying writer dreams of! Take a moment to squeal in glee and celebrate. Now, we prepare for a phone call. You’ll want to get to know this agent, their editorial and communication style, their experience in the industry, and more before ultimately deciding if they’re a good fit for you and your projects. Here are some questions you should ask them to decide if they’re right for you:

   • How long have you worked as an agent/in the publishing industry?

   • How many books have you sold? (Zero sales isn’t necessarily a bad thing if they’re new, just be sure to ask if they’re being trained by experienced agents).

   • What percentage of my commission do you get if my book sells? (Industry standard is usually 15% of your advance, sometimes as high as 25% for foreign and film rights.)

   • What is your editorial vision for my book? How much work do you think it needs before going out on submission to editors? What are some developmental changes you’d like to see in edits? (Their answers will tell you a lot about how they see your book and if your visions align. Decide if you like what changes they have in mind and how willing you are to implement them. If you don’t like or agree with something they say, bring it up to them and see what can be done about it. If you arrive at a stalemate or are unsure how to proceed, do a gut check with yourself. It’s always better to have no agent than the wrong agent.)

   • What imprints do you think my book would be a good match for? OR When you imagine my book in a bookstore, what titles are next to it?

   • What is your communication style like? How long does it take you to answer emails? How long is your turnover for manuscripts? (This is obviously going to vary from agent to agent, and will also depend on how many clients they have. Decide how comfortable you are with their answers and how you’d like to move forward.)

   • What will happen if you ever decide to leave your agency? What about if you decide to leave agenting?

   • If this book doesn’t sell, will you represent my next project? What happens if I decide to switch genres/age range?

     Some further advice: do NOT accept representation on the spot. Tempting as it may be, a reputable agent will let you take two weeks to think over your decision, provide you a chance to talk to their clients, and inform other agents who have your query/full about the offer. Also be sure to read over the contract carefully and ask for clarification if needed. If they don’t provide you with a formal contract, run as fast as you can. If they’re charging you any amount of money to represent you without selling your book first, RUN. An agent only gets paid when you do, and even then you aren’t the one paying them directly. The publisher is. Remember this, and don’t let yourself fall prey to shady practices.

     If an agent is unwilling to answer questions or evasive/vague in their answers, be wary of them. They should be willing to answer any questions you might have, unless it concerns personal details about another client. If an agent pressures you into giving an answer right away, is unwilling to provide you a chance to talk to their clients, or unforthcoming about their experience in the industry, RUN. Red flags don’t always have price tags, but they’re easier to spot when they do.

8. How much does it cost to traditionally publish my book?

   NOTHING! For as many hoops as you have to jump through to get your book traditionally published, it’s worth it for many people for one reason and one reason only: you aren’t required to spend a single cent. If an agent is asking for money to read your query, run. If a “traditional publisher” is asking for money to publish your book? Run.

   That being said, if you can afford it and you’re interested, there are a few things you can pay for that may make your querying journey easier. These include:

   • Query Tracker membership (they offer a free version as well, but their membership has more perks and stats that may be helpful).

   • Publishers Marketplace membership (this is a good option if you want to keep an eye on what kind of books agents are selling, as well as how many books an agent has sold).

   • Critique Packages (some published/agented authors, agents, and other publishing professionals offer detailed feedback on your query package. Could be worth it to you if you’re having a hard time finding critique partners.)

   • Writer Organizations (RWA, etc.)

   I’ve heard of many writers hiring freelance editors for books they plan on traditionally publishing. This, IMO, is highly unnecessary and ultimately not worth the high price tag. (From my understanding, you should only seek freelance editors if you plan on self-publishing your work.) I just wanted to put this out there to dissuade anyone seeking traditional publishing from hiring freelance editors, because they can be quite expensive. If you think you might learn something from the experience and are willing to pay the cost…I’m rooting for you, but my cheap ass does not understand you LOL.

   In the interest of transparency, I did not pay for any of the above and still managed to land an amazing agent and book deal. Here’s what I did pay for (or had help paying for) that helped to propel my writing career:

   • My laptop (paid for by my generous parents my third year in college).

   • Scrivener (a software for writers to help organize their novel).

   • A college education, which includes a concentration in Creative Writing (paid for, again, by my generous parents).*

   • An internet connection

     *It’s worth noting that no high school or college education of any kind is necessary if you’re pursuing traditional publishing. In truth, there are very little requirements to trad pub, but having some kind of formal education does give you a leg up in the game (ahem, it’s called privilege). But don’t be discouraged if this isn’t your experience. There are plenty of other ways to gain the necessary skills to become an excellent writer that don’t require a formal education of any kind.

9. Do I need critique partners? How do I find them?

   Controversial opinion alert: you don’t necessarily need to have CPs, but they can certainly help you out a lot. There are many writers out there who successfully snagged an agent and/or book deal without one. In the interest of transparency, I had a CP who only read the first third of my manuscript before I started querying the book that landed me my agent and subsequent book deal. Finding CP’s at your level who read/edit at your pace can be time consuming, but also deeply worthwhile to your growth as a writer. Plus, every writer needs writer friends they can depend on and commiserate with.

   I’ve worked with three CP’s, and found them all in three different places. My college critique group, CritiqueMatch.com, and Twitter. They’re all wonderful people and writers, and they all benefitted to my growth as a writer. I hope I helped them grow as writers as well, because that’s the best case scenario when you work with CP’s: by exchanging pages, you help each other to become even stronger writers.

   In my experience, a good CP will build up your confidence by complimenting what’s working in your draft, thoughtfully note what isn’t working and why, and provide suggestions on how to fix it (though not all of their suggestions might work for you). If I learned anything from my college critique group, it’s to pay attention to the overwhelming majority. If you’re getting feedback from multiple sources about the same issue in your manuscript, listen to what they’re saying about what the problem is and how it can be fixed. For anything else, you decide what resonates, what doesn’t, and how you move forward in going back to edit your work.

   All that being said, whether you want to work with CPs or not is going to be a gut check moment for you. There are other ways to level up your craft (close reading/analyzing, craft books, etc.) You decide what’s best for you.

10. Hey Gabby, how did you get your agent?

    I’m so glad you asked. I wrote all about it in an Instagram post. You can read it here.