Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
I am happy to end September with a fresh Query Questions interview with Michael Carr of Veritas Literary Agency. He seeks Historical Fiction, Women's Fiction, Science Fiction and Fantasy, and also Nonfiction.
There are better and worse times
to query, but they aren’t seasonal, and so sadly, they can’t be predicted by
writers. When I’m busy with client manuscripts or have just taken on a new
writer, there’s no question that queries are going to be read more quickly and
with a jaded eye. My bandwidth at those times is narrow.
Does
one typo or misplaced comma shoot down the entire query?
No, but it certainly doesn’t
help. A query should be one page, and if that one page is sloppy, poorly
written and edited, you can bet I’m expecting a manuscript that reads like a
rough draft.
If it’s in one of the categories
I represent, I almost always take a glance at the writing. If the query is
weak, it might be only that, a glance. A good query earns more of my attention.
Do
you have an assistant or intern go through your queries first or do you check
all of them?
That
depends. We have in the past, or we’ve had agents take turns with the entire
slush, weeding out most of them in an initial pass. Right now, I’m reading all
of my own queries, but managing workload by being ruthless about not responding
to people who are querying me about inappropriate projects. It’s hard enough
staying on top of the well-targeted queries.
Do
you keep a maybe pile of queries and go back to them for a second look?
Yes,
occasionally. Most mornings, I expect to reject all of my queries. The simple
math says that in a given year I can only take on a couple of new clients, so I
have to be very selective. Every once in a while, the quality of queries will
surprise me, and I’ll have to give a couple of them more thought when I’m not
comparing them to a whole batch of others.
Sure, if it’s good enough to hook
me. If it’s not good enough to hook me, maybe the book doesn’t need a prologue
in the first place. And if it’s a great hook, why not call it “Chapter One?”
Doesn’t hurt, but doesn’t really
matter to me personally.
Some agencies mention querying
only one agent at a time and some say query only one agent period. How often do
you pass a query along to a fellow agent who might be more interested?
I pass along queries that are
more appropriate for one of my colleagues. Query one agent, please.
Do you prefer a little
personalized chit-chat in a query letter, or would you rather hear about the
manuscript?
Get to the point! There’s plenty
of time to chat and get to know each other if I connect with the writing. In
fact, I’ve seen writers shoot themselves in the foot with the chit-chat when
it’s clumsy or awkward. It’s usually bragging (“I’m going to make you rich!”)
or inappropriate comments that make me think this writer is going to be
difficult to work with.
Most agents have said they don’t
care whether the word count/genre sentence comes first or last. But is it a red
flag if one component is not included?
I prefer category and word count
up front, but location doesn’t matter all that much. I do like to know both of
these things, of course. I can’t sell a 45,000 word epic fantasy or a 375,000
word historical. Round to the nearest thousand words. “86,437 words” gives off
an amateurish vibe.
Writers hear a lot about limiting
the number of named characters in a query. Do you feel keeping named characters
to a certain number makes for a clearer query?
Absolutely.
Your job is not to tell me about every character and subplot, it’s to hook me
into reading your pages with increased attention.
Should writers sweat the title of
their book (and character names) or is that something that is often changed by
publishers?
A good title can help attract
interest, but they’re hard to do right. I get that. In fact, my two most
recently signed clients submitted with titles that we brainstormed into
something better before we went on submission.
This really varies. The high
point of the year might be the flood of queries I get about two weeks after
NaNoWriMo ends. Many weeks I request nothing. I probably request 15-20
manuscripts for every author I sign, so if I sign one or two authors a year . .
.
Many
agents say they don't care if writers are active online. Could a twitter
account or blog presence by a writer tip the scales in getting a request or
offer? And do you require writers you sign to start one?
Nah,
this doesn’t matter to me. In my mind, the best promo for a writer is more
high-quality writing. I’m speaking largely of fiction, which is 99% of my
queries and 90% of my clients. If you love social media, go for it. If not,
keep your head down and write.
Some
writers have asked about including links to their blogs or manuscript-related
artwork. I’m sure it’s not appropriate to add those links in a query, but are
links in an email signature offensive?
I
don’t think it matters all that much. I’d leave them out, I guess, since you’re
trying to avoid distraction.
If a
writer makes changes to their manuscript due to feedback should they resend the
query or only if material was requested?
Absolutely
only if requested. If I want an R&R (revise and resubmit), I will be
explicit.
What bio should an author with
no publishing credits include?
The best “bio” for a fiction
writer is an excellently written book. Don’t worry about impressing me with
your accomplishments. In most cases, they either sound unimpressive or they are
impressive in non-writing ways. Either way, that doesn’t help. Just hook me
with the query and write a book I can’t put down.
It’s a polite phrase. Sometimes
it means just that, like going to a bookstore and taking a book off the shelf
and then putting it back. You’re not making a value judgment about that book,
you’re choosing to buy something else with your limited time and money.
Other times—and let’s be honest
here—it means the writing is wretched. But why would I say that? Not only would
that be unkind, but bad writers sometimes become good writers. If you want to
be a writer, I advise setting aside the rejections when they come and keep
working on your craft. Obsessing over them won’t help.
The number one difference I’ve
seen between writers who make it and those who don’t is word count. Don’t
compare your output to other aspiring writers, compare it to working
professionals. I can’t emphasize this enough: you’re probably not writing
enough.
I can be. It depends on the
writer. I definitely give feedback, and I try to pay it forward when I can. For
this reason, I like teaching at two or three conferences every year.
Oh, good heavens. There’s weird
stuff on a daily basis. I was asked on a date in a query once. That was . . .
unexpected. Don’t do weird stuff. Please.
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Associate Michael Carr is a literary agent with a background in editing and writing, working from a home base in the Northeast. He works carefully with clients to produce the cleanest, most professional manuscripts and enjoys teaching at workshops and conferences to help develop emerging writers. Michael speaks Spanish and conversational French and before joining Veritas had professions as diverse as programming simulators for nuclear submarines and owning an inn in Vermont.
