Tag Archives: literary agents

writing

Write more

When it comes to writing novels only one thing is easier—knowing I’ll finish. I have a confidence there where there used to be gnawing uncertainty that I might be wasting my time. Now I know that I can probably crank out two a year if I have an outline for them. That’s vastly comforting. But there are other parts to the writing process that will never get easier. 

1. Revising. There aren’t any shortcuts. I revise quite a bit before my agent and editors take a peek, and then revise more after they give me their comments. I don’t think anyone writes the Golden Draft…maybe I’ll produce a copper or bronze one someday. :)
2. Waiting. Once I send work to my agent, he sends it out on submission…and I wait. Sometimes the wait isn’t all that long, but sometimes it’s months. I try to deal with it by writing more. And if there’s a deal, then there’s another wait on the contract (which is where your agent truly earns his money and is worth every penny of his commission). Sometimes that wait is only a month or so, but I’ve also had to wait close to a year because of problems with boilerplate contracts, and my agent had to take on Viking Death Ships full of lawyers. (Luckily, he ate his spinach.) And after the contract is finished and you sign it, there’s another wait for the money to arrive—anywhere from a couple of weeks to three months, depending on where it’s coming from. If there isn’t a deal, well then…
3. Rejection. It still happens. Getting published once isn’t a golden ticket to getting published again, and getting published in the U.S. doesn’t mean other countries are going to hand over bags of money for translation rights. One market will look at my series and say “Gimme!” and another will look at it and say “Meh.” The answer to rejection, like waiting, is to write more, because otherwise I might chew glass. 
4. Fear of #3. Even though I now know beyond a shadow of a doubt that I’m capable of writing publishable books, I still look at my writing at times and conclude that it isn’t good enough. “Whine,” I say to my wife, “whine whine this sucks whine whine.” She tells me to shut up, I do, and write more. It’s the only thing that can possibly make the sucking stop, after all.
Right now I’m enjoying coffee with this seasonal creamer in it—it’s called marshmallow mocha. Mmm. Hope you’re taking advantage of the season’s opportunities for warm, comfy drinks. And writing more.
writing

Speaking to the APW

A couple months ago, the Rim Country Chapter of Arizona Press Women invited me to speak in Payson about writing genre fiction and how I got my start, and I accepted gladly. I’ve had plenty of practice keeping high school kids entertained for an hour, but could I do the same with adults? It turned out to be two hours. Once I got going I found out I had more to say than I thought. And they paid me a huge compliment—when the organizer asked about halfway (??) through if anyone wanted to stop and take a break, no one wanted to go! So that gave me warm fuzzies and I’m glad it wasn’t a snorefest.

It was held at the East-West Book Exchange, an extremely cool little place with some gift shop goodies and a coffee bar (free wifi!) in addition to books and a lovely room that they rent out for yoga classes and small events like mine. Owners Chip and Lisa Semrau are gracious people and their mochas are fantastically good. Like holy-crap-I-think-Starbucks-sucks-now kind of good.

There were 35 people there, which I thought was fairly decent considering that I haven’t even been published yet. Many of the people I spoke to had already been published in nonfiction markets but were curious about how to break into fiction, so I explained why getting an agent is a Really Good Idea and how one might best accomplish that, and I also spoke about urban fantasy tropes and the glorious fun of steampunk.

I saw some folks in the audience taking notes and they had some great questions afterward, so I hope it turned out to be helpful. I like to think of the market as a giant pie, and everyone should have a slice.

Mmm…pie.
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The Meat of a Query Letter

Hounded will be published one year from today. Is it too early to start a countdown?

Hmm. Probably.

While staring at the calendar and willing it to turn faster, I’ve been reflecting on what got me this far. Writing the book sure helped, of course, but writing the query letter got the book looked at in the first place. Lots of writers never get their book seriously considered because their query letter doesn’t snag an agent’s interest.

I’d actually suggest writing a query letter as a method of focusing your writing if you’re in the process of completing a project now. Distilling your project down to its essentials can be wonderfully clarifying if you’re flailing about with subplots and how you’re ever going to end it.

The meat of your query should focus on your main character’s conflict. What is at stake for your character, and what kind of heck must he/she endure before that conflict gets resolved? You put other goodies in a query too, like word count and marketing possibilities and maybe a wee bit about yourself if it will help you sell the story—but all of those are side dishes. Focus on the meat. You won’t be able to dwell on subplots very much and that’s okay—after all, if they don’t want your main plot, they’re not going to want the subplot(s) either.

My query letter got me several requests for partial manuscripts, a couple of full requests, and one whole agent (which is all you need). The meat was in the first three paragraphs. In the last paragraph I included the word count and genre, mentioned its series potential, and asked if I could send the manuscript. To celebrate the beginning of my year-long countdown to publication, below is the meat of my query letter for Hounded:

Atticus O’Sullivan has been running for two thousand years, and he’s a bit tired of it. After he stole a magical sword from the Tuatha Dé Danann (those who became the Sidhe or the Fae) in a first-century battle, some of them were furious and gave chase, and some were secretly amused that a Druid had the cheek to defy them. As the centuries passed and Atticus remained a fugitive—an annoyingly long-lived one, at that—those who were furious only grew more so, while others began to aid him in secret.


Now he’s living in Tempe, Arizona, the very last of the Druids, far from where the Fae can easily enter this plane and find him. It’s a place where many paranormals have decided to hide from the troubles of the Old World—from an Icelandic vampire holding a grudge against Thor to a coven of Polish witches who ran from the German Blitzkrieg.


When Atticus hears from the Morrigan that his nemesis, Aenghus Óg, has found him again, he decides to stay and fight rather than run. In so doing, he becomes the center of a power struggle among the Tuatha Dé Danann, where the sword he stole is the key to a plot to overthrow Brighid, first among the Fae.

That was all the meat I wrote. I doubt my agent pitched the book in the same way, and that’s not what you’ll see on the back cover of the book, but it worked. I left out a couple of gods and some werewolves and an Irish wolfhound named Oberon, but none of that was the meat of the story.

If I may, I highly recommend a site called the Absolute Write Water Cooler. Here’s the link. They have a Share Your Work section where you can post your query letter and get feedback on it. I didn’t discover it until after I’d already written mine, but it’s clear that it helps many people. They have lots of other forums too, and it’s a great community made up of published and (as yet) unpublished authors.

Okay. Is it 2011 yet?

writing

Three Writing Myths Busted

I like encouraging folks to write. It gives me warm fuzzies. I think most everyone has a story to tell, and if they want to work at it hard enough and long enough to tell it very, very well, then they should be able to find an audience for that story and someone willing to pay them for it.

But it can be discouraging, I know, to work for so long on a project with no certainty of it ever sitting on a bookshelf with its own cute little ISBN barcode.

Luckily, there’s some encouragement to be had. Fantasy author Jim Hines recently conducted a survey of 246 published sci-fi/fantasy authors about how they sold their first books, and the full results of that survey are now posted on his blog. Here’s the link to his awesome work, please check it out.

Though it’s obviously skewed toward sci-fi/fantasy authors, it contains information that should be useful to everyone, and busts a few pervasive myths. I’ll highlight a couple of them here and throw in my personal, anecdotal info.

Busted Myth #1: You have to sell short fiction first. 
Out of 246 authors, 116 sold a book without ever selling a short story. That includes me. (I participated in Jim’s survey.)

Busted Myth #2: Traditional publishing is dead, self-publishing is the way to go.
Not so much. There are huge, isolated success stories—Christopher Paolini is the one that comes to mind—but the key word here is isolated. Those kinds of success stories are anomalies. Out of the 246 surveyed authors, only one self-published first before getting picked up by a major publisher.

Busted Myth #3: You have to know someone in the business to get published.
140 of the authors (over half) had no contacts at either their agency or their publisher before making their first book sale. I’m one of those. I know four whole people in the industry now, but I still haven’t met them in person: I know my agent and a colleague of his, and I know my editor and assistant editor at Del Rey. But I “met” my agent through a query letter. And I didn’t “speak” to my editor until my agent made the deal. So the proof is there and it’s solid: you can get into this business based solely on the power of your written words.

There are many more nuggets of golden info to be found in the survey—I highly recommend it—but here are the last couple of stats I’d like to point out: It seems most of the authors sold their first books in their mid to late 30’s. (I was 38 at the time of the sale.) And while 58 authors sold the first book they ever wrote, many wrote 2-4 books before they got their first sale. I wrote two other books before I wrote Hounded and learned so much in the process. I also learned quite a bit from the process of writing Hounded; I wrote the next book in the series more quickly and it didn’t require as much editing.

Hopefully this info will encourage some of you on your journey to getting published!

writing

Fascinating info on the biz

Fantasy author Jim Hines conducted a survey of 247 sci-fi and fantasy authors—myself included—on how they broke into the business. The information should be interesting (even encouraging) to anyone trying to make their first professional sale. Here’s the link. This is only part one of several blogs where he’ll break down the data, so stay tuned for more updates.

Many thanks to Jim for putting this together. The numbers show that the self-publishing route is pretty grim; but it also shows that a surprising number of people have broken into the industry without an agent and without a single short story sale.

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On the Necessity of Agents

Okay, okay: you don’t need an agent. Unagented writers happen, and they will continue to happen, though their appearance is about as predictable as a lightning strike. You might be a bolt of lightning and your book will one day shock the world. So let me explain why you may want an agent.

Agents can submit your book simultaneously to as many publishers as they want. Publishers let them do that kind of stuff because the agents know them, take them out to lunch, etc. There’s a personal relationship there that you don’t have; an agent can pick up the phone and talk to an editor right now, and let that editor know she’s about to receive your completely spiffy book and she won’t want to put it down. Said editor will drop whatever she’s reading from the slush pile and read the agent submission instead.

As an unknown author, you can’t do that. If you pick up the phone and call an editor without being invited to do so, you’ve probably destroyed your chances of getting published there. You have to submit your work exclusively to one publisher at a time and wait for them to get around to you in the slush pile—and it can be a long wait, because agent submissions take precedence over yours.

Case in point: I submitted one novel to a publisher (who shall remain nameless) and they sat on it for a whole year. Imagine a year of nail-biting suspense with concomitant acid indigestion: it’s not fun. To take my mind off the fact that I still had no news, I wrote a different novel—HOUNDED, as a matter of fact—and found an agent who wanted to represent it. My agent submitted HOUNDED to the same publisher and they bid on it in two weeks. They also got around to finally rejecting the first novel I sent them! (I’ll work on that—it’ll get out there eventually!)

Selling your book quickly is the first reason why you might want an agent: they can simply do it faster than you because they can make editors take notice of your work. The second reason to have an agent is that they take care of things like contracts and overseas sales and negotiations over rights and endless other minutiae that you, as a creative person, are probably not built to handle well. When Evan (my agent) just says the word “boilerplate,” my eyes begin to glaze over, and that’s before he gets into any details.

The third (and probably best) reason to want an agent is that you’ll have a partner in your writing career who wants you to do well, because he or she will prosper as you prosper. And that partner is looking out for your long-term business interests, keeping a finger on the pulse of the market, and pushing you to grow creatively.

I’ll post a separate entry on my actual quest for an agent and offer some tips for those who don’t have one yet.