So everyone's at a different point, but what I'd love to get to know is more of what an agent thinks as she is reading a query, first chapters, or a full. What make a query or book jump out at you? I know there's a million variables, but is there some sort of checklist of plot / exposition / structure / character / originality / voice / description / pace that agents look for in a book that gets deemed 'sellable'? Are there some basic mistakes you see amateurs make that writers hoping to be commercially published can avoid? More insight as to what makes a query pop. I know that's an impossibly hard question to answer! But maybe by sharing enough of the examples (50 queries) and those great queries that land, we can start to see what connects and what misses.
Also, publishing seems to move at a geological pace. That can really wear people down. Your periodic encouragements and recognition of how slow everything is, telling us hand-wringing writers that no, it's not us and our manuscript, it's really just how the whole system works - that's very much appreciated.
I had to choose to hear more about "children's books, all ages." But I'm not interested in all ages, tbh. If it's info specifically about young children's books, I will skip it. I'm interested in YA and adult. But I appreciate all your advice that's general and applies to everyone!
This was an interesting survey in that it kept my interest all the way through! Well done!
As to what I would like to see more of here...
I'm a mature already published writer who has switched from writing non-fiction to fiction. While I do have an agent, my fiction currently remains unpublished. I would love to see more about this subject, of switching mid-career, and also being a mature writer trying to succeed with literary fiction.
Thanks again for your newsletter! It really is a treat to read!
Well of course, one hopes this newsletter will result in *the perfect* query & etc etc but barring that, reading this newsletter is like having a conversation with a smart funny friend. So the “Kate voice” is a lovely voice to have as company in the querying trenches. And I can imagine a book version of this newsletter being a huge hit - up there on the shelf next to Allison Williams’ Seven Drafts & Matt Bell, etc.
I loved your post about the exact $$$$ numbers behind publication. I wish more professionals in the industry would make these numbers public. They covered this in my grad program, both how many debut books are on average sold (hardly any) and how much a new author contract generally is (not enough to live on), and it was more impactful than any other single lecture of the entire program. Should be required in every MA/MFA program out there in my view.
One thing I’d like to read about is what to do when you keep getting praise in your ms rejections and yet, they’re still rejections. It feels impossible sometimes to find an agent who has time to take on new clients (though they’re open to queries and asked for a full), who feels they are the right person to represent this book, and all the other responses like this I’ve received. This isn’t a complaint, I’m just at a loss as to what to do and what I’m doing wrong.
I have rejected plenty of books I thought were good, that I could compliment highly, but that I couldn't represent for any number of reasons, including time, (my) experience, market, or just some gut feeling. Those are things you can't control. You aren't doing anything wrong that is making an agent think those things. I know you're saying "yeah yeah but if it was GOOD enough, they would do it!" and maybe that's true. But I have still rejected plenty of "good" manuscripts. This is not a helpful answer, I know. The compliments in rejections are there to soften the blow, and are still true regardless of the fact that it's a rejection. All you can do it keep writing.
Thanks for keeping us sane with your wit and knowledge that is actually helpful! And, thanks for the list of previous newsletters! I can't wait to read the ones I've missed!
Great poll, Kate :) I think my biggest concern with the publishing industry is the systemic imbalance of power. We've seen it laid out in the PRH case and again with the WGA strike, where creators are being taken for granted, getting bad deals, and being left with less power to challenge the system. On that point, I'd love to see more information on how the industry is changing (not just genre trends, but stylistic trends, pragmatic/logistical trends, demographic trends, etc), and how professionals in the industry think it *should* change - where are the opportunities to shake it up, to take more risks, to showcase more diverse stories and voices, to create a more diverse publishing ecosystem? And how can writers (and agents) be a part of that?
In a strange spot where I am a published ghostwriter of a nonfiction book (unghosted on the cover w byline credit) and I wrote the proposal that garnered a hefty advance—but still feeling like a complete outsider/fraud because I am trying to write and sell a novel! More info about genre jumping would be very interesting to read about :) ❤️
I sincerely appreciate all the information shared — the reason I probably wouldn’t buy a book form is 1) given the variety of topics covered it doesn’t seem reasonable enough of the specific interests I have could be featured; 2) the nature of publishing appears (to my uninitiated eyes) to be quite fluid, with changes occurring all the time, so the blog/newsletter format is a better match.
The book I’ve begun is narrative nonfiction re sociopolitical aspects of cultural heritage and tourism at archaeological and religious sites for an educated but general adult public, so it’s quite possible it’s too small a niche to be worth much space in a future Agents & Books book. I know my book will be weird, and my questions about publishing not perhaps general enough. I’ve enjoyed my subscription, though!
I would really like more conversation dealing with the space between getting an agent and getting a deal! Once the querying is done and you’re editing with an agent or on sub, just how to exist in this in between world without losing sanity haha
So everyone's at a different point, but what I'd love to get to know is more of what an agent thinks as she is reading a query, first chapters, or a full. What make a query or book jump out at you? I know there's a million variables, but is there some sort of checklist of plot / exposition / structure / character / originality / voice / description / pace that agents look for in a book that gets deemed 'sellable'? Are there some basic mistakes you see amateurs make that writers hoping to be commercially published can avoid? More insight as to what makes a query pop. I know that's an impossibly hard question to answer! But maybe by sharing enough of the examples (50 queries) and those great queries that land, we can start to see what connects and what misses.
Also, publishing seems to move at a geological pace. That can really wear people down. Your periodic encouragements and recognition of how slow everything is, telling us hand-wringing writers that no, it's not us and our manuscript, it's really just how the whole system works - that's very much appreciated.
As always, you're hilarious. Please open to queries so I can get on my knees and beg you to be mine. Professionally.
I had to choose to hear more about "children's books, all ages." But I'm not interested in all ages, tbh. If it's info specifically about young children's books, I will skip it. I'm interested in YA and adult. But I appreciate all your advice that's general and applies to everyone!
prob wouldnt read the book (im a proofreader and writer and my eyes are tired all the time) BUT would 100% listen to podcast eps or audio format
This was an interesting survey in that it kept my interest all the way through! Well done!
As to what I would like to see more of here...
I'm a mature already published writer who has switched from writing non-fiction to fiction. While I do have an agent, my fiction currently remains unpublished. I would love to see more about this subject, of switching mid-career, and also being a mature writer trying to succeed with literary fiction.
Thanks again for your newsletter! It really is a treat to read!
Well of course, one hopes this newsletter will result in *the perfect* query & etc etc but barring that, reading this newsletter is like having a conversation with a smart funny friend. So the “Kate voice” is a lovely voice to have as company in the querying trenches. And I can imagine a book version of this newsletter being a huge hit - up there on the shelf next to Allison Williams’ Seven Drafts & Matt Bell, etc.
I loved your post about the exact $$$$ numbers behind publication. I wish more professionals in the industry would make these numbers public. They covered this in my grad program, both how many debut books are on average sold (hardly any) and how much a new author contract generally is (not enough to live on), and it was more impactful than any other single lecture of the entire program. Should be required in every MA/MFA program out there in my view.
One thing I’d like to read about is what to do when you keep getting praise in your ms rejections and yet, they’re still rejections. It feels impossible sometimes to find an agent who has time to take on new clients (though they’re open to queries and asked for a full), who feels they are the right person to represent this book, and all the other responses like this I’ve received. This isn’t a complaint, I’m just at a loss as to what to do and what I’m doing wrong.
I have rejected plenty of books I thought were good, that I could compliment highly, but that I couldn't represent for any number of reasons, including time, (my) experience, market, or just some gut feeling. Those are things you can't control. You aren't doing anything wrong that is making an agent think those things. I know you're saying "yeah yeah but if it was GOOD enough, they would do it!" and maybe that's true. But I have still rejected plenty of "good" manuscripts. This is not a helpful answer, I know. The compliments in rejections are there to soften the blow, and are still true regardless of the fact that it's a rejection. All you can do it keep writing.
Thank you. This week’s glowing rejection from an agent has just left me at a loss and your reply helps me understand it a little more.
Have you written about building an audience and how important that is to publishers and agents? I can look in the archives too, just wondered.
Thanks for keeping us sane with your wit and knowledge that is actually helpful! And, thanks for the list of previous newsletters! I can't wait to read the ones I've missed!
Great poll, Kate :) I think my biggest concern with the publishing industry is the systemic imbalance of power. We've seen it laid out in the PRH case and again with the WGA strike, where creators are being taken for granted, getting bad deals, and being left with less power to challenge the system. On that point, I'd love to see more information on how the industry is changing (not just genre trends, but stylistic trends, pragmatic/logistical trends, demographic trends, etc), and how professionals in the industry think it *should* change - where are the opportunities to shake it up, to take more risks, to showcase more diverse stories and voices, to create a more diverse publishing ecosystem? And how can writers (and agents) be a part of that?
In a strange spot where I am a published ghostwriter of a nonfiction book (unghosted on the cover w byline credit) and I wrote the proposal that garnered a hefty advance—but still feeling like a complete outsider/fraud because I am trying to write and sell a novel! More info about genre jumping would be very interesting to read about :) ❤️
I sincerely appreciate all the information shared — the reason I probably wouldn’t buy a book form is 1) given the variety of topics covered it doesn’t seem reasonable enough of the specific interests I have could be featured; 2) the nature of publishing appears (to my uninitiated eyes) to be quite fluid, with changes occurring all the time, so the blog/newsletter format is a better match.
The book I’ve begun is narrative nonfiction re sociopolitical aspects of cultural heritage and tourism at archaeological and religious sites for an educated but general adult public, so it’s quite possible it’s too small a niche to be worth much space in a future Agents & Books book. I know my book will be weird, and my questions about publishing not perhaps general enough. I’ve enjoyed my subscription, though!
Well, that is a SOLD on this novel. Both Christopher and I want to read it now! Bought.
💗💗💗💗💗💗💗
Fun poll, but oooooh, a new book to read! Looks fabulous. Ordered.
I would really like more conversation dealing with the space between getting an agent and getting a deal! Once the querying is done and you’re editing with an agent or on sub, just how to exist in this in between world without losing sanity haha