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Query Letters – How to write a good one

November 27, 2012/25 Comments/in Catholic Writing and Publishing, Encouragement for Writers, Fiction, Marketing Your Work, The Writing Life, Writing Tips and Tricks/by Leslie Lynch

You’ve just typed The End on your manuscript, your gloriously awesome book that’s going to rocket to the top of the New York Times best seller list! Editors are going to line up at your door, fighting to be the one privileged enough to publish your work. Thousands of people will stand in line for your signature at book signings, and you’d better clear your schedule for the television talk show circuit. Oh, and make sure your bank account is big enough to hold all the moolah that the USPS is going to deliver to your door. You are on your way, baby!

Except…no one is knocking. In fact, no one is even lurking in the shrubbery. And when it comes down to details, you’re not entirely sure how to get the attention of those New York editors, or even agents. You’ve been talking up your project to all your relatives, your friends, even your acquaintances. You’ve let a select few read your work (you deserve to be paid for it, after all!), and they rave about it! Why, it’s better than (fill in the blank with your favorite—and very rich—author)!

What to do???

This is what: set up a systematic, professional plan for querying.

It’s going to require hard work, persistence, and a thick skin to sell your work. If you do this part right, you’ll have a much better chance of actually getting published. And if your work rises above the fray, you may make it to that rarefied atmosphere of best seller-dom. If you do it wrong, you’ll get nowhere in traditional publishing.

A query letter, whether submitted via email or hard copy, is a one-page business letter with a fairly standard format. It is brief, professional in tone, and your only chance to connect with some agents or editors. Let’s look at the elements of the letter, and some common pitfalls to avoid, as well:

Research your targeted agent/editor. Make sure s/he is interested in the type of project you are pitching. Don’t send your speculative fiction to an agent who represents cookbooks and memoirs. Make sure they are accepting new clients. Then, send an individually addressed letter to the specific person—and spell their name right. The advent of email queries has tempted too many authors to try the ‘Dear Sir or Madam’, multiple-recipient approach. Sound like spam to you? It does to the recipients, and most delete without reading. I can’t stress these items strongly enough. I follow several agents on Twitter, and the biggest reasons for not reading past the first paragraph of the query letter are included in this list.

Cutesy doesn’t work. Use white paper if submitting via hard copy, or no background wallpaper on your email submission. Use standard fonts and font sizes. Times New Roman 12 works well; beautiful flowing script fonts don’t. Remember, this is business—on your end and on theirs.

Pitch finished projects. Keep in mind agents get thousands of queries a month. An unfinished manuscript isn’t competitive.

Only include personal information as it relates to your project. Your family, hobbies, other career, etc., are not fodder for this letter. If your story has strong elements that include fighter pilots or dulcimer players, and you are a fighter pilot or a dulcimer player, then include that; otherwise, as fascinating as your background is, it’s irrelevant. Also, resist the urge to say that your mother (or best friend, or spouse, etc.) thinks yours is the best book ever. Let the agent or editor be the judge.

Do include any writing credits. I’ve had interesting responses with this. At a pitch session for book length fiction, I sat with one editor who literally wadded up my nonfiction writing credits and threw them away. Clearly, he was unimpressed. However, the next editor was quite taken with the same information and spent time exploring it. Those credits lifted my submission above the standard in her mind. Bottom line: it doesn’t hurt to include writing credits. At the very least, it demonstrates that another editor somewhere thinks your work is worth publishing, and that you have experience with the editorial process. Always list membership in writing organizations and contest wins or placements. Again, some agents/editors value this more than others. But if you don’t toot your own horn, they’ll never know.

Keep it professional and polite. A query letter is a great place for confidence, but not such a good place for an overinflated ego. If you have a critique group, run your query letter past them. Sometimes they can see an area you need to emphasize more, or can suggest better wording. As an aside, one of my critique partners discovered she was pitching the wrong aspect of her story. Once she corrected that, her queries began getting responses.

So the basic format is:

Dear Ms. Specific Name Spelled Correctly,

I am seeking representation for my completed, xxx-thousand computer word count (name of genre) manuscript, Best Book Since War and Peace, set in (time, place). (If the story has a theme that is unique, you may wish to include it here.)

The next two paragraphs are like the back cover blurb would be for the book. Generally, one paragraph for the main character, the second for the other lead. Go to the bookstore (or your private library) for examples. Your goal here is to give a solid sense of the plot, a taste of your voice, but not a synopsis with lots of details or the resolution of the story.

The fourth paragraph will list your writing credits.

Close with a polite ‘I hope to hear from you soon’ and make sure to include your contact information.

Keep a spreadsheet or record of your queries. Make notes; don’t be afraid to follow up after a reasonable time (usually listed on the website), but don’t stalk. The publishing community is a small one; take care to develop your reputation as one of consummate professionalism. Divas and stalkers have no place in the business.

Query. A lot. Set aside time, set a specific goal, and keep the queries flowing. Follow the submission guidelines on the websites; they differ. Evaluate your responses and adjust future queries accordingly. But keep at it. And continue to work on improving your craft. If you’ve significantly revised and improved a project, don’t be afraid to re-query. Agents and editors really are looking for great stuff to publish. Give your work its best chance to catch their eye.

There are lots of sites and books out there that are great resources. Check with your writing organization for reputable agents, and make sure agents you query are members of the Association of Author’s Representatives. *No legitimate agent will ever charge a fee for reading your work.

What have your experiences with querying been like? Any advice? Questions? I hope this post helps rocket your work to the status of ‘sold and published’ – and best seller-dom!

Gotcha! Hooks: What They Are and How to Create Page-Turning Fiction

October 23, 2012/10 Comments/in Catholic Writing and Publishing, Editing, Encouragement for Writers, Fiction, Self-Publishing, The Writing Life, Writing Tips and Tricks/by Leslie Lynch

What’s a hook??? I admit to scratching my head over that term, and for a much-too-long time. I would hear it when people were discussing top-selling novels; I’d see it in articles about the craft of writing. It was a frequent comment from my critique partners. “Not much of hook there, Leslie.” (Insert visual of me scratching my head. Again.) They tried to explain it to me: Leave the reader hanging at the end of the chapter. An unanswered question. A cliffhanger.

Well, that was all fine and dandy, except I didn’t get the concept. Until our critique group got down to business and I began to evaluate other people’s unfinished work. Over time, I began to recognize when the end of a chapter or scene felt flat. I began to see how they worked through the process. And then when I saw what my fellow writers did to spice up the work, it finally began to make sense. The final piece of the puzzle fell into place for me when I read James Scott Bell’s Elements of Fiction Writing – Conflict & Suspense.

The basic idea is to end a chapter with the character facing peril of some sort, whether an internal conflict or an external plot development. The higher the stakes for the character, the better. In fact, Bell suggests the character must face death in some form – physical, psychological or professional. Of course your story isn’t filled with melodramatic, overblown situations, but each character must have something crucial at stake in each scene. By setting it up so someone is forced to face failure at some level, and then leaving the conflict unresolved, you create a hook.

Hooks come from disaster (Bell’s death) looming, occurring, or simply being implied. The hook can be expressed through dialogue, as a plot twist, as emotion, or via action. The hook can be an actual question, although I’d caution you to use that technique sparingly. I read a book once that ended every chapter with a question, and it felt like old-fashioned middle grade fiction. It didn’t work so well in an adult novel. Whatever method you chose to create a hook, take care to do it in a way that doesn’t leave the reader feeling manipulated. That usually has the opposite effect from what you intend!

One of the most common errors is the form that many of us learned in school: To write each chapter with a beginning, a middle, and an end. This works for nonfiction, but if you want a fiction reader to say “I couldn’t put it down!”, try ending the chapter a paragraph or two early. You’ll be surprised at how well this simple technique works. Then use that bit as the beginning of the next scene.

Go to your personal library of favorite books, or to the library or bookstore. Page through your favorite authors’ work and read the last paragraph of each chapter. You’ll get a solid sense of what creates a hook in short order.

It’s always a question that leaves the reader wanting—no, needing to know what happens next??? Whatever you do, don’t answer the question until the end of the book! Well, you can answer bits of it as you go along, but don’t answer the main question of the book until the end.

Hopefully, the result will be an ocean full of readers happily chasing the hook you’ve dangled – and saying, “That book was so good, I couldn’t put it down!”

How do you define a hook? What’s your approach to creating one? Share your favorite technique!

“Government Pork” by Karina Fabian

February 13, 2012/7 Comments/in Catholic Writing and Publishing/by Karina Fabian

Dear Friends: The HHS compromise is no compromise—it’s an escalation, making it impossible not only for the Catholic Church to live according to its beliefs, but any small business that may also believe as the Church does. I wrote this parable to try to put the debate out of the “contraception/women’s health” light and show the other issues at stake. Feel free to copy this story and use it on your own blogs. If you do, please include this link to sign a petition to stop the HHS mandate (or if you know of another petition, include it) https://www.stophhs.com/sign-the-petition/

——————–

Once there was a wonderful town full of people who loved to eat, and many wonderful and varied restaurants that served excellent food: Italian and French, Japanese and Mongolian, Middle Eastern and even a kosher delicatessen. Not everyone liked every restaurant, of course, and some people even thought particular restaurants were odd, but they appreciated the variety available to all.

There were also a lot of pig farmers, and people enjoyed the fresh pork. One year, they had a mayor who loved fresh pork. He thought it was the right of everyone in the town to have pork at any meal they wanted. “Why,” he’d say,” if there was only one meal I could give my kids, it’d be pork chops!” Of course, lots of the people loved pork as well, and they applauded his enthusiasm.

One day he sat in his office, thinking about how much he and others liked pork, and he decided that every restaurant should serve pork and wine, at every meal. Oh, maybe not every individual would want to eat pork, but they deserved the right to have it on their plate! Otherwise, they didn’t really have a choice, right? And so, he set out a decree that all restaurants would serve some form of pork in every meal.

Well, the delicatessen and the Middle Eastern restaurant were upset by this. They couldn’t serve pork—it was against their religions. So they went to the Mayor and asked to be excused from this rule. “After all,” they said, “people know we never serve pork.”

“But you should. People have the right to pork. Some of your customers eat pork. Even some of your employees enjoy a good ham!”

“And if they wish to, they may–but not in our restaurants,” the owners said. “It’s against the kind of restaurants we are to serve pork. And we have customers who do not want pork, who would be offended and do not want to pay for pork.”

“Well, I’m offended that you won’t serve it—and I’m sure other pork lovers agree that your attitude is most disagreeable.”

“Our customers and our employees know where we stand, and they continue to frequent our restaurants and work for us. We serve them well, but we do not serve them pork. We have the right to our own menus. We should not be forced.”

But the mayor stood firm. “No,” he said. “Everyone has the right to have pork, and it’s my duty to make sure it’s always available, whether you agree or not. It’s healthier than beef anyway. If you don’t like it, you can pay a fine and stop serving food—or you can close down.”

The restaurant managers refused to change their menus. Many people stood by them—because they, too, would not eat pork and didn’t want to pay for it; or because they agreed that restaurants should choose their own menus; or because they didn’t like the mayor telling people how to run their own businesses. The movie theaters stood by him, because they were afraid if the Mayor could change menus, he might also start dictating what shows would be played.

The pork lovers, however, were incensed. How dare the restaurants not give them pork if they wanted it?

“I can’t eat beef; what should I do then?” one demanded. “Do you just want to send me away to starve?”

“We have other dishes,” they said. “Our menu and service would be no different than before. We can feed you many things; just not pork.”

Nonetheless, the press, too, said that the two restaurants would rather let people starve rather than eat pork.

Despite the outcry of the pork lovers, more and more people said, “Let them choose their own menu!”

So the Mayor called the restaurant owners into his office. He had a compromise, he said.

“I won’t make you buy pork. You don’t have to prepare it, or touch it. Instead, all restaurant suppliers will have to supply pork to every restaurant, free of charge, and for those that don’t want to serve the pork, suppliers will cook it and put it on every plate themselves. You just look the other way.”

“But there would still be pork in our restaurant!” the owners cried. “Besides, they will increase the price of meat to cover their new expenses.”

“Oh, they wouldn’t do that. I’d tell them not to. Besides, the point is you wouldn’t be actually serving pork. See how well that works? Everyone gets pork and you can say you never provided it. And if your patrons don’t want to eat it, they don’t have to; it’s enough that it’s there for them.”

So, problem solved?

—-

(“Hold on!” one restaurant supplier said. “I’m Jewish!”)

Tag Archive for: fiction

Query Letters – How to write a good one

Gotcha! Hooks: What They Are and How to Create Page-Turning Fiction

“Government Pork” by Karina Fabian

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