Tag Archives: Getting an Agent

How To Write A Killer Cover Letter

Posted in Blog, Publishing by

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A cover letter introduces you and your novel to potential publishers. This letter is your first point of contact between you and a publisher, therefore, it is crucial that aspiring authors know how to write a decent cover letter.

Here are three common questions, answered for writers looking to pave a successful path into the world of publishing with a cover letter that leaves an impression…

What do I need?

1. An ‘elevator pitch’ & hook

An ‘elevator pitch’ is a brief and punchy summary of your novel that could be told to someone important between floors of a short elevator ride. Condense the core ideas of your novel in a dynamic and enthusiastic couple of sentences. Remember that your cover letter should be no longer than a page, so this section can only take a up a paragraph or two. Show them why it’s worth reading and be sure to include a ‘hook’ – something that drags your reader into the story, and leaves them dying to know what happens next.

2. A target audience

Outline your target audience to publishers and demonstrate an alignment to their publishing vision. A good way to start is by looking at previous novels they have published and whether these books fall in the same category as yours, and share a target audience. Remember to be specific, publishers need more information than ‘Adult’. Include your audience’s gender, age group, interests, etc., if applicable.

3. Novel titles comparable to yours

Give two titles comparable to your novel (even better if they’re published by the publisher you’re reaching out to). This is a great way to establish direct relevance and relation to potential publishers. More than that, it gives them an idea of where your novel will sit in the marketplace and how it will work with their existing list.

4. A word count

A simple and necessary step to let publishers know how long your novel is.

5. A killer author bio

Be interesting, be readable and draw publishers in with who you are and what you intend to do with your work. Here is also the place to list existing publishing credentials, and relevant education such as writing courses or degrees. You want to be able to get publishers to see that you are a capable, focused and passionate writer.

6. Contact details

Give yourself the opportunity to be contacted if the publishers decide to get in touch for further questions or discussions. Include your phone number, address and most importantly, your email address.

How do I put it together?

Put the above elements together in an easy-to-read, simple form. Keep sentences short, purposeful and in an active voice. The desired length of your letter should no longer than a page. Opt for a 12pt standard font such as Times New Roman, and 1.5 spacing.

Many new authors make the mistake of attempting to detail their entire background, life achievements and a lengthy breakdown of their novel. Long, unnecessary paragraphs will irritate the editor and an irritated submissions editor is not someone you want reading your life’s work and deciding its future.

In addition to being concise, remember to keep it error-free. Creatively-written content may help you stand out, but keep in mind that your letter is still a business proposal. It also goes without saying that a successful pitch leaves no room for error so before you click send, proofread it again and again. Better still, have other writer friends review it and provide you with feedback.

Do I include my manuscript? 

Always follow the publisher’s submission guidelines. These guidelines are usually accessible on publisher’s website. The most common request is to include the first three chapters. In addition, you might also be asked for a synopsis (usually no longer than 300-words). We cannot stress enough the importance of adhering to the guidelines – this shows that you care about the publisher’s work as well as yours.

Some other useful tips

  • Address your cover letter by name. Avoid clichés such as “dear sir/madam” or “to whom it may concern”. It is more genuine and respectful.
  • Use more formal language throughout the letter.
  • Have a logical and readable structure.
  • Thank the publisher for their time.
  • Sign off gracefully – e.g. “yours sincerely” – before your name.

With these tips, you’re good to go!

***

Via: https://writersedit.com/fiction-writing/how-to-write-a-cover-letter-to-publishers/

How To Write A Killer Synopsis

Posted in Blog, Publishing by

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What is a Synopsis?

A synopsis is a succinct account of a manuscript’s plot, characters, setting, style and mood. Grouped with the cover letter and the chapter sample, it is a vital piece of the querying jigsaw.

The synopsis demonstrates your writing talent, shows your ability to craft a good story and, above all else, should get the editor clamouring to read the full manuscript.

Many authors loathe the synopsis, and it’s easy to see why. After working tirelessly on their manuscript, they must condense the essence of what could be more than 100,000 words into no more than two or three pages.

With such a limited word count, it can be an excruciating task identifying which parts of your work to include and which to leave out. But as with most impossible-sounding tasks, if you break it down and take things one step at a time, it’s going to get a whole lot easier.

What Should a Synopsis Do?

While there are no definitive rules about how you should approach the synopsis, there are some elements that you must get right.

Reveal the ending

One of the biggest mistakes made by green authors is to hide the ending in their synopsis. You must show how your story ends! There is nothing more infuriating than arriving at an unsatisfying ending.

You wouldn’t starve your readership of a great climax, so why do it to the editor – the one person who might just get your book on the shelves?

NOTE: Your ending may be inconclusive on purpose, and this is fine. Your story might be the first of an incomplete series or you might be leaving something up to the imagination of the readers. This is okay, as long as you can prove that the ending works and actually present how it unfolds.

Prove that your manuscript is not flawed

An editor will be able to spot any major problems with your manuscript just by reading the synopsis. Your character’s motivation might not match their decisions, or the opening may have no apparent connection to the middle of the story.

If you get it right, though, the editor will see that you can craft a well-rounded story, with strong character motivations and natural links from start to finish.

However, you shouldn’t wait for the editor to spot the flaws. If you can see them for yourself after writing the synopsis, consider postponing your submission until your manuscript has undergone more editing.

Capture attention

The synopsis, as part of the query, is your one shot at getting the attention of a publisher.

Think of it like a theatrical movie trailer that gives away the entire story. At the cinema, when an exciting trailer comes to an end, you might turn to your friend and say, ‘I can’t wait to see that one’. The editor’s office is no different. When your synopsis turns up on their desk, you want them turning to their colleagues and saying, ‘I can’t wait to read that one’.

Use all the tools at your disposal to make your synopsis stand out. Use vivid and emotive language. Make sure the mood of your synopsis matches that of your manuscript. Show the editor that your manuscript is marketable and do everything you can to prove your book will sell.

What Should a Synopsis NOT Do?

No matter what type of synopsis and no matter where you’re submitting it, you should definitely bear in mind the following universal no-nos.

Outline the plot

The terms ‘synopsis’ and ‘outline’ can be used interchangeably but they are, in fact, vastly different. Like a primary school student writing a recount, an outline is a chapter-by-chapter summary of events. ‘First someone did this, then they did that, and after someone did that, this happened…’ And so on.

While this mechanical outline does exhibit your pacing, it is not going to get the editor excited about your novel. Besides, if your synopsis is written well, the editor should understand how the text is paced anyway.

Make it sound like marketing

Will the publisher like the author’s synopsis or will it end up in the recycling bin with the others?

You want to know the answer to this, don’t you? It might seem like finishing your synopsis like this will tempt the editor into asking for more. You want to tantalise them, leave them on the edge of their seat, right?

Wrong. When you write a synopsis, it is easy to fall into the trap of using language that sounds like the copy on a hardcover jacket or the back cover blurb of a paperback. But this is not the purpose of a synopsis.

Your writing should be clear and concise, revealing the essentials of your story without ambiguity. Use rhetorical questions sparingly, and certainly avoid using them to create suspense.

Explain themes or backstory

It can be helpful for you to include themes in your synopsis, but there’s no need to explain how they play out in your work. You simply don’t have the word count and, if you’ve written your synopsis well, the editor should be able to get a feel for the themes without you spoon-feeding them.

Similarly, you don’t have enough words to explain the background of your story in great detail. Don’t worry about detailing how your fantasy world came into being or how each member of your protagonist’s family affects their personality.

If it’s not essential to the conflict and plot development of your story, it doesn’t need to be included. As suggested in Step 2 below, any vital element of backstory should be placed in your opening paragraph.

How to Write a Synopsis

As with any creative work, there is no universally accepted method to writing a synopsis. Neither is there a certain style or layout you must follow. This will of course depend on the type of manuscript you’ve written.

The following outline is only a guide. Some steps may feel like overkill or mightn’t suit the way you work. Experiment and find out what works for you.

Step 1: Decide what to include

This is the most difficult step: choosing who and what is critical to your manuscript.

First, consider the role of each character and whether they generate conflict for the protagonist. The heart of all great fiction is conflict, and your synopsis needs to focus on this aspect of your story.

Then ask yourself, does the ending make sense without this character or without this plot point?

You might have a well-rounded secondary character, a subplot or a feature of your setting that you believe will sway your editor. But the hard truth is that, more often than not, you’ll be better off leaving it out.

Cut things back to basics: include any characters and plot points necessary for the ending to make sense. Leave the rest out.

Though the secondary aspects of your story are still significant and might make the difference if the editor asks to see more of the manuscript, the essential elements of your story are the most important and should be good enough to sell your idea.

If you work out what should and shouldn’t be included in your synopsis from the beginning, it will save you time and effort down the track. There’s nothing worse than spending time summarising a secondary story arc, only to realise that you’re going to run out of words if you include it.

Planning from the beginning will also help to clarify the essence of your book. A clear vision will help set you on the right track as you start to write.

Step 2: Write the introduction

If you’re at the stage of writing your synopsis, you might not even remember writing the opening line of your manuscript. But the beginning of your synopsis has to be just as good as the beginning of your novel.

Spend time on your opening line and keep working at it until it is perfect. Catch the editor’s attention. Hook them in and don’t let them escape.

Your first paragraph should introduce the protagonist, introduce the problem that sets them on the pathway of your plot, and describe the setting. It should cover the essentials of who, where, when and why.

Write in the present tense. Include any vital elements of backstory – those that ensure the ending will make sense when you come to it.

Step 3: Write the middle

Your synopsis needs a strong middle section: one that successfully moves the story onwards from the introduction and keeps the reader interested as you approach the ending.

Keep this section of your synopsis moving. If the pace feels too slow, cut words or sentences out, even if you included them in your planning.

Focus mainly on the plot, but make sure you show how the protagonist is changing. Your character shouldn’t transform suddenly from timid teenager to confident young adult. Explain the events of the story, and as you go, detail the characters’ gradual change as a result of those events.

Step 4: Finish it off

The next step is clear: finish the synopsis. There are a couple of things your final section should achieve. Firstly, as we mentioned above, you must reveal the ending. The editor needs to know that your beginning and middle sections lead to a logical, conclusive and exciting climax.

Secondly, you need to present the characters’ development. This should be easy if you followed Step 3. Your characters will have arrived at their final destination, metamorphosis complete.

Describe what they have learnt or how they have changed. Compare their feelings from the start of the journey with their feelings as they walk towards the setting sun and the credits start to slide.

Step 5: Clean it up

You can’t avoid it. When you’ve finished writing, it’s time to edit!

Go through the same editing process you went through with your manuscript. Check for grammatical and spelling errors. Make sure your synopsis flows logically and each section of the story links to the next.

Remember to read over your work with that initial question in mind: Does the ending make sense if I include/exclude [x]? If you’re well above the suggested word count, be ruthless. If you can cut something while retaining the sense of your ending, do it!

Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart…” — Stephen King

Step 6: Saving and sharing

Often, depending on where you’re submitting, the length of the synopsis will vary. When you’re happy with your final draft, save a default copy to work with each time you prepare a new query or submission.

If you have a default copy on file, it’s easier to mould your synopsis when you find that your next target asks for ‘a brief synopsis of no more than 300 words’. Simply work through the same process, keeping only what is critical to the manuscript.

Likewise, if the guidelines suggest you have a few hundred words more than your original draft, use the extra words to show off. You might even be able to weave in one of those secondary elements you had to cut from your original.

Be sure to save each new copy. It’s easier to reduce a 600-word synopsis down to 500 words than it is to cut down from 1000 words.

Also, don’t forget to share your work. Give it to friends and family. Read it aloud with the members of your writers’ group. Just like you did with your manuscript, listen to feedback and be sure that your synopsis is the best it can be before you format it, ready for submission.

Feedback is the breakfast of champions.” — Ken Blanchard

Handy Hints

Tell, don’t show

I say f*** the old advice ‘show, don’t tell.’ It’s called story TELLING for a reason…” — Ashly Lorenzana

You’ve heard it before: show, don’t tell. But when it comes to writing your synopsis, telling is absolutely fine.

You simply don’t have enough words to employ flowery language in every sentence. You’re better off getting straight to the point and being clear, concise and unambiguous.

However, this doesn’t mean you have to tell everything! As best you can within the word count, find a balance between showing and telling.

Write your synopsis at the start

All writers work in different ways. Some like to plan out their novel from the beginning; others like to see where their writing can take them, with little or no planning at all.

Consider this: writing your synopsis from the very beginning, even before you write your opening scene, has two main benefits.

Firstly, you won’t have to write the synopsis when you come to the end of your manuscript. It will already be there, a working document that will just need a bit of tweaking.

Sure, your story might take you to a place you never considered when you wrote the original. But again, you can simply rewrite the synopsis as you go. This will help you out when it comes to that all-important final kilometre.

The synopsis can also assist you in multiple ways for the process of editing. A structural edit will be made easier if you can see the development of your plot and your characters just by skimming over one document. You’ll know immediately which scenes are the most important and in which order they occur. This is especially helpful in longer manuscripts.

Read some examples

Whether you’re a seasoned synopsis writer or sitting down to your very first, you should be able to pick out the strengths and weaknesses of different pieces. Study the layout, style and language. Look for the strengths and try to emulate them.

You’ll be able to find a number of examples just by doing a quick Google search; Writer’s Digest also has an extensive list of movie synopses to peruse.

Navigate with a critical eye. Not all synopses posted online will be good examples. And keep in mind the interplay between the words ‘synopsis’, ‘outline’ and ‘summary’.

***

For editors on the hunt for their next project, the synopsis is the doorway to your story – the last post guarding entrance to the world that is your manuscript. Don’t lock them out. Welcome them inside and give your manuscript its best chance to get published.

Good Luck!

Via: https://writersedit.com/fiction-writing/write-killer-synopsis/

How To Write A Killer Cover Letter

Posted in Blog, Publishing by

 

writingaletter

A cover letter introduces you and your novel to potential agents or publishers. This letter is your first point of contact between you and a publishing professional, therefore, it is crucial that aspiring authors know how write a decent cover letter.

Here are three common questions, answered for writers looking to pave a successful path into the world of publishing with a cover letter that leaves a good impression:

What do I need?

1. An ‘elevator pitch’ & hook

An ‘elevator pitch’ is a brief and punchy summary of your novel that could be told to a publishing VIP between floors of a short elevator ride. Condense the core ideas of your novel into a dynamic and enthusiastic couple of sentences. Remember that your cover letter should be no longer than a page, so this section can only take a up a paragraph or two. Show them why it’s worth reading and be sure to include a ‘hook’ – something that drags your reader into the story, and leaves them dying to know what happens next.

2. A target audience

Outline your target audience. A good way to start is by looking at previous novels they have published and whether these books fall in the same category as yours, and share a target audience. Remember to be specific, publishers need more information than ‘Adult Fiction’. Include your audience’s gender, age group, interests, etc., if applicable.

3. Novel titles comparable to yours

Give two titles comparable to your novel (even better if they’re published by the publisher/agent you’re reaching out to). This is a great way to establish direct relevance and relation to potential publishers. More than that, it gives them an idea of where your novel will sit in the marketplace and how it will work with their existing list.

4. A word count

A simple and necessary step to let them know how long your novel is.

5. A killer author bio

Be interesting, be readable and draw them in with who you are and what you intend to do with your work. Here is also the place to list existing publishing credentials, and relevant education such as writing courses or degrees. You want to be able to get publishers/agents to see that you are a capable, focused and passionate writer.

6. Contact details

Give yourself the opportunity to be contacted if they decide to get in touch for further questions or details. Include your phone number, address and most importantly, your email address.

How do I put it together?

Put the above elements together in an easy-to-read, simple form. Keep sentences short, purposeful and in an active voice. The desired length of your letter should no longer than a page. Opt for a 12pt standard font such as Times New Roman, and at least 1.5 spacing.

Many new authors make the mistake of attempting to detail their background, life achievements and a lengthy breakdown of their novel. Long, unnecessary paragraphs will irritate the editor and an irritated submissions editor is not someone you want reading your life’s work and deciding its future.

In addition to being concise, remember to keep it error-free. Creatively-written content may help you stand out, but keep in mind that your letter is still a business proposal. It also goes without saying that a successful pitch leaves no room for error so before you click send, proofread it again and again. Better still, have other writer friends review it and provide you with feedback.

Do I include my manuscript? 

Always follow the agent’s/publisher’s submission guidelines. These guidelines are usually accessible on their website. The most common request is to include the first three chapters. In addition, you might also be asked for a synopsis (usually no longer than 300-words). I cannot stress enough the importance of adhering to the guidelines – this shows that you care about their work as well as yours.

Some other useful tips

  • Address your cover letter by name. Avoid clichés such as “dear sir/madam” or “to whom it may concern”. It is more genuine and respectful.
  • Use more formal language throughout the letter.
  • Have a logical and readable structure.
  • Thank them for their time.
  • Sign off gracefully – e.g. “yours sincerely” – before your name.

With these tips, you’re good to go!

Via: https://writersedit.com/fiction-writing/how-to-write-a-cover-letter-to-publishers/amp/

5 Reasons Agents Don’t Explain Rejections 

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BookCover-rejected2

Something I have heard a lot from Writer friends is how frustrating it is to receive a rejection without any other feedback as to why. Well, here from the horse’s mouth, are the reasons why:

Authors often express frustration that their rejection letters don’t contain any hint of the real reason the project wasn’t accepted (save for something generic like “the project doesn’t fit my needs at the present time.”) A writer told me she’s not asking for much — just “one word, maybe two” of explanation at the end of a form rejection. That’s not asking too much, is it?

We love helping authors reach their goals and realise their dreams, so we’re sad to say that it is asking too much. Here’s why:

1. We just don’t have the time.

The necessity to add “a word or two” of explanation could potentially triple or quadruple the time it takes for us to respond to each query. With a hundred or more queries a week, it adds up.

2. I know when a query doesn’t appeal to me, but it’s not easy to quickly explain why.

When you walk through the department store looking for clothes, do you stop at every single item of clothing and dissect why it’s not right for you? Of course not. But if you did, you’d spend an awful lot of time trying to identify exactly why it doesn’t appeal. Something about the style? The colour? Does it seem to old or too young? Too casual or too formal? Is it just plain ugly? Or is it…  just not what you’re looking for right now?

It doesn’t make sense spending all that time figuring out why you don’t like most of the clothes. You’re there to find something you can BUY, so that’s where the bulk of your time needs to be spent. It’s the same with queries. We must spend our time looking for what we can work with, and quickly dispense with the rest.

3. Our reasons might do more harm than good.

Would you really like to hear that we think your book idea is (in our opinion) unoriginal, boring, derivative, or poorly written? We don’t want to unnecessarily confuse, enrage, or depress you.  Any brief response we offer would only leave you with more questions than if we said nothing.

4. Our reasons, should we offer them, could be wrong.

No matter why we don’t want to pursue your project, we realise we are not the last word. The next agent might love it.

5. A literary agent is not obligated to help a non-client with their book.

Our obligation each and every day is to take care of our current clients. And yet, we try to  help the writing community anyway. We blog. We tweet. We teach at writers conferences. Hopefully, this is a good start start.

So where do you find the help you need? Critique partners, beta readers, editors, book doctors, and book mentors. And even reading blogs like this one!

So there you have it. Be reassured that the reason is not always because you suck and cannot write – writing, like any art form, is subjective, and just because one agent rejects it doesn’t mean they all will.

Good luck! x

Via: http://www.booksandsuch.com/blog/reasons-agents-dont-explain-their-rejections/

Top 10 Reasons Books Are Rejected by Publishers

Posted in Blog, Publishing by

BookCover-rejected

The following article is provided by Keller Media as a public service. It is intended to help, support, guide and inspire writers to achieve their publishing goals. Wendy Keller is a Literary Agent who wrote this list for writers of non-fiction. However, after reading it, I would say most of her points apply to fiction writers too. I would advise every writer to read it, and make sure they aren’t doing anything on this list – regardless of your genre of writing. Enjoy!

It breaks my heart when would be authors write me back after my agency has rejected their forlorn book or book proposal. They often say, “What’s wrong with all you agents? Don’t you know good work when you see it?” Those are the angry types. Or the misguided but hopeful ones tell me, “I read that Mark Victor Hansen and Jack Canfield were rejected (fill in the blank with any number) times before ‘Chicken Soup for the Soul’ became a worldwide best seller…I’m going to keep sending this out until one of you…”

Jack is a client of mine and he and Mark are both friends. I know some things new writers don’t know – basically, that they improved the content AND proved the concept by selling books themselves before Health Communications even took a small chance on them. Of course, there are several dozen stories of other authors throughout history whose books went on to be hugely successful despite original rejections – e.g., Dr Seuss, William Saroyan, etc.

Here’s the big difference between those eventual successes and 99.9% of the rest of the continually rejected books: those authors DID something (other than complain) while they were being rejected. And at this point in the publishing industry, the something you should be doing includes building a platform.

My agency sees many thousands of projects per year but I sell only 25-40 books per year – because most of what we’re sent is economically worthless. Why are so many rejected? I’ve noticed that most of the books we reject are rejected by all other agents and publishers too. There are REASONS for this!

Here are the Top Ten Reasons Authors Get Repeatedly Rejected:

1. You are writing on a topic that is glutted already – and you are saying nothing that is NDBM (New, Different, Better or offers the reader something More)

2. You are offering your content to agents who do not handle books like yours. This happens when you think bulk sending is going to increase your success.

3. You are a poor writer, use poor grammar or your work is rife with errors. We are professionals, you be too please.

4. You are evidently crazy. About 20% of everything my agency sees falls into this category. “I am channeling Elvis and he has an opinion on World Peace…”

5. You have no platform. That means you came up with your book idea inside your own ivory tower. You have not taken the effort to test it against the real world by building a social media following, getting paid speeches, doing any blogging or columns, etc. on the topic. (I’d say 80% of the nonfiction most agents reject happens for this one reason.)

6. You do not have any credentials related to the topic of your book. While the fact that you are now a successful immigrant to the USA may be amazing to your friends and family back in your native country, the fact that you bought a house, a car and put two kids through college doesn’t make you an expert on how to succeed in America unless you actually have helped others to achieve similar goals. Likewise, the fact you survived a bad divorce doesn’t make you an MFT or an attorney or even an expert on the topic.

7. You believe your life story has worldwide appeal. Writing a book as a way of sorting out your own personal history is an excellent therapeutic technique. It is rarely worthy of publication, however, unless you have been able to build a platform/association/charity/group of others who are helped directly by your story and/or methodology.

8. You are vehement, negative, angry, dismissive, rude, impolite, condescending, curt, vituperative, or churlish in the way you approach agents. We work on straight commission – nobody will put up with your behavior.

9. You plead and whine. This includes the surprising number of people whose (bad) book idea we’ve rejected who write back to beg, “If you sell this, I’ll give you DOUBLE the commission.” This one makes me smile, because $0 x 2 = $0.

10. You haven’t done a speck of research. You don’t know the competing books, you don’t know how to market a book, you don’t know how agents work, you don’t know how publishing works, and/or you have no clue how to prepare a book proposal. This a profession. The lone fact that your native language is English doesn’t mean you will succeed as a published author.

Here’s the weird corollary: Agents typically scramble and even politely “fight” over projects that are salable. If no one is even interested in – much less fighting – over yours, there’s a 100% chance that one of the ten reasons above applies in your case. As salespeople in a highly competitive industry, we are always urgently seeking new inventory. Provide it, you’ll get our undivided attention and a nice offer from a good publisher.

***

Wendy Keller has been a literary agent since 1989. In that time, Keller Media, Inc. has been pitched on +250,000 book projects. Writers who insist that she’s “wrong” about any of the 10 reasons above are typically those who fit into one of those categories themselves – and who end up unsuccessfully self-publishing or just grumbling for the rest of their lives. It doesn’t have to be that way! Adapt, learn and achieve your dreams!

Via: https://www.linkedin.com/pulse/the-top-10-reasons-most-books-dont-attract-publishers

Top 5 Tips For Submitting Your Novel To Publishers

Posted in Blog, Publishing by

top-five-tips-for-submission

What lessons did our Founding Editor learn during the submissions process for her debut novel? In this video, Helen Scheuerer takes us through her top 5 tips for submitting your novel to publishers, and what she learnt along the way…

Via https://writersedit.com/video-top-5-tips-submitting-novel-publishers/