Don't fear the gong at DFW Writers Conference

 It's the DFW Writers Conference (Oct. 3-4) in Hurst,, Texas, and for the first time in years, I have a conflict that keep me away from it. However, for those who will attend, one of the most-anticipated events is the Query Gong Show. So much so that the conference schedules it for first thing Sunday morning (8 a.m. CDT). Bring coffee!

If you're still hesitating to attend, you'll have to pay at the door. Advance registration is now closed. See the site for details.

For years, I've posted results of one of the most-anticipated events of the annual conference: the Query Gong Show. And done the post-mortems as one after another, writers of literary query letters heard their efforts go down to defeat.

Last year, I did a review version--reviewing what not to put in a query. So, for those who attend, here's the recap. Read this and, I hope, you will not weep.

For those who have never read this blog, and/or never been to a DFW Writers Conference, here are the Gong Show basics. Writers submit their anonymous query letters to a panel of agents and editors. These in turn, strike table-top gongs to signal the point at which they would stop reading if they received such a query in their own emails.

Right now, some readers are wondering, what the heck is a query letter?

In the literary sense, it's a business-like introduction from a writer to an agent asking if the agent is interested in representing the writer's work.

 The basic format includes:

• brief description of why the writer chose to contact the agents ("your website. . . ", "you represent my favorite writer. . . ", etc.)
• the book's title 
• genre
• manuscript word count
• the story's "hook" (attention grabbing sentence)
• brief summary (not including the ending, spoilers, etc.)
• author's credentials, if any

The entire letter typically occupies no more than one page, approximately 300 words in single-spaced, 12 point(ish) sized type. This format is for works of fiction. Querying for nonfiction works is beyond the scope of this post.

Image: wikimedia commons

Now, back to the Gong Show basics.

Writers can be gonged once, even twice, by any panel member without stopping the reading of their letter. But three strikes and they're out!

What makes agents hit those dreaded gongs?

Some items stand out repeatedly. One is word count. Writers should have some clues about industry standards for their genre, especially for debut authors. At the first Gong Show, multiple simultaneous gongs sounded for a query which boasted 135,000 words. Luckily, the queries are anonymous. No one dashed from the room in tears.

Over time, writers have grown cannier about the word count issue. However, I was startled to hear agents carping about a 70,000-word entry for middle grade readers. "Middle grade" is a publishing term for readers aged approximately 9-12: those old enough to read independently.

Novels aimed at adult readers can easily hover around 80,000 words--higher for science fiction and fantasy works. Even classic middle grade novels such as the original Harry Potter clock in over 75,000. But lest we forget, the original Potter was published in 1997.

What's changed since then? A lot, especially since the pandemic, when many kids were out of school or at least only online for months. It's made a difference in reading ability. Not to mention attention spans. 

How far out of bounds was a book of 70,000 words last year? And possibly still is?

Ask a dozen agents, authors, and internet sites and you'll get two dozen answers. Writer's Digest cited 20-55K for middled grade, again, slightly higher for science fiction and fantasy.

WD also stated that middle grade word counts have been trending upward. Agents at recent DFW conferences say otherwise. That the opposite, in fact, is the case. Be aware if you're writing for younger audiences.

Another, even more common reason for agents to hit the gongs has shown little improvement over the years: taking too long to get to what one agent called "the beating heart of the story."

This is the "brief summary" mentioned earlier. It's not a synopsis. If the agent wants a synopsis with the query letter, they'll ask for it. Check their or their agency's websites for specifics.

The brief summary typically will extend for no more than two paragraphs. It should include:

• main character
• character's desire/goal
• who or what stands in the way of achieving that goal (antagonist)
• consequences of reaching the goal--or not (the stakes)

Although this list sounds generic, agents still asked writers to let their own voices shine through. Just not in multiple paragraphs.

I probably should mention that though the query itself is in the writer's first person, the summary should be in third person to avoid confusion about who's talking!

Less frequently mentioned but significant dislikes from agents were queries that failed to follow through on the expected tropes of their genre or leaned on generic descriptions. 

Also, use of trendy, cliched, or overblown language; opening with unlikeable characters, gross-out language, or depressingly sad situations; assuring the agent that the story is "intriguing" or "a good fit" for them (they like to decide that for themselves); querying for sequels or a book series (although some agents are OK with mentions that a book is a stand-alone with sequel/series potential); misspelling the agent's name (really!); and failure to exercise sensitivity about issues such as gender/ethnic stereotypes, disabilities, and racial language.

And while getting the agent's name right, consider checking the Ms./Mr. honorifics. These can be tricky, especially if the agent/editor hasn't indicated what they prefer, or if they're nonbinary individuals. Best advice, simply use "first name + last name" as indicated on the individual's or agency's website.

After last year's Gong Show, a writer unable to attend asked plaintively, "what do agents like?"

The specifics of what a particular agent likes are beyond the Gong Show's ability to answer. The first steps are checking the agent's website and Manuscript Wish List, if available.

Additional sources of information include:

• Query Tracker, with lists of agents and links to their websites and other published information. The basic version is free, or pony up $25 annually for more info.
• Publishers Marketplace, listing deals (sales) by the agent, their market performance, and more. $25/month or $10 for "Quick Pass" with more limited features. There's also a free Publishers Lunch version.
• Your favorite authors. The acknowledgment sections of their books often list and thank their agents.

And although I haven't heard it addressed at the Gong Show, an issue agents at conferences often mention is that of comparative (comp) titles. These are books in your or similar genres, usually published with the past two to three years, with similarities to your manuscript.

That's not similarities of plot. As one agent said, if it's the same plot as something already published, why would I want it? Instead, the similarities can be in tone, setting or point of view. They also need to be books which have significant readership. This information gives agents an idea of where your book should be shelved in a bookshop, which in turn helps them pitch it to publishing house editors.

For readership information, check Amazon and Goodreads both free.

Finally remember all Gong Show queries are anonymous and not addressed to specific agents. Use the information from them to revise and send to appropriate agents. They probably won't even remember hearing the first version at the Gong Show! 

Beat DFWcon's gong: the query gong, that is

For years, I've posted results of one of the most-anticipated events of the annual DFW Writers Conference: the Query Gong Show. And done the post-mortems as one after another, writers of literary query letters heard their efforts go down to defeat.

Last year, I did a review version--reviewing what not to put in a query. So, here goes again. Read this and, I hope, you will not weep.

For those who have never read this blog, and/or never been to a DFW Writers Conference, here are the Gong Show basics. Writers submit their anonymous query letters to a panel of agents and editors. These in turn, strike table-top gongs to signal the point at which they would stop reading if they received such a query in their own emails.

Right now, some readers are wondering, what the heck is a query letter?

In the literary sense, it's a business-like introduction from a writer to an agent asking if the agent is interested in representing the writer's work.

 The basic format includes:

• brief description of why the writer chose to contact the agents ("your website. . . ", "you represent my favorite writer. . . ", etc.)
• the book's title 
• genre
• manuscript word count
• the story's "hook" (attention grabbing sentence)
• brief summary (not including the ending, spoilers, etc.)
• author's credentials, if any

The entire letter typically occupies no more than one page, approximately 300 words in single-spaced, 12 point(ish) sized type. This format is for works of fiction. Querying for nonfiction works is beyond the scope of this post.

Now, back to the Gong Show basics.

Writers can be gonged once, even twice, by any panel member without stopping the reading of their letter. But three strikes and they're out!

What makes agents hit those dreaded gongs?

Some items stand out repeatedly. One is word count. Writers should have some clues about industry standards for their genre, especially for debut authors. At the first Gong Show, multiple simultaneous gongs sounded for a query which boasted 135,000 words. Luckily, the queries are anonymous. No one dashed from the room in tears.

Over time, writers have grown cannier about the word count issue. However, last year I was startled to hear agents carping about a 70,000-word entry for middle grade readers. "Middle grade" is a publishing term for readers aged approximately 9-12: those old enough to read independently.

Novels aimed at adult readers can easily hover around 80,000 words--higher for science fiction and fantasy works. Even classic middle grade novels such as the original Harry Potter clock in over 75,000.

How far out of bounds was a book of 70,000 words?

Ask a dozen agents, authors, and internet sites and you'll get two dozen answers. Writer's Digest cited 20-55K for middled grade, again, slightly higher for science fiction and fantasy.

WD also stated that middle grade word counts have been trending upward. Agents at the 2024 DFW said otherwise. That the opposite, in fact, is the case. I won't detail the reasons for this drop but be aware if you're writing for younger audiences.

Another, even more common reason for agents to hit the gongs has shown little improvement over the years: taking too long to get to what one agent called "the beating heart of the story."

This is the "brief summary" mentioned earlier. It's not a synopsis. If the agent wants a synopsis with the query letter, they'll ask for it. Check their or their agency's websites for specifics.

The brief summary typically will extend for no more than two paragraphs. It should include:

• main character
• character's desire/goal
• who or what stands in the way of achieving that goal (antagonist)
• consequences of reaching the goal--or not (the stakes)

Although this list sounds generic, agents still asked writers to let their own voices shine through. Just not in multiple paragraphs.

I probably should mention that though the query itself is in the writer's first person, the summary should be in third person to avoid confusion about who's talking!

Less frequently mentioned but significant dislikes from agents were queries that failed to follow through on the expected tropes of their genre or leaned on generic descriptions. 

Also, use of trendy, cliched, or overblown language; opening with unlikeable characters, gross-out language, or depressingly sad situations; assuring the agent that the story is "intriguing" or "a good fit" for them (they like to decide that for themselves); querying for sequels or a book series (although some agents are OK with mentions that a book is a stand-alone with sequel/series potential); misspelling the agent's name (really!); and failure to exercise sensitivity about issues such as gender/ethnic stereotypes, disabilities, and racial language.

And while getting the agent's name right, consider checking the Ms./Mr. honorifics. These can be tricky, especially if the agent/editor hasn't indicated what they prefer, or if they're nonbinary individuals. Best advice, simply use "first name + last name" as indicated on the individual's or agency's website.

Image: Wikimedia

After last year's Gong Show, a writer unable to attend asked plaintively, "what do agents like?"

The specifics of what a particular agent likes are beyond the Gong Show's ability to answer. The first steps are checking the agent's website and Manuscript Wish List, if available.

Additional sources of information include:

• Query Tracker, with lists of agents and links to their websites and other published information. The basic version is free, or pony up $25 annually for more info.
• Publishers Marketplace, listing deals (sales) by the agent, their market performance, and more. $25/month or $10 for "Quick Pass" with more limited features. There's also a free Publishers Lunch version.
• Your favorite authors. The acknowledgment sections of their books often list and thank their agents.

And although I haven't heard it addressed at the Gong Show, an issue agents at conferences often mention is that of comparative (comp) titles. These are books in your or similar genres, usually published with the past two to three years, with similarities to your manuscript.

That's not similarities of plot. As one agent said, if it's the same plot as something already published, why would I want it? Instead, the similarities can be in tone, setting or point of view. They also need to be books which have significant readership. This information gives agents an idea of where your book should be shelved in a bookshop, which in turn helps them pitch it to publishing house editors.

For readership information, check Amazon and Goodreads both free.

Finally remember all Gong Show queries are anonymous and not addressed to specific agents. Use the information from them to revise and send to appropriate agents. They probably won't even remember hearing the first version at the Gong Show! 

Surviving DFWCon's 2022 Query Gong Show

Image by Hans from Pixabay

 The DFW Writers Conference was back in person this weekend for the first time since 2019, with a brand-new Query Gong Show. For those new to this site, the Query Gong Show is a riff on the 1970's TV talent show in which contestants performed until judges stopped them by striking gongs. DFWCon's version is less brutal but still not for the fainthearted.

Here are the rules: writers submit their literary queries anonymously to a panel of literary experts who strike table-top gongs to signal the point at which they would stop reading if receiving these queries in their own emails. Writers can get gonged once, twice, without stopping the reading (by DFW's mellifluously voiced George Goldthwaite). But three strikes and they're out!

When DFWCon debuted its Gong Show years ago, no query survived gonging. But over the years, first one query, then more, passed the test.

This year four -- FOUR! -- of the ten entries made it to the finish with no more than one, two, even in a couple of instances, no gongs whatever from the panel comprised of Cate Hart (Harvey Klinger Agency), Terrie Wolf (AKA Literary Management), Sue Arroyo (ComCat Publishing), Amy Collins (Talcott Notch Literary Services), Kevin O'Connor (O'Connor Literary Agency), and Naomi Eisenbeiss (Inkwell Management).

Have writers learned from the results of previous Gong Shows? Or, as some viewers suggested, is it simply that there's more information online -- and at conferences such as DFW's -- about how to fashion their queries?

To help writers survive query ordeals, here's a rundown of panelists' suggestions:

• Don't be generic. As Wolf, Collins, and Arroyo mentioned at different point, don't use phrases that suggest recent Netflix shows. And Hart gonged for an entry with a stereotypical logline. Don't use cliches -- be specific.
• Exercise sensitivity. Collins gonged two queries for ethnic stereotypes and problematic racial language. Wolf gonged a children's book for its treatment of disability. (That book did escape a dreaded third gong).
• Don't do a gross-out. Although panelists sometimes admitted their lack of familiarity with the genre of a query, a reference to "rotting flesh" stopped O'Connor as it probably would have stopped even agents who were die-hard horror fans.
• Be upfront about your book's genre, theme, and wordcount. Panelists were instructed not to gong simply because they didn't represent a specific genre. But in real life, be sure those match the requirements listed on the website of the agent you're querying.
• Make sure those genres and wordcounts match literary norms. Both Eisenbeiss and Arroyo noted that the wordcount for one entry felt too light for the amount of worldbuilding its genre required.
• Write just enough, but don't forget the important stuff. Multiple agents confessed themselves lost in queries that were overly long and complicated, but in some cases didn't tell them what was actually at stake in the story. Will the world end in ice, fire, or the dreaded meh?
• Don't chase trends. More than one agent also reported receiving queries that involve viruses. (Wonder where that idea came from?)
• Finally, for those writing fiction, finish the book before querying. A query stating that only one chapter had been completed received the dreaded three gongs simultaneously.

That's all for now. But there will be more highlights about the DFWCon in future posts, including -- how to write a query!