Those dratted literary queries: one agent's take

 For anyone who didn't hear literary agent Sandy Lu from Book Wyrm Literary Agency's presentation to the Dallas Mystery Writers recently, here's a catch up. Meeting with the group via Zoom from New York, Lu gave her take on the publishing business's current, "very competitive" state and how to deal with it.

"It's a supply and demand issue," she said. "A lot of people think if they can type, they can write a book." 

Which leads to an overwhelming number of queries to agents. Aside from automatically rejecting that look generic, with "dear agent" type headings, Lu uses QueryManager (the agent/editor version of QueryTracker) to weed out spam.

But she sympathizes with those who've agonized over writing queries.

"I know writing a query letter is difficult. A lot of good writers can't write a (good) query." 

To deal with this, she also requests writing samples -- the first five pages of fiction manuscripts. Starting with the first paragraph, if she's OK with that, she goes on to the next and so on.

What to do, a writer asked, if the first five pages end in mid-sentence?

"Don't worry," Lu answered. "(Agents) are scanning. We're not reading every word!" And invariably, she will have made her decision by the first paragraph anyway.

Lu typically starts reading queries based on the work's genre as listed in their query rather than the date it hit her QueryManager inbox.

Writers unsure of their work's genre need to consider what they're reading. What shelf in a bookstore does their favorite reading come from? Where do they see their own story sitting?

Is it from the general fiction shelf? Romance? Fantasy? Science fiction? Even for writers who aren't buying from brick-and-mortar stores should note that online sellers will describe the genre of their wares.

What about genre-bending/blending books, or books spanning multiples genres, writers asked, a question repeated more than once.

"There's still a main genre," Lu replied. Again, where would our own book be shelved?

(By the way the free site QueryTracker provides lists of literary genres for works of fiction such as fantasy, historical, mystery, etc., including subgenres within some of those headings.)

Image: Pixabay

Although there are numerous sites about how to structure the query itself, Lu stated that it should be less than one page long. (Note: single-spaced.) And although some agents like a personal connection at the start, the main opening paragraph should include the book's title, word count, genre, and comparative titles.

Those comparative titles -- comps -- help the agent decide how to pitch the book to an editor. Lu prefers them to be for books published not more than three years previously. But even comparisons to older or classic works can be helpful. If the comparison is for something older, just be sure to include a more recent one or two as well.

The second paragraph should be a description of the book, "but only enough to pique interest. No more than six to seven sentences. A query should not be dry. it should read more like flash fiction."

Although she doesn't typically request a synopsis, "it's good to have a four-page synopsis. You can take it down to two pages, then to one (before) finally down to that single paragraph to use in a query."

Finally, the query letter should include a little about the writer, but only information relevant to the work at hand. And if we don't have prior publishing credits, there's no need to apologize. It's the book itself that counts.

What makes a query really stand out?

"A good title is helpful," Lu said. "Look at bookshelves for good titles from the same genre. Word count is important too. If (a book) is too short -- less than 60,000 words, or too long -- more than about 140,000, I can't do anything with it."

However, she admitted that a 140,000-word book would only be appropriate for fantasy, which usually requires more world-building. 

Her sweet-spot word count is about 80,000 to 90,000 words, with anything over 90,000 getting harder to sell.

How much does a writer's social media presence count, group members asked.

Although it doesn't have to be obsessive, Lu admitted having a publishing house editor turn down a book for lack of a social media platform. "It's never too early to start building a platform. Do a little every day. Pick one or two (platforms) you're comfortable and keep it up."

And, with the performance of such self-published books as The Martian, Andy Weir's blockbuster science fiction novel turned movie, and its offshoots, how much does a writer's self-publishing performance influence agents and editors? Are 20,000 self-publishing sales enough?

Probably not, Lu said, advising writers not to base too much hope on Weir's success. 

(As a sidelight, Wikipedia states The Martian sold 35,000 copies in its first three months as a self-published book on Amazon, in addition to the myriad free copies originally downloaded from Weir's blog.)

Finally, if we feel that Lu is the agent we've been dreaming of, check her website to see what she's looking form. But not today. Her Query

Manager says she's closed to queries until April 15, trying to catch up on her reading!

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!