There are various scenarios to consider, so here’s an overview.

First, whenever you are going to re-query, it’s a good idea to open your letter with a brief mention of your previous interaction with the agent or agency, and an explanation of why you’re writing to them again. (BRIEF.) That way, if your name sounds familiar to the agent, they won’t be sitting their scratching their head trying to figure out why.

Let’s look at some different situations.

Sending the same query to a different agent at an agency that already passed:

• Most agencies address this in their submission guidelines. At many agencies, they prefer you don’t re-query, because the agents share information with each other. My general advice, however, is that it can’t hurt, as long as you do what I mentioned above—open your letter with a mention of your previous interaction with the agency.

A query to the same agent for a totally different book:

• Go ahead and re-query, but I recommend waiting three months or more before requerying the same agent with a different book. You don’t want the agent to tire of you or develop an overall feeling of “this writer isn’t right for me.” Mention that you queried before on a different book.

A query for a book that was previously rejected; but you’ve rewritten the book:

• Did the agent specifically say they’d like to see it again if you make some revisions? Then send it.
• Did the agent see any pages of the book, or just your query? If they only saw your query, then they weren’t impressed by the concept or the hook, and/or they weren’t impressed with the writing in the query itself. So it’s very likely they won’t be interested, even if you’ve revised the book. Go ahead and re-query if you want, but be sure to revise that pitch in the query letter, since it didn’t work last time. 
• In all cases where you’ve rewritten the book, go ahead and re-query if you like but be aware that some agents don’t like seeing the same project twice, even if rewritten.

A query for the same book to the same agent; you haven’t revised the book, but you’ve rewritten your query:

• If your original query included sample pages: I would not suggest requerying. Even if your query was poorly written, the agent also saw your actual writing, and that wasn’t enough to pique their interest. 
• If your original query didn’t include any sample pages:  Most agents can see through a poorly written query letter, and if it’s something they think they might find interesting, they’ll ask to see pages. If they never asked you to see more, then the query didn’t interest them. Go ahead and re-query if you really want to, but be aware many agents would feel like this is a waste of their time.

I’m on the laid-back side of this discussion. I don’t mind if people re-query as long as they are truly offering me something new and better. Other agents may not like it so much.

The post Should You Re-Query an Agency? appeared first on Rachelle Gardner.

So true! He’s nailed it! He’s absolutely right!

But I have one thing to add. (Nathan, you’re awesome, I think you’re the coolest, so don’t take this wrong.)

There’s another reality that goes beyond your query and your book.

It’s the crowded marketplace.

It’s the fact that there are hundreds of writers competing for each slot in traditional print publishing.

Your query may need work. Your book may need work.

OR…

Your query and your book might be just fine and plenty of people would enjoy it. But because there are so many other queries in the queue, and perhaps bad luck and lack of serendipity and an annoying scarcity of fairy dust, agents and/or publishers aren’t biting.

The problem is in being able to figure out which category you’re in. You must do the work of figuring it out. Get a qualified critique partner. Hire an editor, someone who can address the big picture of your book: Is it interesting or is it boring? Does it feel derivative, or fresh? Does it make readers want to turn the page or fall asleep? Is it pretty good but have a fatal flaw?

There could come a point where you’ve done all you can, nobody’s biting, yet you have objective outside feedback that says your book really is good. What should you do?

Any or all of the following:

• Keep querying.
• Self publish.
• Write another book and query that one.

Just remember, the problem could be your book. Or… maybe not.

The post Why You’re Getting Rejections appeared first on Rachelle Gardner.

Along similar lines, reader Jan wrote on Facebook: Whenever I check an agency’s guidelines, they always talk about pitching a particular book. I already have a book published, and I’m looking for an agent to help me build my career. How do I query/pitch in that situation?

The answer is simple and clear:

When querying or pitching an agent, always start with just one book.

Here’s why:

1. While most agents are looking for authors with long-term potential and therefore want to know about your other books, it always has to start with one salable book. “Building a career” starts with selling a book to a publisher.

2. It’s unlikely an agent would take you on if you just have a smorgasbord of ideas and a vague idea of a plan. You need a book ready to go. A book that’s so great, the agent can envision the rest of the career you’re trying to build. If you don’t have a single sellable book, then talking about a whole career is pointless.

3. Similarly— if you’re writing a series, you’ve got to get them interested in the first book. Nobody is interested in sequels if they’re not already in love with book #1. So start there. Sell them on book #1.

4. Agents only get paid when they sell a book to a publisher, not by engaging in endless conversations about hypothetical “career building.” We start with a book to sell, then build a career from there. This is true even if you’re already published.

5. At some point in your conversation with an agent, you’ll know when it’s the right time to talk about all your other books and your vision for your career. Often the agent will ask. If you’re writing a query, you can briefly mention toward the end of your letter that you’ve planned a series based on the book you’re pitching, or that you also have other manuscripts in the works if the agent should be interested.

6. It’s not that you shouldn’t let an agent know of your series or your career plans. The point is not to forget your most important priority:

Sell them on a single book. Everything else follows from there.

Do you have a series or multiple manuscripts in the works? Does it makes sense that you’d need to sell them on a single one to start with?

Photo by Kira auf der Heide on Unsplash

The post Why You Should Pitch a Single Book appeared first on Rachelle Gardner.

Okay, I know you’d never put that in your query (unless your book is about candy corn). It tells me something about you, yes, but it’s not actually relevant to the project you’re pitching me. You know better than to do that. However, here’s one of the most universal kinds of statements we do see in query letters:

“I’ve been writing since I fell out of my mother’s womb with a pencil in my hand.”

“I’ve been writing fiction since the third grade when I showed my first novel to my teacher Mrs. Zuckerman and she told me it was the best story she’d ever read in her life.”

“I’ve loved writing ever since I can remember.”

It tells me something about you, but it’s not relevant.

I know sometimes it’s difficult to think of what to say about yourself in the query. You can’t think of anything impressive, especially anything writing-related, so you figure you’ll just tell us how long you’ve been writing. Unfortunately…

It.
Doesn’t.
Help.

Yes, it tells me something about you. Go ahead and include it if you really feel it’s the most important thing I should know. But sadly, I’ll ignore it.

The only time that kind of line is helpful and relevant is if it goes something like this: “I’ve been writing since I was three, at which time I won my first Caldecott Medal. By the age of seven I’d garnered two National Book Awards, one for fiction and one for non-fiction. I love writing so much that I continued, even though it took eight more years for me to finally win the Nobel Prize for Literature.”

See what I’m saying? Only if it’s relevant.

One of the reasons your lifelong penchant for writing is irrelevant is because plenty of wonderful, talented authors didn’t get published until later in life. Richard Adams published Watership Down when in his fifties. Laura Ingalls Wilder didn’t publish the Little House books until her sixties. Henry Miller was 44 when his first novel was published, Raymond Chandler 51. And don’t forget one of my favorites, Frank McCourt, didn’t publish Angela’s Ashes until he was 66.

So really, who cares if you’ve been writing since you were a child? Either you have a salable book or you don’t, whether you started writing at six or sixty.

Keep your query letters on-point and focused. Only include information that’s germane to the topic at hand. Besides the actual pitch for the book, include such details as whether or not you’re previously published, if you’ve won any awards for your writing, and what genre of book you’re pitching. If you can’t think of anything, just give us a logline on you.  “I’m a third grade teacher, I live in sunny Florida, and I look forward to hearing your response.” Keep it simple.

All clear?

P.S. My third grade teacher really was Mrs. Zuckerman and I did write my first novel then. It was about a horse who broke his leg and the rancher was going to shoot him, but the rancher’s daughter fought to save the horse, and went on to campaign for the end of shooting horses with broken legs. Now you know why I am not, today, a novelist.

Photo credit: https://unsplash.com/photos/jmYgDD2t6dY

The post What Not to Say in a Query appeared first on Rachelle Gardner.

People always ask me about the clichés we hear in queries, and last week someone asked me what makes my eyes glaze over in a pitch. Here it is, hands-down:

“God told me to write this.” And let’s not forget its many variations. God laid it on my heart. God gave me this idea. God has called me to write this book.

I call it playing the God card and frankly, it doesn’t impress me. Now don’t jump to conclusions and vow (once again) to stop reading my blog forever. I’m not a heretic, but I may be constitutionally incapable of conveying my thoughts on this without the snark factor. Because you see, when you say “God told me to write this” the instant reaction (usually unspoken, thankfully) of most editors and agents is, “Yes, but God hasn’t told me to publish it.”

Don’t get me wrong. I recognize that as Christians, it’s vitally important that we try to follow God’s call on our lives and be obedient to His will. And I know that many writers feel directly divinely inspired to put their words on the page. But saying your idea came from God doesn’t help you get it published. It doesn’t make an editor or agent sit up and pay attention. It doesn’t give you a leg up on the competition. Because if you’re pitching your work in Christian publishing circles, everyone else can say the same thing. At least, we hope they can!

If you’re a Christian, then of course God is involved in your work. I assume your desire is to let Him speak through your writing. I expect you have moments where you feel your specific words came directly from the mouth of God. So, mention that God spoke these words into your life if it’s important to you, but don’t assume it will give you a selling advantage. In fact, only say it if you’re sure you’re simply conveying important information to the editor and not trying to use God’s name to help sell your book. That’s really playing the God card. It’s irreverent and it smacks of using God for your own ends. I believe that’s the true definition of taking the Lord’s name in vain. So please don’t do it.

Even if you’re sure that God has led you to write something, don’t mistake it to mean He’s telling you it will be published. It might be that God wants you to do it for reasons you can’t fathom―for your own growth, for example, or to develop your obedience. Maybe he wants you to write it down to share with a select few other people. Being inspired by God doesn’t mean that your work necessarily fits into the publishing business, but it still could be pleasing to God, and glorify Him and make Him smile.

Don’t despair. Glorifying God is a worthy goal. If your work blesses the life of one person (even if that person is you) while giving glory to our Lord, then be assured it’s worth it. If you feel God has called you to it, then make like Nike and just do it. If you feel He’s also called you to pursue publication, do that too. If you believe He’s made you a promise that your book will become a million copy bestseller, you might just want to keep that little tidbit to yourself.

If you want credibility with your writing, don’t try to sell it based on the fact that God told you to write it. And you can trust me on that, because God told me to tell you all of this.

P.S. Lest you think I don’t “get” the idea that God really does inspire our
writing, I’m a writer, too. I get it.

Photo credit: https://unsplash.com/photos/1VXvvPNvzmI

The post God Told Me to Write This Post appeared first on Rachelle Gardner.

You said “don’t pitch a novel unless it’s complete.” Do you feel the same about query letters? Do we only query completed works, or are ideas fair game?

If you are sending a query to an agent, only pitch projects that are ready to go. If it’s a novel and you are not previously published with a mainstream commercial publisher, this means a completed manuscript. For non-fiction, a complete book proposal and two sample chapters will do. (But more and more, publishers are asking for complete manuscripts on non-fiction, too. Especially with unproven writers.) Think about it. If I read your query and I like it, the first thing you’ll hear from me is, “Please send a book proposal and several sample chapters.” If that looks good and I’m seriously considering representation, I’m going to ask you for everything you’ve got. I can’t sell to a publisher without the whole shebang (unless, like I’ve mentioned repeatedly, you are multi-published and a proven commodity). You can’t query an idea, because ideas have no value without execution.

What about sending in a synopsis instead of a query?

Don’t do it. Some people send a synopsis and NOTHING else, not even a salutation or a closing. IMHO, it’s rude and unprofessional. In fact, I received one recently. Just a one paragraph synopsis. Nothing about the author. Just a line saying, “Email me if you’re interested in seeing more.” I wasn’t interested, so I deleted it without responding.

I’m curious to know if there are any cliché phrases that you’ve found in query letters that writers absolutely, positively should avoid.

The thing about clichés is that in a few cases, when used correctly, they can be perfect in a query, especially if they make the reader laugh. In most cases, however, since your query is a writing sample, your best bet is to avoid sounding hackneyed or derivative. The best advice I can give about clichés is (another cliché): When in doubt, leave it out.

I’ve attended workshops where the author has strayed from the guidelines and got picked up. And encouraged us to do the same. We’re told to follow guidelines. We’re told to stand out. I realize our writing will determine if we stand out or not, but what kind of things that stray from the guidelines would catch your attention in a good way?

I wrote in a query post that I don’t expect you to be slaves to guidelines. I’m just trying to offer tips here, ya know? With ALL guidelines (on writing, pitching, querying, etc.) try to see behind the specific advice and get to the basic truth. With a query, the basic truth is that you need the agent/editor to want to see more, or you’re sunk. It’s up to you to figure out how to accomplish that goal. Use guidelines to help learn the craft of writing and the business of publishing… let them go when you don’t need them anymore. I can’t say “what kind of things that stray from the guidelines would catch my attention” because that’s as individual as the person.

Do you accept query letters for books that have been indie-published? I ask this because I have one, but I’ve been seriously considering having it edited by a professional, rewriting it and then seeking representation for it.

Yes… no… maybe. It’s a common question these days but there are too many variables. The most important consideration will ALWAYS be how good your book is, and that’s subjective. I suggest a normal query to agents, including the POD information (release date, sales figures). You’ll find out soon enough if it’s catching anyone’s attention.

I know the importance of addressing the letter to a specific person, not just Sir or Madam or Dear Agent, however, even though I feel as if I know you from reading the blog, Dear Rachelle seems far too informal. Is Ms. So and So acceptable to most women who are agents?

A few years ago, I read some heated debate on another blog about the “Ms.” salutation. I was stunned to find that a few women seem to resent or dislike the term. Nevertheless, the correct salutation is Ms. Gardner or Mr. Johnson. Once you’ve corresponded with the person, you can take your cue from how they sign their emails. I’m always just Rachelle and I prefer being addressed that way. Personally, I don’t object to people querying with my first name rather than “Ms.” because I go to great lengths to be approachable by writing my blog.

Could you please provide the pronunciation of the word “query” that won’t make agents/editors wince? Does it rhyme with PRAIRIE or EERIE?

Leave it to an English teacher! Potayto, Potahto. Tomayto, tomahto. Your choice. Just make sure you use the preferred pronunciation of the editor/agent you’re talking to. (tee hee) As for me, I could hardly care less. As long as you SPELL it right.

Photo credit: https://unsplash.com/photos/rzCi3mD-6ho

The post Questions on Queries appeared first on Rachelle Gardner.

There’s another kind of “not taking no for an answer” I get sometimes that seems like a better approach because it’s not an argument, but I have to be honest, I don’t like this one any better.

It’s when people respond to my pass letter with a list of their four or six or ten other ideas. They say, “Okay, you didn’t like that one but I have plenty more! Do any of these interest you?” Then a list of pitches.

This rarely works out for either of us. I can’t tell in such a brief format whether your ideas are marketable or not. Also, you don’t know whether I passed because I didn’t like the idea, or because I felt your writing wasn’t quite good enough, or because you have no platform.

It’s GREAT to have a list of book ideas! Take it to your critique group, discuss it with friends, or consider hiring a freelance editor or consultant to help you identify your most viable book ideas. More importantly, try to determine if it’s the idea or the writing itself or your platform (or any combination thereof) that’s causing you problems. Go from there.

In any case, please respect the time of the agents and editors you approach. Don’t send them a laundry list unless you are invited to do so (which sometimes happens when a writer is extremely impressive).

Choose which idea you want to pitch. Make sure you have the required materials—a complete manuscript, or a proposal and sample chapters. Then craft a terrific query and send it out there.

Have you been tempted to send an agent a whole list of ideas? What did you decide to do instead?

Image copyright: olegdudko / 123RF Stock Photo

The post Don’t Send Me Everything You’ve Got appeared first on Rachelle Gardner.

You’ve said on your blog, “don’t pitch a novel unless it’s complete.” Do you feel the same about query letters? Do we only query completed works, or are ideas fair game?

If you are sending a query to an agent, only pitch projects that are ready to go. If it’s a novel and you are not previously published with a mainstream commercial publisher, this means a completed manuscript. For non-fiction, a complete book proposal and two sample chapters will do. (But the more you’ve written, the better.) Think about it: If I read your query and I like it, the first thing you’ll hear from me is, “Please send a book proposal and sample chapters.” If that looks good and I’m seriously considering representation, I’m going to ask you for everything you’ve got. I can’t sell to a publisher without the whole shebang (unless you are multi-published and a proven commodity). You can’t query an idea, because ideas have no value without execution.

What about sending in a synopsis instead of a query?

Don’t do it. Some people send a synopsis and nothing else, not even a salutation or a closing. IMHO, it’s rude and unprofessional. In fact, I received one today. Just a one paragraph synopsis. Nothing about the author. Just a line saying, “Email me if you’re interested in seeing more.” I wasn’t interested, so I deleted it without responding.

I’m curious to know if there are any cliché phrases that you’ve found in query letters that writers absolutely, positively should avoid.

The thing about clichés is that in a few cases, when used correctly, they can be perfect in a query, especially if they make the reader laugh. In most cases, however, since your query is a writing sample, your best bet is to avoid sounding hackneyed or derivative. The best advice I can give about clichés is another cliché: When in doubt, leave it out.

I’ve heard about authors who strayed from standard guidelines and got picked up by a publisher or agent. Some people encourage us to do the same. We’re told to follow guidelines, then we’re told to stand out. I realize our writing will determine if we stand out or not, but what kind of things that stray from the guidelines would catch your attention in a good way?

I don’t expect you to be slaves to guidelines, I just try to offer tips to help you put your best writing forward. With all guidelines (on writing, pitching, querying, etc.) try to see behind the specific advice and get to the basic truth. With a query, the basic truth is that you need the agent/editor to want to see more, or you’re sunk. It’s up to you to figure out how to accomplish that goal. Use guidelines to help learn the craft of writing and the business of publishing… let them go when you don’t need them anymore. I can’t say “what kind of things that stray from the guidelines would catch my attention” because that’s as individual as the person.

Do you accept query letters for books that have been self-published? I ask this because I have one, but I’ve been seriously considering having it edited by a professional, rewriting it and then seeking representation for it.

Yes… no… maybe. It’s a common question these days but there are too many variables. The most important consideration will always be how good your book is, and how well it has the potential to sell. Most agents prefer you query with your next book, not the one that was self-published. But if you really want to give it a shot, I suggest a normal query to agents, including the self-pub information (release date, sales figures). You’ll find out soon enough if it’s catching anyone’s attention.

I know the importance of addressing the letter to a specific person, not just Sir or Madam or Dear Agent, however, even though I feel as if I know you from reading the blog, Dear Rachelle seems far too informal. Is Ms. So and So acceptable to most women who are agents?

Interestingly, I recently read some heated debate on another blog about the “Ms.” salutation. I was stunned to find that a few women seem to resent or dislike the term. Nevertheless, the correct salutation is Ms. Gardner or Mr. Smith. Once you’ve corresponded with the person, you can take your cue from how they sign their emails. I’m always just Rachelle and I’m okay being addressed that way. Personally, I don’t object to people querying with my first name rather than “Ms.” because I go to great lengths to be approachable by writing my blog.

Could you please provide the pronunciation of the word “query” that won’t make agents/editors wince? Does it rhyme with PRAIRIE or EERIE?

Leave it to an English teacher! Potayto, Potahto. Tomayto, tomahto. Your choice. Just make sure you use the preferred pronunciation of the editor/agent you’re talking to. (tee hee) As for me, I couldn’t care less how you say it. As long as you SPELL it right.

Questions, thoughts or comments about query letters?

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The post Answering Questions about Queries appeared first on Rachelle Gardner.

When you’re a debut author trying to break in to traditional publishing, one of the most important things to remember is this:

Minimize the obstacles.

You already know it’s not going to be easy to break in, so you want to avoid making it even more difficult on yourself. This is why agents give so much advice on their blogs. Not every piece of advice applies across the board to every author, but we’re trying to help you have the best chance of attracting an agent and publisher.

Assuming you’ve written a terrific book…

What are some possible obstacles to finding an agent and publisher?

Read the post at Books & Such to find out. Click Here.

The post Minimize the Obstacles appeared first on Rachelle Gardner.

I understand it’s not easy. I never reject writers for making one silly mistake in a query — I sincerely assess whether the book being pitched looks interesting to me. But as I was going through my current batch, I found most of the same kinds of “sigh worthy” lines that I’ve been seeing for years. Try not to say things like this:

1. I’m certain this memoir will be a huge success!

2. My book will make readers laugh out loud.

3. All those other Christian books are getting it wrong – but my book gets it right.

4. I have published five books with PublishAmerica, all of which have been listed on Amazon.

5. I  am writing a fiction novel.

6. Have you ever wondered…?

7. Several agents have already passed on my book, but had positive things to say. Here are excerpts about my book from three other agents’ emails.

What is the hardest thing about writing a query letter? Have you made these (or other) mistakes?

The post Query Lines to Make an Agent Sigh appeared first on Rachelle Gardner.

You’re right—a letter. A letter we’ve slaved over, making sure every word is just right, making sure we’ve done everything humanly possible to GRAB the attention of that editor, make them sit up in their seat and think, “I’ve GOT to read this!”

In other words, I have to do the same thing you do. That manuscript I send to an editor will land on a pile (perhaps a “virtual” pile) of dozens or hundreds more submissions. It’s my job to make them pay attention despite the competition.

So the letter is extremely important. And while it’s certainly not an easy task, it’s not really complicated either.  It’s the ultimate in simple. You may see differing agent guidelines, but we all want basically the same thing, with the only major difference being that some agents want sample pages in the query, and some don’t.

Here’s what we want:

A reasonably intelligent letter, addressed to us personally, that pitches the book in a way that makes us understand it, makes it sound fascinating and makes us really want to read it.

(If the book is non-fiction, then a bit about the author and the platform is also necessary.)

That’s it.

When I keep that simple sentence in mind, it makes the letter-writing much easier. I’m able to come up with ways to make the project “pop” on the page. I can allow myself to brainstorm, trying out various ways of pitching it, discarding and rewriting until I have it just right. Keeping a simple focus allows you to do the job without getting all tangled up in knots over trying to meet every agent’s perfect fantasy of a query letter.

Most of the problems with queries are in the writing itself. This has nothing to do with differing agent guidelines. You’ve got to learn to write a strong letter, as well as a strong pitch for your book. This is all part of being a professional writer!

Sure, every agent has their little preferences and pet peeves. And we DO want you to read our guidelines because the biggest time waster is reading queries for genres we don’t even rep. But basically, if you have a well-written letter that is free of grammatical errors and typos, avoids grandiosity and ridiculous claims, and makes your book sound intriguing, you will get fair consideration.

Stay educated about industry basics such as genres and acceptable word counts, read agent guidelines so you’ll know what they rep — and stop worrying so much.

What do you think makes writing query letters so hard? Do you have any tips or techniques to share with your fellow writers?

For more info, go to “Find Posts by Subject” and click on “Query Letters.” You can also read my list of Top Ten Query Mistakes, or take a look at six queries I’ve critiqued.

Image credit: badmanproduction / 123RF Stock Photo

The post Taking the Mystery Out of Query Letters appeared first on Rachelle Gardner.

That’s a good question, Marielena. Yes, it’s specific to the agent. But just so you don’t waste too much time trying to decode query responses, here’s a word to the wise: Query rejections are all about the euphemism.

If the agent isn’t going to take the time to give you specific feedback on your work, then you’re going to get some kind of standard platitude, such as:

Not a fit at this time.

Doesn’t meet our present needs.

I don’t have the right connections to sell this.

We receive many worthy manuscripts and can only take on a very few.

Not quite right for us.

And what does it mean? What it means is: We don’t have time to tell you why we’re rejecting your project so we’re just trying to be polite and let you know as nicely as possible that it’s a “no.”

Now, if there is anything specific in your rejection letter — something that’s not a generic form letter  — pay attention. Many agents will personalize slightly. They may say, “I did not find your fiction to be well-crafted enough for me to present it to a publisher.”  Which means the agent thinks your writing needs work.

Novelists who are querying should read the Query Shark blog, where agent Janet Reid dissects query letters. You’ll notice that every query she rejects gets a “form rejection” but each letter has its own reasons for being rejected. So for the most part, you’re not going to be able to tell from a form rejection what the reason was.

And by the way, there’s no mileage in responding to a query rejection. Best to file it and move on.

Since you don’t get the satisfaction of responding to your rejection letters, go ahead and do it here in the comments:

How would you like to respond to the agent who rejected you? Remember, euphemism works great!

Or… tell us the best euphemism you’ve heard in a rejection letter.

P.S. Play nice, and no profanity please.

The post Decoding Query Rejections appeared first on Rachelle Gardner.

We expect that you’re simultaneously submitting. If you’re not, and instead you’re submitting to one person and hoping/emailing/begging them to respond, that person may not appreciate the pressure (flattering though it is). I promise, they are getting through their submissions as fast as they can.

Since we assume you’re sending to more than one agent at a time, you don’t have to mention in your letter that it’s a simultaneous submission.

It’s best to send your queries in batches. Choose maybe six to ten agents to query at a time, then wait four to six weeks, in which time you might get some feedback that can help you revise your query if necessary. Then send another batch.

Remember, even though you’re sending in batches, it’s best to personalize each email to the individual agent. Never put more than one agent’s email address in the “to” field and send to all at once. (This isn’t asking too much. Once an editor begins pitching your project to editors, they’ll personalize it every step of the way, from carefully choosing editors, to painstaking crafting pitch letters to send individually to each one, to following up at just the right time via phone.)

What if you’re at a conference, and you have agents and editors asking for you to send material? Definitely follow up by sending the requested material to everyone who asks. Some publishers will want you to have an agent before they contract you, but that would be a good problem to have and you can cross that bridge when you come to it.

How are you doing with YOUR query process?

The post Simultaneous Submissions appeared first on Rachelle Gardner.

Our agency has a policy that if you send a query and you don’t hear back from us in 30 days, you can consider it a “pass” and move on. I’m well aware that writers don’t like this and honestly I don’t like it either, but I’ve had to make choices about how to spend my time. Sending rejection letters had to go to the bottom of the priority list.

Sometimes when I’m reading queries and I’m actually sitting at my computer, I do send pass letters. But often (like Jill says in her post), I’m reading queries on my phone and it’s not easy to send pass letters that way. Other times I’m reading queries and I’m trying to give each one my full attention, while also trying to get through as many as possible in a short amount of time. Cutting out the step of responding means I can read and consider twice as many in a given hour.

If I’m interested in a query, I do respond right away. Sometimes, like right now when my client list is pretty full, I’ll respond saying, I really like this query but I need a little more time. That way, at least the writer knows I’m spending more time with it and giving it serious consideration.

Anyway, I hate that I have a policy that frustrates writers, but I’ve found it’s a necessity for me.

Go read Jill’s post for a fuller explanation from the agent side of the desk.

What are some difficult or unpopular boundaries YOU have had to set in your life?

The post When No Response Means “No” appeared first on Rachelle Gardner.