Tag: query letters

The Readiness is All

~ M. L. Rio

From what I’ve seen on my own and everyone else’s social media, one of the most common questions writers get is how you know when your work is “ready”–ready to show to beta readers, ready to submit to agents, ready to send to the agent you already have, ready to submit to publishers, or ready to go to press. Like most things in writing, there aren’t any straightforward answers, to any version of that question (except the last version, to which the answer is, “When the publisher decides it’s ready, because they’ll send it to press whether the writer is ready or not”). Sometimes deadlines make the decision for you, but when there’s a degree of autonomy involved, it’s much harder stop spinning your wheels and hit “send.”

I think this gets harder rather than easier the longer you write and the more revision you do, because you’ve had the time and experience to learn that every draft that seemed almost-perfect when you fist finished it looked like a holy mess a few weeks later. Sure, you might be feeling pretty good about Draft 5 now it’s done and dusted, but that’s exactly how you felt about Drafts 4, 3, and 2, and man, were you wrong about those. I published a book that went through 45 drafts all told and I still wish I could go back in time and make changes, even though it’s way too late for that now. And I think that’s the first thing you have to accept: that no draft will ever be perfect, no matter how many drafts you do. So instead of waiting for a perfect draft, you have to settle for a draft that’s good enough, despite the nagging premonition that six weeks from now when you’ve gotten some distance all the flaws you were blind to before will glare at you in blinking Vegas neon. (Art is for masochists, not romantics. Jot that down.)

So, when and how do you summon up enough “f$#k it” energy to send that thing to agents or your agent or editors or your editor even though you know it ain’t perfect and it probably never will be? Obviously it depends where you are in the process, but the abstract answer is “when you’ve done everything you can.” When you’re getting ready to query, that probably means you’ve done at least ten drafts and you’ve gotten some beta readers and maybe a freelance editor and done some of those drafts with their feedback in mind and you think it’s the best it can be without professional (i.e., an agent’s) input. When you’ve already got an agent and you’re getting ready to give them something new, that’s a whole different ball game–because you don’t need to convince them to take you on as a client anymore. Sometimes there’s more anxiety involved with a second book because you’re both asking whether the second book is going to live up to the expectations the first one created. At the same time, the working relationship has had time to grow and develop and you’re already in this together. Of course (of course) you still want to impress your agent, but it’s also not so gauche to say, “I know I still need to work on X, Y,  and Z in this manuscript, but I wanted to get your input first.” Submitting to editors is a decision you and your agent necessarily make together, and you can multiply the number of people involved and subtract from how much decision-making power lies with you, the author, the farther along in the process you get and closer you come to pub day. But people usually aren’t asking about that part of the process, because by then they’ve got the agent and the editor and everyone else at the imprint ready to give them the answer.

As for those early stages, when the decision rests largely with the writer, it’s a lot harder to take your foot off the brake and let it go. Personally I’ve found there are a couple of telltale signs I’m reaching the point of no return:

  1. Instead of identifying big problems that span multiple scenes or chapters, I’m doing the sort of surgery that only requires local anesthetic.
  2. I’m changing things and then changing them back again in the next draft to what they were before.
  3. I’m hunting for things to fix instead of finding them right away.

When I start to notice this pattern repeating itself from draft to draft (and chapter to chapter and scene to scene) that’s usually a good sign that I’ve used up my own resources and it’s time to punt to someone else. Then I take a break from the work and walk away from it, ideally for at least two weeks and ideally when I have plenty of other things to occupy my mind. This time around it was two weeks’ cramming in the home stretch before my comps exam, when I wouldn’t have had time to think about writing if I wanted to. Having come back to the MS over the last few days, I still feel the same way I did two weeks ago–namely, that I’ve done all I can do and it’s time to make a few cosmetic changes to bring the document up to industry standards and send the cursèd thing off to my agent to read.

At this point in the process, I’m usually feeling a little ambivalent. I’m still excited about the project but don’t want to get my hopes up because I’m still too close to it to be objective about the book as a book, as opposed to the book in its current iteration. And I think when aspiring authors ask questions about how they know when they’re ready what they’re really asking about is how to avoid that feeling, that uncertainty. To be honest, I don’t think you can. Like I said, art is for masochists. Self-doubt and self-confidence will always go hand in hand. That–like the fact that no draft will ever be perfect–is one of those things you just have to accept. So instead of waiting for the day when you feel unambiguously positive about your manuscript, because that day will literally never come, you wait for the day when you feel you’ve done everything in your power to improve it, and you’re ready for someone else’s input. You don’t have to be ready to publish it. You don’t have to be ready to show it to the world. You just have to feel confident that the work that you’ve done was the best you could do on your own and you’re ready now for someone else to read it and say, “I like what you’ve got so far. Here’s what still needs work.”

M

Publishing Q&A, Part 1

~ M. L. Rio

Over the past week, my agent, my editor, and I have been collecting your questions about books, publishing, and If We Were Villains. Here’s the first round of answers from me and Arielle (but first a quick reminder who we are):

Arielle Datz is a New York transplant from Los Angeles, who started as an intern at Dunow, Carlson, & Lerner Literary Agency in 2011. She then worked in the foreign rights department at WME, followed by the Elizabeth Kaplan Literary Agency. She returned to DCL full-time in 2015. She is currently obsessed with April the Pregnant Giraffe (aprilthegiraffe.com). Other loves include whales, contemporary chamber music, and noodles in all forms.

M. L. Rio is the author of If We Were Villains, coming to a bookstore near you on April 11th from Flatiron Books. Before she was an author she was an actor, and before she was an actor she was just a word nerd whose only friends were books. She holds a master’s degree in Shakespeare Studies from King’s College London, and probably won’t break away from the cult of academia any time soon. Her other favorite things include music, wine, and her dog Marlowe.

And without any further ado, our first questions from you.

For Arielle: Are there some things that you encounter in query letters that immediately or always make you turn them down (apart from people not following instructions)?

Arielle: People not following instructions is a big one. But more generally, if it’s clear the writer didn’t do any research on me (check out my bio on our website, maybe check my Twitter or IG, where I often say what I’m reading and loving, and it’s easy to get a sense of what I’m into), that’s a turn-off. On a smaller scale, if there are grammatical errors in the first lines, I tend to be out. This may seem trivial, but usually it’s indicative of the writing style. Some agents (and an agent is also an editor) can see the potential past sloppy writing and are willing to work with the writer to clean it up, but I get easily lost in the fog of errors to see the story. Careful writing in the query letter shows me there will be careful writing in the manuscript.

For A/M: Is it better to find an agent or send your manuscript straight to a publishing company? I’ve heard opinions on both sides so hearing pros and cons from the professionals would be fab. How do you go about finding an agent? No one ever talks about this mystical part of the publishing process, and I’d like to figure it out before I reach that point. How did you do it, how do agents suggest you do it?

M: I think I’ll let Arielle take the first half of this one, but as for how to find an agent, I can’t stress how important it is not to query at random. When you’re sending query letters you want to take a couple of things into account, which include but aren’t limited to the size of the agency (a bigger agency may have better contacts but you’ll get less attention), what their ‘mission statement’ is, and most importantly, whether they represent the kind of stuff you write and whether they’ve had success selling it. Once you’ve figured that out, you need to look at what specific agents are interested in and be able to articulate why they might be interested in your work. For instance, it doesn’t make any sense to send a query for romantic high fantasy to an agent who’s only looking for middle grade mysteries. Finding an agency is all about fit, so if you can’t say why you’re querying a specific person, you probably shouldn’t be querying them. Last but not least, don’t send query letters to agents who aren’t taking submissions, because that just wastes everyone’s time. The most important thing if and when you do finally get an agent on the line is to make sure your visions for the book are compatible. I talked to a few different agents about representing Villains, but when I spoke to Arielle I could tell she just got it. She knew exactly why the story mattered, I think partly because she grasped the fact that the precarious age of these characters is really important–that strange liminal place between adolescence and adulthood. Some of the agents I talked to wanted to make everyone older or younger so they fit in a more clearly defined category. Arielle understood that their not fitting clearly into one category or the other was precisely the point. Sharing a vision with your agent is really important. As another agent friend said to me when I was weighing my options, “Who do you want talking about your book when you’re not in the room?” It can be tempting to jump on the first agent who expresses an interest, but it’s much better to wait for an agent who’s really the right one.

A: In a broad sense, if your ambition as a writer is to be published by a mainstream publisher, then you need to have an agent. The big publishers generally don’t take submissions that don’t come from an agent, because they don’t have the capacity to field that many submissions. Moreover, an agent acts as a gatekeeper of sorts; it’s an agent’s job to have good relationships with publishing houses, so that they only get bombarded by us with submissions (and they know us, and we know each other’s tastes), rather than by every writer in the world. That said, some small, independent publishers and presses do take submissions from writers directly, and should indicate as much on their websites. As M says, research is key. There are tons of online resources with information on agencies and publishers, so you can begin to figure out which path is right for you, and which agencies or agents you think you would work well with.

For A/M: Do you have to live in a big city to get traditionally published?

M: Nope. When we sold Villains I was living in a small college town in North Carolina. Because most communication in publishing happens either online or over the phone, your physical location is pretty much immaterial.

A: What M said!

For A: What would you advise someone who does not live in an English speaking country to do differently when hoping to find a literary agent? Is it possible at all for, say, people living in Germany to gain the attention of an English/American agent?

A: This is a little bit out of my wheelhouse, but I do have some experience with foreign rights (i.e., selling translation rights for English books into other languages), and I imagine it works in a similar way. My impression is that there are agents in pretty much every country/language, and they should have resources and connections in the English-speaking world. Using your example, I would recommend looking first for a German agent, who would hopefully have the connections to get an English-language agent’s attention. However, it also depends on what language you’re writing in – if you have a manuscript that is written in English, and you just happen to be German, I’d say go ahead and submit to English-language agents. However, if the manuscript is not yet translated, that can be a barrier (and a good reason to get a German agent first). Simply put, it’s certainly possible, but a bit more complicated.

We have many more questions in the queue, but don’t forget you still have two more days to send them in–so if you have questions about writing, agenting, editing, or Villains, ask them soon! All the info you need lives right here.

–M