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The Mystery of the Slush Pile

April 19, 2012 in Agency, Book Proposals, Tamela, Writing with 42 Comments

by Tamela Hancock Murray

When you submit a manuscript or query to an agent, you may wonder what happens to it, and what our thought processes are regarding the properties we offer to represent versus those we must respectfully decline. Every agent is different, but you may find learning about my process helpful.

I have a very smart assistant. When she reviews my slush pile submissions, she goes through a winnowing process.

The first submissions she rejects are those that are obviously not a fit for me. These include:

1.) Stream of consciousness submissions. If she can’t figure out what you are talking about, she sends it back. By this we don’t mean that we don’t understand systematic theology. It means that the query letter is incoherent.

2.) Error-ridden letters. Even the best of us can type “here” when we meant to type “hear” but more than one error in a final letter is a red flag that either the author is not well-versed in basic grammar or will turn in careless, sloppy work.

3.) We rarely acknowledge queries sent as an email blast in the cc line to the entire industry. It is a form of spam. Target a select few and then personalize your proposal to each.

4.) Books that aren’t in categories we represent.

Submissions that bypass these four problems, among others, and otherwise show promise are passed on to a reader. The reader looks for factors such as:

1.) Excellent writing.

2.) For fiction, coherent plot.

3.) For nonfiction, whether the intended audience is likely to connect with the topic.

4.) Overall message of book, whether fiction or nonfiction.

Our reviewer’s opinion carries weight. If the manuscript doesn’t pass muster, the reviewer reports as to why it doesn’t. Based on the evaluation, unless my assistant has an extremely good reason to disagree, a rejection is sent. But if it survives that initial read, then the submission is sent to me for final evaluation. At that time, I must consider many factors as I make my final decision. The factors differ, depending on the author’s publishing history, type of manuscript in question, and my belief in its marketability. The main point to remember is that rejections from my office are never a reflection of a writer as a person, and I think most agents would make the same statement. I wrote books and articles for many years, so I know what receiving a rejection letter feels like. Since so much of yourself is put into your work, rejection does feel personal. One of the most difficult parts of my job is sending a rejection notice to an author I know and like. But if I waste her time, mine, and the editor’s, then attempts to market out of a sense of friendship won’t help any of us.

On the flip side, when I do offer representation, you can be confident that in my representation, you will have the full support of The Steve Laube Agency.

Your Turn:

What is the longest you’ve had to wait for an agent to reject or accept your work?

Did you earn an offer of representation for your first manuscript, or did you write several books before finding success?

The Wild Pitch

March 26, 2012 in Book Proposals, Publishing, Steve with 15 Comments

by Steve Laube

In honor of the upcoming baseball season I thought it would be fun to explore the art of pitching.

A couple years ago I was watching a Major League baseball game and the pitcher unleashed a horrific throw that sailed about eight feet behind the batter. It floated to the backstop without a bounce and everyone in the stadium wonder what had just happened. It looked like the pitcher lost his grip and could not stop his delivery. In baseball terms this is classified as a wild pitch.

Unfortunately many writers unleash a pitch on an agent or an editor before it is ready to deliver. Let me list a few actual letters I have received.

“Save for the Bible, the book you’re holding in your other hand is the most important work you’ll ever read! Let me know what you think.”

“I sincerely doubt you will engage in any business with me, just because that’s how sick and sordid the industry has become…I mean, I produced the piece of work, you didn’t. Now, I challenge you to do your job.”

Subject line of the email said: “DON’T READ THIS.” (So I didn’t.)

“I came across your listing on the internet. You would not have been my first choice…”

“All my literary efforts…are stirring works caught in the vortex of disintegrating modernity. Each work is a mixed genre, essentially fiction-fantasy-history, with an environmental twist, and many young folks.”

“This novel is…an enjoyable romp with outrageous characters and themes that just about anyone can identify with; including sinister ‘friends,’ insane parents, existential nausea, jealousy, and sexual frustration.”

A good pitch, on the other hand, is delivered with focus and precision. Think about it for a minute. A baseball pitcher starts by learning how to grip the ball. Then comes the best way to actually throw the ball. Some adjust their arm angle to achieve the best way to maintain the right speed for that particular pitch. Don Sutton, a great pitcher in his day, was not known for his overpowering arm but he learned that the genius of his delivery came from his legs and core body strength. Each pitcher finds his own comfort zone and type of pitch that works for them. Some are all about speed (Randy Johnson, Steve Carlton, Sandy Koufax), others are all about curveballs or change ups. And some are about placement in, or out, of the strike zone. Or like Mariano Rivera of the Yankees who has a wicked split fastball.

Much like a major league pitcher you must work on your delivery. Find the best way to pitch your idea in such a way that it is easy to catch. Focus. Precision. Intent. And a pitch that is really strong.

Let’s carry the concept one step further. Each pitcher is different, just like each writer is different. For every Nolan Ryan, strikeout artist, there is a Wilbur Wood, whose knuckleball pitch was almost impossible to hit squarely. But each pitcher uses the same fundamentals of grip, arm speed, leg strength, and follow through.

Play ball!

The Unhelpful Rejection Letter

March 8, 2012 in Book Proposals, Business, Tamela, Writing with 66 Comments

by Tamela Hancock Murray

Have you ever received an unhelpful rejection letter that says, “Sorry, but this just isn’t a fit for us.”? I have. And I’ve also written more of these rejections than I’d like to admit. In fact, after I write this post, I may just have to send out twenty more.

Some authors write back to say, “Can’t you tell me what I can do better? What suggestions do you have?” I’m sure I frustrate writers when I tell them I can’t comment further. As a published author in my own right, I understand why writers want feedback. So now let me tell you why I don’t feel it’s in your best interest for me to offer feedback when the answer is a firm no.

Lead Me On

When you were in high school, you kept from encouraging people you didn’t want to date, right? Sometimes those people were nice and would make a great match for someone else. Just not you. You hated the fact you couldn’t, in your heart of hearts, be passionate enough about spending time with them to accept invitations for dinner. But how to tell them without gaining an enemy forever? Ouch!

I don’t want make writers, especially my lovely friends, think I’m going to introduce their work to editors if I have no intention of doing so. If I tell you, “Well, I’d like this better if the heroine’s eyes were blue and her name was Sally,” and you changed both factors and sent it back to me, you’d expect me to pursue your work. Now, in truth, I might think your book would be better with blue-eyed Sally instead of green-eyed Sarah, but another agent might disagree. Unless I’m serious about pursuit, it’s better for me to keep my opinion to myself.

Tick Tock Tick Tock

Another factor in a lack of meaningful comment is time. I would love to mentor more writers, but time doesn’t allow. I’m simply not able to give each writer with a shred of promise a line-by-line edit. Until you are published and receiving meaty critiques from professional editors at publishing houses, look for critique partners to do heavy edits. And expect to return the favor many times over. Even better, learn self-editing so your critiques are light both in critique group and from the editor at your publishing house.

And realize that even a morsel of advice can take considerable time to compose so that it is genuinely helpful.

You Owe Me!

When you follow up with an editor or agent after a conference, you may be disappointed if you receive an unhelpful rejection letter. But for the reasons I’ve stated, you’ll have to swallow disappointment even when you’ve made a great personal connection. Some editors and agents may go the extra mile with a few comments based on the great time you had over lunch at conference, but they don’t owe you. Remember, agents and editors are more swamped than ever after big conferences so they may be treading water with the tsunami of resulting submissions.

Ungrateful

Believe it or not when we do provide a bit of critique or advice a few writers take it as an affront and fire vitriol in return. Steve Laube shared this final salvo from a person he tried to help by saying the manuscript was too long for the current market:

You have rejected the proposal, so why do you insist on insulting me? Why does it matter to you? My manuscript is what it is and everything included is vital information … Please do not email me again.

A Forever No?

In my view, a rejection letter is not a forever no, even if you feel the letter is unhelpful. You can always try again with a new submission, especially if you have worked hard to improve the material. Persistence is just as helpful in writing as it is any other profession.

The Helpful Rejection Letter

Did you score a helpful rejection letter? One that provides specific advice or critique? Rejoice! It’s the next best thing to an acceptance. The helpful rejection almost always means the agent is engaged in your work and is taking the time to groom you for possible representation. Listen, heed, and resubmit.

Your Turn

What was the most helpful rejection letter you ever received?

What was the worst rejection letter you’ve received?
Did you follow up on advice given in a rejection letter? What happened?

Why Do I Have to Jump Through Your Hoops?

February 23, 2012 in Agency, Book Proposals, Business, Tamela, Writing with 40 Comments

by Tamela Hancock Murray

Recently, my assistant had a conversation with an author who did not send a complete proposal. The author was referred to our guidelines and gently reminded that we needed more material in order to make an evaluation. But instead of saying “thank you” for the guidance, the author declared they did not have to jump through any hoops, and took the opportunity to aggressively express their complaints about our review process.

What made this all the more frustrating to us is that it happens more often than you’d think.

Why All The Work?

Have you ever worked in an office where you could swear one of your coworkers could find something — anything — wrong with your work so they could get it off their desk and back onto you? Well, that’s not what we are doing when we ask for a proposal. We are not giving you busywork so we can get back to our soap operas and coffee.

By asking for a proposal, we have a way to evaluate you as an author and what we might expect in the way of your career. In turn, we are helping the editor evaluate your work and giving that editor a document they can take to Committee that will answer the Committee’s questions. That proposal needs to be a thorough document, especially in this tough market. The advantage you have with an agent is that we will help you get the proposal in the best shape we can before the editor sees it. We help your proposal stand out among the many others the editor will review. But you have to help us by doing your share. And most authors do. Trust me, I know how hard successful authors work. Everyone down the line appreciates cooperative, hardworking authors.

What If I Don’t Know How to Create One?

Writing a proposal can be scary if you’ve never had to write one. There are so many parts to a great proposal and many can fee inadequate. For instance, some new authors don’t feel they can garner meaningful endorsements because they don’t know anyone “famous.” That’s okay. I have helped many authors with various sections of a proposal. There are ways to pitch a book that can avoid certain areas of inadequacy. Another scary section can be the past sales history of your books. You may be a new author with no sales figures or a mid-list author with modest sales figures. We often have published authors try to skip that section. Unfortunately you cna’t avoid it. Every publisher will ask for that information. But we know that each author has a different past experience in the industry and modest sales can occur for any number of reasons. Fortunately most publishing houses will take this into account when evaluating a new project.

Best Advice I Can Give

The best advice I can give is that if you’re feeling unqualified to write a proposal, don’t let it paralyze you into not submitting. And definitely don’t vent to an agent or editor (or to their assistant). Do the work and give it your best shot. Send the most polished and complete proposal you can along with your fantastic book. An agent will respect the fact you took the time to research the agency’s site and provided all the information you could, to the best of your ability.

We can heartily recommend a couple resources if you cannot attend a writers conference. Michael Hyatt, former CEO of Thomas Nelson Publishers, has an excellent e-book resource called Writing a Winning Book Proposal. Or buy Terry Whalin’s Book Proposals That Sell.

I wish you great success! And I look forward to getting your complete book proposal.

Charmed, I’m Sure

February 16, 2012 in Book Proposals, Business, Tamela, Writing with 28 Comments

by Tamela Hancock Murray

Dear Editor:

You really should meet this author! He knows all the best places to dine. I couldn’t believe the fabulous meal we were served at a hole-in-the-wall place I’d never heard of until I made his acquaintance. He has also been quite generous and charming to my family. My husband and my kids have nothing but great things to say about this wonderful author!

In our meetings both in person and on the telephone, he has convinced me that his book will sell millions! And because of his extroverted manner and considerable verve, I believe it really doesn’t matter if his book is any good or not. His platform isn’t anything great yet, but it will be — as soon as he gets paid your hefty advance so he can travel the country, taking meetings. In fact, he wants to meet with you at your early convenience. Can you fly out to meet him in Charlotte on Tuesday morning? 

Cheers,

Tamela

Of course I would never send this letter like it to any editor, but on more than one occasion, I have found that this is how authors seem to think marketing to editors works. When any author insists on pitching to me over the phone or meeting me in person other than at a writers conference, I have found too often that these authors want to use their force of personality to sell their book. After all, it’s hard to turn someone down in person. Now the author’s personality is crucial if he or she already has a large speaking ministry, especially for non-fiction. But I’m not talking about a household name here, I’m referring to much greener authors.

The fact is that authors communicate one way: through words on the page. While e-readers like the Kindle and the Nook have changed the landscape as to how we consume the printed word, the fact remains that writers are still communicating this way, not in person over lunch. No editor cares how often I’ve had a meal with an author, if the author is my best friend, or even if the author is barely speaking to me. The editor cares about the author’s book. Is the author able to convey timeless truths in nonfiction or a compelling story in a novel? The words are what readers will see and how they will judge an author. An amazing personality and speaking ability is a bonus (sometimes termed as “media-ready”) but it only goes so far.

Bottom line: If you feel compelled to pitch your book in person or on the telephone and that is the only way you feel you can get your point across, I recommend that you take a long, hard look at your manuscript. Learn to convey your excitement in your written words. When you do, you will be well on your way to becoming published.

Writers Learn to Prepare

December 5, 2011 in Book Proposals, Craft, Steve, Writing with 7 Comments

by Steve Laube

Preparation is awfully important if you are planning to climb Mt. Everest. If you show up in a t-shirt, shorts, flip flops, and a sack lunch it is likely  you will perish during the ascent.

The same idea applies to the writer. You must do the hard work ahead of time to achieve success.

There are No Shortcuts

Despite numerous methods for efficiency, there is still no shortcut in writing a great book. It is rare for anyone to slap together a masterpiece in a few short days. Don’t think we can’t tell the difference!

There are No Substitutes

This is your  work, not your neighbors. Yes, you may use the help of a Book Doctor, a freelancer, a critique group, or even a collaborator, but it is still your work. It is your name that goes on the cover.

There are No Guarantees

You could put in the 10,000 hours of practice Malcom Gladwell says is the minimum time before you are ready. You could come up with a great idea. But it still doesn’t guarantee that it is going to break through. Someone else may have just released a book too similar to yours. The execution of your craft may need another 10,000 hours before it is good enough. Many writers fail at this stage because they get a sense of entitlement and are frustrated with rejections.

John Creasy the English novelist kept at it. He kept getting rejected so decided to use pen names to create a new identity. Fourteen of them! Collectively he received 753 rejection letters. But he didn’t give up. His 754th became the first of his 564 published books. What if he had quit at the 700th rejection?

The bottom line is to take the time necessary to truly excel. It will be worth it in the end.

Would You Buy Your Own Book?

November 14, 2011 in Book Proposals, Business, Marketing, Publishing, Steve, Writing with 32 Comments

by Steve Laube

When I ask a room of writers if they would buy their own book if they saw it on the shelf at a major bookstore I am met with a variety of reactions. Laughter. Pensiveness. Surprise. And even a few scowls. How would you answer that question?

But the question is meant to ask if your book idea is unique. Whether it will stand out among the noise of the competition.

It is not a question of whether your book is important or valuable or even well written. It is ultimately a question of commercial viability.

You may heard it said that piracy is a problem for writers (and it can be). But I would agree with those who say that obscurity is an even greater problem. If no one knows about your book no one will steal it…and no one will buy it either!

This is why that competitive analysis portion of your proposal is so important. Help the agent help the publisher to create space on the physical store shelf but also on the virtual Internet store shelf. Help them position your book so that it rises from obscurity into viability.

This can be as “simple” as a dynamite title. Or it could be a strong platform that stand out in the crowd. Or the skill in the writing is so amazing that the book creates evangelists who will tell the world to read it.

So. Would you buy your own book if it was on the shelf next to an über-famous author on the same topic or in the same genre?

Loving to Laugh

September 29, 2011 in Book Proposals, Craft, Publishing, Tamela, Writing with 7 Comments

by Tamela Hancock Murray

At least once a week I’m asked if romantic comedy is currently marketable. While sometimes this category seems hot and then cold, I’d say that sharp, witty, well-executed romantic comedy can find a good home no matter what the publishing season. Note that I take the adjectives I used seriously. This is not a category that most writers can whip off with little effort. Successful writers of romantic comedy are gifted with the ability to find humor in everyday situations and the talent to share that humor in an entertaining way. The writing must fly like a magic carpet. The reader is looking for a fun story.

One successful writer of romantic comedy is Gail Sattler. Here is a great tip from Gail:

Good comedy comes from the heart, naturally. If it sounds forced or that someone is trying too hard, everything will fall flat. It’s got to come without it looking like a lot of effort, and it’s hard to be funny on cue. In writing, the best comedy is in the form of what can best be described as a running joke. The reason this works is because in the length of developing the background needed for the punchline to work, the reader is becoming personally involved. They know the characters, they know the strengths and often weaknesses, they know the setting, and they are already rooting for the character in some way. Then when the punchline happens, they’re right there to share it with the character – laughing with them, not at them. This also means that most of the time, with the best running jokes, if you just say the punch line the joke doesn’t work because in order for it to work the reader has to have been involved from the beginning. Or, in other words, the classic – “you had to be there.”

Does Gail’s tip remind you of your favorite comedic novel? Which one?

 

One-Sheets versus Queries

September 22, 2011 in Agency, Book Proposals, Business, Tamela with 3 Comments

by Tamela Hancock Murray


A recent post inspired an excellent question. “Is a one-sheet the same as a query?”

Yes and no. There is some overlap, but the differences are significant.

A one-sheet gives writers a document for talking points about a project at a conference. The one-sheet can help authors be sure they convey the information they want to the editor or agent without forgetting anything critical. In turn, the one-sheet gives the editor or agent a memo of sorts to recall your pitch after the conference. This is one reason why an author photo is essential. Otherwise, the one-sheet includes information such as the book theme and brief plot summary, contact information, and sometimes another visual to make the page pop. One-sheets are often colorful and intended to grab attention. However, they are only a tool. The author’s professionalism and talent are key.

A query is a letter an author sends an agent or publisher. It is not meant to be eye-catching in a visual manner, but attention-grabbing because of the information it conveys. Professional stationery is great for hard copy, but a query letter should not include an author photo. The recipient can visit your web site for visuals. A query always includes the author’s contact information, web site address, book idea, a brief overview of the author’s publishing history and a couple of key marketing helps. Be brief by choosing only the best information to convey to convince the agent or editor that your proposal is a must-see. The standalone query letter should end with a request to submit a complete proposal.

A query letter that introduces an attached proposal is just that — an introduction. This letter offers the author’s contact information, book theme, and brief summary and perhaps a piece of information so irresistible that the recipient must stop everything to read your proposal.

Wise use of these tools will accentuate your efforts to find just the right home for your work. Add these to writing that sparkles, and you are on your way!

 

 

 

 

 

Brainstorming

January 25, 2011 in Book Proposals, Publishing, Writing with 6 Comments

Brainstorming is one of the fun parts in the development of a book. The key for the author is a willingness to hear other ideas. The second, and most critical key, is discovering those with whom you should brainstorm. Those people need to be willing to have their ideas rejected in the discussions and be willing to let an idea they created to be used by someone else. It takes a special person…many times a professional…to achieve that.

I’ve heard complaints from some authors who try this in a critique group only to be frustrated. Egos get in the way or the ideas generated are singularly unhelpful. Or the discussion doesn’t move the project forward, instead it gets sidetracked by numerous differing opinions on the direction of the piece.

That is not to say that critique groups are bad. Hardly. Only that some authors have experienced frustration if the mix in their group is not helpful (see the below cartoon).

A few years ago, at a writers conference, a well known author gathered a number of published writers together and declared, “I have a new book contract and need a better plot than what I have, can you guys help?” Over the next couple hours that group created a dynamite storyline (which is now in print!). That is brainstorming with a group at its best.

If you have a good relationship with your editor they can be a great sounding board for ideas (but be considerate of that editor’s time). A good agent can also provide this service. I have been a part of this process with nearly every book project I have ever worked on. While sometimes the two heads can bump into each other…painfully…the ensuing friction usually creates a spark…the spark of creativity and not contention.

Where do you go for your brainstorming sessions?

Enjoy the following “Pearls Before Swine” cartoon from last weekend:

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