I usually only do open thread for subscribers, but let’s open it up to EVERYONE. Got a burning question? Ask away. Want to suggest a topic for a future newsletter? Now’s the time. Want to call out a fantastic old post you think everyone should read and/or tell me how great this newsletter/I am? :) :) :) Have at it.
THANK YOU for opening up this thread today. I love how interactive you are with your followers. I tell every writer that they should sign up for AGENTS and BOOKS. The information I've received from your newsletter over the years has helped me immensely. AGENTS and BOOKS is the best!
That said, I've recently completed a second manuscript and plan on starting the query process. My first manuscript has been placed in a virtual "drawer" to be revisited at a later date. Like many writers, I have created an author website. Under the BOOKS section, since I am unpublished, I've written two short blurbs––more like a loglines––about each novel which are under a heading titled: NOVLES IN PROGRESS. At the bottom of the page, I state that I'm currently seeking literary representation for my completed women's fiction manuscripts. As an agent, if you visited my website, would my BOOKS page be received positively, negatively, or with neutral regard. I've heard that having more than one manuscript ready and available might be a plus. Any guidance in this area would be greatly appreciated.
Neutral to positive! It's totally fine. Agents know you might have novels in a drawer, or not. This will not have an affect either way on an agent considering your work.
Your welcome! I'm glad I wasn't the only one wondering about whether or not to showcase a blurb for unpublished work on an author website. I'm happy to hear that my question was helpful! Kate's open forum last week was awesome.
Hi Kate! Your newsletter is one of the best investments I've made—thank you!
I recently completed a memoir and am working on its book proposal. To most impress agents, which of the following is the best way to spend my time before I query: 1) growing my IG account? Currently 1K; 2) publishing more essays—personal, reported, op-ed, and/or literary? Currently have a handful; 3) Booking speaking events and/or interviews on podcasts/in magazines? Currently have a handful.
Second question (if okay): Is "the 7 million people in the U.S. diagnosed with bipolar disorder, their caregivers/families, and their doctors" too broad a range for a target audience? Thanks!!
Second question first. All the people with bipolar disorder are not your audience. Big statistics like that are meaningless because there's no way to GET TO those 7 million people. Take out statistics like that in terms of talking about your audience.
First question: all those things take a long time to bear fruit. This is ok. If your book may be author-platform-dependent (memoir can go either way, tbh) then I would spend 6mo to a year developing that before you query. If your book is not platform dependent, then query away. Note that when an editor or agent passes on your work, you can go back to them and say "will you read this again? I have 100k followers now."
Just curious, how would one know if a memoir is author-platform-dependent? I was told that unless you have an out-of-this-world story with amazing writing that your memoir needs a platform...
I would agree with whoever told you that about platform. So you may need a platform. There's no checklist that will tell you Yes/No here, unfortunately. Look at the memoirs and non-fiction books you like/read. How did you find out about that author? How/why do you trust them? What is their platform/background? That might help you put yours in context. And read this if you have not already. https://katemckean.substack.com/p/what-the-is-a-platform
That's a great point re such a huge audience. Can it be narrowed to help pitch the need for your book? For example, something like: a certain percentage of bipolar sufferers aren't served well by existing books, which only adds to their suffering, your book relieving that (while also showing there's a sizeable audience). Then show how you can reach those people specifically and have the authority to speak to their situation.
I disagree with Stephen (hi Stephen!) here that one of these has to be a book from said agent's list. It might not work out that way! If it does, sure that's fine, but if it doesn't, don't stress. I kinda don't care if a querier can name other books on my list as long as their book is in a genre I represent.
Oct 11, 2022·edited Oct 11, 2022Liked by Kate McKean
I’m going to try and keep this concise. I have two novels I have not pitched. I’m experienced enough to know they are pretty good but I wrote them to teach myself how to write longform fiction. I had multiple how-to books published in the nineties, including one that sold 100k copies, so I’m not a newbie. As for platform, I have 4600 followers on Medium but my writing there is about politics and climate. And my newsletter here is about writing, and growing fast.
Does any of that matter in pitching a novel? Btw, this open thread has convinced me to become a paid sub!
Mentioning past books, regardless of genre, and platform notes, even if they're not directly related to your novel are all fine things to do in a query. They probably won't help a whole lot, but they won't hurt. It's ok if the takeaway of your bio is "I'm not a newbie to writing even if I'm a newbie to fiction."
Thanks, that’s about what I thought. To me those nonfiction books were a lifetime ago so I probably won’t focus on them at all. It is such a different world these days! M
The thing about metrics is that they would be impossible to measure. I sell books I never even submit (ie publishers come to me) so how do those count? Gross dollars might be one metric but an agent who sells two books to the same editor for a million dollars each is not necessarily better than an agent who does the same dollar amount for dozens of books and a dozen authors to a dozen editors. It’s tempting to think about but I don’t think we can Moneyball agent stats.
I know how important platform is for selling non-fiction (and I frequently share your newsletter on this with other writers!). As "discovery" continues to be a problem, with the overwhelming number of choices readers have for their time and attention, I've been wondering if platform will become more essential for fiction writers, too... I'm curious if you weigh platform *at all* before signing a novelist, or if you've ever had an editor pass on a novel because the writer isn't online?
I have not had an editor pass on a novel because the writer isn't online. I do think author platform may become more important in the future, but I think I've been saying that for about 10 years not so ¯\_(ツ)_/¯. Overall, I think it helps--both the writer AND the publisher--so that's why novelists should think about working on their platform. It builds community, creates a network, and can also boosts sales. But I do not think platform will become more important that the work itself, when it comes to fiction.
You can sometimes meet agents and editors in MFA programs. But not all of them (I didn't in mine.) You can meet writers you may network and build community with in an MFA program, but you can also do that elsewhere. It doesn't make you markedly more credible to agents. We're more interested in your work than your degrees (for fiction. Non-fiction might be different, but more like you might need a PhD in whatever science you're writing about than an MFA).
Thanks! I studied creating writing as an undergrad, but since then have done a bit of journalism and mostly just corporate deskjobbery. I worry this doesn't read very high-brow or literary, so in addition to my novel-writing, I've been trying to establish a name with shorter pieces.
Sondheim wrote: "Stop worrying if your vision is new. Let others make that decision, they usually do." Your job doesn't need to be "high-brow." You can work on shorter pieces, but I would do so because it's interesting/fulfilling/pays money/whatever, not for how it looks.
Writing question - I am heading into the final part of my first draft, but as I go along I keep thinking of new ways to make the earlier parts of the book work better. I'm torn between going back to redo the sections were I think I've gone wrong, or just getting to the end of a first draft so I can see the shape of the whole thing? On the one hand, I feel like putting my story on a surer footing with all the characters journeys being clearer up front will help me get to a better ending for that first draft. On the other hand, I don't want to keep editing on the fly and never actually get the full first draft written. What would you do?
I would make notes about what you want to change in the front and keep going until you get to the end. It's personal preference, but you can really get bogged down by trying to fix the front before you've written the back. Keep going! Then go back and address the whole thing.
Echoing Kate here -- for some writers they must fix before they move on, but for many it will ultimately make the task of revision harder to keep going back... Because polished sections may be harder to let go of, if they're not right for the story, or you may feel unduly attached to them. And, hey, it's never a bad thing to have a list of possibilities for revision when you go to revise. (I do layering revision as I go, but unless I know I've taken a big false turn, I know I can fix it ALL better at the end of a full draft at the point where that magical word Clarity kicks in.)
Hi Kate! Love the newsletter and recommend it often! Question - I did a dumb thing! I pitched an agent at a confernece with a book that was not finished and started in the wrong place. The agent did not know this obviously, and LOVED my pitch. Told me she loved it, clapped her hands, congratulated me on a fresh and fun idea -- it was so wonderful! But I realized at that moment - oh, you only pitch finished books, not ideas (I did not yet subscribe to your newsletter lol). Duh! I told her it wasn't finished and she asked for the first few pages. SO...I sent them. Haven't heard anything. I've since taken classes and rewrote the opening pages, sharpened writing, etc. Book is with round 1 of betas now! Say I finish the book and get it into querying shape - can I query her with it a year-ish after the conference? Or did I blow my chance?
I just got a book pitched to me in 2015, just yes, you can send it after a year has passed. :) You're fine. This is not a mortal sin when it comes to querying/pitching. (Readers: don't query until your novel is done! :) )
I haven't read the piece but I'm always glad when readers are excited about books! YAY BOOKS! Everyone should read what they want! Maybe 4% of Hoover's new readers will read/buy/check out of the library another book and it will be the tide that raises all boats. And good for Colleen Hoover. I hope she gets to write books that people love for decades.
Hi Kate, thank you so much for your work. I recently got my first nonfiction book contract, yay! However, there was was a section in the contract saying that I would be held personally $ liable if anyone sued the publisher over it. And that I would have to pay publisher legal fees even if the case was thrown out. This seems crazy for many reasons, but a basic one is that the publisher is a huge multinational corporation while I am a single mom. Even a few weeks of legal fees could bankrupt me, while they have millions. I recently read Cory Doctorow's essay on "the crapification of literary contracts" on this very issue but was shocked to see it in real life. An intellectual property lawyer friend said this was terrible also. My agent, however, told me that this is standard book contract language and has been for years; if it was a deal-breaker for me it would mean no book. He was very sweet though and did ask around, and said that he could find only one case in 30 years where an author actually had to pay anything. He also reminded me that the publisher has lawyers to send nasty letters to prospective suers and that they do believe in free speech. (He, um, also reminded me that bc of my book topic I am unlikely to be sued anyway...). So I'm signing, but...WHY DO PUBLISHERS DO THIS? (and uh have you ever heard of an author having to pay??) I can't control whether some nut case decides to file a frivolous lawsuit.
I agree with your agent. Yes, it sucks. Yes, it's normal in book contracts. Publishers do it because their job is to protect themselves, not authors. Yes, anyone can sue you anytime for anything and yes, it is unlikely for it to happen. I don't have a good answer for you. But it's very unlikely to happen. It's probably just as likely as someone suing you because they tripped on your sidewalk. ¯\_(ツ)_/¯ I blame our legal system as much as publishing contracts, tbh. (Oh and all IP lawyers say this about book contracts and they are not wrong. They are just often not familiar with industry standards in book contracts.)
Thank you for doing this, Kate! There appears to be this major push for fiction writers to have an established social media presence. How likely are you to reject a manuscript because an author doesn't have thousands of followers? Self marketing as much as possible makes sense, but is having a small following truly a reason agents send rejections, or is it a perception vs. reality thing?
I would not reject a novelist because they don't have a social media platform. If they have one, bonus, if not, it's ok. You only think this happens because you can't know why an agent rejects a book, yours or otherwise. Don't worry about this.
Hi Kate, long time reader, first time commenter. Love the newsletter. I've pitched to several agents now, and mostly what I've heard is yawning silence. Clearly there's something amiss. What I want to know is how to find people who know the industry well enough to tell me where I'm going wrong. Any thoughts about that part of the process--the pre-agented part?
There might be nothing wrong!! Just because you haven't gotten a nibble doesn't mean there is something "wrong." That would imply there is one thing/a narrow band of several things that are right. If it's been a year+ of yawning silence well, then you might have struck out with this one. That doesn't mean your book/query is wrong. It just means it didn't hit this time.
You can, however, look for query critique opportunities, or first pages critique opportunities through conferences or pitch events or the like. Commentors---point Ryan in the right direction! But there isn't someone out there who is going to say "AH, here's what you did. Fix this and you'll be set." It doesn't work that way.
Grub Street’s annual Muse & the Marketplace manuscript mart is a fantastic way to gain access to agents and editors for feedback. Also, author Courtney Maum’s Query Dula services are terrific! Don’t have links handy to either but you can just Google them!
I’ve found The Manuscript Academy to be an amazing resource. Super friendly and supportive with lots of affordable workshops and opportunities to have agents and editors critiques your query or first pages and then talk with them one-on-one.https://manuscriptacademy.com/
A lot of novel deals are two-book. Should an author have a viable second idea to go along with a ms or a list of potential ones when querying, or can that all be worked out later?
A second book idea can't hurt! But it's existence doesn't make a two-book deal more likely, and if a publisher really, really wants that second book, they're willing for it to be TBD at deal time.
How do you differentiate between offers besides money offered up front? I am pitching directly to regional and university presses. I know there's not going to be a ton of money on the table. But what are some aspects of these kinds of contracts to look at one over another to get as favorable a deal as I can get?
First, thank you so much for the wealth of info you share on A&B. As a novelist I learn a lot from it, and I share it with my freelance editing clients regularly. :)
I wanted to ask for insight on publishing in different genres. Right now I am published, unagented, by Bookouture as a romcom novelist, but romcoms aren't my only area of interest. (Spooky speculative fic is my chief other one.) For this reason, I'm planning to query agents once I have a spooky MS ready to go. I figure they'll know better than I how to brand in two different directions.
My question: Is there a way to explain, when I query, that I want to write in two genres and that's why I'm seeking representation? I've interned at agencies and worked publishing adjacent for a decade, but this question is throwing me for a loop!
I mean, we know why you're querying and want an agent. :) You want an agent! That's good enough. You don't need to justify why you are moving from unagented to agented. As for multiple genres, it's ok to just say "I'm also interested in writing romance down the line!" And then talk to any prospective agent about it later on.
Thank you for opening this up and for such a wonderful newsletter to begin with! I absolutely love getting it in my inbox (though, I 'm a slightly newer reader, so I do apologize if my question below has already been covered).
Something that's been on my brain a lot recently has been creative burnout and just general disheartenment as querying writers. A few writers in my writing group are really struggling with finding worth in their works and themselves as writers, due to just the sheer grueling nature of querying and the subjectivity of publishing in general, that has only heightened with the issues of how publishing treats its workers (i.e., not well enough by half), making the trenches even harder to navigate and be selected from.
SO, the question: any advice on how to be kind to ourselves and continue to believe in ourselves as writers and storytellers, even if we're faced with constant rejection?
I could write 10,000 words on this. But it all boils down to---yeah, writing sucks. Right now and a lot of the time! It's not great, Bob! The vibes are off! You have to find your joy in it where you can and be kind to yourself. Publishing does not owe anyone an easy time of it (uhhhh except "Publishing" as in "major corporations" and "anyone" as "they employees"---publishing employees are owed a lot!!!) The rest of it is what it is. It's not fair, but it's not a meritocracy. We all have to work on not letting this industry, these jobs, define our worth and then make the best of it.
Hi Kate, thanks for running this thread. I'm a new(ish) reader of this newsletter, but often send links and rave about it to all my writer friends. Thank you for sharing so much knowledge and expertise!
I'm about to query my second novel, and just finalising a fourth version after implementing excellent feedback from my seven beta readers. I will do another read then a final copyedit, but I'm wondering about starting to query while I do this final edit. I have a real sense of urgency about the novel, and plan to query one agent at a time. Would you advise to wait until the copy edit is done too (just hold tight! don't get trigger happy!), or start querying and keep working on it?
First, finish the copyedit. Second, DON'T QUERY ONE AGENT AT A TIME! This does not make your query more attractive to agents. And it will take forever! Give your book the best chance and let the agents fight over it. I repeat, do not query one agent at a time!!!!!!!!!
Hi! I´m not sure if this is the platform to ask this. I´m a latina so I write short stories in Spanish. I have a collection of short stories, but I´m not sure what to do with them in an English market. Should I just turn my head to Spain or ir there a latino market in US and UK?
There are a few Spanish language imprints at the big US publishers but only a few. You also need to target agents who are Spanish-speaking, so they can read your work. You may have more luck in a predominately Spanish-speaking country, but there are Spanish language books published here.
Hi! Thanks for the opportunity. Curious tips on the following:
I wrote a few self/indie published novels as a way to learn how to write and get rapid feedback from readers. It was fun! They sold okay, but I feel I've learned enough to query a new manuscript (not published before).
I'm unsure how to acknowledge this in a query/query manager when it asks if I've published books before. I'm sure in todays world it's common but don't want it to be a detriment to my query!
Thank you for your excellent newsletter, it is such a wonderful resource.
I wanted to ask about the publishing industry and financial downturns. I published my memoir in 2008 at the time of the big financial crisis. My editor lost his job as his publishing house let many employees go and I had some upheaval in getting the book published.
Now, I will soon begin querying for my debut novel (I have bad timing!), and I am a bit worried/anxious about how the dire economic predictions are affecting agents and publishers, if it has yet affected how many new clients/books they take on or if it might in the future? I know you don't have a crystal ball, but I'm curious as to how people in publishing see the situation now.
Honestly, I'm not hearing much about this. Of all the things agents and editors are worried about (price of paper, supply chain woes, corporate mergers) dire economic predictions haven't hit this list. Editors leave/move their jobs all the time, so a robust economy is not necessarily going to safeguard you here. It's ok! We all adjust.
Thanks for the question, Kate! I'm curious how and when to replace your existing agent. And, the idea to wait six weeks to several months for a prospective agent to reply to your inquiry makes zero sense to me. You could possibly wait years for this formula to pan out. For ex: I pitched you, and while waiting for your reply another agent responded. Thinking to go with a positive response vs no response I signed with the former. Is it proper to pitch multiple agents at the same time, and what to do when the one you dream of doesn't respond, while confronted with the immediate yes.
Hi Kate! Thanks for this awesome opportunity. You may be done with this thread by now but I have a question about being on submission. My debut YA novel has been on submission since February. Lots of lovely notes back with the rejections but no offers yet. I am doing everything I can on my end as far as creating a platform, publishing essays, posting on SM, etc. but I wonder what is a reasonable amount of time to wait in todays environment? My agent says people are taking forever to get back to her.
Your agent is right. I’ve had thing out longer than that ESPECIALLY in YA/MG. It sucks but it’s not just you. (We love you YA/MG editors! You are doing great!!! We will be patient!)
I realized today that a mistake I had sworn I fixed accidently made it into the first 10 pages I sent with a few queries. It was a dumb flub but an embarrassing one (I wrote "Creative Writing" in one place instead of "Creative Arts" as I called it in other references.) I know it's frowned upon to resubmit a query to fix something -- is there any chance an agent would overlook a dumb mistake like this?
Absolutely do not resubmit for a mistake like this. It’s Ok!!! Fix it on new queries going out and trust that agents will forgive you honest, inconsequential typos.
Thank you for taking our questions. Mine is about genre. I've learned that my comps should match the genre of my manuscript. How do I pin down the genre of my potential comps when they appear in several genre categories on Amazon? Is there a reference source agents use to determine a published book's genre? I'm actually thinking of asking the authors (via Twitter or email) what genre they originally pitched. Would that be out of line in your opinion?
Hi Kate! "Option" question. Sold my 1st non-fiction book in a pre-empt due out next fall. Finishing my final draft as I write you. I was so focused on selling/writing book #1 I have NO idea how book #2 works. All I know is that I have an option in my contract that states after so many days I can submit a proposal for #2 after #1 is in. My question is an overarching WHAT THE HECK DO I DO WITH AN OPTION? (Made up of many little questions rolling around in my head like: Assuming I want to stay with my publisher - is the expectation for book 2 to be a continuation/offshoot of 1? How quickly are they expecting it and does speed increase liklihood of a yes? Is the publisher more likely to give it a yes, or more money, to keep their new author with them and happy? Is there an average increase in the advance to expect or is it all just starting from scratch again?)
I encourage you to talk to your agent about this, assuming you have one and you probably did if you sold your book on a pre-empt. :) But for the benefit of the whole class, everyone go read this post: https://katemckean.substack.com/p/whats-an-option-clause
You sending the proposal faster does not mean they are more likely to say yes. They will evaluate it on its own merits, alongside the success of your first book. They also probably won't give you more money just to keep you happy unless you are super successful and they think you're going to jump ship for another publisher. There are no average increases from book to book, and there is a lot of evidence that second books sell fewer copies than firsts, so there is not always an increase. Every book is different! Talk to your agent! :)
Ah yes that link is so helpful!!!! Just what I was looking for. I'll be bringing it up at our next chat for sure. Appreciate you helping me understand more before I do as I'm finding half the process of publishing is learning the language, norms and timelines the industry uses :) Thank you! As always, you are an incredible resource
Hello! My question is for Kate and/or anyone who may experience similar feelings. This newsletter has been super helpful in understanding how the publishing industry works, and how patience is the name of the game. But! How do you cope with feelings of "ugh I have to finish this and get it perfect ASAP because what if someone else has my idea??" Every morning I open my Publishers Marketplace daily emails half with dread because omg, what if someone like Colleen Hoover has MY idea and obviously she or anyone else will execute it better than I would, and I should just give up then?
I feel like I'm in an invisible race lol, and I know, I know that's not how it works! But I feel like in addition to getting it as close to perfect as I can thanks to beta readers & fresh eyes, I also feel like I have to be speedy AF before someone else does my idea better than I could.
Your brain is lying to you. There is no invisible race. Could someone have your same idea as you? Sure. Is it going to happen at the exact same time as you? Unlikely. This is just anxiety. Find the way that works for you to deal with it. :)
How essential is a social media platform for a fiction writer? I keep trying to build a Twitter/IG/etc following, but I have a FT job and a book to write, I don't like social media, and I question whether the time spent on these sites is worth it. But if it's really important, I'd love to hear any thoughts you have on maximizing the return on one's time. Thanks so much for this thread!
My latest MS went out on submission today. This is my second attempt to catch some publishing magic. My first book languished for over a year and my agent and I "shelved" it. Almost three years and one pandemic later, I have a second chance. I love this book and I'm proud of all the work I put into it. I should be excited and hopeful, but all I'm feeling today is dread and that my chance of winning Megamillions is better than a publishing contract. Can you offer any perspective? Is this normal? Is it as bad out there as I think. How many books does an editor have pitched in a week?
I have written four books (varying lengths/audiences) and haven’t sold any of them! Which is to say, it’s normal! It sucks but it’s normal and hard and you’re ok and in good company. Don’t try to play a numbers game. Worrying won’t change any so try to let it go. :)
I have a YA novel that I queried about a year ago and a few fulls are still sitting with agents. I recently received some notes that have helped me to see how I would revise this YA novel. I'm not yet sure of the timeline for its revision.
However, I have a new novel--literary fiction (for adults)--that I am hoping to query after a bit more revision.
1) Should I reach out to the agents with the YA ms full to let them know I am planning to revise? 2) Should I mention the new project (literary fiction), if I think it would suit them? 3) Finally, a chapter from the YA project won an award from and was published in an inclusive YA journal--would it make sense to mention that?
I would not send another email that's like "hey I just finished an adult book if you want to see that, too." I would query that separately (even if you send it to some of the same agents). I just wouldn't add it to your YA query streams.
I can’t give you real numbers because that is my clients’ personal financial information.
I haven’t had a book made into a movie or show yet but fingers crossed!
And honestly, I’ve reached a lot of my agenting goals already! I want my clients to be able to keep writing the books they love. And for them all to hit the list. 😊
I do not predict advance levels for future or new clients. Why? Because I don't have a crystal ball. When clients ask (they always ask) I usually say something like "you advance will probably be between $5k and $50k." I know that is annoying! But I have thought I would sell a book for $$$,$$$ and sold it for $$,$$$ and thought a book would go for $,$$$ and sold it for $$$,$$$ so ¯\_(ツ)_/¯
I would also not share clients' financial information with potential or new clients. It's none of their business and someone else's advance does not predict their own advance. If that meant they wouldn't sign with me, then well we probably weren't a match.
Thank you for the newsletter and for opening up for questions.
If (say hypothetically) I have recently finished, but not yet queried, a novel (literary fiction), and have a few YA novels I have lightly queried in the past and set aside for now--how would you recommend approaching the process of determining who to query?
For instance, does it make sense to focus on the best fit/prospects for the current ms., even if they do not rep YA? Or does it make sense to focus on those who rep adult and YA? A mix?
I will add that in the process of list making, I did not find as many agents who rep both literary fiction and YA as I had hoped. Any thoughts welcome.
If you want to potentially publish in both YA and adult, I would suggest finding an agent who does both. You can also query those who just do adult and find a YA agent down the line. Both are acceptable paths!
Feeling like even though I haven't exhausted every avenue to a new agent and in getting my novel formally published, I might just self-publish. I have an outline and research and about 30 pages drafted so far for my second novel, but it's as if the uncertainty over my first novel is clouding my ability to really get moving on the second.
I consider my first novel a success -- everything I wanted it to be -- but its lack of publication a failure. The latter is arguably too extreme, and I just don't know how healthy it is to stay in that fame of mind. Is it worth the imprimatur of a formal publisher to keep pursuing it?
It's not for monetary reasons because I don't expect much there. I just wanted to see it out there so badly.
Those two things can be true at the same time. You were successful at writing your novel, but not at publishing it. As you can see up thread, you're in good company (with me!). You can self-publish! Go for it! Especially if you want to hold it in your hot little hands. I do not choose to self-publish because I already have several day jobs and don't want to add another lol. If you want to keep trying, keep trying, but remember it's not any port in a storm. And your next book will probably be even better. I know mine will be.
Hi Kate! I’m a new reader and am appreciating this newsletter a lot. I am looking for an agent because I have a big publisher recruiting me to publish and I want help to negotiate and sort out the contract. It’s all happening fast and I don’t have any contacts in the publishing world. Any tips on finding a reputable agent?
Remember, you can set the pace. Offers don't evaporate. You can take a little time to find an agent and if the publisher gives you guff about that, then they are not reputable.
Kate - great newsletter and great thread today. I’m very glad I subscribed 👍
Question: what buzz are you hearing on the fiction side of things? Topics, perspectives, or genres that are trending that agents are excited about? I know a writer can’t chase trends (by the time you do, it’s passed) but I’m curious if you see any common threads to what’s getting excitement these days.
Protagonists who wear different color shoes, second person POV thrillers set in Winston-Salem, NC, donuts, graphic novels, and Metamorphosis retellings but with birds.
Kidding. :) The buzz doesn't really filter down like this and every agent hears different things depending on the areas they work in. There's also a lot of confirmation bias. For example, I really like historical fiction, so to me, it looks like historical fiction is "hot" right now. But is it? ¯\_(ツ)_/¯. There's no real way to tell.
Thank you for this wonderful newsletter! Do you have any tips on querying for a character-driven novel? I feel like most of the query examples that I find online are for plot-driven commercial fiction, whereas my book (while not devoid of plot) bends toward the literary and character-driven side of things. I’m finding it hard to develop a hook without oversimplifying (and thereby misrepresenting) my story and its characters.
Hey Kate - I love your substack, I absolutely devoured it when I first found it a couple of weeks ago! I wondered whether you have a take on how long an agent might take with your full manuscript? I try not to think too hard about examples where people heard back overnight (as I know this is probably the exception and not the rule!) but with every day that passes and I don’t hear back I feel myself getting more dejected, feeling like if they were interested they would have reached out in the first week or two post manuscript request! Any insight would be so helpful, thank you!
Agents are very very very very very busy and queries are at the bottom of their priority list (sorry!) Do not measure this time in days. Measure it in months. It's ok. No news is good news. No news means they are still reading and/or are busy being a hugely successful agent, which you hope to be your problem one day. :) Patience. It takes what it takes.
I recently read an interview in “Poets & Writers” in which the published author stated something along the lines of “the great books teach you how to read them.” Do you have a perspective on this idea? Also, how should a writer both “teach the reader how to read the book” while also delivering on “market expectations”?
Do not teach the reader anything. I mean, do not SET OUT to teach the reader stuff because they will see it a mile away and it'll feel pedantic and school-y and boring. :) You teach them by doing cool stuff that's illuminating and interesting and inventive and new and authentic and fun and heartbreaking and wonderful. And then the reader learns what they want to learn from it and everyone learns something a little different. I would do my best to not think about teaching the reader or "market expectations" (except where necessary in a general sense, i.e. HEAs or you know, not gratuitously killing off your main character just for no reason.)
Thank you for your insightful response. If you’re in the editing stage and realizing that there are pretty cool and inventive things happening in the structure of your book, how do you signal these early on without appearing to want to “teach the reader” but also wanting to express that the details are not “fluff”? I am writing in response to a very acclaimed and respected beta reader who (thankfully) told me the truth about my first 10 pages (the advice was that she loss interest) but I am not sure how to edit and revise because the opening seems urgent and interesting to me and also “inventive” to a degree. If you feel you’ve said enough already, no worries and thank you for opening up for readers who are not behind the paywall.
You don't have to tell the reader you're doing cool and inventive things with the structure of your book, because the structure will tell them that. As writers, are are always more interested in our stuff than other people, but I think it's important to note when other readers lose interest in our stuff. That doesn't mean we have to kill ALL our darlings, but you might want to aim for simplicity in the first 10 pages to hook the reader in and then bring in the inventiveness. Or not! That beta reader is only one person.
Hi! Love your newsletter & your honesty! I would love to get a fiction residency or some similar program like the Cullman center in NYC but it seems one must have connections and/or MFA. Is it possible for an unknown to benefit from such things? Please and thank you!
I know you have a post entitled, "YA or Not YA," but I'm curious about what happens when you write a book with two teens, but one of the adult characters in the book (one of the mom's, in my case) HAS to be a part of the book (her viewpoint, her struggles). When I sent my finished manuscript to my agent, he said, "It's beautiful, but I can't sell it. If editors don't know where it sits on the shelf, they won't take it." Of course, I was thinking, "Just put it in either category; it doesn't matter!" But I know this is a THING, now that I've done it, and I'm wondering your take on it.
I know you've said this over and over, and maybe I'm just incredulous this has to be the case: it really IS about the money. That's it. Editors don't want a story that doesn't "fit" a type? Or at least certain steadfast markers?
I've paid numerous freelance editors to read it, asking, "How do I change this to an adult book? How do I change it to a YA book?" And they've given their suggestions, but I think it's similar to the screenwriting world, where a screenwriter gets lots of suggestions from executives who know SOMETHING is wrong, but they don't know WHAT'S wrong. Have you run into this before? How do you solve it? Tabling the book? Forcing the book into one or the other?
I mean, it's about the money because everyone, including you, wants the book to sell. If the book can't sell, because it doesn't fit into the system we have to sell books, then it's hard for everyone to see, including you. Yes the system is bad, but fixing it is a long, hard road that no one really knows how to do. I'm sorry.
It's possible there is not a way to fix it. I can't know that from where I"m sitting. There are plenty of adult books with teen protagonists (Megan Abbott's books come to mind.) There are fewer YA books with adult POV characters. That's where I'd start. Then fix it how YOU want it to be because it's your book. I'm sorry the system is not working for you. It's not fair, I know.
Question: If agents never ask for even a partial manuscript and there’s no way to improve the first five pages (I’ve tried to make an inanimate object likable in so many ways) - do you just go on to the next project?
Thanks so much for doing this. I have a novel and a novel-in-stories I’ll be querying with early next year. Since many agents hear novel-in-stories as “story collection,” I’ll be primarily querying with the novel, though I’d also like to mention that I’m also seeking representation for the other work. Is it okay to have a couple of sentences at the end of my novel query mentioning the novel-in-stories with a very brief description?
I always wondered if there is seasonality to agents looking at submissions, for example August, or end of year. Is that a bad time to submit, or does it not matter, as eventually the backlog is seen? Of course, the real answer is probably that there is no answer, as every agent has his or her own life situation. But if this is definitely a less propitious time to submit, please advise.
The longer you wait, the farther back you'll be in the queue. Don't expect a fast answer the week of Labor Day or between Xmas and New Years, but otherwise, query away.
Hi Kate!
THANK YOU for opening up this thread today. I love how interactive you are with your followers. I tell every writer that they should sign up for AGENTS and BOOKS. The information I've received from your newsletter over the years has helped me immensely. AGENTS and BOOKS is the best!
That said, I've recently completed a second manuscript and plan on starting the query process. My first manuscript has been placed in a virtual "drawer" to be revisited at a later date. Like many writers, I have created an author website. Under the BOOKS section, since I am unpublished, I've written two short blurbs––more like a loglines––about each novel which are under a heading titled: NOVLES IN PROGRESS. At the bottom of the page, I state that I'm currently seeking literary representation for my completed women's fiction manuscripts. As an agent, if you visited my website, would my BOOKS page be received positively, negatively, or with neutral regard. I've heard that having more than one manuscript ready and available might be a plus. Any guidance in this area would be greatly appreciated.
Neutral to positive! It's totally fine. Agents know you might have novels in a drawer, or not. This will not have an affect either way on an agent considering your work.
That's a freaking BRILLIANT question!! Thank you for that.
Your welcome! I'm glad I wasn't the only one wondering about whether or not to showcase a blurb for unpublished work on an author website. I'm happy to hear that my question was helpful! Kate's open forum last week was awesome.
Yes, she’s so awesome. Aren’t we lucky to find her? Best of luck to you. Go get ‘em!!!
Hi Kate! Your newsletter is one of the best investments I've made—thank you!
I recently completed a memoir and am working on its book proposal. To most impress agents, which of the following is the best way to spend my time before I query: 1) growing my IG account? Currently 1K; 2) publishing more essays—personal, reported, op-ed, and/or literary? Currently have a handful; 3) Booking speaking events and/or interviews on podcasts/in magazines? Currently have a handful.
Second question (if okay): Is "the 7 million people in the U.S. diagnosed with bipolar disorder, their caregivers/families, and their doctors" too broad a range for a target audience? Thanks!!
Second question first. All the people with bipolar disorder are not your audience. Big statistics like that are meaningless because there's no way to GET TO those 7 million people. Take out statistics like that in terms of talking about your audience.
First question: all those things take a long time to bear fruit. This is ok. If your book may be author-platform-dependent (memoir can go either way, tbh) then I would spend 6mo to a year developing that before you query. If your book is not platform dependent, then query away. Note that when an editor or agent passes on your work, you can go back to them and say "will you read this again? I have 100k followers now."
Just curious, how would one know if a memoir is author-platform-dependent? I was told that unless you have an out-of-this-world story with amazing writing that your memoir needs a platform...
I would agree with whoever told you that about platform. So you may need a platform. There's no checklist that will tell you Yes/No here, unfortunately. Look at the memoirs and non-fiction books you like/read. How did you find out about that author? How/why do you trust them? What is their platform/background? That might help you put yours in context. And read this if you have not already. https://katemckean.substack.com/p/what-the-is-a-platform
That's a great point re such a huge audience. Can it be narrowed to help pitch the need for your book? For example, something like: a certain percentage of bipolar sufferers aren't served well by existing books, which only adds to their suffering, your book relieving that (while also showing there's a sizeable audience). Then show how you can reach those people specifically and have the authority to speak to their situation.
Thank you, Kate!
Anyone else here have an example of how they described their target audience in the book proposal? : )
For readers of X and Y, at least one of which is a book by the agent being queried to show you know their list.
I disagree with Stephen (hi Stephen!) here that one of these has to be a book from said agent's list. It might not work out that way! If it does, sure that's fine, but if it doesn't, don't stress. I kinda don't care if a querier can name other books on my list as long as their book is in a genre I represent.
Yes, good point. I agree.
Love the newsletter!
Kate, thanks for being so Picard-Janeway-Burnham awesome. I recommend your substack to everyone. Heart emoji.
I’m going to try and keep this concise. I have two novels I have not pitched. I’m experienced enough to know they are pretty good but I wrote them to teach myself how to write longform fiction. I had multiple how-to books published in the nineties, including one that sold 100k copies, so I’m not a newbie. As for platform, I have 4600 followers on Medium but my writing there is about politics and climate. And my newsletter here is about writing, and growing fast.
Does any of that matter in pitching a novel? Btw, this open thread has convinced me to become a paid sub!
Mentioning past books, regardless of genre, and platform notes, even if they're not directly related to your novel are all fine things to do in a query. They probably won't help a whole lot, but they won't hurt. It's ok if the takeaway of your bio is "I'm not a newbie to writing even if I'm a newbie to fiction."
Thanks, that’s about what I thought. To me those nonfiction books were a lifetime ago so I probably won’t focus on them at all. It is such a different world these days! M
Sounds like I need to subscribe to this newsletter, sounds amazingly helpful for learning about how to approach getting published.
It is, can confirm!
(I am not published but working on it!)
I want to tell you how great this newsletter and you are. It's a treat each time it hits my inbox. Keep it up!
Thank you!
First
The thing about metrics is that they would be impossible to measure. I sell books I never even submit (ie publishers come to me) so how do those count? Gross dollars might be one metric but an agent who sells two books to the same editor for a million dollars each is not necessarily better than an agent who does the same dollar amount for dozens of books and a dozen authors to a dozen editors. It’s tempting to think about but I don’t think we can Moneyball agent stats.
I know how important platform is for selling non-fiction (and I frequently share your newsletter on this with other writers!). As "discovery" continues to be a problem, with the overwhelming number of choices readers have for their time and attention, I've been wondering if platform will become more essential for fiction writers, too... I'm curious if you weigh platform *at all* before signing a novelist, or if you've ever had an editor pass on a novel because the writer isn't online?
I have not had an editor pass on a novel because the writer isn't online. I do think author platform may become more important in the future, but I think I've been saying that for about 10 years not so ¯\_(ツ)_/¯. Overall, I think it helps--both the writer AND the publisher--so that's why novelists should think about working on their platform. It builds community, creates a network, and can also boosts sales. But I do not think platform will become more important that the work itself, when it comes to fiction.
How much does having an MFA open doors or make a writer appear more credible to agents?
You can sometimes meet agents and editors in MFA programs. But not all of them (I didn't in mine.) You can meet writers you may network and build community with in an MFA program, but you can also do that elsewhere. It doesn't make you markedly more credible to agents. We're more interested in your work than your degrees (for fiction. Non-fiction might be different, but more like you might need a PhD in whatever science you're writing about than an MFA).
Thanks! I studied creating writing as an undergrad, but since then have done a bit of journalism and mostly just corporate deskjobbery. I worry this doesn't read very high-brow or literary, so in addition to my novel-writing, I've been trying to establish a name with shorter pieces.
Sondheim wrote: "Stop worrying if your vision is new. Let others make that decision, they usually do." Your job doesn't need to be "high-brow." You can work on shorter pieces, but I would do so because it's interesting/fulfilling/pays money/whatever, not for how it looks.
Thank you 😊
Writing question - I am heading into the final part of my first draft, but as I go along I keep thinking of new ways to make the earlier parts of the book work better. I'm torn between going back to redo the sections were I think I've gone wrong, or just getting to the end of a first draft so I can see the shape of the whole thing? On the one hand, I feel like putting my story on a surer footing with all the characters journeys being clearer up front will help me get to a better ending for that first draft. On the other hand, I don't want to keep editing on the fly and never actually get the full first draft written. What would you do?
I would make notes about what you want to change in the front and keep going until you get to the end. It's personal preference, but you can really get bogged down by trying to fix the front before you've written the back. Keep going! Then go back and address the whole thing.
Echoing Kate here -- for some writers they must fix before they move on, but for many it will ultimately make the task of revision harder to keep going back... Because polished sections may be harder to let go of, if they're not right for the story, or you may feel unduly attached to them. And, hey, it's never a bad thing to have a list of possibilities for revision when you go to revise. (I do layering revision as I go, but unless I know I've taken a big false turn, I know I can fix it ALL better at the end of a full draft at the point where that magical word Clarity kicks in.)
I’m interested in finding a young and hungry agent. What’s the best resource for that?
There isn't a specific place where the young and hungry ones are, but this should help
https://katemckean.substack.com/p/where-are-all-the-agents
Hi Kate! Love the newsletter and recommend it often! Question - I did a dumb thing! I pitched an agent at a confernece with a book that was not finished and started in the wrong place. The agent did not know this obviously, and LOVED my pitch. Told me she loved it, clapped her hands, congratulated me on a fresh and fun idea -- it was so wonderful! But I realized at that moment - oh, you only pitch finished books, not ideas (I did not yet subscribe to your newsletter lol). Duh! I told her it wasn't finished and she asked for the first few pages. SO...I sent them. Haven't heard anything. I've since taken classes and rewrote the opening pages, sharpened writing, etc. Book is with round 1 of betas now! Say I finish the book and get it into querying shape - can I query her with it a year-ish after the conference? Or did I blow my chance?
Thanks for all you do!
I just got a book pitched to me in 2015, just yes, you can send it after a year has passed. :) You're fine. This is not a mortal sin when it comes to querying/pitching. (Readers: don't query until your novel is done! :) )
thank you so much!! whew!
Your thoughts on the success of Colleen Hoover as an author? This question is inspired by the NY Times piece on her this past week.
I haven't read the piece but I'm always glad when readers are excited about books! YAY BOOKS! Everyone should read what they want! Maybe 4% of Hoover's new readers will read/buy/check out of the library another book and it will be the tide that raises all boats. And good for Colleen Hoover. I hope she gets to write books that people love for decades.
Hi Kate, thank you so much for your work. I recently got my first nonfiction book contract, yay! However, there was was a section in the contract saying that I would be held personally $ liable if anyone sued the publisher over it. And that I would have to pay publisher legal fees even if the case was thrown out. This seems crazy for many reasons, but a basic one is that the publisher is a huge multinational corporation while I am a single mom. Even a few weeks of legal fees could bankrupt me, while they have millions. I recently read Cory Doctorow's essay on "the crapification of literary contracts" on this very issue but was shocked to see it in real life. An intellectual property lawyer friend said this was terrible also. My agent, however, told me that this is standard book contract language and has been for years; if it was a deal-breaker for me it would mean no book. He was very sweet though and did ask around, and said that he could find only one case in 30 years where an author actually had to pay anything. He also reminded me that the publisher has lawyers to send nasty letters to prospective suers and that they do believe in free speech. (He, um, also reminded me that bc of my book topic I am unlikely to be sued anyway...). So I'm signing, but...WHY DO PUBLISHERS DO THIS? (and uh have you ever heard of an author having to pay??) I can't control whether some nut case decides to file a frivolous lawsuit.
I agree with your agent. Yes, it sucks. Yes, it's normal in book contracts. Publishers do it because their job is to protect themselves, not authors. Yes, anyone can sue you anytime for anything and yes, it is unlikely for it to happen. I don't have a good answer for you. But it's very unlikely to happen. It's probably just as likely as someone suing you because they tripped on your sidewalk. ¯\_(ツ)_/¯ I blame our legal system as much as publishing contracts, tbh. (Oh and all IP lawyers say this about book contracts and they are not wrong. They are just often not familiar with industry standards in book contracts.)
Thank you Kate! The sidewalk-tripping analogy is great and is very reassuring. I will keep that in mind.
Thank you for doing this, Kate! There appears to be this major push for fiction writers to have an established social media presence. How likely are you to reject a manuscript because an author doesn't have thousands of followers? Self marketing as much as possible makes sense, but is having a small following truly a reason agents send rejections, or is it a perception vs. reality thing?
I would not reject a novelist because they don't have a social media platform. If they have one, bonus, if not, it's ok. You only think this happens because you can't know why an agent rejects a book, yours or otherwise. Don't worry about this.
Hi Kate, long time reader, first time commenter. Love the newsletter. I've pitched to several agents now, and mostly what I've heard is yawning silence. Clearly there's something amiss. What I want to know is how to find people who know the industry well enough to tell me where I'm going wrong. Any thoughts about that part of the process--the pre-agented part?
There might be nothing wrong!! Just because you haven't gotten a nibble doesn't mean there is something "wrong." That would imply there is one thing/a narrow band of several things that are right. If it's been a year+ of yawning silence well, then you might have struck out with this one. That doesn't mean your book/query is wrong. It just means it didn't hit this time.
You can, however, look for query critique opportunities, or first pages critique opportunities through conferences or pitch events or the like. Commentors---point Ryan in the right direction! But there isn't someone out there who is going to say "AH, here's what you did. Fix this and you'll be set." It doesn't work that way.
Grub Street’s annual Muse & the Marketplace manuscript mart is a fantastic way to gain access to agents and editors for feedback. Also, author Courtney Maum’s Query Dula services are terrific! Don’t have links handy to either but you can just Google them!
I’ve found The Manuscript Academy to be an amazing resource. Super friendly and supportive with lots of affordable workshops and opportunities to have agents and editors critiques your query or first pages and then talk with them one-on-one.https://manuscriptacademy.com/
Check out Binders full or writers on Facebook !
I would also love to know your thoughts on this questions. Thanks! PS Huge fan of your newsletter. They keep me going.
A lot of novel deals are two-book. Should an author have a viable second idea to go along with a ms or a list of potential ones when querying, or can that all be worked out later?
A second book idea can't hurt! But it's existence doesn't make a two-book deal more likely, and if a publisher really, really wants that second book, they're willing for it to be TBD at deal time.
Thank you!
How do you differentiate between offers besides money offered up front? I am pitching directly to regional and university presses. I know there's not going to be a ton of money on the table. But what are some aspects of these kinds of contracts to look at one over another to get as favorable a deal as I can get?
This varies from person to person, deal to deal. Royalties and rights are usually the next up. This might help. https://katemckean.substack.com/p/contracts-are-not-about-feelings
Hi Kate,
First, thank you so much for the wealth of info you share on A&B. As a novelist I learn a lot from it, and I share it with my freelance editing clients regularly. :)
I wanted to ask for insight on publishing in different genres. Right now I am published, unagented, by Bookouture as a romcom novelist, but romcoms aren't my only area of interest. (Spooky speculative fic is my chief other one.) For this reason, I'm planning to query agents once I have a spooky MS ready to go. I figure they'll know better than I how to brand in two different directions.
My question: Is there a way to explain, when I query, that I want to write in two genres and that's why I'm seeking representation? I've interned at agencies and worked publishing adjacent for a decade, but this question is throwing me for a loop!
Thank you in advance for your guidance,
Jessica
I mean, we know why you're querying and want an agent. :) You want an agent! That's good enough. You don't need to justify why you are moving from unagented to agented. As for multiple genres, it's ok to just say "I'm also interested in writing romance down the line!" And then talk to any prospective agent about it later on.
Thanks, Kate!
Hi Kate!
Thank you for opening this up and for such a wonderful newsletter to begin with! I absolutely love getting it in my inbox (though, I 'm a slightly newer reader, so I do apologize if my question below has already been covered).
Something that's been on my brain a lot recently has been creative burnout and just general disheartenment as querying writers. A few writers in my writing group are really struggling with finding worth in their works and themselves as writers, due to just the sheer grueling nature of querying and the subjectivity of publishing in general, that has only heightened with the issues of how publishing treats its workers (i.e., not well enough by half), making the trenches even harder to navigate and be selected from.
SO, the question: any advice on how to be kind to ourselves and continue to believe in ourselves as writers and storytellers, even if we're faced with constant rejection?
Thank you for all that you do! xx
I could write 10,000 words on this. But it all boils down to---yeah, writing sucks. Right now and a lot of the time! It's not great, Bob! The vibes are off! You have to find your joy in it where you can and be kind to yourself. Publishing does not owe anyone an easy time of it (uhhhh except "Publishing" as in "major corporations" and "anyone" as "they employees"---publishing employees are owed a lot!!!) The rest of it is what it is. It's not fair, but it's not a meritocracy. We all have to work on not letting this industry, these jobs, define our worth and then make the best of it.
And I could read your 10,000 words on this! But I loved your response and really appreciate you sharing it. I really appreciate it, Kate!
Hi Kate, thanks for running this thread. I'm a new(ish) reader of this newsletter, but often send links and rave about it to all my writer friends. Thank you for sharing so much knowledge and expertise!
I'm about to query my second novel, and just finalising a fourth version after implementing excellent feedback from my seven beta readers. I will do another read then a final copyedit, but I'm wondering about starting to query while I do this final edit. I have a real sense of urgency about the novel, and plan to query one agent at a time. Would you advise to wait until the copy edit is done too (just hold tight! don't get trigger happy!), or start querying and keep working on it?
First, finish the copyedit. Second, DON'T QUERY ONE AGENT AT A TIME! This does not make your query more attractive to agents. And it will take forever! Give your book the best chance and let the agents fight over it. I repeat, do not query one agent at a time!!!!!!!!!
Thanks Kate! On both counts 🙏 i will do this!
Hi! I´m not sure if this is the platform to ask this. I´m a latina so I write short stories in Spanish. I have a collection of short stories, but I´m not sure what to do with them in an English market. Should I just turn my head to Spain or ir there a latino market in US and UK?
There are a few Spanish language imprints at the big US publishers but only a few. You also need to target agents who are Spanish-speaking, so they can read your work. You may have more luck in a predominately Spanish-speaking country, but there are Spanish language books published here.
Hi! Thanks for the opportunity. Curious tips on the following:
I wrote a few self/indie published novels as a way to learn how to write and get rapid feedback from readers. It was fun! They sold okay, but I feel I've learned enough to query a new manuscript (not published before).
I'm unsure how to acknowledge this in a query/query manager when it asks if I've published books before. I'm sure in todays world it's common but don't want it to be a detriment to my query!
thanks much!
Self publishing is publishing! Include it. It’s not “looked down on” these days. It’s normal and ok!
Hi Kate,
Thank you for your excellent newsletter, it is such a wonderful resource.
I wanted to ask about the publishing industry and financial downturns. I published my memoir in 2008 at the time of the big financial crisis. My editor lost his job as his publishing house let many employees go and I had some upheaval in getting the book published.
Now, I will soon begin querying for my debut novel (I have bad timing!), and I am a bit worried/anxious about how the dire economic predictions are affecting agents and publishers, if it has yet affected how many new clients/books they take on or if it might in the future? I know you don't have a crystal ball, but I'm curious as to how people in publishing see the situation now.
Honestly, I'm not hearing much about this. Of all the things agents and editors are worried about (price of paper, supply chain woes, corporate mergers) dire economic predictions haven't hit this list. Editors leave/move their jobs all the time, so a robust economy is not necessarily going to safeguard you here. It's ok! We all adjust.
This is very good to know, thank you!
Thanks for the question, Kate! I'm curious how and when to replace your existing agent. And, the idea to wait six weeks to several months for a prospective agent to reply to your inquiry makes zero sense to me. You could possibly wait years for this formula to pan out. For ex: I pitched you, and while waiting for your reply another agent responded. Thinking to go with a positive response vs no response I signed with the former. Is it proper to pitch multiple agents at the same time, and what to do when the one you dream of doesn't respond, while confronted with the immediate yes.
Looks like there are a couple questions here. First, absolutely pitch multiple agents at the same time. This is standard, normal and expected. Second, read this about what to do if multiple agents are interested in your work: https://katemckean.substack.com/p/what-to-do-if-an-agent-likes-your Third: read this to learn more about what to do if you want to leave your agent. https://katemckean.substack.com/p/what-do-you-do-if-things-get-bad. Hope this helps!
Thank you a bazillion ❤️
Hi Kate! Thanks for this awesome opportunity. You may be done with this thread by now but I have a question about being on submission. My debut YA novel has been on submission since February. Lots of lovely notes back with the rejections but no offers yet. I am doing everything I can on my end as far as creating a platform, publishing essays, posting on SM, etc. but I wonder what is a reasonable amount of time to wait in todays environment? My agent says people are taking forever to get back to her.
Your agent is right. I’ve had thing out longer than that ESPECIALLY in YA/MG. It sucks but it’s not just you. (We love you YA/MG editors! You are doing great!!! We will be patient!)
Thank you! That’s reassuring:)
does word count matter more than page count? or vice versa?
Because two things at 55K can differ like 20 pages.
should you set goals by one or the other?
Word count only. We don’t typically talk in page counts until a book is ready to go to the printer.
I realized today that a mistake I had sworn I fixed accidently made it into the first 10 pages I sent with a few queries. It was a dumb flub but an embarrassing one (I wrote "Creative Writing" in one place instead of "Creative Arts" as I called it in other references.) I know it's frowned upon to resubmit a query to fix something -- is there any chance an agent would overlook a dumb mistake like this?
Absolutely do not resubmit for a mistake like this. It’s Ok!!! Fix it on new queries going out and trust that agents will forgive you honest, inconsequential typos.
Thank you for the reassurance! (And fwiw for any other panicked writers that see this: I already got a request despite the goof!)
Thank you for taking our questions. Mine is about genre. I've learned that my comps should match the genre of my manuscript. How do I pin down the genre of my potential comps when they appear in several genre categories on Amazon? Is there a reference source agents use to determine a published book's genre? I'm actually thinking of asking the authors (via Twitter or email) what genre they originally pitched. Would that be out of line in your opinion?
Take a look at this!
https://katemckean.substack.com/p/what-genre-is-my-book
Hi Kate! "Option" question. Sold my 1st non-fiction book in a pre-empt due out next fall. Finishing my final draft as I write you. I was so focused on selling/writing book #1 I have NO idea how book #2 works. All I know is that I have an option in my contract that states after so many days I can submit a proposal for #2 after #1 is in. My question is an overarching WHAT THE HECK DO I DO WITH AN OPTION? (Made up of many little questions rolling around in my head like: Assuming I want to stay with my publisher - is the expectation for book 2 to be a continuation/offshoot of 1? How quickly are they expecting it and does speed increase liklihood of a yes? Is the publisher more likely to give it a yes, or more money, to keep their new author with them and happy? Is there an average increase in the advance to expect or is it all just starting from scratch again?)
I encourage you to talk to your agent about this, assuming you have one and you probably did if you sold your book on a pre-empt. :) But for the benefit of the whole class, everyone go read this post: https://katemckean.substack.com/p/whats-an-option-clause
You sending the proposal faster does not mean they are more likely to say yes. They will evaluate it on its own merits, alongside the success of your first book. They also probably won't give you more money just to keep you happy unless you are super successful and they think you're going to jump ship for another publisher. There are no average increases from book to book, and there is a lot of evidence that second books sell fewer copies than firsts, so there is not always an increase. Every book is different! Talk to your agent! :)
Ah yes that link is so helpful!!!! Just what I was looking for. I'll be bringing it up at our next chat for sure. Appreciate you helping me understand more before I do as I'm finding half the process of publishing is learning the language, norms and timelines the industry uses :) Thank you! As always, you are an incredible resource
Hello! My question is for Kate and/or anyone who may experience similar feelings. This newsletter has been super helpful in understanding how the publishing industry works, and how patience is the name of the game. But! How do you cope with feelings of "ugh I have to finish this and get it perfect ASAP because what if someone else has my idea??" Every morning I open my Publishers Marketplace daily emails half with dread because omg, what if someone like Colleen Hoover has MY idea and obviously she or anyone else will execute it better than I would, and I should just give up then?
I feel like I'm in an invisible race lol, and I know, I know that's not how it works! But I feel like in addition to getting it as close to perfect as I can thanks to beta readers & fresh eyes, I also feel like I have to be speedy AF before someone else does my idea better than I could.
Your brain is lying to you. There is no invisible race. Could someone have your same idea as you? Sure. Is it going to happen at the exact same time as you? Unlikely. This is just anxiety. Find the way that works for you to deal with it. :)
How essential is a social media platform for a fiction writer? I keep trying to build a Twitter/IG/etc following, but I have a FT job and a book to write, I don't like social media, and I question whether the time spent on these sites is worth it. But if it's really important, I'd love to hear any thoughts you have on maximizing the return on one's time. Thanks so much for this thread!
Check up thread!
Hi Kate!
My latest MS went out on submission today. This is my second attempt to catch some publishing magic. My first book languished for over a year and my agent and I "shelved" it. Almost three years and one pandemic later, I have a second chance. I love this book and I'm proud of all the work I put into it. I should be excited and hopeful, but all I'm feeling today is dread and that my chance of winning Megamillions is better than a publishing contract. Can you offer any perspective? Is this normal? Is it as bad out there as I think. How many books does an editor have pitched in a week?
I have written four books (varying lengths/audiences) and haven’t sold any of them! Which is to say, it’s normal! It sucks but it’s normal and hard and you’re ok and in good company. Don’t try to play a numbers game. Worrying won’t change any so try to let it go. :)
Thanks : ) Yes, the company we keep, keeps us grounded.
I just wanted to say this is so exciting! Congratulations!
Hi Kate,
One more question.
I have a YA novel that I queried about a year ago and a few fulls are still sitting with agents. I recently received some notes that have helped me to see how I would revise this YA novel. I'm not yet sure of the timeline for its revision.
However, I have a new novel--literary fiction (for adults)--that I am hoping to query after a bit more revision.
1) Should I reach out to the agents with the YA ms full to let them know I am planning to revise? 2) Should I mention the new project (literary fiction), if I think it would suit them? 3) Finally, a chapter from the YA project won an award from and was published in an inclusive YA journal--would it make sense to mention that?
Any advice welcome, thank you so much.
1) email those with fulls about the award.
2) I would not mention the revision bc it’s super annoying if the agent has already started reading and they have to stop and reread it.
3) you aren’t down with the adult book yet so it’s not time to mention it
When I am done with the adult book, does it make sense to mention it to those who have the YA full (if they represent adult, that is)? Thanks again.
I would not send another email that's like "hey I just finished an adult book if you want to see that, too." I would query that separately (even if you send it to some of the same agents). I just wouldn't add it to your YA query streams.
Thank you so much!
Hi, thanks for taking questions. I’m very interested in real numbers.
What is the biggest advance you’ve negotiated for an author?
How much has your highest earning author you rep earned in total?
Have you ever had one of your books you rep get made into a major motion picture?
What is your dream/ultimate goal for yourself as an agent?
I can’t give you real numbers because that is my clients’ personal financial information.
I haven’t had a book made into a movie or show yet but fingers crossed!
And honestly, I’ve reached a lot of my agenting goals already! I want my clients to be able to keep writing the books they love. And for them all to hit the list. 😊
That’s great that you’ve accomplished many goals! Good luck on a future movie.
If you were going to sign someone new, would you share your past figures with them before they signed?
Or do you share estimated projections with potential clients?
I do not predict advance levels for future or new clients. Why? Because I don't have a crystal ball. When clients ask (they always ask) I usually say something like "you advance will probably be between $5k and $50k." I know that is annoying! But I have thought I would sell a book for $$$,$$$ and sold it for $$,$$$ and thought a book would go for $,$$$ and sold it for $$$,$$$ so ¯\_(ツ)_/¯
I would also not share clients' financial information with potential or new clients. It's none of their business and someone else's advance does not predict their own advance. If that meant they wouldn't sign with me, then well we probably weren't a match.
This makes sense. Thanks for your generous and clarifying explanation. I’m glad I’m not the only one asking! Haha. #humannature
Thank you for the newsletter and for opening up for questions.
If (say hypothetically) I have recently finished, but not yet queried, a novel (literary fiction), and have a few YA novels I have lightly queried in the past and set aside for now--how would you recommend approaching the process of determining who to query?
For instance, does it make sense to focus on the best fit/prospects for the current ms., even if they do not rep YA? Or does it make sense to focus on those who rep adult and YA? A mix?
I will add that in the process of list making, I did not find as many agents who rep both literary fiction and YA as I had hoped. Any thoughts welcome.
My thanks!
If you want to potentially publish in both YA and adult, I would suggest finding an agent who does both. You can also query those who just do adult and find a YA agent down the line. Both are acceptable paths!
Feeling like even though I haven't exhausted every avenue to a new agent and in getting my novel formally published, I might just self-publish. I have an outline and research and about 30 pages drafted so far for my second novel, but it's as if the uncertainty over my first novel is clouding my ability to really get moving on the second.
I consider my first novel a success -- everything I wanted it to be -- but its lack of publication a failure. The latter is arguably too extreme, and I just don't know how healthy it is to stay in that fame of mind. Is it worth the imprimatur of a formal publisher to keep pursuing it?
It's not for monetary reasons because I don't expect much there. I just wanted to see it out there so badly.
Those two things can be true at the same time. You were successful at writing your novel, but not at publishing it. As you can see up thread, you're in good company (with me!). You can self-publish! Go for it! Especially if you want to hold it in your hot little hands. I do not choose to self-publish because I already have several day jobs and don't want to add another lol. If you want to keep trying, keep trying, but remember it's not any port in a storm. And your next book will probably be even better. I know mine will be.
Hi Kate! I’m a new reader and am appreciating this newsletter a lot. I am looking for an agent because I have a big publisher recruiting me to publish and I want help to negotiate and sort out the contract. It’s all happening fast and I don’t have any contacts in the publishing world. Any tips on finding a reputable agent?
Here's a good place to start! https://aalitagents.org/
Remember, you can set the pace. Offers don't evaporate. You can take a little time to find an agent and if the publisher gives you guff about that, then they are not reputable.
Kate - great newsletter and great thread today. I’m very glad I subscribed 👍
Question: what buzz are you hearing on the fiction side of things? Topics, perspectives, or genres that are trending that agents are excited about? I know a writer can’t chase trends (by the time you do, it’s passed) but I’m curious if you see any common threads to what’s getting excitement these days.
Protagonists who wear different color shoes, second person POV thrillers set in Winston-Salem, NC, donuts, graphic novels, and Metamorphosis retellings but with birds.
Kidding. :) The buzz doesn't really filter down like this and every agent hears different things depending on the areas they work in. There's also a lot of confirmation bias. For example, I really like historical fiction, so to me, it looks like historical fiction is "hot" right now. But is it? ¯\_(ツ)_/¯. There's no real way to tell.
[furiously retypes draft to give everybody different colored shoes and add in gratuitous donut scenes]
Enjoy the niche NC reference! 😂
Not everyone. I’ll keep going. 🤞 Thank you.
Thank you for this wonderful newsletter! Do you have any tips on querying for a character-driven novel? I feel like most of the query examples that I find online are for plot-driven commercial fiction, whereas my book (while not devoid of plot) bends toward the literary and character-driven side of things. I’m finding it hard to develop a hook without oversimplifying (and thereby misrepresenting) my story and its characters.
Hey Kate - I love your substack, I absolutely devoured it when I first found it a couple of weeks ago! I wondered whether you have a take on how long an agent might take with your full manuscript? I try not to think too hard about examples where people heard back overnight (as I know this is probably the exception and not the rule!) but with every day that passes and I don’t hear back I feel myself getting more dejected, feeling like if they were interested they would have reached out in the first week or two post manuscript request! Any insight would be so helpful, thank you!
Agents are very very very very very busy and queries are at the bottom of their priority list (sorry!) Do not measure this time in days. Measure it in months. It's ok. No news is good news. No news means they are still reading and/or are busy being a hugely successful agent, which you hope to be your problem one day. :) Patience. It takes what it takes.
Thank you!
I recently read an interview in “Poets & Writers” in which the published author stated something along the lines of “the great books teach you how to read them.” Do you have a perspective on this idea? Also, how should a writer both “teach the reader how to read the book” while also delivering on “market expectations”?
Do not teach the reader anything. I mean, do not SET OUT to teach the reader stuff because they will see it a mile away and it'll feel pedantic and school-y and boring. :) You teach them by doing cool stuff that's illuminating and interesting and inventive and new and authentic and fun and heartbreaking and wonderful. And then the reader learns what they want to learn from it and everyone learns something a little different. I would do my best to not think about teaching the reader or "market expectations" (except where necessary in a general sense, i.e. HEAs or you know, not gratuitously killing off your main character just for no reason.)
Thank you for your insightful response. If you’re in the editing stage and realizing that there are pretty cool and inventive things happening in the structure of your book, how do you signal these early on without appearing to want to “teach the reader” but also wanting to express that the details are not “fluff”? I am writing in response to a very acclaimed and respected beta reader who (thankfully) told me the truth about my first 10 pages (the advice was that she loss interest) but I am not sure how to edit and revise because the opening seems urgent and interesting to me and also “inventive” to a degree. If you feel you’ve said enough already, no worries and thank you for opening up for readers who are not behind the paywall.
You don't have to tell the reader you're doing cool and inventive things with the structure of your book, because the structure will tell them that. As writers, are are always more interested in our stuff than other people, but I think it's important to note when other readers lose interest in our stuff. That doesn't mean we have to kill ALL our darlings, but you might want to aim for simplicity in the first 10 pages to hook the reader in and then bring in the inventiveness. Or not! That beta reader is only one person.
I understand. Thanks again! This is an awesome platform that you offer.
Hi! Love your newsletter & your honesty! I would love to get a fiction residency or some similar program like the Cullman center in NYC but it seems one must have connections and/or MFA. Is it possible for an unknown to benefit from such things? Please and thank you!
Yes, it's possible. But it's hard! It's hard for everyone. I think you just have to keep trying. Try small and large residencies and she how it goes!
Kate,
I know you have a post entitled, "YA or Not YA," but I'm curious about what happens when you write a book with two teens, but one of the adult characters in the book (one of the mom's, in my case) HAS to be a part of the book (her viewpoint, her struggles). When I sent my finished manuscript to my agent, he said, "It's beautiful, but I can't sell it. If editors don't know where it sits on the shelf, they won't take it." Of course, I was thinking, "Just put it in either category; it doesn't matter!" But I know this is a THING, now that I've done it, and I'm wondering your take on it.
Kate Axelrod had a similar problem and wrote about it for LitHub: https://lithub.com/the-time-my-grown-up-novel-was-marketed-as-young-adult/
I know you've said this over and over, and maybe I'm just incredulous this has to be the case: it really IS about the money. That's it. Editors don't want a story that doesn't "fit" a type? Or at least certain steadfast markers?
I've paid numerous freelance editors to read it, asking, "How do I change this to an adult book? How do I change it to a YA book?" And they've given their suggestions, but I think it's similar to the screenwriting world, where a screenwriter gets lots of suggestions from executives who know SOMETHING is wrong, but they don't know WHAT'S wrong. Have you run into this before? How do you solve it? Tabling the book? Forcing the book into one or the other?
I mean, it's about the money because everyone, including you, wants the book to sell. If the book can't sell, because it doesn't fit into the system we have to sell books, then it's hard for everyone to see, including you. Yes the system is bad, but fixing it is a long, hard road that no one really knows how to do. I'm sorry.
It's possible there is not a way to fix it. I can't know that from where I"m sitting. There are plenty of adult books with teen protagonists (Megan Abbott's books come to mind.) There are fewer YA books with adult POV characters. That's where I'd start. Then fix it how YOU want it to be because it's your book. I'm sorry the system is not working for you. It's not fair, I know.
Thanks, Kate! That's what I figured...but I'm happy to at least know the truth, as much as it sucks.
Thanks Kate, you’re awesome.
Question: If agents never ask for even a partial manuscript and there’s no way to improve the first five pages (I’ve tried to make an inanimate object likable in so many ways) - do you just go on to the next project?
Have you queried everyone you wanted to query? Then yeah. If not, keep querying!
Hi Kate,
Thanks so much for doing this. I have a novel and a novel-in-stories I’ll be querying with early next year. Since many agents hear novel-in-stories as “story collection,” I’ll be primarily querying with the novel, though I’d also like to mention that I’m also seeking representation for the other work. Is it okay to have a couple of sentences at the end of my novel query mentioning the novel-in-stories with a very brief description?
Yep! That's how I'd handle it if I were you.
I always wondered if there is seasonality to agents looking at submissions, for example August, or end of year. Is that a bad time to submit, or does it not matter, as eventually the backlog is seen? Of course, the real answer is probably that there is no answer, as every agent has his or her own life situation. But if this is definitely a less propitious time to submit, please advise.
https://katemckean.substack.com/p/it-doesnt-matter-when-you-query
The longer you wait, the farther back you'll be in the queue. Don't expect a fast answer the week of Labor Day or between Xmas and New Years, but otherwise, query away.