Trust and Grace

Gosh, that title sounds like it belongs on my other blog. Anyway...

When we read something, anything, we want to know that we can trust the author. If we trust that the author knows what they're doing, we'll give them more grace when they make "mistakes" like using unnecessary adverbs or telling when they should be showing. We trust that eventually they'll explain whatever we don't understand.

Conversely, if we don't trust the author, those mistakes will stick out like they were written in sparkly red ink. If we don't understand something right away, rather than say, "I'm sure that's there for a good reason," we say, "That's stupid. It doesn't make any sense."

But trust is hard to come by, and worse, it's subjective.

We trust authors whose work we've read and liked before. We trust authors sold at Barnes & Noble more than self-pubbed authors peddling their works online. We trust authors recommended by friends.

We trust authors that we know personally. This is why referrals work. This is why agents and editors are nicer if you've met them in person. This is also why it's so hard to get honest criticism of our work, and why agents don't care if your mom and ten of your best friends said the manuscript was "better than Dan Brown."

So if you're unknown, unpublished (or self-published), and you don't know the reader personally, how do you get the reader to trust you? All you've got left, then, is your first impression.

Your first impression is your first sentence, first paragraph, first page, and in many cases, your query letter. This is why it's so important. It's not that the agent/editor won't read on if they suck, it's that they decide -- often subconsciously -- whether you're an amateur or professional based on the first thing they read. Everything they read afterward is colored by that.

If they see amateur mistakes straight off, then the fancy prose they see later might be seen as "trying too hard" or at best "potential." On the other hand, if they decide they're in the hands of a soon-to-be professional, then occasional sloppy prose they see later might be interpreted as "mistakes I can help them fix."

So don't tell them what your mom and ten best friends thought. Don't tell them you're the next Stephanie Meyer. Don't infodump. Don't try to describe every single character and subplot in a 250-word query.

Do find a critique group. Do read Nathan Bransford's comprehensive FAQ on publishing and getting published. Do read as many of the posts you can at Query Shark, Evil Editor, Miss Snark, and any number of other agents' and editors' blogs around the web. Do whatever it takes to find out what first impression you're making.

Then make a better one.

Yet Another Post About Query Letters

Chapters Edited: 11
Scenes Edited: 29
Words Murdered: 1915 (5.2% - I think I added some while rewriting)

Times Hagai has been in a life-threatening situation: 6
People who've yelled at Hagai for doing something stupid: 7 (oddly, never Sam)
People who've fought with Sam: 9
People who wished they hadn't: 6

-------------------------------------------------------

So, query letters again.

If there's one thing I learned from Nathan's Agent for a Day contest it's that the perfect query letter will not make agents request your manuscript. "What?!" you say. Yes, I say. At best, the perfect query letter can tell the agent about your story. It's your story that will make them want to read your manuscript.

That means your query letter must be a clean, logical summary of your story. It doesn't have to include everything, but it does have to read well, and it has to make sense. It can't get in the way of the story.

I've been thinking about this because I've been teaching our niece (whom we homeschool) how to write a high school-level book report. The method is essentially the same. Here's what I told her:

1. Focus only on the main storyline: one protagonist, one antagonist, one conflict, one climax.
2. Be specific.
3. Everything in the summary must answer the questions: What happens (main storyline only)? Why does that happen? What happens as a result?

Example: Lord of the Rings (because you can't talk too much about LotR).

Focusing on the main storyline means we're talking about Frodo and the Ring and nothing else. In a summary, or a query, that means we don't mention Pippin or Merry, Legolas or Gimli, maybe not even Aragorn or Gollum! Sauron gets a mention because it's his ring. Sam might get mentioned as "Frodo's faithful companion," but that's it.

Being specific means mentioning the details that make your story unique. Frodo doesn't need to destroy the Ring; he needs to throw it into the bowels of Mt. Doom, located in the center of Sauron's wasteland domain. He isn't chased by evil forces; he is hunted by legions of orcs and tracked by Ring Wraiths - creatures so twisted by evil that they have no will of their own, only that of their master Sauron.

Be careful though. Specifics can get wordy. Choose the specifics that make your story unique but at the same time don't clutter the summary with confusing details. In particular, don't name characters that don't need to be named.

Flowing logically means that the query/summary makes sense to someone who has never read the book. This is the hardest part for us authors because we keep forgetting that things that make perfect sense to us wouldn't make any sense to fresh eyes.

Often, in order to answer the 3 questions I mentioned above, we have to include bits that aren't part of the main storyline. I have to say that Frodo inherits the ring - from who? why? He sets off to destroy it - why? who tells him to do that? why does he agree?

This is exactly why you must focus only on the main storyline. A query that doesn't make logical sense obscures the story behind it and gets rejected. If you include subplots and minor characters, you'll have to start explaining everything, and there just isn't room for that on a single page. Queries that try it become too long or make no sense - often both.

There's more, of course. You don't just want to explain your story, you want to sell it. But if your query is focused, specific, and logical, it will go a long way towards selling itself already.

Playing Agent for a Day

Nathan Bransford is running an interesting game on his blog called Agent for a Day. On Monday, he threw 50 queries up on his blog, at random times, to simulate what happens with his slush pile (3 of them are queries that led to actual, published books). Those who want to play need to read the queries and request or reject as if they were an agent, but we're allowed to request no more than 5.

After 4 hours (interrupted by toddlers and a meal or two), I finished all 50. I probably could've done it faster if I just said a quick "yes" or "no" (or better, if I just didn't respond if I wasn't interested), but I also wanted to help those whose queries got chosen. So I left a short suggestion on most of them.

Anyway, here's what I learned about query letters:

1. Most bad queries were vague with the details. Instead of saying, "Frodo must keep the ring from falling into the clutches of Sauron, the dark wizard," they'd say, "Frodo is up against the forces of evil." Instead of "Meg Ryan finds herself attracted to the arrogant bookstore owner who's running her out of business," they write "Meg Ryan finds love in the unlikeliest of places." This is bad for two reasons: (1) vague is boring, specific is interesting and (2) without specifics, your story sounds like every other story ever written.
2. Many bad queries were vague with the ending. The premise sounded interesting, but I passed because I wasn't sure if the story delivered on the promise (and there were lots of other queries that did).
3. The little mistakes that sites like Query Shark and Evil Editor rail against (e.g. mentioning you were a finalist in a writing contest, or putting word count/bio info first) were never a reason for my rejection. If the premise was good and the query well-written, I didn't care about anything else.
4. Some little mistakes were the reason for my rejection however. For example, if a query, or even a paragraph, was too long, it could make a decent query hard to understand and the story hard to find.
5. Almost everybody had good ideas. Not everybody knew how to write about them.
6. Not a single query was perfect. Even the 5 I chose had points against them.

Nathan asked us to look for stories that were publishable, whether or not they were our favorite genre. Even so, it was really hard for me to be objective. Every time I saw a SF/Fantasy hook, I got really interested and gave the query more grace than I might have otherwise.

The game has me worried, though, because I could imagine what my query would look like amidst the slush. I don't know if I can write a query that would stand out, but these tips will help, I know.

The queries are still on the blog, and the game runs through to Saturday. So if you want to play you can (and you don't have to do it all at once, like I did).

The Pillar of Skulls

Near the gate between the first and second layer of Hell, there lies a grotesque monument of the damned. Towering more than a mile high, howling and writhing with eternal torment, is a terror to match any other in the Nine Hells.

Here lies the Pillar of Skulls. It seethes with the frustration and hatred of a billion souls, moaning and wailing in endless, hopeless agony.

Yet here, too, lies the greatest store of knowledge in all the planes of existence. For among the Pillar's eternal prisoners lie great thinkers, world leaders, teachers, scientists... the entirety of the world's lore and experiences can be found within.

And so once in a great while, a seeker of knowledge will brave Hell itself to speak to the Pillar. But should they survive the charred wasteland, should they avoid the endless legions of Lord Bel's devils, should they escape the watchful eyes of the five-headed Tiamat, they must still contend with the Pillar itself.

When a visitor comes, the billion skulls fight each other to make themselves heard. The surface of the Pillar billows and pulsates, one skull appearing - howling unintelligible obscenities - then disappearing as quickly to be replaced by another.

Even should the seeker find the right one - a soul who has the information they are after - there is a price. For every skull on the Pillar, every soul doomed to live out eternity in the Nine Hells, wants only one thing. "I'll tell you what I know," they will say. "I'll do anything you ask. Just, please, take me off this pillar. Please, I...

"I just want to be published."

Firebrand Literary's Query Holiday

Firebrand Literary, an agency known for doing things differently, is having a query holiday. For one month they are not accepting query letters, but rather first chapters (as Word attachments, no less!).

I'm kind of excited about this because I queried them in my first transport, which means (1) I thought they looked like a really good fit for me and (2) they received my crappiest query letter and sample pages. So I'm glad for this second chance with them.

If you also want to get on this, do it fast. I only just found out about it, and the month-long query holiday ends January 15th. So get there fast!

UPDATE: I just noticed their website calls this their "first annual" query holiday. So I guess this is going to be a recurring thing, which makes it even cooler.

Air Pirates Query on Evil Editor

Evil Editor has done a critique (slash-parody) of my latest query letter for Air Pirates. No, the novel isn't finished, but I followed my own suggestion and wrote the query early to help me focus the novel. Evil Editor mentioned being nearly out of queries a little while ago, so I figured I'd see what he and his minions thought. What the heck, you know?

Some notes on how Evil Editor works. At the beginning of the post, he does a "Guess the Plot" feature, where various minions (i.e. blog readers) send in fake plots based solely on the title. Evil Editor then puts his critiques (and sometimes pictures) in the query letter in a different color so you can see them. These are mainly just to be funny. The really useful information comes in Evil Editor's notes at the end and the minions' comments afterwards.

Anyway, go ahead and read it. Let me know what you think, either there or here.

Querying Travelers, Postmortem

My previous postmortem was for the process of writing Travelers. It occurred to me there were lessons I learned in querying it as well. Although technically I'm not finished with the querying process, I'm close enough that I think I can examine it.

What Went Right

1. Querying statistics - As I've said before, I like statistics. Keeping track of who I've queried, what batch they were in, what I sent them, and if/when they responded not only helped me to stay organized, but also kept me going. I don't like rejections, but at least when they come I get to update my Excel sheet.
   
2. Queried in batches - A lot of people recommended sending queries in batches of 5-10. This is extremely good advice. It gives you a chance to evaluate your query package based on the responses you're getting. It is much easier to stay organized and make sure you send the right things to the right people. And it gives you a more-or-less steady flow of incoming responses.
   
3. Enlisted help with snail mail - I have queried something like 60 agents, half of which prefer or require snail mail. I live in Thailand, making this an expensive venture (plus we only have A4 paper out here, and I'd hate to get rejected because my paper was the wrong size). Fortunately, I had my friend MattyDub to help me with that. I couldn't have done this without him.
   

What Went Wrong

1. Queried all the best agents first - As you research agents, you'll find that some of them look like perfect fits for you and what you like to write. You should be able to separate the agents you query into an A list and a B list. Then in each batch you send out, you should have a mix of agents from both lists, so that when you get to your third or fourth batch, you still have some A list agents to query with your new, improved query letter. I didn't do this. So when my query letter was finally good enough to grab someone's attention, all my A list agents were used up.
   
2. Not enough research - I did a lot of research before writing my query letter, but I could have done more. Not just research on agents, but mostly research on writing query letters. If you're thinking about sending out that query letter, here's what I recommend you do first:
• On Nathan Bransford's blog, read every post listed under "The Essentials" on the sidebar.
• Read at least 100 posts on Query Shark and Miss Snark and the "Face-Lifts" on Evil Editor. When you start to see patterns, don't stop. When you are able to predict patterns, then try fixing your own letter.
  
3. Not enough critiques - Before I sent out my first query letter, I had some of my friends read it. As much as I love them, this wasn't very useful (except for one friend who had taken a class related to the business of writing). What I needed was a serious critique group. There are lots of these online, but here's a couple that I've found useful. These are places you can throw your query at again and again until you get it right (and you should):
   
   • The forums on AQConnect, specifically the Query Critique Corner.
   • Evil Editor (again). The turnaround time is pretty quick here. Query Shark is another good one, but she's way backed up at the moment, and you probably won't see your letter anytime soon.
     

What's the Point of Writing Queries?

By and large, authors hate the query process. It's like you just spent years crafting "the perfect novel," only to be rejected by someone who never read it, who only read your short letter that you wrote in a day.

When I started this, I honestly thought query letters were just a formality. It was only after I realized that agents judge authors by the quality of their query that I started to hate the process. "Just read my stuff!" I cried at my computer screen. "I'm good for it!"

But no matter how we feel about them, query letters are a necessary evil. Agents get hundreds of these things a week. They can't read hundreds of manuscripts, or even sample pages, in a week and expect to get anything else done (like, I don't know, sell novels). They have no choice but to make snap judgments based on a 1-page pitch.

But more than that, I'm learning that the agents are right. They already know this, so I guess I'm speaking to the authors (besides, what agents spend their time on this blog? Pah!). If you can't write a solid, gripping, concise query letter, then chances are you can't write a good novel either.

Don't hang me yet! Hear me out!

We tend to think that writing a query and a novel are two separate skills, but they're not. They aren't the same skill, but they do overlap considerably. Sentence structure, word choice, clarity, word economy, etc. are just as important in a novel as in a query.

In learning how to write query letters, my novel writing has improved as well. I find myself being more concise, choosing words more intentionally, focusing on clarity and logic flow. I've also found that in focusing on what's important to the story for the query, it keeps me focused in the novel.

The biggest mistake writers make in queries is trying to tell everything that happens, losing focus on what's important. If can't stay focused in the query chances are you'll lose focus in the novel too, though it will be more difficult to see.

Finally, before you decide to execute me, remember that I said "chances are." It's still possible to write terrible queries and amazing novels, just as it's possible to write amazing queries and terrible novels. But by and large, the agents have a point; our query writing skills say a lot about our writing skills in general.

And in the end, if I, as an author, dismiss any aspect of writing as unimportant - if I am unwilling to learn how to write a query letter well because it "has nothing to do with writing good novels" - how good of a writer can I really be anyway?

Hook Examples from Television

A few weeks ago, I talked about 7 things that need to be present in the hook (the mini-synopsis, the query... whatever you call it, it's the thing you send to agents and editors in the hopes that they will want to read your book). I had a hard time finding real-world examples of query letters, but I did find some examples from good, old-fashioned television. That's what we're talking about today.

One thing most television shows do is resell themselves with every single episode. You never know when a new viewer is going to tune in, and you don't want them to tune out just because they don't get it. You need to hook them from the beginning. Sometimes, that hook comes in the form of a voice over that explains the show's premise in a cool, interesting way. See if you can find the 7 things in each of these examples.

In 1972, a crack commando unit was sent to prison by a military court for a crime they didn't commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire... The A-Team.

This example is 50% setup, but all the elements are there, and the setup goes a long way towards establishing the characters - not individually of course, but as a team, which is really what the show was about. After this voice over, the visuals that played during the theme song would give you a sense of the characters. In a query letter, you've still got a whole paragraph or two to do the same thing.

Knight Rider: a shadowy flight into the dangerous world of a man, who does not exist. Michael Knight, a young loner on a crusade to champion the cause of the innocent, the helpless, the powerless, in a world of criminals who operate above the law.

This is not a good example of specificity (what the heck is "a shadowy flight"?), but it is concise. All the elements, except for maybe setting, are presented in only 45 words. Of course this hook omits the coolest thing about the show, namely Kitt. That's what needs to go in the rest of the query (and, again, Kitt is everywhere during the rest of the theme).

The alien world of Myrrh is being devoured by dark water. Only Ren, a young prince, can stop it by finding the lost 13 treasures of Ruul. At his side is an unlikely, but loyal crew of misfits. At his back - the evil pirate lord Bloth, who will stop at nothing to get the treasures for himself. It's high adventure with the pirates of dark water!

This is from a short-lived Saturday morning cartoon I used to watch. It's crammed pack with cliche (hey, it was a cartoon!), but every element is there and it tells you what to expect: adventure, pirates, a quest, treasures, and even a little fantasy. All in only 67 words.

Water, earth, fire, air - long ago, the four nations lived in harmony, then everything changed when the Fire Nation attacked. Only the Avatar, master of all four elements, could stop them, but when the world needed him most, he vanished. A hundred years later, my brother and I discovered the new Avatar - an airbender named Aang, but though his airbending skills are great, he's got a lot to learn before he's ready to save anyone. But I believe Aang can save the world.

Last example. This lacks a little in that it's unclear how one can be a "master of all four elements" or what "airbending" is without being able to see the accompanying visuals. The other thing about this one is that first person in a query is a no-no, unless it's a memoir. Both of those things can be tweaked to make this appropriate for a query letter. Even so, I think the first person works really well here. Mainly because that last sentence gives you a sense, not only of Aang's character, but of the narrator's character as well.

These examples aren't perfect. I present them to show how the 7 things - protagonist, antagonist, goals, stakes, conflict, setting, and theme - can be presented in an interesting way in a short space. None of these examples is longer than 100 words. That leaves you with another 150-250 words to clarify the 7 elements, talk about your credentials, and mention why you chose that particular agent. If you can do all that concisely, you will have gone a long way towards your goal.

Last tips for today:
(1) Read your query out loud to yourself. You can catch a lot more errors that way.
(2) Imagine your query being read by the guy who does movie trailers. I'm not joking. It helps.

No Examples

I've been looking at the Query Shark and the query project for good examples of what I was talking about the other day, and though I did find some, I discovered something else. While all of these queries are good enough to get a request for pages or representation, all of them are very different. Many of them break the rules, a number of them are too long, and a bunch could easily be written better.

What does that tell me? The should-be-obvious, I suppose - that writing a good query letter helps, but the story is what matters. So I guess the advice you can get from this post is: think about whether the concept of your story is a good one - one that others will want to pay to read. If it isn't, fix it.

This is not what I did with Travelers. When I first started sending out queries, my thought was that they would just have to read the book and they'd buy it. That's why my first query letter sucked - I thought it was just a formality. It's much more than that, and I'm starting to suspect that the long string of rejections is because the concept is... not bad, necessarily, but not very marketable the way I've written it.

Here's for trying one more time. This example is mine:

Trapped in a post-apocalyptic future, Dr. Alex Gaines must rescue an extraordinary girl from an immortal tyrant to save not only the future, but all humanity.

Protagonist: Dr. Alex Gaines, Antagonist: an immortal tyrant, Goal: rescue extraordinary girl, Stakes: save the future, save humanity, Conflict: (implied) tyrant has the girl, Setting: post-apocalyptic future, Theme: *crickets chirping*

Yeah, so I'm kinda low on themes here. For all my thinking about it, I still don't know how to shove the theme in there without being all obvious/cheesy about it (e.g. "Travelers asks the question, is there more to being human than we've been told?"). But this is only one sentence. All the parts that are implied or weak or that leave the questions "What? How?" can be padded out in the rest of the query.

And this isn't perfect. I haven't gotten representation or anything. As with everything on this blog, these are just my thoughts and I hope that they can help others on the same road.

Hook, Crook, or Aduncity

The hook is the first part of the query letter. It's what you say when your friends ask, "So what's your book about?" It is the fundamental concept behind the plot of your story, written in such a way as to make the reader say, "Cool, tell me more."

But how the heck do you distill 100,000 words into 2 sentences of cool? It's not easy. The internet has some good tips already, but I'm going to throw my own version into the mix because with something as subjective as a novel hook, I don't think you can have too many ways to think about it.

There are 7 things the hook should have:

1. Protagonist. Who is the story about?
2. Antagonist. Who or what is against the protagonist?
3. Goal. What does the protagonist want to accomplish?
4. Stakes. What will happen if the protagonist does not accomplish their goal?
5. Conflict. What is keeping the protagonist from accomplish their goal?
6. Setting. Where/when does the story take place?
7. Theme. What is the story's main subject or idea?

Figure out that information, then write it in a sentence or two. That's your core. The entire rest of the query, synopsis, and even the novel is focused around that. That means that your query (hook + mini-synopsis) has all of that information and, more importantly, does not have anything that confuses or detracts from that information.

The more I learn, the more I think that the best way to do this is to write the hook before I outline or draft the novel. It would help keep the novel more focused and make writing the query/pitch/synopsis much easier later on. Unfortunately, Travelers was an attempt to prove something to myself, so it got away from me long before I knew what a query was, and now I find myself having to wrangle it back in. I have more hope for Air Pirates, but that was also outlined before I figured this stuff out.

I'll start talking examples in the next post or two. And if I finish my other plans for the month, I might try writing a hook for Air Pirates using this method, and I'll show you that too. Finding a hook is like a Sudoku puzzle: it totally sucks until you figure it out, and then it's the most awesome thing in the world and you want to do it again.

Travelers Plans

I apologize for the lack of posts. We've been visiting the States, and I've gotten very little writing done, let alone blogging. It's been a good trip, though. In particular, I got to talk to a friend of mine about my plans for Travelers, and I more or less pitched Air Pirates for the first time, which went well.

I've sent out 40 queries so far for Travelers, of which 29 are negative - they didn't get past the query - and the others haven't responded yet. So it doesn't look good, but I'm learning a lot about writing as an industry, and I intend to put that knowledge to good use when Air Pirates is finished. Until then, I'll finish the list of agents I have. When that's through, I'll try publishers that accept unsolicited submissions, and then I might look at small presses. I don't think I'll go the self-publishing route, mainly because I don't have the time for it.

The thing is, Travelers was always a novel I wrote just to prove to myself it could be done. At the time, I had two ideas I thought could be made into novels, and I chose to start with the one I liked the least (so that the one I cared more about would be that much better when I got to it).

So in some ways, Travelers is a story I don't care about. In some ways. I mean, I like the story. I care about what's being said in it. If an agent or editor thought it had potential, I would work hard on it for sure. But if nobody else is interested, I may not care enough to redo the whole thing myself just to maybe sell it later. In the far future, perhaps, but as long as I've got other stories tugging at my imagination, Travelers would be put on a backburner.

But it's not over yet. I've still got a couple transports-worth of agents to query, and each batch gets a revised query letter which (in theory) increases its chances. Speaking of which, sometime next summer (about a year after I sent out the first transport), I might resend to the first batch of agents. Some of those agents were the most likely to be interested, but they got the crappiest query letter. I don't think it'd hurt my chances to send them the best revision of the letter over a year after they rejected the first one.

Anyway, we'll see. Hopefully before it comes to any of that Air Pirates will be done and I can focus on that. I'd rather get an agent for Air Pirates and then see what they think about Travelers and its chances.

On Transports (and Why I'm Glad I'm Doing Them)

In Agent Query's advice on submitting to agents, they suggest pacing yourself, querying batches of no more than 10 agents or so. This is really good advice, I've discovered. Through the evolution of language, my batches have become known as transports. Here are some reasons I'm glad I'm doing transports, and a couple of pieces of advice that I'd wish I'd known:

1. Querying agents is hard. Every single agent has unique requirements about what to send. Even in the query letter (which they all want to see), each agent is looking for something different. What that means is that each query is a unique package, and must be treated as such. I could send a form letter to a hundred agents, but well over 90% of them wouldn't even read it because I didn't follow their rules.
2. Querying is a skill. The query letter and synopsis go through revisions just like the novel, and the more I revise and learn about it, the better I get. If I had queried every agent with my initial query letter, my chances would've been a lot worse than after using what I'd learned.
3. Querying takes time. I probably could've put a whole lot of time into revising the query letter to perfection and personalizing a hundred packages before sending any out, but it would've taken me forever (and some things I wouldn't have learned until I actually did it). And if I had done that, I wouldn't have gotten on to writing the next novel.
4. Waiting takes forever. Every agent takes 1-90 days to get back to me. That's a long time. Emotionally, sending them out in transports is better because I get a more-or-less steady stream of responses to appease my curiosity.
5. ADVICE: When selecting potential agents, there will always be agents that look perfect (A list) and agents that could work (B list). Each batch should have a mix of A-list and B-list agents, so that when you get around to your fourth and fifth batch (if it goes that far), and your query letter and synopsis have been polished even more, you still have A-list agents to query. I wish I had done that.
6. ADVICE: As exciting as it is to query, it really is better to spend a lot of time polishing and researching good query letters beforehand. I did a lot of polishing and research, but not enough. Obviously, I wish I could've sent my current query version out to my first batch of agents, but watcha gonna do?

Of course, I still have yet to receive a positive response from any query, and that's kind of depressing. I'm trying to come to terms with the fact that most authors didn't become published on their first novel. What keeps me going is that Air Pirates is already better than Travelers, and I'm much more well-equipped to query for it when the time comes.

Genre Popularity and Selling Out

I was talking with my friend Matt the other day about this post on query effectiveness. It's about what kind of responses you should be seeing based on how hot your genre is right now. Here are a couple of bottom lines that interested me.

What's hot:

So what's a hot genre these days? YA and middle grade, but especially middle grade. Romance and mysteries are always hot, but their respective subgenres go in and out of favor). Graphic novels are "in" right now. High-concept commercial fiction (this never goes out of favor). And we've heard a lot of murmurs about serious women's fiction; agents are on the lookout.

What's not:

The market for traditional genre fiction has been saturated, especially for the type of fiction that was popular a decade ago. Also, genre fiction geared towards a male audience is a harder sell because women are the readers nowadays. That's why there's been an explosion of fantasy and science fiction with female "kick-butt" heroines, and thrillers and mysteries with female lead detectives.

So if you're writing traditional genre fiction geared towards men, then you're going to have a harder time.

Because I tend to write what I enjoy reading, I fall into the latter category. That kinda blows. Mysteries and commercial fiction aren't really my thing. I'd love to write a graphic novel, but I have very little experience in that area (and reading Civil War now is showing me just how different the writing style has to be). I'm not even gonna touch romance.

But here's the silver lining. The YA (young adult) genre is pretty danged freeform. Essentially, all a book needs to be YA is to have a teen protagonist, and beyond that whatever you do with genre doesn't matter. In fact, what with the tendency of my stories to mix sci-fi and fantasy, YA seems perfect.

So now I'm thinking of selling out, but not really. I mean, in order to sell out, I would have to hate YA but write it anyway. Thing is, I like YA. That's how, on the drive from Pattaya to Bangkok the other day, I found myself thinking about the next story - the one after Air Pirates that I've already planned a little - and wondering how it might change if the protagonist were one of the teenagers instead of an adult near one of the teenagers.

And what if that teenager were a female "kick-butt" heroine...

Query Tips

I've spent most of the weekend at a writer's discussion forum at AQ Connect and reading every single post of the Query Shark. After much agony, I'm starting to get a sense of how to write a query. Here's some of what I've learned a query should be:

Focused. The most common mistake I see (and make myself) is to try to tell everything that happens. To the author, everything is important, but not to the agent. Your novel is like a five course meal, but in the query the agent only wants to know about the main dish. If the main dish is liver and onions, the agent's not going to care that they get their favorite soup, salad, and dessert with it.

A good guideline I discovered is to limit your query to two or three named characters. Any more than that and your characters tend to get distilled down to stereotypes, which is Bad. Also, focusing on two or three characters - what happens to them and what they do - helps to focus on what's really important in the story.

Logical. Every sentence should lead to the next, and every sentence should have a reason for being there. If there's a sentence that doesn't fit, try taking it out - sometimes you'll find that it didn't need to be there in the first place (even if that character or event was important in the novel, see above).

Terse. Likewise, look at each, individual word in the query and decide if it really needs to be there. A lot of words writers use in queries ("that", "when", "as", "just", etc.) can be cut easily and the sentence will still mean the same thing. Other sentences can be trimmed by moving things around or combining sentences. In either case, every word you can cut will make your query better.

But knowing what to do is not always enough. Like most things, it takes practice to get good at this stuff. For that, I recommend the following: (1) read critiques of others' queries, (2) critique queries for others, and (3) get your query critiqued by others.

I don't know if my query is good enough or not yet, but it's definitely better. I also learned this weekend that an effective query should be getting about a 30% request rate or better. Meaning 3 out of every 10 queries sent out should be getting a letter back asking for more.

So for I'm at 0%. I'll let you know how that changes. The third transport is on its way out, and I'm due to send a fourth one in the next week or two.

The Pain of Querying

Writing a query letter is a skill. It's one I don't have yet, and I'm not as committed to acquiring that skill as I am to the skill of writing. Probably because somewhere in the back of my mind I think that if I can get past the query just once, then the book will sell itself, and then I won't have to write queries anymore. Wouldn't that be nice?

Part of the difficulty is that nobody agrees on what a good query is. Everyone agrees that they are short and to the point, professional and not annoying, but beyond that it seems like there's no consensus. Some suggest the body should be a mini-synopsis, others say it should be a pitch selling the book. One agency says they want to know your influences, another website says to include nothing of the sort as it might sound arrogant. A number of examples have rhetorical questions as their opening tagline, and a number of agents are sick to death of them.

So? I just keep on revising the letter and sending it out. I take some solace in the fact that I have yet to hear from any of the agents who asked for 40-50 pages with the query. Maybe it means they're considering it?

You've seen my original mini-synopsis. That was my first trial, where I was trying to explain what the book was about rather than sell it. It's okay, but not terribly clear and, in most places, not very exciting. It really is a synopsis, in that it tells what the story is about just without giving away the ending.

Below is my second attempt. One of the agents in the batch this was sent to asked for "sales material" along with the query - a promo sentence, back cover summary, etc. It got me thinking about the query in a different way and this was the result.

How can you stop a tyrant older than the oceans and faster than time?

In the mid-22nd century, the Earth is all but destroyed. The survivors live under the heel of a man named Arad who, if the rumors are true, is something more than a man. They say he can dodge bullets, turn invisible, and kill with a prayer. Some believe he is the savior prophesied before the war began, but others call him the devil.

Only a small group of rebels remains to oppose him, and they are quickly losing hope. There is a young girl that can save them, but they are as afraid of her as they are of Arad. And when the girl is hurt and hopeless herself there is no one to believe in her, except for a father and son who are strangers themselves – travelers from the past, trapped in a time that is not their own. Can Alex and his son convince the rebels they should help this girl? Will the girl’s powers be enough to stop Arad?

And when Alex’ son betrays the rebellion, who is left to save them?

Better, but it still doesn't get directly to the point. Part of that is that I don't know what the point is. That attempt was closer to the original seed of an idea I had for Travelers, but that seed has evolved so much since then, I can't say that it's the same story anymore.

Below is my current draft. A couple of days ago I found agents saying they hate rhetorical questions, so I tossed it. The pitch didn't need it anyway - not if I got to the point fast enough. This is the version that will go out with the third batch. Will it make any difference? I don't know. This whole thing is just a learning process for me anyway:

Arad rules the future with a mixture of persuasion and fear. He is not a man; he dodges bullets, turns invisible, and kills with a prayer – if the rumors are true. There is one who might be able to stop him: a young girl with equally strange powers, but because she cannot control them, the people are as afraid of her as they are of Arad.

Enter Alex and Thomas Gaines – father and son, accidental travelers from our time trapped in this post-apocalyptic struggle. They want to help the girl, but can they help her gain control of her powers before it’s too late? Will it be enough to stop Arad?

And when Thomas betrays them so he can go home, is there any hope left at all?

Looking at it again, the middle paragraph needs work. Or maybe that entire aspect of the plot needs work, but I can't toss out Alex and Thomas anymore. The last sentence, which I really like, is the main reason why.

The Quiet

Just moved everything. Still no internet at the house. Not much time for writing yet. Got two more rejections, though the quality of them seems to be getting nicer (maybe it's the new query letter?).

And as soon as I get internet at home I'll start working on the third transport. Ever hopeful.

Status Report

For what few readers I have, this is probably what you actually want to know.

Following the excellent advice on Agent Query, I have been sending queries out in batches: no more than 10 agents every 2-3 weeks.

My first batch went out on May 14th. So far I have gotten a form rejection from 4 of these agents.

My second batch went out today. This batch is different in that some of these agents asked for a synopsis and/or as many as 50 sample pages (the most I sent out to an agent in the first batch was 5). I also have a revised query letter that I'm happier with. We'll see if any of that makes any difference.

I'll keep reporting here when there are things to report. In the meantime, I've finished outlining the air pirates story (which has a working title, but for the purposes of this blog I'll continue tagging it as Air Pirates) and am currently at 20,037 words on the draft.

Travelers: Mini-Synopsis

Only a handful of people actually know what Travelers is about, although a number of people have asked me over the years. I've always had a hard time summarizing it. After I finished it, I discovered that (obviously) you have to summarize it for agents and editors (and sometimes a slightly longer synopsis as well).

As it turns out, I don't know what my own book is about. That is, I had a hard time boiling it down to a single theme or even plot point. There's just so much that happens, and it's all important to me! Some of this is due to inexperience writing query letters, and the rest of it is inexperience writing period. When I wrote Travelers, I just wrote what needed to happen. I didn't have a theme in mind necessarily until I looked back at it and saw what it was about. And even then...

Anyway, here's the mini-synopsis in its current state. I had an idea this morning that I might use to change it, but this is a start for those of you who want to know what I wrote about.

Dr. Alex Gaines considers himself a man of reason – after all, it’s reason that helps him create a time machine – but when he meets an old man claimed as a prophet, has to save his son from a self-appointed dictator, and comes to care for a lonely girl with powers beyond her control, he finds that reason may not have all the answers he needs.

Alex and his son travel more than 100 years into the future, where Southern California has become a wasteland after a devastating war. A small group of survivors live together for protection under the control of a man named Arad, but if the rumors about him are true, Arad is something more than a man; some believe he is the savior prophesied before the war began, others call him the devil. Those who speak against him mysteriously disappear, and now only a small group of rebels remains.

It seems nothing can stop him, until one day a strange girl arrives in the rebel camp in a most frightening way – exploding through a cave wall, unintentionally killing innocent people. The leader of the rebellion wants her dead, but many believe she is their only hope against Arad. As it turns out, Arad has plans for her as well, and while she struggles to understand who she is, Alex discovers that he and his son may be her only hope.

The First Transport is Away!

The real catalyst for beginning to write here is that I recently (just yesterday) sent out the first batch of queries to agents for my novel, Travelers. About five years ago, I decided that if I really wanted to write a novel, then I needed to do it - if only to prove to myself that I could. I had two story ideas at the time: one about air pirates and the other about time travelers. I liked the air pirates idea better, so I figured I'd learn to write with the one I liked less.

Writing is freaking hard. I'm sure that will be its own post later. About a year ago I finished a draft of Travelers, and sent it to a couple of friends to read. A couple of months ago I began revising based on their input and now, though the novel is not perfect (they never are, just as George Lucas), I figured I needed to just start sending it out and seeing what happened.

And hurray! I already have my first two for-real rejection letters! Now, I'm not dumb. I've researched this business as best as I could from my desk, and I know the reality of rejections. What I didn't know is that, no matter how ready you think you are for it, it still bugs. It's like a mosquito bite. I know it's better to ignore it, but I can't stop thinking about them!

But if I don't stop thinking about them, then I'll never be able to get back to work on the air pirates story, which (as anyone will tell you) is the only productive thing to do after sending out queries.