Scott Oldford Site

Blog

  • Moving Beyond Deadlines to Accomplish Your Big Writing Goals

    Moving Beyond Deadlines to Accomplish Your Big Writing Goals

    When we first start writing professionally, we become very focused on deadlines. What’s due this week? What’s due next week?

    But eventually you start to think beyond that. You realize that productivity isn’t just about getting things done. It’s about making progress toward big goals that matter to you.

    In the thick of daily to-dos, you need to make space for the speculative long term projects — the must-read articles, the books — that will make your career.

    So how do you do that?

    Turning your goals into reality

    It’s an ongoing process, but here’s an approach that works for me.

    Every year, I make a list of my annual goals. By January, I write a prospective performance review that I’d like to give myself. What would I like to say, come next December, that I’ve done? Maybe it’s finish the draft of a novel, or come up with a workable idea for my next non-fiction book. I don’t put many hypothetical accomplishments on this list, but the ones that make it on should be big.

    And then, this is key: as I’m making my weekly to-do lists, I keep those annual goals in mind. Every week, I need to do something to make progress toward these goals. I need something on my weekly to-do list that will help turn my prospective performance review into a reality. (Like this idea? Click to tweet it.)

    The good news is that a year is a lot of time. By starting early, progress can be sustainable and steady.

    If you want to write a 70,000 word manuscript, for instance, writing 2,500 words per week will get you there in 28 weeks — mid-way through July. That’s just 500 words per workday. That’s probably doable, no matter what else you’ve got going on.

    Big ideas — like a concept for a blog or non-fiction book — are sometimes nebulous things to pin down, but there are still steps you can take to make their capture more likely. Carve out one hour a week for four weeks to peruse the bookstore or library. For the next month, carve out two hours a week to brainstorm. Schedule calls with people who know you well, and who can give you feedback on your ideas.

    When the going gets tough

    To be sure, you may be tempted to chuck these tiny steps when life gets busy. So whatever your small steps are, find a way to keep yourself accountable.

    When I was trying to crank out a draft of a novel this spring, I found an accountability partner. Every Friday, I emailed her to let her know how many words I’d written. She emailed me to let me know that she’d made progress toward her goals. Since I didn’t want to send an email saying I’d failed, usually, I did what I set out to do.

    The result? As I’m writing this in August, I’ve finished my novel draft, and have a non-fiction proposal idea in to my publisher. There’s still plenty of work to be done on both fronts, but my fall will be much more relaxed knowing I’ve crossed these big goals off my list. It will give me time to start thinking about next year — and what I’ll be writing then.

    What are your big writing goals for this year?

  • What It Really Means to Market Your Writing

    What It Really Means to Market Your Writing

    There are a lot of misconceptions about what it means to market something.

    Not the least of these is that marketing somehow cheapens writing or other creative work. Many writers, artists and other creatives avoid marketing like the plague — as if it will infect all other aspects of their work.

    It’s understandable that so many writers think this way; a lot of the advertising that we see every day is far from appealing, and the industry has earned a bad reputation for brainwashing people, being sneaky, and generally causing trouble.

    But the truth is that all that stuff is NOT what marketing is really about!

    Without marketing — real marketing — no one would be able to make a living writing, share their story, or gain new fans and followers. (Click to tweet this idea.)

    Marketing is much, much more than running an ad or a television commercial, or selling yourself long and hard, and marketing isn’t sleazy! You can do it ethically, honorably and effectively, to tell people what they need to know for them to want to read your work.

    What marketing is NOT

    What is it that keeps so many writers from really getting out there and promoting themselves? Primarily, it stems from a huge misconception about what marketing is, and what it means to do it.

    The fear (and it’s an understandable one) is that when you “market” your work, you have to ruthlessly promote yourself, and sell out your ideals to make a buck.

    This couldn’t be further from the truth.

    Marketing isn’t sales or advertising; those can be elements of marketing, but they’re far from the whole story.

    After all, as an independent writer, you’re not going to promote your novel by taking out full-page ads filled with scantily clad women in the newspaper! You’re not going to have billboards on highways promising dire consequences for all who have not read your book.

    Nor will you rampage through bookstores holding people at knifepoint until they make it to the cash register with your work, or fool people into thinking that you’re something you’re not.

    Marketing isn’t about brainwashing or trickery; it’s about finding people who will be genuinely interested in what you do and what you have to say, and telling them what you’ve got for them.

    Now, people can misuse marketing, but that doesn’t mean you have to. Marketing is only sleazy or unethical when marketers are. It’s not the hammer’s fault when it’s used to harm another person–and it’s not marketing’s fault when advertisers lie.

    That same hammer, in the hands of a carpenter, can build wonderful things, just as marketing can help you build your audience, and readership.

    What marketing is, and how to do it right

    Okay, so now let’s take a look at how marketing can be used ethically and effectively to get your message to the people who need to hear it.

    Let’s start with this very important assumption: you can’t make anyone do something they don’t already want to do.

    Yes, it’s true, despite what some people think about marketing. Someone who hates yoghurt isn’t going to see an ad for it and immediately run out and buy a pint. It doesn’t work that way.

    Likewise, a blog post about science fiction isn’t going to induce a die-hard western fan to go out and pick up a mountain of Star Wars fan fiction. It’s just not going to happen.

    So what’s the point?

    The point is that there are people out there who are dying to read your work–there really are! But they don’t know who you are or that they should be looking for you. It’s your job to let them know that you exist, and that you have stuff that they’d love to read! Marketing is what you’ll use to make that connection.

    That doesn’t sound too bad, does it? Making connections with people who could be interested in what you do?

    Now, let’s get a little deeper into this whole marketing thing. It actually has three distinct and important stages: Alignment, Attraction and Engagement. Briefly, alignment is about making sure you’re trying to connect with the right people, attraction is about getting their attention, and engagement is about building a relationship with them.

    Now, these elements are necessary for all good marketing, but let’s look more closely at what they mean for you, as a writer.

    What ALIGNMENT means to a writer

    You’ve probably heard that you need to picture your ideal reader. This is absolutely true. No matter how brilliant a wordsmith you are, odds are that not everyone on the planet is going to be interested in your work. And if someone’s not interested, you don’t want to bother with them!

    A big mistake that a lot of authors make is failing to really identify their ideal reader at all. It can be challenging to admit that there are people who won’t find your writing appealing, but let’s be honest. A 20 year old surfer dude and a 65 year old grandma of two might love the same books (that’s the beauty of things!) but they probably won’t.

    You want to invest your precious time and money trying to make connections with people who are most likely going to be interested in your work.

     There is a specific type of person who is really going to “get” your writing–and you, as the author, have the best understanding of who that’s going to be. Spend time thinking about them, paint a mental picture of them, and imagine where they spend their time, what they do when they need something new to read, and who or what they consult for recommendations. That will be your way to them.

    If you need some help getting started, check out this post about finding your ONE person–just replace the word “customer” with “reader”, and you’re good to go.

    What ATTRACTION means to a writer

    This part of the marketing process is actually the least important of the three, but it’s the one that most people associate with the word “marketing.” This is probably because it includes all of the things that people do in order to get themselves noticed.

    Attraction is about getting out there and making yourself known: writing blog posts for popular blogs, sharing information on social media, taking out ads with Google or in print spaces (which I don’t usually recommend for writers, by the way), joining communities, or whatever. There are lots of ways you can get someone’s attention, and as long as it’s the right person, that is usually enough to start a relationship.

    Now here’s the thing: this is only difficult if you can’t identify your target reader. If you can, then you’ll find that this part isn’t very hard. So if you’re struggling with getting attention, go back to the part about alignment.

    Remember that you’re not trying to trick or fool anyone into buying your book. You’re alerting interested readers to the fact that you’ve got something amazing to share! This is information they want and will be happy to receive.

    What ENGAGEMENT means to a writer

    Engagement is what you do to help move a reader from knowing that you exist to buying and reading your work. Sometimes that’s as simple as, “Here is my book!” and they buy it, but sometimes it takes a little more, and that’s okay.

    After getting someone’s attention, you need to get them to do something about it. Knowing about you isn’t the end goal; you want them to be reading you!

    Invite people to join your mailing list so that you can offer them samples of your writing, talk to them about ideas, and keep them updated on your new projects. If your alignment is good, this will be appealing to a reader.

    Remember that for every action you ask them to take, whether it’s downloading a copy of your ebook or writing a review for you on Amazon, you want to thank and reward them for their support with more value, interest and content.

    It’s a cycle where you ask for something, provide something of greater value, and then ask again. Over time, a stranger you met through an advertisement or blog post becomes a loyal fan who tells all of their friends when you’ve got something new ready, and who buys anything you produce.

    Okay, so where to begin?

    Does all of this sound a little overwhelming?

    Don’t worry–that’s okay. Marketing is a big topic, and you’re a writer first and foremost.

    Some easy first steps are:

    1. Consider carefully who your ideal reader is. If possible, look at your current readers and try to figure out what they’ve got in common. Do they tend to be mothers? Self-employed? Living in cities? That’s a great place to start fleshing out your reader profile.

    1. Get involved in the communities on and offline where your readers hang out! If they’re on forums, join the forums! If they comment on blogs, comment on them too! If they go to the library, put up notices!

    1. Plan out your relationship-building process. Once someone knows who you are, what do you need them to do? Do you want them to buy your book immediately? Do you want to build a longer-term relationship? What, other than your book, can you offer them to make a relationship with you sound appealing?

    For a more detailed description of the stages of alignment, attraction, and engagement, check out my free Naked Marketing Manifesto.

    Remember: you’re not doing anyone any favors by sitting around twiddling your thumbs and hoping that people will find and enjoy your work. Writing is not enough; you need to let people know you have something wonderful to share.

    There’s no shame in giving someone all the information they need to make a decision. The only shame lies in never giving someone a chance to do so.

    What have you done so far to market your work? Have you had any successes? If you haven’t done any promotion of your work — why not?

  • What Just 2 Hours Can Do for Your Writing Career

    What Just 2 Hours Can Do for Your Writing Career

    It can be difficult to find time to write.

    Especially for those of us with day jobs or businesses or freelance gigs — and let’s face it, that’s most of us — it’s not easy to make progress on the writing projects we really care about.

    If you can relate, have a look at this post by business coach Charlie Gilkey on the two-hour rule.

    Charlie says you don’t need to dedicate an entire day or week to your creative project. Instead, set aside just two hours — and you’ll make impressive progress.

    Why does the two-hour rule work? Because it’s doable; most of us can carve two hours out of our day without falling behind on other responsibilities. It also fits into the ebb and flow of our creative energy; it’s enough time to get into a groove, but it’s also a good end point, since a lot of us can’t concentrate for more than two hours anyhow.

    Think this approach could work for you? Check out Charlie’s full post here.

    And let us know in the comments: Does two hours sound like the perfect amount of time to create? Or are you more productive with shorter or longer chunks of time?

  • 7 Clever Tricks to Help You Edit Your Ebook

    7 Clever Tricks to Help You Edit Your Ebook

    Once you’ve finished your ebook’s first draft, it’s tempting to launch it into the world and sit back with a glass of bubbly. Most authors, though, need to spend a bit longer on their ebook before it’s ready for the world to see.

    (If you’re not quite at the finished-first-draft stage yet, check out 9 Powerful Tips for Writing Your First Ebook.)

    Your aim in editing your ebook is to take it from a first draft to a polished, finished product. These tricks will help make that process quick and easy:

    Trick #1: Split your editing into two separate processes

    Unless you planned very carefully, you’ll probably find that your ebook is in need of a fair amount of work. Perhaps you want to add an extra chapter, or merge two sections together. Maybe you need to rewrite everything to make it more beginner-friendly.

    Instead of trying to fix everything at once, focus first on big picture changes (e.g. cutting chapters or adding in new sections) and then on the detailed edits (e.g. fixing typos and tweaking sentences). Otherwise, it’s a bit like trying to wallpaper a house before all the walls are in place: you’re going to end up wasting a lot of time.

    Instead of trying to fix everything at once, focus first on big picture changes and then on detailed edits.

    Trick #2: Read through your ebook in (close to) its finished form

    If you’ll be publishing a .pdf ebook, convert your manuscript into .pdf. If you’re going to be publishing on Amazon, transfer your file onto your Kindle. (Amazon can take care of this for you: see here for details.)

    By reading your ebook as a finished product, you’ll find it easier to concentrate on the big picture: for instance, you might spot that you’ve included very similar information in three different chapters. If you wrote your ebook over a period of weeks, months or even years, it can be hard to spot this sort of thing while you’re drafting.

    Trick #3: Make a list of big changes … and choose three

    Once you’ve read through your ebook, list anything that needs changing. For instance:

    • Make the introduction shorter
    • Switch Chapter 4 and Chapter 5
    • Merge Chapter 7 and Chapter 8
    • Cut all of Chapter 9 except the final section

    Instead of trying to make all these changes — which might feel overwhelming — go for three. If you only have three big changes, pick two, or even just one.

    For now, you want to choose the changes that:

    • You’re fairly sure about (avoid making changes you’re to-ing and fro-ing on)
    • Will make a significant difference (avoid ones that probably don’t matter)

    Trick #4: Use beta-readers

    Feedback from real live readers is a great way to speed up your edits — and to ensure that you’re producing the best ebook possible. If you have a mailing list or blog, ask for volunteer “beta-readers”. Like software beta-testers, these people see a pre-release version of your ebook and help you iron out any problems.

    Use your beta-readers’ feedback to decide on other alterations you might want to make. This is where you can go back to the rest of your list in #3: you may find that if none of your beta-readers mentioned a particular issue, it’s something that doesn’t need changing after all.

    Trick #5: Print your ebook

    Many authors will tell you that it’s much easier to edit on paper than on screen. When you read your ebook on the screen, you’ll find your eyes gliding over words a little too easily. Printing it out can make those typos jump out from the page.

    Another bonus of editing on paper is that you can’t directly change the text. Circling or highlighting mistakes on the hard copy gives you the opportunity to revise them more thoughtfully or consistently when you go back to the manuscript itself.

    Trick #6: Use the “find” tool

    I’ll be the first to admit that my spelling isn’t perfect, and I often find that I make the same mistake over and over again. If you spot an error in your manuscript, do a quick check using the “find” tool to see whether it crops up multiple times; this is easier than trying to remember to keep your eyes peeled as you read through again and again.

    Be cautious with your use of the “replace” option, though: it can have unintended consequences unless you’re very careful about only matching whole words rather than parts of words!

    Trick #7: Read it out loud

    When you read your ebook aloud, you’ll find that you spot more typos, and you’ll also notice when a sentence is clumsy or poorly worded. It might feel like a waste of time, but give it a try and notice how much easier it makes your editing.

    If you feel that your ebook is in really good shape and you just want use this trick while doing a final proofread, you could even switch on your microphone and produce an audio version of your ebook.

    Good luck with your editing! If you’ve got any questions about the editing process, or if you have a neat trick to share with us, just add a comment below.

  • Tips for Pitching a Literary Agent at a Writers’ Conference

    Tips for Pitching a Literary Agent at a Writers’ Conference

    GIVEAWAY: Chuck is giving away a copy of his latest writing book, Create Your Writer Platform, to a random commenter. Comment within one week to enter! (Must live in US or Canada to win.) Good luck! (UPDATE: Maria won!)

    Pitching literary agents and book editors is one of the best parts of attending a writers’ conference. This is a great opportunity to speak with professionals face-to-face about your book, so it’s important to have your pitch rehearsed and ready.

    However, there are some tricky issues around the in-person pitching process. Here are some Conference Pitching FAQs to prepare you for your next opportunity.

    Should I bring materials with me to a pitch?

    Ideally, no. You shouldn’t bring any sample pages because the agent will almost never want or take such materials.

    The exception is if it’s a visual aid. For example, if you’re an author-illustrator or an author-photographer and want to bring a piece of your art, go ahead and show it off during the pitch.

    How long should my pitch be?

    For a novel, under 90 seconds. For nonfiction, under 120 seconds. (Nonfiction pitches and queries trend longer because there is so much discussion of the writer platform.)

    Remember that pitching is equivalent to simply reading your memorized query letter out loud in a conversational manner. A concise pitch is better than a sprawling, unfocused ramble.

    Can I bring notes with me to the pitch?

    Hopefully, you won’t have to. It’s impressive to speak about your book without notes.

    But if you really feel like you are going to pass out from nervousness if you don’t have something with you, then bring some notes. Just try to reference them as minimally as possible.

    If I pitch agents at a conference and four reps ask for the same manuscript, is it appropriate to send the same work to them all simultaneously? If so, should I tell each that I have also sent it to other agents?

    You can send it to each of them whenever you like, and yes, you can submit simultaneously.

    You do not have to tell them that you’re submitting to other agents. They will assume that. You only need to mention it’s a simultaneous submission if the agent or editor requests in their guidelines somewhere that you do so.

    I pitched two very different manuscripts (different genres) at the conference, and each generated interest. Unfortunately, there didn’t seem to be any agents that were interested in both. What do I do if an agent for each manuscript offers me a contract? Is it possible to be represented by multiple agents if the genres are different?

    It is indeed possible to be represented by multiple agents, but Agent #1 must first clear that decision.

    In other words, simply pitch your books, first and foremost. If an agent offers you representation for a project, be upfront about what you’re writing. They must be completely aware and supportive of you finding another agent for other books. Who knows — they may even offer to rep the second type of book even though that’s not typically their bag.

    Any other tips on how to pitch at an event?

    Let me throw out two tips no one discusses much.

    1. Be a conference volunteer and transport an agent or editor from the airport. That gives you some personal time to meet the publishing pro and discuss your work. Plus, the speaker will feel indebted to you for the ride, so they’ll remember you if you write to them later.

    2. Pitch by not pitching. Do you have any idea how many pitches an agent hears at a conference? I’d say 25 to 50. That is a lot of information that all blends together in their mind.

    Consider trying to get on an agent’s radar in another way. For example, if you sit next to them at dinner, try talking about something memorable or make them laugh. After all, if you write them afterward and say, “I pitched you at dinner,” they may not remember the discussion. But if you say, “I was the woman who agreed with you in that Back to the Future is the best movie of all time,” there is a good chance they will remember that fun conversation, and think of you warmly — and then read your pitch.

    If you’re pitching an agent or editor at an upcoming writers’ conference, good luck! I am a huge proponent of conferences, and think such events are great places for writers to get educated, meet agents, and find writing friends for life. I myself am a conference success story, having found my agent, Sorche Fairbank of Fairbank Literary, at a conference in 2007.

  • 4 Key Lessons from an Awesome Freelance Writing Success Story

    4 Key Lessons from an Awesome Freelance Writing Success Story

    If you had told me two years ago that I would be making a full-time living from freelance blogging, earning in excess of ten times per hour what I earned in my job, I would have laughed you out of town.

    And yet that is what has happened: in less than two short years, I have built a successful freelance blogging business that affords me all of the autonomy and flexibility I have craved in the past. I landed my first job in September 2011 and haven’t looked back since; in that time my equivalent hourly rate has increased from $15 to $150.

    What I find most surprising about my journey to date is that I haven’t done anything particularly special. I wouldn’t consider myself anything more than a “good” writer and I have no professional writing qualifications, nor did I have any freelancing experience prior to landing my first client.

    As I look back over the past two short years, I can spot key elements that acted as enablers and catalysts for my success, and those are the things I want to discuss today.

    Lesson No. 1: freelance blogging is lucrative

    The first job I landed was a blogging role for WPMU.org. Although the rate wasn’t great from a freelancer’s perspective, it was as much as I earned per hour in my job. That in itself was reason enough to encourage me to quit–I figured if I worked six to eight hours per day at this rate, I could remain afloat.

    That point of view was colored by my understanding that freelance blogging just wasn’t that lucrative. I was subscribed to a few freelance writing blogs at the time and all I read was that in order to make real money I would have to move into writing for trade publications, “real” businesses and so on.

    I am thankful for remaining ignorant of that advice. I once looked up in awe at these writers earning in excess of $100 per hour, all the time being told that it just wouldn’t be possible as a freelance writer. But as my rate steadily crept up, I began to realize that blogging offers as much as many other forms of writing. (Click to tweet this idea.) In March 2013 I broke through the $100 per hour barrier and I haven’t looked back since.

    Here’s the reality: you can earn a lot more per word through other mediums of freelance writing when compared to blogging. But how much you earn per word does not necessarily dictate how much you earn per hour (which is the real measure of your earning potential). What would you rather do: get paid 15 cents per word to write on a topic you know everything about and have no need to research, or get paid $1 per word writing a complex technical document involving interviews and case studies? You may find that the first option actually makes you more money.

    So when it comes to freelance blogging, keep an open mind. You can make good money.

    Lesson No. 2: you must have a blog

    My foray into the world of freelance blogging was an act of desperation.

    I had been failing consistently in my efforts to make money online for about six months and I was willing to try anything. I submitted a handful of pitches via the Pro Blogger Job Board with little hope of achieve anything. I didn’t even have any samples — I supplied links to my own blog posts in lieu of a “true” demonstration of my blogging abilities.

    And yet that did the trick. If I had to guess as to why, my assumption would be that my first client could see that I was a capable writer running a small yet moderately successful blog. The logical conclusion from those two factors is that I might be a worthwhile freelance blogger.

    Let’s be honest — I wasn’t applying for a position at The Times. It was modest pay for modest work; the client wasn’t expecting to land someone with journalistic qualifications and masses of experience. My point is this: the mere act of me having a blog was enough for me to land the job. That may be all you need to get you on your way.

    Furthermore, as your freelance business develops, having a blog becomes no less important. It will act as the hub from which prospective clients will arrive (either organically or from your bylines across the web). The quality of your blog and the makeup of your Hire Me / Services page will go a long way in determining whether prospective clients take that next step of reaching out to you.

    If you want to become a successful freelance blogger then you should create a successful blog. It doesn’t have to be the next Mashable (when I landed my first job my blog was attracting just forty visitors per day), but a successful blog is practical evidence of your abilities.

    Lesson No. 3: successful pitching comes down to just two things

    Ultimately, if you want to land a role, you need to do two things right:

    1. Your pitch

    2. Your samples

    If you nail your pitch and supply awesome samples, you’ll get the job. If you don’t get the job then you got one of those elements wrong. That’s the simple equation.

    Of course, it is not quite that simple. For example, the effectiveness of your pitch can be limited by a lack of experience and you may not have the kind of samples that best showcase your abilities yet.

    Having said that, there is nothing truly complicated about landing freelance blogging work. If you are willing to assess your pitches and samples objectively then you will probably be able to spot where you went wrong. Your job then is to figure out how to rectify that issue for next time.

    If you’d like to learn more about developing great pitches then check this post from my blog: Get Paid to Write (in 3 Steps).

    Lesson No. 4: you must offer the complete package

    I believe that my success as a freelance blogger is as much down to my “professional skills” as it is due to my ability as a writer. By “professional skills,” I mean everything else that accounts for your value to a client:

    1. Complementary skills such as social media marketing, SEO, etc.

    2. The ability to think creatively

    3. Organizational skills such as working to deadlines and replying to emails promptly

    4. The ability to negotiate effectively with clients

    5. General professionalism

    These days I hire freelance writers myself, and I would much rather have a good writer with excellent professional skills than a great writer with good professional skills. A great writer who doesn’t submit their work on deadline or takes three days to reply to an email is going to a pain in my backside.

    So if you feel that your writing skills are not yet up to scratch, ensure that you make up for your perceived shortcomings by offering much more than just your writing chops. Offer the complete package.

    What lessons have you learned?

    Above are the most important lessons I have learned in nearly two years of freelance blogging. It’s been quite a journey so far and I have no doubt that there will be plenty more bumps and surprises in the future.

    With that in mind, if you have been freelancing for a while then I’d love to know what lessons you have learned from your experiences to date. Alternatively, if you have any questions about the lessons I have covered, please do not hesitate to share them with us.

    Leave your thoughts in the comments section below!

  • How Many Literary Agents Should You Query to have the Best Chance of Success?

    How Many Literary Agents Should You Query to have the Best Chance of Success?

    This column is excerpted from Guide to Literary Agents, from Writer’s Digest Books.

    One of the most common questions I get at writers’ conferences is this: Can I query multiple literary agents at once? My answer is that not only yes, but yes, you’re encouraged to.

    After all, though an agent will usually reply quickly (bless you, email), they may take three whole months to get back to you, only to send you a form rejection. You can’t wait around for agents one by one like that.

    So if you’re contacting various agents at the same time (simultaneous submissions), how many agents should you query? Would it be wise to just mail out your query to all 50 targeted agents who rep science fiction, trying to personalize your letter wherever possible?

    I wouldn’t, if I were you. I would submit to six to eight at a time, including those you’ve met at a writers’ conference or retreat.

    But why six to eight?

    Isn’t that a strange, arbitrary number?

    I say six to eight because I want you to protect yourself. My question to you is this: What if you submit your query to all 50 agents on your master list, but — heaven forbid — your query letter sucks? Every agent will turn you down and you’ll have hit a brick wall at the beginning of your journey.

    Instead, submit to a limited number of agents and gauge a response. If you submit to seven agents and get seven rejections with no reps asking to see more work, then guess what? Your query sucks. Overhaul it.

    Taking this approach one step further, let’s say you send your polished query to seven new literary agents, and get four responses asking for more work. Congratulations — your query letter is doing its job.

    But let’s say that none of those four agents who see a partial ask to read your full manuscript. Guess what that means? Your first few chapters aren’t up to snuff. Revise them. Overhaul them. Give the chapters to friends for a blunt critique.

    The message is this: If you’re not progressing as you hope, try to identify where you’re going wrong so you can improve on it as quickly as possible.

    This strategy will help you protect yourself. Give yourself the best chance of success in finding a literary agent!

    Other TWL Guest Posts by Chuck Sambuchino:

    1. The Worst Ways to Begin Your Novel: Advice from Literary Agents

    2. Tips for Pitching a Literary Agent at a Writers’ Conference

    3. Querying Literary Agents: Your Top 9 Questions Answered
  • The Worst Ways to Begin Your Novel: Advice from Literary Agents

    The Worst Ways to Begin Your Novel: Advice from Literary Agents

    No one reads more novel beginnings than literary agents.

    They’re the ones on the front lines, sifting through inboxes and slush piles. And they can tell us which Chapter One approaches are overused and cliché, as well as which writing techniques just plain don’t work when you’re writing a book.

    Below, find a smattering of feedback from experienced literary agents on what they hate to see in the first pages of a writer’s submission. Consider this a guide on how to start a novel. Avoid these problems and tighten your submission!

    Here are some of the worst ways to start a novel.

    False beginnings

    “I don’t like it when the main character dies at the end of Chapter One. Why did I just spend all this time with this character? I feel cheated.”
    – Cricket Freeman, The August Agency

    “I dislike opening scenes that you think are real, then the protagonist wakes up. It makes me feel cheated.”
    – Laurie McLean, Foreword Literary

    In science fiction

    “A sci-fi novel that spends the first two pages describing the strange landscape.”
    – Chip MacGregor, MacGregor Literary

    Prologues

    “I’m not a fan of prologues, preferring to find myself in the midst of a moving plot on page one rather than being kept outside of it, or eased into it.”
    – Michelle Andelman, Regal Literary

    “Most agents hate prologues. Just make the first chapter relevant and well written.”
    – Andrea Brown, Andrea Brown Literary Agency

    “Prologues are usually a lazy way to give back-story chunks to the reader and can be handled with more finesse throughout the story. Damn the prologue, full speed ahead!”
    – Laurie McLean, Foreword Literary

    Exposition and description

    “Perhaps my biggest pet peeve with an opening chapter is when an author features too much exposition – when they go beyond what is necessary for simply ‘setting the scene.’ I want to feel as if I’m in the hands of a master storyteller, and starting a story with long, flowery, overly-descriptive sentences (kind of like this one) makes the writer seem amateurish and the story contrived. Of course, an equally jarring beginning can be nearly as off-putting, and I hesitate to read on if I’m feeling disoriented by the fifth page. I enjoy when writers can find a good balance between exposition and mystery. Too much accounting always ruins the mystery of a novel, and the unknown is what propels us to read further.”
    – Peter Miller, PMA Literary and Film Management

    “The [adjective] [adjective] sun rose in the [adjective] [adjective] sky, shedding its [adjective] light across the [adjective] [adjective] [adjective] land.”
    – Chip MacGregor, MacGregor Literary

    “I dislike endless ‘laundry list’ character descriptions. For example: ‘She had eyes the color of a summer sky and long blonde hair that fell in ringlets past her shoulders. Her petite nose was the perfect size for her heart-shaped face. Her azure dress — with the empire waist and long, tight sleeves — sported tiny pearl buttons down the bodice. Ivory lace peeked out of the hem in front, blah, blah.’ Who cares! Work it into the story.”
    – Laurie McLean, Foreword Literary

    [twl_reusable_block post_id=41455]

    Starting too slowly

    “Characters that are moving around doing little things, but essentially nothing. Washing dishes & thinking, staring out the window & thinking, tying shoes, thinking.”
    – Dan Lazar, Writers House

    “I don’t really like ‘first day of school’ beginnings, ‘from the beginning of time,’ or ‘once upon a time.’ Specifically, I dislike a Chapter One in which nothing happens.”
    – Jessica Regel, Foundry Literary + Media

    In crime fiction

    “Someone squinting into the sunlight with a hangover in a crime novel. Good grief — been done a million times.”
    – Chip MacGregor, MacGregor Literary

    In fantasy

    “Cliché openings in fantasy can include an opening scene set in a battle (and my peeve is that I don’t know any of the characters yet so why should I care about this battle) or with a pastoral scene where the protagonist is gathering herbs (I didn’t realize how common this is).”
    – Kristin Nelson, Nelson Literary

    Voice

    “I know this may sound obvious, but too much ‘telling’ vs. ‘showing’ in the first chapter is a definite warning sign for me. The first chapter should present a compelling scene, not a road map for the rest of the book. The goal is to make the reader curious about your characters, fill their heads with questions that must be answered, not fill them in on exactly where, when, who and how.”
    – Emily Sylvan Kim, Prospect Agency

    “I hate reading purple prose – describing something so beautifully that has nothing to do with the actual story.”
    – Cherry Weiner, Cherry Weiner Literary

    “A cheesy hook drives me nuts. They say ‘Open with a hook!’ to grab the reader. That’s true, but there’s a fine line between an intriguing hook and one that’s just silly. An example of a silly hook would be opening with a line of overtly sexual dialogue.”
    – Daniel Lazar, Writers House

    “I don’t like an opening line that’s ‘My name is…,’ introducing the narrator to the reader so blatantly. There are far better ways in Chapter One to establish an instant connection between narrator and reader.”
    – Michelle Andelman, Regal Literary

    “Sometimes a reasonably good writer will create an interesting character and describe him in a compelling way, but then he’ll turn out to be some unimportant bit player.”
    – Ellen Pepus, Signature Literary Agency

    In romance

    “In romance, I can’t stand this scenario: A woman is awakened to find a strange man in her bedroom — and then automatically finds him attractive. I’m sorry, but if I awoke to a strange man in my bedroom, I’d be reaching for a weapon — not admiring the view.”
    – Kristin Nelson, Nelson Literary Agency

    In a Christian novel

    “A rape scene in a Christian novel in the first chapter.”
    – Chip MacGregor, MacGregor Literary

    Characters and backstory

    “I don’t like descriptions of the characters where writers make them too perfect. Heroines (and heroes) who are described physically as being virtually unflawed come across as unrelatable and boring. No ‘flowing, wind-swept golden locks’; no ‘eyes as blue as the sky’; no ‘willowy, perfect figures.’ ”
    – Laura Bradford, Bradford Literary Agency

    “Many writers express the character’s backstory before they get to the plot. Good writers will go back and cut that stuff out and get right to the plot. The character’s backstory stays with them — it’s in their DNA.”
    – Adam Chromy, Movable Type Management

    “I’m turned off when a writer feels the need to fill in all the backstory before starting the story; a story that opens on the protagonist’s mental reflection of their situation is a red flag.”
    – Stephany Evans, FinePrint Literary Management

    “One of the biggest problems is the ‘information dump’ in the first few pages, where the author is trying to tell us everything we supposedly need to know to understand the story. Getting to know characters in a story is like getting to know people in real life. You find out their personality and details of their life over time.”
    – Rachelle Gardner, Books & Such Literary

    This column is excerpted from Guide to Literary Agents, from Writer’s Digest Books. We updated this post in August 2019 so it’s more useful and relevant for our readers!

    Photo via  Farknot Architect/ Shutterstock 
    links
    no
    1

  • What Does a Literary Agent Want to See When They Google You?

    What Does a Literary Agent Want to See When They Google You?

    If you attract an agent’s interest and they want to know more, Google is their next step. An agent typically investigates a client before offering them representation, understandably. If you’re pitching nonfiction and touting a writer platform to help sell books, then a Google peek becomes even more important.

    But don’t take my word for it. I asked agents themselves how they use Google, and what they’re looking for when they do. Here are their responses:

    “If you provide your website, or say that you are on Twitter or Tumblr, I will look! I always research possible clients, not only to see what they’ve been working on, but also to see if there is a lack of information on the Internet, or potentially controversial or harmful information. An editor will Google the author, and I don’t want to be caught unawares as to what they might find.”

    — Roseanne Wells (Marianne Strong Literary Agency)

    “I do use Google at times to get more information about people who have queried me. I may be looking to verify information in their query or to check on their professional background. I also have a pool of sources who can verify the veracity of someone’s book, no matter what it’s about.”

    — Gina Panettieri (Talcott Notch Literary Services)

    “Yes, definitely. I’m looking for a presence online (managing what pops up when someone Googles your name is very important!). If I see a Twitter/Facebook/blog/website (not necessarily all of those things), it lets me know that the author is engaged online and what kind of savvy they have. A publisher will really want the author to help (a lot) with promo, so if the author isn’t already active in the spaces where that will happen—i.e., social media—then I know it’s going to fall to me to teach them to use social media and harangue them into using it.”

    — Meredith Barnes (formerly of Lowenstein Associates, Inc.)

    “I do Google prospective clients. I want to see how present they are on the web, if any dirt comes up immediately, or if there is anything interesting that the author hasn’t mentioned in their correspondence with me. I often find some bit of information that helps inform my decision—usually in a good way.”

    — Bernadette Baker-Baughman (Victoria Sanders & Associates)

    Sign with a literary agent

    “I always Google prospective clients. I like to see how active they are online and what news outlets have featured them (the more, the better). I also look for their personal website, a blog, how active they are on Twitter, etc. I even use tools like Tweetreach and Klout to see what kind of impact their social networking has. I would expect any editor who receives his or her proposal to do the same.”

    — Alyssa Reuben (Paradigm Literary)

    “I always Google potential authors before signing them up. I need to know how well received they are by the audience they are hoping to write for. Unfortunately you can’t take at face value what people say in proposals. You have to validate information.”

    — Regina Brooks (Serendipity Literary Agency)

    [twl_reusable_block post_id=41455]

    “I always Google. Always. Usually at the query stage. I’m looking for how that person presents him- or herself online. Are sites updated? Are they sloppy or professional? Are they complaining about agents and publishing? (That’s a red flag.) I’m also looking at whether I can find the person at all. Sometimes I can’t, and that’s almost always an instant pass.”

    — Laurie Abkemeier (DeFiore and Company)

    “Sure — I’m looking for how they present themselves, anything that’s raised my curiosity in the query letter, anything that smacks of excitement around them or their subject. I’m not usually looking for something that may have been swept under the rug, but occasionally I do see something that makes me think, Okay, this is a pass.”

    — Stephany Evans (FinePrint Literary Management)

    [twl_reusable_block post_id=41455]

    The giveaway for Chuck’s book Create Your Writer Platform is now over. Thanks for all your comments. Congrats to DeiDei Boltz!

  • Secrets to Querying Literary Agents: 10 More Questions Answered

    Secrets to Querying Literary Agents: 10 More Questions Answered

    This column is excerpted from Guide to Literary Agents, from Writer’s Digest Books.

    Writers always seem to come up with great questions on how to write a query letter.

    In fact, this post on query letter advice is so big that it’s broken down into two parts. See Part I of the Roundup, and learn about tricky topics such as resubmitting to an agent, simultaneous submissions, and more.

    Read on to see advice on 10 more complicated query questions. I hope one or several answers will help you on your journey. 

    1. If you’re writing a series, does an agent want you to say that in the query?

    The old mentality for this was no, you should not discuss a series in the query, and instead just pitch one book and let any discussion naturally progress to the topic of more books, if the agent so inquires. However, I’ve overheard more and more literary agents say that they did want to know if your book was the potential start of a series. So, the correct answer, it appears, depends on whom you ask.

    In circumstances like these, I recommend crafting an answer to cover all bases: “This book could either be a standalone project or the start of a series.” When worded like this, you disclose the series potential, but don’t make it sound like you’re saying “I want a five-book deal or NOTHING.” You’ll sound like an easy-to-work-with writing professional, and leave all options open.

    2. Should you mention that you’ve self-published books in the past?

    In my opinion, you don’t have to. So if you indie-published a few ebooks that went nowhere, you don’t have to list every one and their disappointing sales numbers. The release of those books should not affect your new novel that you’re submitting to agents.

    That said, if your self-published projects experienced healthy sales (5,000+ print books, 20,000+ ebooks), then sure, mention it. In other words, talk about your indie-pub projects if they will help your case. Otherwise, just leave them out of the conversation and focus on the new project at hand.

    3. What happens when you’re writing a book that doesn’t easily fall into one specific genre? How do you handle that problem in a query letter?

    Know that you have to bite the bullet and call it something. Even if you end up calling it a “middle grade adventure with supernatural elements,” then you’re at least calling it something. Writers really get into a pickle when they start their pitch with something like, “It’s a sci-fi western humorous fantastical suspense romance, set in steampunk Britain … with erotic werewolf transvestite protagonists.”

    Fundamentally, it must be something, so pick its core genre and just call it that — otherwise your query might not even get read. I’m not a huge fan of writers comparing their work to other projects (saying “It’s X meets Z” — that type of thing), but said strategy — comparing your book to others in the marketplace — is most useful for those authors who have a hard time describing the plot and tone of their tale.

     4. How many query rejections would necessitate a major overhaul of the query?

    Submit no more than 10 queries to start. If only one agent responds with a request for more, then you’ve got a problem. Go back to the drawing board and overhaul the query before the next wave of 6-10 submissions.

    5. Can your query be more than one page long?

    The rise of equeries removed the dreaded page break, so now it’s easy to have your query go over one page. But just because that’s so doesn’t mean it’s a wise move.

    My answer to the question is that while going a few sentences over one page is likely harmless, you really don’t need a query that trends long. Lengthy letters are a sign of a poor, rambling pitch that will probably get you rejected. So edit and trim your pitch down as need be. Get some beta readers or a freelance query editor to give you ideas and notes. Remember that a succinct letter is preferred, and oftentimes more effective.

    The exception to my answer is concerning queries for nonfiction books. Nonfiction queries have to be heavy on author platform, and those notes (with proper names of publications and organizations and websites, etc.) can get very long very fast. So if you have to list out lots of platform and marketing notes, feel free to go several sentences over one page — just as long as the pitch itself is not the item making your letter too long.

    6. Even if an agent doesn’t request it, should you include a few sample pages with your query letter?

    It’s probably harmless. But if you’re going to do this, first of all, remember to paste the pages below the query letter and not attach them in a document. Second of all, don’t include much — perhaps one to five pages. (My advised length refers to double-spaced pages, even if the pages do not paste into the email in perfect double-spaced formatting.)

    Having made both those points, I’m guessing that many people ask this question because they have a lot more faith in their opening pages than in their query. I get it; they’re different beasts, and you’re trying to up your chances and protect yourself a bit. But keep in mind that while including sample pages may perhaps help here and there with an occasional agent who checks out your writing, it doesn’t solve the major problem of your query being substandard. My advice is to keep working on the query until you have faith in it, regardless of whether you sneak in unsolicited pages or not.

    [twl_reusable_block post_id=41455]

    7. How do you follow up with an agent who hasn’t responded to your submission?

    This is a complicated question, and I’ll try to address its many parts.

    First of all, check the agency website for updates and their latest formal guidelines. They might have gone on leave. They might have switched agencies. And most likely, they may have submission guidelines that state how they only respond to submissions if interested. (You see this a lot with a line such as, “If you don’t hear from us in 8 weeks, it means we are regretfully not interested in your project.”) So keep in mind there might be a very good reason as to why you shouldn’t follow up or rather why you shouldn’t follow up right now.

    That aside, let’s say an agent claims they respond to submissions “within three months” and it’s been three and a half months with no reply. A few weeks have passed since the “deadline,” so now it’s time to nicely follow up. All you do is paste your original query into a new email and send it to the agent with a note above the query that says “Dear [agent], I sent my query below to you [length of time] ago and haven’t heard anything. I’m afraid my original note got lost in a spam filter, so I am pasting it below in the hopes that you are still reviewing queries and open to new clients. Thank you for considering my submission! Sincerely, [name].” That’s it. Be polite and simply resubmit. By the way, if an agent makes it sound like they do indeed respond to submissions but they don’t have a time frame for their reply, I say follow up after three months.

    But before you send that precious follow-up, make darn sure you are not to blame for getting no reply. Perhaps your previous email had an attachment when the agent warned “No attachments.” Perhaps your previous email did not put “Query” in the subject line even though the agent requested just that. Or perhaps your previous email misspelled the agent’s email address and the query truly got lost in cyberspace. In other words, double-check everything. And if you send that follow-up perfectly and the agent still doesn’t reply? Then forget ‘em! Move on.

    8. If you’re pitching a novel, should the topics of marketing and writer platform be addressed in the query?

    Concerning query letters for novels, the pitch is what’s paramount; any mention of marketing or platform is just gravy. If you have some promotional cred, such skills will definitely be beneficial in the long run as they will help you sell more books when your title is released. But on that note, a decent platform will not get a mediocre novel published. So feel free to list worthwhile, impressive notes about platform and marketing skills you possess, just don’t let your accomplishments in those areas cloud the fact that the 3 most crucial elements to a novel selling are the writing, the writing, the writing. (Click to tweet this idea.)

    9. Is it better to send a query over snail mail or email?

    If you have a choice, I don’t see any logic in sending a snail mail query. They’re more of a hassle to physically produce, and they cost money to send. 90 percent or more of queries are sent over email for two very good reasons: Email is 1) quicker, in terms of sending submissions and agents’ response time, and 2) it’s free.

    Keep in mind that almost all agents have personal, detailed submission guidelines in which they say exactly what they want to receive in a submission and how they want to receive it. So almost always, you will not have a choice in how to send materials. Just send what they ask for, how they asked for it. 

    10. If you’re writing a memoir, do you pitch it like a fiction book (complete the whole manuscript) or like a nonfiction book (a complete book proposal with a few sample chapters)?

    I’d say 80 percent of agents review a memoir like they would a novel. If interested, they ask for the full book and consider it mostly on how well it’s written. I have met several agents, however, who want to see a nonfiction book proposal — either with some sample chapters, or sometimes in addition to the whole book.

    So to answer the question, you can choose to write only the manuscript, and go from there. Or you can choose to complete a proposal, as well, so you have as many weapons as possible as you move forward. (In my opinion, a writer who has both a complete memoir manuscript and nonfiction book proposal seems like a professional who is ahead of the curve and wise to platform matters — and, naturally, people in publishing are often attracted to writers who are ahead of the curve and/or can help sell more books. Just something to keep in mind. By the way, look over my growing list of memoir literary agents.)

    Want more Query FAQs answered? Check out Part I of this post.

    Other TWL Guest Posts by Chuck Sambuchino:

    1. What Does a Literary Agent Want to See When They Google You?

    2. Tips for Pitching a Literary Agent at a Writers’ Conference

    3. Which Writers’ Conferences are the Best to Attend?