II. SUBMISSIONS

(Queries, Synopses, Manuscripts)

Queries

Some agents say they hardly read queries; others say queries are an important reflection on the author and the story. Which is true for you, and why?

Queries are undeniably important. They are much like the cover letter you attach to your resume when looking for a job. A great query will interest me in reading a novel. It will not guarantee I represent the manuscript, but a good query will certainly make we want to invest my time and energy.

What makes a query irresistible, or not?

A good query is professional, short (one page), and captures the spirit of the novel. It includes a great hook, good writing, an exciting premise—everything that is important in a fantastic novel. A query should read like the flap copy of a novel. It shouldn’t give too much away, just enough to get me interested.

My pet peeves include too much backstory, unprofessionalism, and a query written from the perspective of one of the characters.

Do you consider unsolicited queries and/or those submitted without a referral? What’s your usual response time?

I am currently only accepting queries from personal referrals or conference submissions, so my response time is definitely skewed. I would say approximately six weeks, hopefully sooner.

Should queries include a brief “pitch” (such as how the novel might fill a marketing niche), or will a succinct plot summary show you the story’s potential value?

If you feel confident as to where your manuscript will fit in the current marketplace, feel free to mention this in your query. However, it isn’t necessary.

Some agents give preferential treatment to workshop attendees’ submissions for one to three months after the event. How long after an event will you consider our participants’ submissions?

One year.

Synopses

Please state your synopsis guidelines and what makes a synopsis intriguing?

I rarely ask for a synopsis. When I do, I expect it to be brief (approximately two pages, double-spaced) and provide the story’s trajectory. Save character development for the novel itself.

If I have requested a manuscript and detailed synopsis, I prefer the synopsis be broken down by chapters. Each chapter should be a paragraph or so; depending on the length of the novel, this [chapter outline] could run between 8 to 12 single-space pages, total.

Do you read the synopsis, or bypass it? Why?

For me, the main purpose a synopsis serves is if I want to share the manuscript with a colleague, and I don’t expect him to read the entire thing—then I show a synopsis so my colleague can see how the story ends.

Manuscript Elements and Edits

How many pages do you read before deciding to continue or decline a manuscript?

One.

Besides researching the market, what resources or advice would you recommend to writers who submit a fiction manuscript to you?

Get into a writing group. Before submitting to me, make sure your manuscript has been read by someone other than yourself. Edit as much as you possibly can. Don’t send me a manuscript with dozens of typos, pagination errors, etc. I won’t take your work seriously. I have a lot to read and very little time to do so, and there is no room for carelessness.

What self-editing tips do you suggest?

Do yourself a favor—print out your manuscript in actual pages. Make sure it looks right. Go through with a red pen and attempt to cut at least one line per page. Most manuscripts are either too long or too short.

What are memorable, perhaps elusive, story qualities that hook you?

A fantastic concept hooks me. But a fantastic concept is nothing without a talented, engaging voice. Make me want to keep reading. A character I can connect to is something I look for—that doesn’t mean I have to like the character, but I have to want to read his or her story.

Voice is often touted as a desirable element in fiction, yet it’s difficult to define (“I know it when I see it”). What does voice mean to you?

A compelling voice is the ability to bring characters (and the world) to life—to make me feel I am reading about people I have known for years, or don’t know and want to. A good voice has passion and verve.

All of my clients have fantastic voices (duh!), but one book with a great voice is Melina Marchetta’s Printz Award-winning novel, Jellicoe Road. It is beautiful, dark, mysterious, and challenging. It made me want to be a better reader.

Are you a hands-on, “editorial” agent, or more of a business-end agent?

Any good agent is both. I would like to think I am a good agent. I work diligently to ensure that a novel is a good as it can possibly be prior to submission, then I work diligently to ensure that my client gets the best, and most favorable, contract that he or she can.

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