Are You an Ideal Critique Partner?

December 20, 2011

Yesterday we discussed Evaluating Critique Groups for workshopping your writing. Now lets look at the responsibilities of individual critiquers and the ways that both an ineffective and an ideal critique partner might engage with the group.

A critique partner or group member is essentially charged with three things:

1. Giving feedback.

A critique partner evaluates ideas, chapters, or manuscripts from fellow writers and offers constructive feedback on how to make them stronger, clearer, and more marketable. She examines big picture elements like character development, plot, scene construction, and pacing, and might also suggest ways to tighten and clarify language. She might suggest comparable titles for the writer to examine or recommend specific craft books and articles to help the writer work through some of his trouble spots.

Not all critiquers are created equally, and giving clear, constructive feedback is a skill that takes time and practice to master. Often, groups will comprise at least a few of these ineffective critiquers:

  • Mr. Nice Guy lavishes praise and glosses over weak spots, concerned with sparing a writer’s feelings rather than helping her strengthen the manuscript. His critiques are the equivalent of mothers who encourage their tone-deaf children to try out for American Idol, only to see them embarrassed on on national TV. Nice’s feedback is a pat on the back—pleasant but not helpful.
  • The Brut is the opposite of Mr. Nice Guy. He takes sadistic pleasure in tearing down other writers and often reminds people of his vast experience and knowledge. There’s no mincing words with The Brut as he tells a writer exactly how to fix something—his way. While Brut’s keen eye for weaknesses may be an asset, his delivery leaves writers bruised and battered, unable to glean anything positive from the experience.
  • Can’t See the Forest is adept at identifying spelling and grammar issues but misses the big picture. Her best friend is the red pen, and her services are best saved for a final polish rather than a work-in-progress critique.
  • Can’t See the Trees offers comments so broad that they could be applied to any manuscript. She says things like, “I don’t like the main character,” “The plot doesn’t make sense,” or simply, “I don’t get it.” While she may have legitimate concerns, she is unable to articulate them in a constructive way.
  • All About Me sees everything through the lens of her own experiences and can’t imagine characters or situations beyond that limited realm. She says things like, “This doesn’t work. I would never have done that when I was a teen.” or “Your teen narrator is unrealistic. My daughter doesn’t talk like that.” Her refusal to acknowledge the reality beyond her own front door makes her advice questionable and ill-informed.
  • The Skimmer waits until the last minute and speed-reads through the pages, making a few cursory notes. When meeting in person, he waits until others give their feedback and then poaches it. His critiques are superficial, lacking context, and generally useless.
  • The Refuser has a long list of topics and situations she doesn’t like or that conflict with her beliefs, and the moment one appears on the page, she refuses to read. To be fair, some readers are genuinely unable to read about certain emotionally triggering events, but rather than letting the author know about her concerns in advance, The Refuser waits until it’s time to offer feedback and then throws in a casual “I don’t read books like this” or ignores the submission altogether.

When it comes to giving feedback, the ideal critique partner is a careful, considerate reader who offers a balance of personal opinion and objective advice based on her knowledge of craft, literature, and the marketplace. She’s not afraid to criticize, yet she does so constructively with tact and care. She may offer solutions or alternatives, but she doesn’t rewrite the project as her own. Instead, she poses questions like, “Have you thought about this?” or “What do you think of this idea?” designed to help the reader explore her own creative solutions. She keeps an open mind about others’ work, but if she’s truly unable to read about a specific topic or situation, she discusses it with the writer in an objective, professional manner and offers to read a different submission, if possible. If she’s unable to complete a reading in a timely manner, she makes arrangements with the writer to turn in her detailed feedback at a later date.

2. Receiving feedback.

It may seem like an easy task to sit quietly and absorb the constructive criticism others offer, but like giving feedback, receiving it—and incorporating it in a meaningful way—is a learned skill. Writers may lack confidence or feel attacked during a critique, particularly if the critiquer exhibits some of the negative traits above. Good feedback may be conflicting, leaving the writer confused about how to address the issue. And some writers, despite the fact that they’re involved in a critique group, don’t like having their work dissected and criticized. All of this angst can suck the creative energy from the group.

No one loves to receive negative feedback, but some people make the process even more difficult and create a toxic environment for everyone involved:

  • The Nod-and-Smiler lacks confidence in her work and dutifully incorporates every bit of feedback she’s given, even if it waters down her manuscript or turns it into a hodgepodge of randomness. She’s reluctant to ask questions or contribute to any meaningful debate about craft and style, and her lack of participation and progress weakens the group.
  • The Defender is quick to justify his choices in the face of all constructive criticism. He’s often belligerent and specializes in criticizing mistakes in others’ work that he makes tenfold. The Defender often joins workshops and critique groups seeking validation that he’s already awesome, so he’s not really open to feedback that might actually help him become a better writer.
  • The Eye-Roller is closely related to The Defender, but is quieter about her dissent. She internally scoffs at criticism, often wondering what she’s doing with a bunch of amateurs who simply don’t understand a work of literature when they see one. Like The Defender, The Eye-Roller may also seek validation rather than helpful advice and, because of her inflexibility and unwillingness to learn, is unlikely to achieve her publication goals.
  • Poor Me cannot separate constructive criticism of his work from criticism of his person. He internalizes negative feedback and is quick to give up rather than work hard to overcome writing obstacles. It’s difficult to help Poor Me because his emotional reactions often illicit feelings of guilt, causing the critiquer to default to unhelpful Mr. Nice Guy behavior.

When it comes to receiving feedback, the ideal critique partner understands that constructive criticism is integral to a writer’s growth. She appreciates and considers all feedback, incorporating ideas that resonate with her and discarding those that don’t. She trusts her intuition when it comes to conflicting advice, and she knows how to dig beneath surface criticism to find the root of the issue. She’s not afraid to ask questions and follow up for clarification after she’s had time to consider her group’s comments. Above all, she understands that critique group members, like readers in the wild, are subjective; the book that one person despises may be another’s absolute favorite. Even in her darkest hour, when all else fails, she doesn’t give up writing. She simply starts a new project.

3. Moving beyond the critique.

If a writer is seeking traditional publication, at some point, he has to stop workshopping his manuscript and send that baby out into the world of agents and editors. But the querying process can be a frightening step—so frightening that some writers avoid it altogether. They become professional workshoppers, tinkering with their manuscripts line by line, researching and preparing for that next big step but never actually taking it. A good critique group can be a wonderful support system, but it’s not supposed to cocoon writers from the potentially harsh—and potentially rewarding—realities of publishing. Writers who rely on their group to shield them from next steps will find themselves, not surprisingly, unpublished. Their lack of progress and motivation can lend support to the fallacy that publication is an unattainable dream, a fantasy that no mere mortal can realize.

Instead of dragging her feet, the ideal critique partner works on her manuscript until she believes it’s the best it can be. She recognizes that this process could take months or even years, and she’s committed to it for the long haul. At the same time, she doesn’t rely on the group as her sole motivator for writing or use them as an excuse to avoid the next step. When her manuscript is ready, she queries actively and shares her experiences with the group so that they can learn from and support one another. Some members will be excited to see her striving for her goals. Others will be jealous, spiteful, and negative. Regardless, their feelings won’t prevent her from working hard, querying and re-querying, and starting new projects while she waits.

Ideal Critique Partners… Are You?

Writers, what do you think? Are you an ideal critique partner (at least most of the time), or do you recognize yourself in some of these ineffective feedback styles? Those of you who’ve worked in groups or partnerships, have you noticed any other helpful or detrimental critiquer characteristics? I’d love to hear about your experiences in the comments below.

6 Comments | Book Publishing 101, publishing, writing | Tagged: , , | Permalink
Posted by Sarah Ockler

Evaluating Critique Groups: 6 Crucial Questions

December 19, 2011

Despite our seemingly constant online interconnectedness, the act of writing—the physical part of sitting down at the computer or notebook and translating ideas into words—is a lonely, isolating endeavor.

(Especially for those who work from home in PJs and stay up all night with the vampires and frequently miss the window of opportunity for showers. *Ahem* not to name names…)

Anyway, flying solo isn’t bad. It’s part of the process, and the alone time is necessary to creating unique and powerful stories. So I say, turn off your phone, ignore your loved ones, embrace the loneliness (and the stinkyness, if you’re so inclined), and write like mad.

But at some point, even if no one else is speaking to you because you’ve ignored them for so long and/or you’ve become olfactorially offensive, you’ve gotta show that manuscript to someone! Even a maniacal literary genius (an unavoidable combination, if you ask me) can’t write forever in a vacuum—not if he wants to be published or gain a readership beyond his dog. Seeking external feedback from writers and other industry professionals is critical to writing (or revising) a good book, and it’s critical to a writer’s longterm growth and development.

One of the best ways to seek that feedback—along with some much-needed moral support—is through writers’ critique groups. In addition to getting objective opinions and (hopefully) helpful advice on your own work, reviewing the work of your peers is a great way to inform and inspire your own writing.

I’m a huge advocate of critique partnerships, either one-on-one, in groups, or through workshops that offer both craft lessons and critiques. In the right hands, a writer can really hone her craft, learning from and supporting her peers and contributing to valuable discussions about writing and literature. In a strong group, the bonds she forms with her fellow writers may even extend beyond her early writing days into the agent search, publication, and beyond.

Conversely, the wrong group can be toxic, rife with jealousy and inertia, stressful, and wholly detrimental to the writing process. It can suck the creative energy from even the strongest writer or worse—discourage her from writing altogether.

Finding a good critique group or partner is a huge challenge, but a worthwhile and totally attainable one. Like the search for a literary agent, doctor, babysitter, or soul mate, you just need to do some homework (i.e. Google stalking, chatting, and reference checking) before jumping into a longterm relationship.

Evaluating Critique Groups: 6 Crucial Questions

Whether you’re checking out an online or an in-person group, asking questions like these—either of the group moderator or of individual members—can reveal information about the group or partner’s working style and help determine whether you might be a good match. There are no guarantees for ultimate satisfaction, but the answers to some of these questions might make your initial decision a little easier:

  1. Is this a general writing group or does it focus on specific genres? Many groups are open to a broad category of writers such as “novelists” or “short story writers,” especially in smaller communities where there simply aren’t as many people. However, reading is subjective, and while an adult historical fiction writer may be able to offer suggestions on the basics of a contemporary YA romantic plot, she might not be familiar with the nuances of today’s popular YA fiction, or she may have preconceived notions about what the category means and how it “should be” written. Many of my YA workshop students have come from general novel workshops where adult fiction writers who don’t read or care for YA are unnecessarily critical or unhelpful, simply because they aren’t qualified to critique young adult fiction. That’s why I recommend finding a group of writers who are experienced in your specific genre or category—and by experienced, I mean writers who not only write in your genre, but who read it avidly. I’m always surprised to meet aspiring writers who simply don’t read (but I’m not surprised that these folks don’t make the best critiquers).
  2. How does the submission process work? You’ll want to find out how often and how much you’ll be expected or allowed to submit, and whether the group focuses on one member’s submission at a time or encourages a less structured everyone-submit-as-you-can dynamic. Also ask about the expected turn around time for giving and receiving feedback and the format in which feedback is given. Do members bring printed copies to in-person meetings? For online or email groups, do they mark up changes and comments in Word, respond directly in an email, or simply provide a summary of issues and suggested changes? How extensive is the feedback, generally speaking? Then ask yourself: Does this meet my needs? Can I commit to their schedule and format?
  3. How long have most of the group members been writing? Has anyone been published? Chances are you’ll seek out a group of writers with similar experience levels, where most everyone is on equal footing. However, if possible, look for a group with at least one or two writers who are more advanced than you so that you can learn from their experience, and one or two who are less experienced to offer fresh ideas and perspectives. A mixed group can balance experience, enthusiasm, and creativity nicely. Above all else, keep an open mind—all writers, regardless of experience level or publication credentials—can learn from one another if the environment is nurturing and positive.
  4. What are the goals of the writers in the group? Writers seeking traditional publication or looking to write as a full time career will have different expectations for and approaches to the writing and critique process than those who are writing as a hobby or for a school project. Look for writers with similar goals—you’ll have a mutual understanding of what’s at stake and what you’re all trying to achieve and you’ll be able to support each other through the various stages of the journey.
  5. Is there a group facilitator or moderator? Some groups use moderators to coordinate submission schedules and resolve member issues. If not, find out how the group handles situations such as hostile or negative members, scheduling issues, or members that consistently miss deadlines or skip critiques. This is your manuscript we’re talking about—probably your dreams and quite possibly your career as well. The last thing you need is to be stuck with a group that allows toxic or dead-weight members to linger, dragging the rest of the group down with them.
  6. Can we do a trial period before committing to a long-term relationship? By participating in a round or two of feedback on a trial basis (ideally where you have an opportunity to both submit a piece for critique and to evaluate other members’ writing) you can get a feel for the group dynamic and critiquing skill level before fully diving in.

It’s Not You, It’s Me. And You. Okay, Mostly It’s You.

You might find an ideal critique partner or group that exceeds your every hope and expectation. Congratulations! That’s a great feeling, and you should certainly appreciate it and work hard to keep it that way. But also know that situations can easily change, and the perfect group today can turn sour tomorrow. Group members drop out and new ones join, people’s lives and writing goals change, people get published and move on, people don’t get published and quit writing. Things happen, and maybe the group no longer meets your needs (or you don’t meet their needs).

Don’t panic.

Whatever the reason, if at any time in the relationship you feel that it’s not a good fit, be honest and end it. Don’t stay in a bad situation out of obligation or inertia, and don’t drag others down if you’re the one who can no longer commit. Part ways quickly and professionally. Some people may feel badly about your departure—they may take things personally, talk behind your back, or act spitefully toward you—but you can’t control that. Again, this is your writing, your dream, possibly the way you make your living. If it’s no longer working for you, move on. Take some time to regroup, reassess, and write. And when you’re ready to jump back in again, look for a new match. There are plenty of writers and groups out there seeking partnerships, and chances are you’ll find a great fit, one in which you can build a mutually beneficial relationship for the length of your project, your journey to publication, or your entire writing life.

Added bonus? Making a new writing buddy may even give you that much-needed reason to change out of your PJs and venture out into the world! Preferably showered! (*Ahem* not to name names…)

I hope you’ll also check out part two in the critique group series: Are You An Ideal Critique Partner? next. In the mean time, if you have any advice or experience on seeking or participating in critique groups, or questions about anything in the article, please share your thoughts in the comments below.

ETA: Also check out Kristen Lamb’s Can Critique Groups Do More Harm Than Good?

1 Comment | Book Publishing 101, publishing, writing | Tagged: , , | Permalink
Posted by Sarah Ockler

How To Query Lit Agents: 6 Overlooked Steps

August 22, 2011

For novelists, the path to publication often feels like throwing a bunch of goop at the wall (spaghetti noodles? Gak? Caramel sauce? You decide!) and seeing what sticks. Individual agent and publisher tastes, industry trends, economic doom-and-gloom, luck, timing, fairy dust, even whether an agent got decaf instead of regular from the coffee cart guy just before opening your email — all of these invisible forces can influence an author’s ability to snag an agent.

But for every random twist of fate, there are plenty of forces writers can control — concrete steps to ensure the novel has the absolute best shot at find an agent home and ultimately, a place on the shelves.

The search for the right literary agent should be targeted, informed, and methodical. While most writers are familiar with the basics, in those exciting first weeks on the adventurous path to publication, many overlook the details. Details may seem overwhelming, but when it comes to finding the best home for your work and the launch of your writing career, a little extra time and care are worthwhile investments. Don’t shortcut!

6 Steps to Querying Literary Agents

1) Finish your novel.

This one seems obvious, right? You can’t query something that doesn’t exist. Yet, people do. Eager writers looking to get a jumpstart on what may be a long process reason that if they query early, by the time they get a request for material, the currently unfinished manuscript will be ready. Or, better still, their idea is so amazing that agents will make an offer on concept alone.

The truth is that querying unfinished novels wastes time. If an agent shows interest immediately, at best, you’re scrambling to finish, turning in something rushed and unpolished that will ultimately get rejected. At worst, you don’t finish, and then you’re forced to respond with an awkward apology, potentially blacklisting yourself from his future consideration.

So, before you send out that first query, complete your novel. And “complete” does not mean the moment you type “the end.” It means that your novel has been reviewed by other trusted writers, revised (probably multiple times), and polished until it’s the absolute best thing you have ever written (at least, for now!).

An exception: If you have an opportunity to chat with an agent about your novel-in-progress — say, at a party or a literary conference where you’ve paid for a critique or the event is set up specifically for you to meet agents — by all means, talk about your book. It’s never the wrong time for agent feedback in these settings, and even if your story is still in draft mode, you may benefit from an agent’s thoughts on your idea. Regardless, if an agent shows interest, this doesn’t mean you rush home, slap together the last few chapters, and send it off to your new agent bestie. It means that you thank the agent, let her know where you are in the process, and then, when you’re ready to query, you remind her of your meeting and her initial interest in your letter. Making a connection (and a good, professional impression) now is a great way to reintroduce yourself later.

2) Familiarize yourself with the querying and publication process.

I know you’re anxious to get your completed novel out there, but a little preparation will save you anguish and anxiety later. Take a few days to learn about the industry and in general, how the querying process works. Take notes on potential questions you can ask an agent once you receive an offer. Try to prepare yourself for the potential wait and for next steps.

There are lots of great resources out there on queries, synopses, and general information on how publishing and book contracts work, including:

  • THE SELL YOUR NOVEL TOOL KIT by Elizabeth Lyon. From Google Books: Lyon offers novelists the wisdom of her experience as an author, book editor, writing instructor, and marketing consultant. Step-by-step, she details what editors want, what questions to ask them, and how to develop a marketing strategy.
  • GIVE ‘EM WHAT THEY WANT: THE RIGHT WAY TO PITCH YOUR NOVEL TO EDITORS AND AGENTS by Blythe Cameson & Marshall Cook. From Google Books: An overview of the entire publishing process, this book is a must-have for any fiction writer.
  • AgentQuery. AgentQuery claims to be the largest, most current searchable database of literary agents on the web. It’s free, and it also includes articles and tips on querying, the publishing industry, and guidance for new authors.
  • Pub Rants. Agent Kristen Nelson blogs about the agenting and publishing business with topics like book contracts, pitch sessions, industry trends, queries, and tons of interesting info for authors. Check out her Agenting 101 and Queries series’ (linked in the blog’s lower right sidebar) especially.
  • Nathan Bransford’s blog. Nathan is a former lit agent turned author and tech industry guy. His site contains a trove of publishing tips and industry info, and he still blogs regularly.
  • Miss Snark. Miss Snark no longer blogs, but her archives — not for the easily discouraged! — are worth a perusal.

If anyone has other resource suggestions, let me know in the comments below and I’ll update the list accordingly.

3) Develop a list of targeted agents.

Once you have a handle on the process, start putting together a list of agents for your query campaign. Be sure that the agents you’re targeting represent your genre, are currently accepting submissions, and would be — to the best of your knowledge — a good fit for you and your project. Remember, this isn’t a generic email blast. Targeting is key.

I used Publishers Marketplace and AgentQuery to research agents. QueryTracker is another one. These are informational Web sites that list agents, genres, clients, recent sales, and contact preferences. QueryTracker also lets you set up an account to organize and manage your search through their website. Writer’s Market is a subscription-based service that contains information on agents along with agency terms and recent sales.

Once you’ve identified potential agents, Google them by name, too. Check out blogs where they’re mentioned or websites from their current clients to get a better feel for how the agents work. For example, if you prefer an agent who offers a lot of editorial guidance and new project direction, but one of the agents on your list turns out to be primarly focused on contract negotiations, you might want to reconsider querying him.

Some writers divide their list into top ten, tier two, and tier three so they can query in batches. This can be helpful if you’re looking to test the waters, make adjustments to your letter, and send out a new batch. How you approach the list is up to you. The important thing is that you do your homework!

4) Write a kickass query letter.

Yeah, the really hard part. There are lots of sample letters in the resources I mentioned (and you should definitely check them out), but here are the basic components of a good query letter:

  • Address the query to the agent by name
  • Title, word count, and genre of your manuscript (e.g., “I’m seeking representation for my 60,000-word middle grade fantasy novel, Wizards Who Live Under the Stairs.“)
  • You may want to include a sentence on how you found that agent and/or why you think he or she would be interested in your work. “As a regular Pub Rants reader, I know that you represent young adult authors and thought you might consider reviewing my 50,000-word young adult novel, Awkward First Kisses at Parties, or “I enjoyed your client John Smith’s Pioneer Girlfriend and thought my YA time travel romance might also resonate with you.”
  • THE MOST IMPORTANT PART: A short, exciting summary of your novel (a paragraph or two) that gives a glimpse of the main character and the primary conflict. Don’t give away the ending or over-inflate the premise — you want just enough to make the agent say, “Whoa, I want to know what happens to this guy! Send me more!” This is the most challenging part of the letter, because unlike the creative writing talent you harnessed to write your novel, a query letter is pure sales and marketing. If you’re stuck on how to summarize your story in an exciting and sales-y way, check out the jacket copy on books similar to yours. Jacket copy is designed to capture a reader’s attention and get her to read on, which is exactly your goal with an agent.
  • You may want to draw comparisons to other novels or well-known movies (“Readers who enjoy J.K. Rowling’s Harry Potter series will appreciate the magical twists and turns and lovable underdog in When Good Wizards Go Bad“), but this can be tricky. Done well, a comparison can give agents an idea of your intended audience and can show that you’ve already started thinking about marketing. But you also run the risk of confusing the agent with awkward comparisons (“My Friend Jenny is If I Stay meets Hunger Games…”) or false and overconfident promises (“My novel Vampy, Campy, and Trampy is sure to be the next Twilight!”). It’s a tough balance, but if you have a natural and compelling comparison in mind, go for it.
  • Your writing bio (the honest version) and related experience. Don’t lie or exaggerate publishing credits. Include only relevant credits (e.g., if you’re writing a YA werewolf story, you don’t need to mention your masters thesis on the theory of relativity), important contest wins, and any work or personal experience related to the subject of your novel (e.g. “After living on a farm for six months without modern amenities for a class project, I was inspired to write about the experiences of pioneer teens.”) If you have a current and well-trafficked blog related to writing or to your subject matter, mention it. Avoid self-aggrandizing or meaningless endorsements like, “My mom and all of her Scrabble club friends said it was the best book they’d ever read.” If you’re not published, that’s fine. There are lots of debut authors out there, and plenty of agents who love working with them.
  • A professional, non-aggressive closing. “If this project intrigues you, I would be happy to send the manuscript for your review. Thank you for your time and consideration, Mr. Smith. Sincerely, Sally Jones”
  • Your contact information (phone number and email address)

The query letter should be no longer than a single page.

Once you’ve written your letter, let it cool off a bit before sending. With fresh eyes, take another look to ensure it’s succinct, compelling, and totally error-free. Show the letter to some trusted friends — another set of eyes can’t hurt!

5) Launch Your Query Campaign

With your compelling letter and targeted list in hand, it’s time to start querying. While the body of your query — the exciting stuff about your book — will remain the same, your letter should be personalized to each agent and submitted per his or her individual submission guidelines. That means no “Dear Agent,” “To Whom It May Concern,” “Dear Sir or Madame,” and certainly no cheeky “Dear Future Representative of The Next Great American Novel.” Most agents accept electronic queries, but some request them via email and others use forms on their website. Follow those submission guidelines carefully! Some agents want just a query letter, others want a letter and the first 5-10 pages of your manuscript, others want a synopsis. They’re all different, and many agents won’t even open submissions that don’t adhere to the guidelines.

6) Assess, Regroup, Retry

Responses to your query campaign will generally come in one of three forms:

  • Requests. You may receive requests for a partial or full, meaning an agent was intrigued by your letter and would like to review part or all of your manuscript. This is a good thing! Respond promptly with the requested material.
  • Rejections. If you get rejections, resist the urge to reply and tell the agent he’s a moron or that he’s missing out on the next J.K. Rowling. Be nice, and be professional. Either don’t respond at all, or just send a quick email thanking him for his consideration and wishing him well on future projects.
  • Crickets. Most agents have at least a form rejection, but it’s normal to not hear back for a few weeks or even months. Resist the urge to re-query or check in unless the agent suggests doing so on her website or submission guidelines.

If you’re not getting requests for your manuscript, take another look at your query letter. While it may be your novel itself, or timing in the industry, or any number of those random uncontrollable things we talked about earlier, it may just be that the letter isn’t doing its job in selling the concept of your novel. Since this is the shortest fix and easiest to test, give it a rewrite and try again.

If agents request your partial or full manuscript but ultimately decline representation, or if you’ve re-written your letter and you’re still not getting requests, then it may be time to take another look at your novel. If you’re fortunate enough to receive specific feedback on why the agent passed, take a look at it and see if it resonates with you (especially if you’ve received the same type of feedback from more than one agent). Yes, publishing a subjective business, but if five agents say “I loved the concept, but your opening is bogged down with too much backstory,” or “The main character comes off as cold and unsympathetic,” pay attention and consider revising.

Lather, rinse, repeat. Some authors find an agent on the first try. Others query hundreds before finding the right match. It’s hard to be patient, but use the time to work on a new project or take some time off from writing altogether. Go outside. Smell the roses and stuff.

(Seriously? Don’t listen to me. I got myself so worked up during the waiting period I called in sick to work and got up close and personal with Ben and Jerry as I manically refreshed my email every nineteen seconds. Not healthy, but true!)

An Offer? An Actual Offer?

If after requesting your manuscript an agent makes an offer (or even if she simply wants to chat further by phone), congratulations! That means you’re ready for the next set of important steps: Literary Agent Offers: Don’t Settle!

Until then, happy writing, and best of luck on your agent search!

Got questions? Let me know in the comments and I’ll answer in a follow-up post.

3 Comments | Book Publishing 101, publishing | Tagged: , , , , , , | Permalink
Posted by Sarah Ockler

All This Darkness! What to Buy The Grownup Reader? (A Parody)

June 7, 2011

Note: this article is a parody of the stupidness going on over here: Darkness Too Visible, by Meghan Cox Gurdon

Contemporary fiction for grownups is exploding with explicit abuse, violence, depravity, scandal, lies, casual sex, crime, conspiracy, oneupmanship, financial ruin, loose morals, overt glorification of generally bad ideas, and boobs.

Why is no one talking about this?

I recently stood slack-jawed in the adult fiction section of my local big box book store, having decided that supporting my community while getting personalized recommendations by professionals who generally adore books and make it their business to know exactly what sorts of things a reader will love was just not on my to-do list this year, feeling stupefied and helpless.

I was searching for a gift for a grownup friend (at the risk of sounding tokenistic, some of my best friends are grownups and I have a great relationship with “the grownups” as a whole), but at every turn, my poor and tired eyes were met with red-and-black covers with proclamations in huge typeface that screamed IMPENDING DOOM. The titles alone gave me instant nightmares: BURIED PREY? SIXKILL? THE FINAL STORM? THOSE IN PERIL? It was all, like, conspiracy and apocalypse and vampires, murder and incest, thinly veiled racism that seriously undercuts our upstanding moral code as a nation — especially when it comes to the impressionable sensibilities of our country’s adult population.

I was astonished and more than a little appalled, frankly, that adult fiction had gotten so dark. How dark, you ask? Well, as a person who doesn’t actually read adult fiction, and doesn’t remember what it was like to be an adult, and in fact categorically looks down on adults as out of touch and unable to think a single original thought without their mass media drip feed, I’m obviously very highly qualified to answer this question: adult fic is so dark, why, just writing this blog post about the darkness requires a sun lamp, a clove ciggie, and a bottle of chilled Bombay Sapphire, lest I become apathetic and socially disengaged by all the dark-mongering and partake in some totally grownup coping mechanism like, IDK… spawning an illegitimate child with my housekeeper, tweeting pictures of my crotch and lying about it and then not lying about it, sexually assaulting a hotel staff person, shooting at people with an AK-47, deciding that forced sexual intercourse isn’t actually rape if the woman said no but didn’t physically fight back, taking away health benefits for the really old people, causing the collapse of the free market economy, or any of the other “that’s sooo grownup” activities I’ve read about in today’s news. It’s so dark that in a single book, let’s call it Martin’s GAME OF THRONES, the first few chapters alone cover the alarmingly black topics of incest, rape, slavery, beheading, something with magic wolves, dragon eggs, forced marriage, poisoning, and native women dressed in all-too-revealing animal skins, every curve described in such excruciatingly vivid detail that the book may as well be called GAME OF BOOBS.

If books are a lens unto the world, the adult section at my local big box bookstore is a magnifying glass unto the ass of the ant of decency, people. Obviously not every book aimed at tender-minded grownups is pure evil, but for the careless old reader, or one who actively seeks out licentiousness and vice (yes, those rare tainted souls certainly exist in the world of grownups, much as we’d like to stick our heads in the sand and pretend otherwise!), the path to the wicked world of horrendous literary indecency and exalted iniquity is a mere swipe of the overextended debit card away.

I mean, look at Cormac McCarthy’s THE ROAD. Total effing downer, man! Books like that are why people like Harold Camping ring the doomsday bells every few years. He probably picked up that story looking for a fun armchair travel read, or perhaps hoping for a movie-still of Viggo Mortensen’s naked ass (who hasn’t! That movie was called Eastern Promises, though, FYI), getting instead a bleak tale of violence and cannibalism, roving gangs of rapists and murderers, death and mayhem and utter hopelessness on every page. Rapture? Don’t bother. Might as well just off yourself after reading something like that, bud.

Speaking of gratuitously morally bankrupt books made into movies, have you read Dan Brown’s bestselling THE DAVINCI CODE? He practically accuses Holy Mother Mary of cashing in her V-card. Talk about blasphemy! And what’s up with this Sookie Stackhouse person, anyway? Come on, Charlaine Harris! Don’t you know that grownups are feeble-minded, easily spooked, and downright impressionable? You think you can just write about vampires and sex and sex with vampires and not impact — dare I say, shatter — the entirely too delicate worldview of adults?

I realize these authors believe they’re validating the grownup experience, giving comfort and succor and a real voice to an otherwise subverted, subjugated, sublevel subgroup. But hasn’t anyone considered the obvious fact that such stories, rather than validating a terrible yet ultimately rare experience, in fact normalize a collective thirst for blood, no pun intended? Feed the flames of sickness and immorality? Infect the weak-minded with negativity and self-loathing? Give otherwise good, well-meaning grownups some really bad ideas, the consequences of which the soft folds of their brains simply can’t comprehend?

Honestly, folks, let’s call this complete lack of censorship and mind control what it is: lazy, lackadaisical, inexcusable buck-passing in an era where none of us wants to claim any responsibility for ensuring that our adult population survives this difficult transition. You’ve all heard the rhetoric: it’s not our job to raise other people’s parents — their own kids should do it! Their bosses and teachers should do it! CNN should do it!

No, friends. I’m afraid it’s down to us. For if not we — the wise and knowing and all-presumptuous — who will take a stand against authors and publishers and booksellers who insist on filling the heads of old people with filth, flarn, and smut? Who will save the lives of those endearing yet ultimately etiolated adults who learn how to commit rape in books like BASTARD OUT OF CAROLINA or how to fake a nervous breakdown after devouring THE BELL JAR? What if they read the original, unedited version of THE ADVENTURES OF HUCKLEBERRY FINN and learn the dreaded n-word? What if Kerouac’s ON THE ROAD inspires them on a road-tripping, poetry-writing, substance-abusing bender?

If it’s true what the experts at the Wall Street Journal (that bastion of journalistic integrity and forward-thinking) say, “Entertainment does not merely gratify taste, after all, but creates it,” then frankly, I’m concerned for our future as a people. Because if authors and publishers and booksellers don’t stop shoving misery and depravity down grownups’ tender pink gullets — if they can’t come up with more appealing, relevant, and appropriately non-dark works of substance for the adult reader — if they can’t write and sell stories that stop encouraging rampant extramarital fornication, brutal criminal acts, the rape of our natural resources by corporate giants run by hapless adults, and the near-complete and utter effing-over of society by a bunch of grownups in suits who obviously learned the how-tos and justifications of bad behavior from novels glorifying such debauchery and turpitude — the adult reader, and those slack-jawed gift-givers like myself, will be forced to make the most immoral, appalling, and dangerous choice of all: to shop in the YA section.

Let’s all pour a little out for the collective loss of innocence, shall we?

*Takes another swig of Sapphire.*
*Spits on the floor*

37 Comments | Book Publishing 101, books, publishing, reading | Tagged: , , | Permalink
Posted by Sarah Ockler

Literary Agent Offers: Don’t Settle!

July 5, 2008

(Just starting your agent search? You may want to check out How to Query Lit Agents: 6 Overlooked Steps first, then come back!)

You’ve perfected your query letter, done your agent research, and sent your letters to a targeted list. You’ve crossed your fingers, rubbed the genie lamp, kissed your lucky troll doll. You’ve gotten requests, sent out partials, sent out fulls. You may have even suffered a few (or many) rejections along the way.

But then… what’s this?

An offer from a literary agent to represent and sell your work?

Congratulations! An agent! A real agent! You’re on the road to publication! He’ll sell your book for millions of dollars! She’ll rocket you to best-sellerdom! He’ll get you on Oprah’s couch with the literary elite! You’ll thank her in your acknowledgments and become BFFs for life! Right?

Not.
So.
Fast.

Making an Impression

As writers, we spend a lot of time trying to make a good impression on potential agents with our polished prose, personality, and professionalism. We’re so excited (rightfully so!) when an agent responds to our efforts—especially if we’ve already endured a few (dozen) (hundred) rejections—that we forget one very important point:

An agent interested in representing your book should work just as hard to impress you.

If an agent makes an offer, she’s already excited about you and your writing. She’s in love with your book, and believes she can sell it. She probably already has editors in mind that will love the project as much as she does. See? Your good impression was a success!

Now, it’s her turn.

Your agent works for you, and should have your career and best interests in mind always. Accepting her offer is the beginning of a long partnership—one that you must consider as seriously as you would any long-term commitment or career decision. Enter it with both eyes open.

Pre-Literary Counseling

I don’t know what the author/agent divorce rate is these days, but I bet it’s higher than failed marriages and, in some cases, more complicated. The souring of a literary partnership isn’t always predictable, but having an honest, two-way conversation up front might help you avoid future drama.

Before accepting representation from an agent:

  • Thank him for the interest in your work.
  • Let him know that you’re excited about the opportunity to work together.
  • Tell him that you’d like to take a few days to think things over and prepare your questions.

Don’t skip this crucial step because you’re worried that questions will scare him off, or that the offer won’t last. This isn’t a TV promo, it’s a potential business partnership. His offer is on the table, waiting patiently for your consideration and ultimate response. It’s not going anywhere unless the offer or the agent isn’t legitimate, in which case, that’s not the person you want representing your work.

Questions to Ask Literary Agents

Craft questions to help you learn about the following:

1. Working and communication style. Some agents offer more personal attention and career development than others. Some are heavily involved in the editorial and revision process, while others are more interested in selling and contract negotiation and will not spend a lot of time reviewing your work. Certain agents encourage you to call them informally and often, while others will rely more on email communications or scheduled appointments. What do you prefer? Don’t enter a relationship with someone whose working and communication style will overwhelm you, confuse you, or leave you wanting more.

2. Ideal clients. Ask the agent to describe her ideal client. Of course it will be you, but beyond that, get specifics. This will give you another perspective on her working style and help you determine whether you’ll be a good fit. If the agent likes clients who are highly involved in brainstorming ideas for their next projects and career path, but you’d prefer someone who just focuses on contracts and managing the author/editor relationship, this agent isn’t for you. Similarly, if you’re looking for a lot of hand-holding and the agent tells you she likes clients who leave her alone to do her job, that’s not a match.

3. Client load. The number of clients an agent has and wants will impact his time. Some have as many as 60 (or more!) clients to manage. If you want an agent who can provide personal attention and a more hands-on approach, look for agents with fewer clients.

4. References. Ask the agent to put you in touch with some of his current clients. You can ask them for firsthand accounts on what it’s like to work with the agent before and after the sale. You can also look at the blogs and Web sites of the agent’s clients to see if they’ve said anything about their agent experience. If an agent is reluctant to provide you with at least one client reference, be wary!

5. Sales and non-sales. You should have a good idea of the agent’s track record for selling books before you query him or her, but you can ask about additional details after you’ve received an offer. Understand how the agent treats your manuscript if it doesn’t sell—does she set it aside and get ready to shop around your next project? Does she revisit the original project later or help you revise for another round of submissions? Or does she drop you as a client if she can’t sell it in a certain time frame?

6. Genres / specialties and co-agents. You may query an agent with your adult historical fiction manuscript, but what if you decide to write a middle grade novel in the future? Non-fiction? A paranormal romance? A teen guide to surviving the zombie apocalypse? Ask the agent if she represents other genres you may be considering and if not, if she has a partner, co-agent, or referral for you, should you decide to write something different. There’s nothing wrong with using a second agent if your primary agent doesn’t represent what you want to do next, but it’s an important question to ask before you sign on.

7. Finances. Most agents will take the standard 15% fee from the monies that you earn (may be higher for foreign rights or other special circumstances). Be sure you understand the rate, and ask about how the money is distributed. Generally, the publisher will send your advance and royalty money to the agency, which will cut you a new check, less their 15%. Ask about how (and how often) your money is managed and distributed.

8. Breaking up. No one wants to think about ending a relationship before it even begins, but asking about it now could save you and your agent heartache (and legal fees) in the future. Find out about the agency contract and how and when either party can dissolve it. Also, ask about what happens if your agent leaves the agency, is unable to work due to illness, injury, or death, or if the agency itself dissolves.

It’s tempting to give an instant YES to that well-earned agent offer, but remember, an agent making an offer is already interested in you. She’s not going to change her mind just because you’re asking questions or taking a few days to think about it. Just the opposite, actually. By doing your homework, you’re showing potential agents that you’re professional, committed, and serious about your writing career—all qualities that make you a better client.

Danger! Bad Agent Warning Signs

If the agent you’re considering exhibits any of these behaviors, get thyself back to the querying board:

  • The agent is uncomfortable or terse in answering your questions, or responds with canned marketing-speak designed to evade your research.
  • She’s reluctant or refuses to provide client references.
  • He makes you feel like you’re wasting his time or like he’s doing you a favor, or he pressures you into making a hasty decision.
  • She charges a fee to read, consider, or submit your work, or charges more than the standard 15% fee for domestic sales.
  • He charges for or refers you to a paid editing service or “book doctor,” or charges for these services in-house.
  • The agent or agency is listed on Writer Beware’s Thumbs Down Agency List or has a negative rating on Preditors & Editors: Literary Agents.

You should also Google the agent and agency’s name to scope out any bad press or client comments about them. If you do find any negatives, evaluate them carefully, considering the source and not jumping to conclusions. One ranted-about experience doesn’t mean the agent is bad or even at fault. But if you find numerous complaints or warnings, you probably want to steer clear.

A Not-So-Perfect Union

Even with your questions sufficiently answered and agency contract signed, sealed, and delivered, stuff might happen. Your book doesn’t sell. Your agent doesn’t responded to your emails. You’re having problems with your editor and your agent hasn’t stepped up to mediate. You’ve experienced a misunderstanding or miscommunication, or someone has made an outright screw-up.

Like in any relationship, things aren’t always sweet and rosy. It doesn’t mean that you have a bad agent, that you’re a bad client, or that it’s time for a divorce. It just means that you need to pick up the phone. Be open and honest with your agent about how you’re feeling, and see if you can find some common ground.

It’s unrealistic to expect constant perfection, but you should expect a willingness to communicate and a commitment to resolve issues as they arise. Sometimes what feels like an insurmountable obstacle turns out to be a laughable misunderstanding. Sometimes it doesn’t. But either way, it’s worth checking out before you make a hasty decision.

Ultimately, if you do decide to part ways, let your agent know that your seeking other representation before you jump ship. This is a business and should be treated respectfully, even if you’re the only one being respectful. If the partnership isn’t working and you just can’t reach an agreement, be honest about your intended departure and try to leave on good terms.

An Affirmation to Remember

If you’ve got an agent offer, that means you’ve achieved what most people never will—you’ve written an entire book. It didn’t happen overnight, and you’ve certainly poured a lot of blood into it. Give yourself and your hard-earned accomplishment the respect you both deserve—don’t settle for the wrong agent just because she’s the first to show an interest in your work. There are hundreds–possibly thousands—of hard-working, dedicated, talented agents out there waiting for your query.

This is your writing career, your passion, and possibly your life’s dream. Take your time, do your homework, and find the right agent to represent you. You deserve it!

24 Comments | Book Publishing 101, publishing, writing | Tagged: , , , , , , | Permalink
Posted by Sarah Ockler

« Previous Entries
Follow

Get every new post delivered to your Inbox.

Join 6,694 other followers