Agency Lessons: nailing the first line

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made.

Nothing seems to send authors into a tail spin more than the first line of their novel. There are too many horror stories out there of agents who will stop reading after the first sentence if I doesn't scream brilliance.

So let me start by saying that those are rare agents (though they do exist). Most of us will at least read the first several paragraphs before we give up on something. However, that first line is still a big one. It has to encompass the tone you've already set with the blurb and cover, and prepare the reader for the story you're about to tell. It's all too easy for a bad first sentence to derail everything and have readers quickly reaching for a different book.

The talented folks at Adventures in YA Publishing are running a first line contest right now and asked me to be one of their judges. Even though I see first lines on a daily basis, there was something about reading 100 of them in a row that made patterns easier to see. So I figured I'd let you guys know the good, bad and ugly of first lines.

1. No semi-colons
So this isn't a hard and fast rule, but in general, when a first sentence has a semi-colon it is way too long. If I have to stop and think about how the sentence started by the time I get to the end, I'm a lot less likely to keep reading. You don't want to make your reader work too hard to get started.

2. Stop waking up
Okay, this one has been a cliche for forever and you can point to plenty of books that start this way (hello, Hunger Games), but at this point I'm completely over it and I know I'm not alone. Even waking up lines that include other engaging aspects are turn-offs now. You can do better.

3. Be profound
I found myself drawn to the opening lines that had something important to say...so long as the author kept their insight clear and concise. This is where it is important to know what you want to say and figure out how to say it in as few words as possible. The authors that try to do this and fall in love with their own words lose their readers.

4. Avoid jargon
An opening sentence introduces your reader to the world of your novel. But you'll lose your reader if that introduction is convoluted with new phrases that don't hold any meaning yet. You don't have to wait until chapter two to world-build, but I think you should avoid unknown words or phrases in the first sentence.

5. Be unexpected
Creating a juxtaposition in your opening sentence is a fast way to get me engaged. When so many novels start out with 'the usual', I love when the start makes me do a double-take. Keep in mind this is different than a shock effect and should only be used if it matches the tone and content of your story. But when done well, this can be an amazing opening line.

6. Ah, the cliches
Traveling in a car, discussing the weather, arriving at a new location, and the list goes on. Guys, just don't. I can't imagine a scenario in which the only way to open your novel is with one of these cliches. Everyone assumes they are the exception to the rule, and yet the opposite is almost always true. As an agent and a reader, I'm looking for something more.

7. Say something
Maybe this is a simplistic way to think about it, but for me, your opening line should say something. This is the first thing your reader will see, and that automatically makes it important. So make it important. If your opening line describes your character's outfit, then that outfit had better be important. Don't waste your opening line to tell us that your 17-yr-old main character is wearing jeans and a t-shirt to school. That doesn't say anything. 98% of high schoolers are wearing jeans and a t-shirt (I made that stat up, but you get the idea). Your opening sentence should be on purpose and not just because you had to start somewhere.

Regardless of who your audience is, the goal of your first sentence should be to convince the reader to read the second sentence. So on and so forth. It doesn't have to be literary gold, but it should make your book shine.

Agency Lessons: Be nice to the janitor

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made.

My parents imparted a lot of life lessons to me over the years. They got down the basics like work hard, get an education, share your toys. But there is one lesson my mother told me that has been the most helpful.

As I was leaving for college, my mom handed me some advice. "Be nice to the janitor."

Of course, my parents taught me that I should always be nice, so this one puzzled me until she explained.

You see, in life, there are going to be people who are obviously at the top of the ladder. They are the bosses, the professors, the ones in charge. And, in general, they will see a lot of brown-nosing and butt-kissing in their time.

And then there are people who almost everyone overlooks. The ones in the background who quietly do their jobs with little or no appreciation, and usually about the same amount of respect. People like the kitchen staff and janitors.

The thing is, my mom explained, everyone thinks it's only the people at the top who are worth their time and kindness. They wrongly believe that those are the only people who can give them a hand up in life. But they are missing out on meeting some of life's most interesting people. And forgetting that you don't have to be the boss to have power.

Because when you spill an entire cup of coffee on your term paper at 2am and the computer lab is closed, it's the janitor who will be there to let you get in early the next morning so you aren't late turning it in at your 8am class. But not if you're the kid who regularly kicks his mop bucket. And it's the secretary who makes a comment to your professor after you leave a meeting asking for a favor to say what a polite person you are. But not if you walked in, rudely demanding to see that professor.

You see, people are people. And all people like to be treated with dignity and respect. That goes from the executive editor and senior agent down to the mail room guy and the intern. I'm not saying you have to suck up to everyone you meet. But I am saying you should give everyone the courtesy they deserve as a fellow human being.

If someone can help you, make sure you say thank you. And if someone can't help you, don't harass them until they have to block you. Just saying.

Besides, you never know where that mail room guy and intern are going. You might have just met your future agent and didn't even know it.

Agency Lessons: Safely navigating social media

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made.

If you pay attention to the social media surrounding YA books, you've probably heard the hub-bub lately about adult YA authors (John Green and Chuck Wendig among them) getting called out for silencing teen voices. I am not linking to any of the articles or blog posts, but a simple Google search will point you in the right direction if you have no idea what I'm talking about.

Pair this up with the recent EL James flame-fest that resulted from her live twitter chat and we have a social media landscape that is absolutely loaded with bombs and trip wires, ready to hit unsuspecting authors. Obviously, this makes some authors nervous. Just yesterday I read a blog post by an author who has decided that she is leaving the YA community for fear of one day becoming a target.

I think this is both misguided and reactionary, but every author has to make their own decisions based on what is best for them and their own personal situation. But what should the average author do?

Afterall, we are encouraged to interact with our readers and become a part of the community, yet there are times when we are obviously not a welcome part of the conversation. How do we be transparent and sincere while still holding back a private part of ourselves that was never meant for public consumption?

I don't have all the answers, but I do have three suggestions that I live by. I'm certainly not anywhere even close to the popularity of Green and James, but this strategy has served me well.

1. Understand that you can't control the conversations that happen around/about you
If you write controversial books, don't be surprised when there are heated conversations and strong emotions surrounding any discussion of your book. If you write for teens with impassioned, yet sometimes illogical emotional responses to situations and encourage them to make their voices heard, don't be shocked when they do exactly that.

We all wish that discussions on the internet always stayed civil, logical and on topic, but you might as well wish that celery tasted like chocolate. It's just not gonna happen. I hate that some individuals seem to think that it's okay to personally attack public figures. It sucks and isn't right. But I can't change it and any attempt to control it is an act of futility.

There is no internet police and for the most part, that's a good thing. But it means with the freedom to express ourselves online comes the freedom for others to do the same, regardless of our opinion on that expression.

2. Decide what you are willing to share with the world and draw a line
You are the owner of your personal story and you control how much of that story is shared with the world. Often times, those who are most open are the ones most vulnerable to attack. In other words, those who choose to share the most of themselves with others in an attempt to connect with their tribe are most at risk of being attacked by that tribe, especially if something they share doesn't sit well with a portion (even a small portion) of their tribe.

That's why there are certain topics I don't discuss online. I don't do politics. For one, my political opinions are irrelevant to my works as an author or as an agent. Second, regardless of my opinion, I am 100% guaranteed that anything I post of a political nature will alienate at least a portion of my followers. Because no one has a group of followers that all share the exact same political opinions. Lord, we can't even all agree on who should be cast in movies. I doubt we can all agree on who should be the next president.

I also limit how much I share about my family. I have a family. I have children. They are amazing and being a mom is a big part of who I am. But they are not part of my platform. They are not a part of the public discussion of me. This is why I never accept friend requests on Facebook from readers or people I haven't personally met. Because that is the space I use for sharing pictures of my kids with family and that's my line.

I'm not saying that you have to create a separate online identity that is a shadow of who you are in real life. By all means, talk about what you're writing and reading. Discuss what you're passionate about. Share your thoughts and feelings. But before you go too far, decide how much of your personal life is okay to be public and what needs to stay private.

3. Realize that words have power, regardless of your own personal power
If this controversy has shown me anything, it's that you don't have to be a major player in the social media scene for your words to have a huge, lasting impact. The internet has connected the world in ways we could never have imagined, even ten years ago. This can be wonderful, but it also means that our words go so much further than they ever have. If I put something on this blog, I can't assume it will only be consumed by my followers. I have to understand that those readers might share it with their own network, and then others might share it as well, until the audience is eons outside of my own circle.

Once you put your words online, in any context, be it a blog, twitter, chat board, etc., those words can be shared, screen shot, copied and pasted anywhere. This means taking care with our words. I don't really do controversy here on my blog, because that's not part of my platform. But I do think carefully about the subjects I tackle. I read over my words to make sure my intention is clear.  I remove thoughts that might be taken the wrong way or come across negatively if seen out of context.

Even though my reach is small compared to the grandness of the internet connected world, I understand that even my softly spoken words can have power.

It would be all too easy to see the nastiness that crops up online and decide to skip it all. For some authors, being a part of the online conversation isn't worth the potential baggage. But the internet isn't going anywhere. I imagine it will continue to evolve and grow so that a decade from now we barely recognize the internet of today. As an author and agent, I understand that being a part of the constantly changing social landscape is a crucial part of success. Like any part of your professional course, you will be best served by understanding exactly what you are a part of and understanding your own personal limits.

Thanks to the internet, the world is at our fingertips. Now go out there and enjoy it responsibly.

Making the most of con connections

So you went to a conference and met so many amazing people. Maybe you reconnected with your tribe, came face to face to social media pals, or even discovered new voices you didn't realize you were missing. Making new friends and industry connections is one of the best parts of a conference and a big reason I think we all should attend live conferences.

Opening Ceremonies from UtopYA 2015

But now that you have a stack of business cards and phone full of blurry pictures, what do you do? Because connections don't mean anything unless you keep the conversation going after you've left bleary eyed and craving coffee. Here are a few tips for making the most out of your new connections.

1. Follow
Pull out that stack of business cards, bookmarks, and swag and start following all the new folks you met. The best way to stay connected these days is on social media, but that doesn't work if you aren't actually connected. You don't need to create new accounts to do this, just follow your new friends on whatever platforms you already belong.

2. Share content
Following isn't enough, if you aren't a part of the action. As authors we love it when people share our content and posts. So when your new friends post something great, share it with your tribe. That doesn't mean you want to fill your own feed with nothing but shared posts and retweets. Consider your own audience and then share content that you think they'd enjoy.

3. Engage
Social media is a place for wallflowers to dance in the middle of the room. That means you can't afford to stalk the feeds silently. Remember, social media is meant to be social. When you see your new pals out there chatting it up, say hello and join the conversation. Get to know each other outside of the tequila fueled convention nights.

4. Post about them
Did you read the book of your new pal? Show them a little love with an honest review. Then hit the airwaves with links to your review. Remember, your audience is full of readers who like to read books. That includes books that you didn't write, too. Book recommendations are a great way to provide your audience with a new read and show your connections some book love. Bonus points if you include a picture of yourself reading the book.

5. Make yourself available
You have a platform, now share it with your new friends. Obviously, this means keeping your own platform consistent. If you don't review books on your blog, you don't need to do a book review. But I'm sure there are other ways you can help. Maybe you can invite them to write a guest post or use their book/platform as an example in your own post. Whatever the platform, there are always ways to share.

6. Ask
Hopefully you talked about more than the quality of the hotel rooms and the latest season of OITNB at this convention. Just because the con is over doesn't mean those conversations have to end. Ask your new friends their thoughts on other bookish things. Don't have any questions right now? Ask them about other conferences they are planning to attend. Then you can go together and keep the party going.

You'll notice that none of these tips include asking your new buddies to pimp your own book. Because that is a surefire way to turn your new relationship sour. Focus instead on ways that you can help your new friends. But don't be surprised when they return the favor, because, authors, in general, are awesome.

Agency Lessons: foreign rights agents

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made.

I was recently asked some questions about foreign rights agents and realized this is probably a question a lot of writers might have. This is a really basic primer, so like anything else in the publishing industry, make sure to do your research, ask trusted friends and do your due diligence before signing any contracts.

Now, let's talk foreign rights.

Just like there are different types of publishers, there are different types of agents. 

I work at a small boutique agency. Each agent in our office handles their own clients, and that includes foreign rights. Of course, we pull our resources, share information, provide introductions and the such to help each other in the process. That's the beauty of having co-agents. But at the end of the day, we each handle the rights for our clients.

Some agencies are a little bigger and have agents on staff that handle foreign rights. Some of these agents also take on their own clients and some of them strictly deal with the foreign rights. The advantage here is having an agent who can dedicate more of their time to keeping up with foreign editors.

Other agencies don't have the resources or desire to have an in-house specialist and decide to outsource this. They work with independent agents who specialize in foreign rights. These agents work with agencies to represent all or part of their list of authors. Some of them also take on individual authors who only need an agent for foreign rights, such as indie authors.

Then you can add publishing scouts to the mix. These are individuals who work directly with various foreign publishers and scout out potential projects for them. At Corvisiero we have relationships with some of these scouts to help place our client's work.

If you are a traditional author, you'll want to ask your agent before signing with them to see how they handle foreign rights in their office.

If you are a self-published or indie author, you have a couple of options. You can try to sell these rights on your own, though this can be a time consuming process and you'll be on your own when it comes to contract negotiation. You can reach out to a foreign rights agent. This is a great option, but be advised that you'll need to be able to show significant sales numbers. You can also contact a regular agent to see if they would handle these rights. Again, you'll need to show significant sales.

When it comes to your foreign rights, the important part is knowing what your rights are, understanding what you have and don't have and knowing upfront what your agent can help you with. Don't be afraid to ask questions. This is your career, so take charge of it. 

Foreign rights, the agents who handle them and the publishers who buy them is a complicated behemoth that can't be handled in a single blog post. If you have more specific questions about this topic, feel free to leave them in the comments and I can include them in another blog post.

The importance of book launches in the digital age

Authors, editors and other book-minded people talk a lot about the importance of book launches. There is a lot of pressure on authors to launch your book strong right out of the gate with lots of coverage, favorable reviews and word-of-mouth momentum.

But we don't really talk about why book launches are important. And the truth is, they aren't as important as they once were. Before eBooks came on the scene, books were sold almost exclusively on the shelves of book stores. And there are way more books than shelf space. So if you wanted your book to claim space for longer than a few years, you needed a strong launch to keep sales coming in and your book face out on the shelf.

Today eBooks make up a large part of the market and that share grows daily. So it would be easy to assume that launches aren't important. Afterall, virtual bookshelf space is unlimited. Your novel will never get pulled because the newest batch of releases are about to hit. With eBooks, some of the pressure of the big launch has been lifted.

Some, not all.

Because book launches are still hugely important and here's why:

Algorithms rule the world
Regardless of your opinion of Amazon, they are the biggest mover of books in the US. They have a recommendation system that hasn't been duplicated and can't pick out the next best seller like a blood hound on the the trail. And that means your Amazon rank matters. A book with lots of reviews right away does better in the ranking. A book with sustained sales that build over time is going to fair better than one that spikes suddenly and then falls off just as sharply.

While no one completely understands the algorithms (because Amazon doesn't share them), we have deduced a few things. We know that it takes fewer books sales to maintain a rank than it does to gain a rank. This means that even though my sales may dip down on occasion, it takes several days of reduced sales to show up in my rankings. This is because I was able to build up my sales and then keep them steady for the most part. Amazon rewards my sales stability with a stable ranking and that makes it easier for them to include me in their recommendation engine.

Everyone's a braggart on launch day
There is a limit to how much you can talk about your own book on social media. Except the week of your launch. Everyone is pretty much given a pass to be borderline obnoxious in talking about their book in the week it comes out.

But that's it. You've got one week to squawk all you want before people start tuning you out, or worse, un-following you. While your marketing plan is going to last much longer than a week, those first seven days will be your best opportunity to share your work with the most people. There is no redo on that one. If you don't use it appropriately, you don't get a redo after a few months. So don't waste those precious release week passes.

Hard core marketing isn't sustainable
I love marketing. It gets my heart pumping and my creative juices flowing. But even I get burn-out. Launching a book is exhausting. There are so many moving pieces of getting a book out on the market and then you add marketing on top of that. It's a lot of work, and not something you can keep doing forever. Eventually you have to level out, get back to writing and get ready to launch the next book. Ideally, we'll all have long happy careers with lots of books out there for people to read. But that means more books to market and more readers to find and interact with. We can't keep marketing the same books over and over.

You can always run promotions, create ads or other marketing strategies, but time won't allow you to market all your books all the time. You'll need a strong launch to build momentum that will carry your novel through times when it isn't getting much of your marketing attention.

A huge launch doesn't guarantee your book's success and you aren't doomed if your launch was less than thrilling (more on this later). But a successful launch has rewards that still make it worth your time and effort.

Agency Lessons: 5 tips for talking to agents

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made. 

In just over a week I'll be making my way to UtopYAcon for several days of non-stop literary fun. As am extreme extrovert and industry insider, conferences are the ultimate charging station for my brain. But I get that's not the case for everyone. For example, the introverted writer still in the query stage. For you, I imagine conferences to be this big ball of black hole possibilities. It could be amazing, but you're going to have to talk to so many people, including DUM DUM DAAAAAHHHH, agents. Because, I've been told, we are ferocious, manuscript destroying, dream eating beasts.

Obviously, I see things a bit differently. So I'd like to offer my advice on how to talk to agents at your next conference.

1. We are real people
I get that it can feel like we are some kind of mythical force with magic swirling at our fingertips. But we aren't. We are real people who do normal real people things just like you. Yes, my role in the literary world is different than yours, but it's certainly no more important. Remembering that we are not any different than you can help ease those nerves a bit.

2. We like things
Expanding on that whole real people concept, just like you, we have varied interests. So feel to strike up a conversation about my Dr. Who themed nails or Vote for Pedro t-shirt. I will happily ask you who your favorite companion is and how you feel about the newest doctor. I am also interested in your conversation about the 20 degree temperature difference in the main ballroom and what's on the menu for lunch. Because I like things, and I eat, and am concerned about your lack of jacket. It's fine (and welcomed) to talk to us about non-book stuff.

3. We came here for you
I go to conference for lots of reasons. To learn about new trends, meet and rub elbows with editors and spend a few days kid free. But my main reason for attending conferences is you, the author. I come to meet you, to learn about what you like and what you're working on and what you're hearing from readers and so much more. I come to be around authors because you are cool people.

4. We are pitch magnets
It always seems to happen that at least one or two authors don't get the memo that they shouldn't pitch every agent they happen to breathe the same air as. This is always awkward, for both of us. So please don't introduce yourself and launch into your pitch. Just don't. However, if I ask you what you're working on, please tell me. And if there is an agent there that you are just dying to pitch and you can't get them aside for a formal pitch session, may I recommend this polite option. After saying hello (like normal people) it is perfectly okay to ask if I am currently open to queries or actively looking for new clients. This is a great chance to dig in deeper into what I'm looking for and if the conversation is going well, I might ask what you're working on.

5. We love books
If all else fails and you find yourself completely tongue tied and ready to bail, remember that we share a mutual love for books. Ask what I'm reading or if I have anything I've loved recently. I could talk about books until I'm blue in the face and I bet that you feel the same way.

We aren't so different, you and me. At the end of the day we both want the same thing. More amazing books that keep us up at night and make us see the world a little clearer.

So if you see me at a conference, come on over and say hello. I'll be the perfectly normal person waiting to have a great conversation with you.

Agency Lessons: turn-key ready manuscript

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made. 

I was talking to an editor last week and something he said really stuck with me.

"Editors aren't looking for a fixer-upper."

Of course, I knew this already. But the imagery of a fixer-upper really got inside my head. If you've ever been house hunting then you know exactly what to expect when a listing says "needs a little TLC". It means you should plan to dedicate all your weekends for the next year to stripping old wall paper, fixing loose wiring and hanging gutters. It means that the house could be great, but right now, it's not. It's a fixer-upper.

Unfortunately, I hear too many authors say "With the right editor I know this book could be amazing." They are hoping to find an editor who can take their so-so manuscript and magic wand that baby until it shines like a new pair of glass slippers. But that's not how this works.

Because editors have lots of projects going all at once in various stages. They are coordinating with cover designers on this manuscript and hashing out the layout on the next. They may be working on first round edits with one project at the same time they are holding a debut author's hand at their launch. 

Editors have a lot of roles. And it's true that they play a big role in making sure a book is just right. But they start with books that are amazing and then make them a-MAZE-ing. 

So what can you do to make sure your book isn't listed as needing TLC? 

Everyone has their own process, so I thought I'd share mine so you can see what I do BEFORE my book goes to my editor.

1. Write a craptastic first draft

2. Let it sit so you can forget what you wrote and separate yourself from it

3. Read the first draft, cringe, and make notes of big picture areas that need work

4. Flesh out any issues that impact the whole manuscript such as time lines, disappearing characters, etc.

5. Make edits based on first notes and the big impact issues

6. Work through The Breakout Novel workbook*

*This book is genius and I love it, but it might not be your style. This step is basically forcing you to think about all the nuances of your story. Do you have a full character arc for everyone? Does every character have a unique voice? Are all your characters/scenes crucial? How is the pacing? Is your climax deserved? 

7. Another round of edits to fix all the issues discovered in step 6.

8. Read through again, this time looking at the smaller issues such unclear sentences, overstuffed paragraphs, bad writing in general

9. Fix everything found in step 8

10. First round of Beta readers (I like to start with other authors for my Betas)

11. Fix issues found by first round Beta readers

12. Second round Beta readers (I like to use readers for this round)

13. Fix issues found by second round Beta readers

14. Final read through to look for anything else that might have been missed.

Then, and only then, do I send my work to my editors. If it looks like a lot of work, it's because it is. Your book should be the absolute best your are possibly capable of before an editor ever sees it. And this is true regardless of if you are going the traditional route or going indie. 

An editor is there to spit-polish and shine your manuscript, not resole it. 

By all means, set your eyes on the editor who you think would be the best match for your manuscript, but know that you should never send them anything but your very best.

What other tips do you have for getting a manuscript ready for editing? Any favorite books that help you see your book in a new light? Let's help each other write amazing books.

How to be the perfect author

As an author, regardless of how you are published, there is a driving fear of failure that pushes us to be the absolute best we can be. But what does that look like? What do we need to do to be the best? To be perfect? I've given this a lot of thought, and decided to make a list (in no particular order) of the 25 ways to be a perfect author.

 

25 Steps to Being the Perfect Author

1. Spend time on social media making connections and promoting your books
2. Get off of social media and spend your time reading widely in your genre of focus
3. Stop reading and wishing it was you and start writing
4. Tell everyone you know about your book and ask them to help you spread the word
5. Don't badger friends and family about your book. They'll buy it if they want it
6. Send press releases to any publication who might be interested in your work
7. Don't waste your time trying to get major press coverage
8. Watch what other authors do and try to emulate their success
9. Forget about trying to duplicate someone else's path, you have to do your own thing
10. Blog tours are the best way to reach new readers and create excitement for your book
11. Blog tours are dead
12. Experiment with new marketing opportunities like book trailers
13. Focus on what works on ignore unproven efforts like book trailers
14. Give plenty of free content away to keep readers coming to you
15. Your work has value and you need to price it for what it's worth
16. Get out there by attending conferences and going to workshops
17. The more time you spend out, the less time your writing. Skip the conferences
18. SWAG, SWAG and more SWAG
19. Don't waste your money on another glossy bookmark that will end up in the trash
20. Keep an active blog to give readers a place to find you
21. No one reads blogs anymore so don't waste your time
22. Write what you want to read
23. Write what readers are asking for
24. Listen to the experts
25. Chart your own path

Okay, so maybe this list is the opposite of helpful. Maybe that's the point. Because everyone is looking for this magic button. Authors constantly ask, what do I need to do in order to be successful. I've even had people ask me for my secret as if I'm some sort of phenom.

I solemnly swear that if I had the secret sauce to being a bestseller, I would tell you. I would write the most epic of blog posts and send it to my newsletter folks and shout it from the rooftops. I don't have it. No one does. Anyone telling you they have the formula for success is trying to sell you something.

Sure, I can give tips and hints. I can tell you what I do and tip my hat to the success of other authors. But those are just ideas. Some of them will work for you. Some of them won't. Something may work today and fail tomorrow. There are just too many variables.

So don't worry about being the perfect author and making all the right decisions. Don't spend your time comparing your success to others. Instead, focus on how you can be the best author that you can be. Figure out how to be the perfect you and I promise that will be good enough.

Agency Lessons: the unforgivable curse

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made. 

Warning: Today's agency lessons post is Harry Potter themed for no particular reason whatsoever. You're welcome.

Agents, in general, are a pretty understanding bunch. We get that writing a novel is a massive undertaking and querying is equivalent to a first date with Lord Voldemort. We get it. Which is why, for the most part, we obliviate charm the flub ups and re-dos and 'my bad' situations that tend to pop up.

However, in my book, there is one offense that is a deal breaker. Once you commit it, no matter how great your manuscript is, I cannot work with you. It is the unforgivable curse of writers.

What is it?

Refusing to be a professional.

That's it so please put the red pen down and stop tearing up your query. It has nothing to do with dangling modifiers or calling me sir, or misspelling my ridiculously difficult last name. Those will cost you house cup points, but won't kill you. You just need to be professional.

What does that mean?

It means treating publishing like any other business. It means taking the time to learn about the industry you want to be a part of. It means digging in like Rita Skeeter investigating a new rumor.

It means not sending this this Facebook message to our agency:
"I have a book I would like published. Who I talk to about that?"

Grammar issues aside, are you kidding me? This would be the equivalent of me walking into the Ministry of Magic and telling the receptionist. "Yeah, I'm lookin' to be an Auror. You got a form or something?"

Now, you may be thinking, geez, Sarah, harsh. The guy was just asking a question.

But it's not just a question. This was not, should I list my book info in the query first or just launch into the pitch. This was essentially a question letting me know the author has zero willingness to put in effort to find an answer. I ran a google search to find the answer to this person's query. This is what I found:

Millions of posts that are exact answers to this question. These are just the first ones that popped up on the first page. I can't imagine it gets easier than that. Arthur Weasley could figure that one out.

Which is why the question we received makes my furious. I have to assume since they know how to use Facebook, they are a fellow muggle  and are also familiar with Google. So the only conclusion I can draw is that they are too lazy to do their own research.

Look, publishing a book is a long hard road. And I get that it is also very confusing. If you ask my clients, hopefully they will tell you that I am more than willing to answer the questions that will inevitably pop up during the journey. But I can't, and won't, help someone who refuses to help themselve.

There is nothing wrong with having questions and you should definitely go out and find your answers, like Harry finding a horcrux. Just understand that publishing is a business and you need to treat it professionally if you want to avoid getting hit with an Avada Kedavra before you even get started.

What to leave out of your author bio

Change of plans. Sickness abounds in west central Texas so my headshots are rescheduled for next week. So, I thought this would be a good time to talk about another aspect of your author platform. The author bio. You know, that paragraph all about you that makes you break out in a cold sweat and sends you into a tailspin.

It's not that writing a bio is hard. It's writing one that captures who you are when most of the time you feel like your most interesting feature is your batman sweatpants...that you've worn for the past three days.

If you're batman, you should put that in your bio!

I read a lot of author bios and the result is that I tend to see the same bits of info pumped out over and over again. The problem with most of these bios is that they sound just like everyone else's. The end result is that I don't really know anything about the author and can't distinguish them from others.

So here are a few topics I see over and over again that you should consider leaving out of your bio.

1. Early reader/writer
I wish a had a dollar for every bio I've read that starts off with the author writing or reading at a young age. I'd have a large stack of dollar bills. Here's the deal, most of us in this business were early readers/writers. It's been a lifelong passion for most of us. So this tidbit doesn't make you stand out. Instead, it sounds like a not so humble brag and throws you in a bag with everyone else. A more interesting bio line would be that you struggled and didn't start reading until you were ten. Why? Because it's different and speaks to the author's perserverance.

2. Where you were born/raised
This isn't a deal breaker, but is often irrelevant. Author X grew up in random city, random state. And I've already forgotten this and moved on. Where you grew up should only be included if you a) grew up somewhere exotic that makes you stand out or b) gives you insider info relevant to your books. So for example, if you grew up on a tiny island off the coast of Bali, that's interesting and will likely stick in a reader's head. Or, if you grew up in a hotel and your books show the behind the scenes of the hospitality industry. Remember that the info in your bio should be relevant to you and your books.

3. Where you went to school/Your major
This is similar to the early reader issue. You'll find that most authors majored in English. Wow, a shocker, I know. So adding that into your bio is like saying "I have a name and breathe oxygen." This is a space filler. Now, let's say you majored in meteorology. You traded studying clouds for, keeping your head in them. A detail like this would instantly set your bio apart.

4. Listing your kids/pets
I'm as proud of my kids as the next gal, but does anyone really care that I have two of the world's most adorable little girls? Probably not. Again, this is an issue of the information not setting you apart. Lots of people have kids. Lots of people have pets. Now, do you have 8 kids? Bless you, that's a lot. And it's interesting. Is your pet a potbellied pig named Lucy? Tell me all about it.

5. Old accomplishments
Oh, you won an essay contest in 7th grade? Your mom must be so proud. Or she was, back when you were in 7th grade. She probably expects that you've moved on from that momentous accomplishment back when you were 13. The exception here is major awards. If you won a biggie, there is no expiration date. Feel free to include your status as a Newberry medal winner until the end of time.

If there was a central theme to what to leave out of your bio, it would be leave out the boring parts. Your bio should be a reflection of your personality and give readers a bit more insight into who you are as a person. To be effective a good bio should be interesting and memorable.

Agency Lessons: How much is too much to post online

If you follow me on FB, you'll know that I posted a sneak peek of a new story I'm working on while I let my draft for Rite of Revelation sit. It's one that I've wanted to write for a while, but couldn't squeeze it in so I'm pretty pumped.

Pumped, get it, pumped. I'm a dork.

It was a bit different for me because usually no one, NO ONE, reads the first draft. They are all kinds of craptastic. But I'm just so pumped for this story, I figured it wouldn't kill me to post a little bit. And it was little, around 300 words.

I've been asked before about writers posting snippets of their unpublished works online and if that's okay or not. So this seems like a good time to broach the subject.

What is considered published?
If you put your book up on Amazon, even if it was just to share with a few friends, you are published. Is that going to mean the death of your book? Not necessarily, but it's also not great. It just depends on a lot of different factors. If you are planning to seek traditional publication for a project, I would advise to not put it up for sale anywhere.

What about social publishing?
Now we have test sites like Wattpad, where writers can post anything from fan fiction to whole novels. So can you post your work there? Again, if it's a novel you plan to seek publication for, I would say no. Now, there are stories out there of someone posting their novel and getting so many reads that a publisher swooped in to hand them a big fat deal. First off, there are only a handful of those so they are hardly the norm, and I expect we will see fewer and fewer of these. Why? Because getting people to read your book for free does not always equal sales. We all know there are books we get on Kindle because they are free that we wouldn't be willing to shell out money on.

But going even further than that, do you really want the world reading something that hasn't been through a really thorough and professional edit? I know that sounds horrifying to me. I would hate for readers to judge my ability as a writer based on something that only went through spell check.

Can I post on my blog?
Yes, I think you can. But, you know, in moderation. I would say no to posting a whole novel. I would even say no to posting the whole first chapter. To be clear. That is not considered published. But, you are creating potential issues that don't need to be created. For example, sometimes for a big release, publishers can sell first rights that give a publication, such as a magazine for your target readers, the right to publish your first chapter before anyone else. And even if they can't, those parts can be used in marketing the lead up to your release.

However, I don't see any issue with posting a short (less than 500 word) snippet of your book on your website or social media page. I can see where this could be especially useful for an author working on a series. Posting little snippets can keep your readers engaged during the wait between books. So long as you don't post any spoilers.

The main thing to keep in mind when posting your unpublished material online is, what are you trying to accomplish. Are you looking for a new reader base? Trying to energize an existing base? Gauging interest in a potential project? Know why you are posting it, and that should help you determine if you should, and how much.

Those questions are much more important than, will posting this hurt my chances of getting an agent. You should be asking, will posting this help me get closer to my goals.

Being an author is more than just writing

Yesterday was a good day for me. I finished the first draft of Rite of Revelation. This one was a doozy to get out and much harder to write than the first book. But I know I've only just started. There is still editing, getting peer feedback and even more editing from the pros. And that's just the work that goes into the writing of the book.

This is me today

For many, that's the easy part. There are still marketing plans to nail down, reviews to solicit and press releases to write. And that goes for every author, not just the self publisher. While I can say from experience that most decent publishers do provide their authors with marketing support, the majority of the work is going to fall to the author.

Being an author is a career choice. It's not just sitting in a coffee shop or cabin in the woods pumping out words and sending them off to future fame and fortune. And that how every career works. NFL players love to play football. But they don't just show up every Monday, play a game, and go home. They put in countless hours on the practice field and in the gym. Many of them turn to other activities outside of football, such as dance and yoga, to help improve their performance. And they practice giving interviews and answer questions at press conferences. And they go out to team events and sign footballs, and talk to kids about sports and staying healthy. Lot of players take advantage of other opportunities such as making commercials or being part of a video game, because they know they can't play the game forever. They are football players, but the game only takes up a few hours of their time that is otherwise filled with activities off the field.

There are always going to be parts of a career that are less than fun. I did not enjoy filing my taxes this year. But we do things we don't want to do so we can keep doing the parts we love.

I hear from authors all the time. "I just want to write." And that's lovely. You should write. Write as much as you want for as long as you want. But to make this a career, like any other career, you have to do more than just write.

If the idea of doing anything but writing makes you want to weep, then (hard truth coming at you here) being an author may not be the right career path for you. That doesn't mean you have to stop writing, or even stop publishing. But it does mean you need to recognize that writing is going to be more of hobby than a career. Hobbies are done for fun and pure enjoyment. You can write and publish as a hobby, but understand the limitations of writing as a hobby versus a career.

Neither one of those are bad choices. I know people who just like to pick up a pen as a way to vent out creative energy. They have no desire to see their book published. It's just something they do for fun. And that is A-Okay.

But if you are serious about making writing your career, about hitting best-sellers lists, winning awards and living off your royalties, you have to do more than write.

How to avoid accidentally stealing a book

This is not a post about piracy.

Pirates exist. People who think it's okay to download an illegal copy of a book instead of just going to the library exist. People trying to make money off other people's hard work exist. No amount of take down notices, public rants or threatened lawsuits are going to stop pirates. For every website authors take down, five new ones pop up.

Trying to stop pirates is not worth my time or energy. People who scour the internet for free books knowing full well they are stealing were never going to pay for my book. They are not lost sales.

To be clear, these people stink. But I've come to accept that their existence is one of the downsides of this whole publishing biz.

But I do have a beef. Used to be these piracy sites were easy to identify. They looked like thrown together websites with clunky buttons and a swarmy feel.

Not anymore. Now these sites operate out in the open with flashy pages filled with high-res photos and slick interfaces. They offer free memberships granting access to thousands of free books. They look like legitimate webpages. And because of this, they suck in unsuspecting readers.

Readers who aren't trying to steal books. Readers who appreciate the value of the written word. Readers who think book pirates stink.

So because I know that all of you are the upstanding sort of folk who would never knowingly steal from an author, allow me to offer some advice as you go scouring the web looking for your next read.

1. Brand new books are almost never free. Sure there are a few exceptions, but as a general rule, a book that has been released within the past few months is not supposed to be free. A brand new free book has almost certainly been pirated.

2. When a book is free, the author will talk about it. If you find a free book you'd like to read and are uncertain if it's legit, go do a quick search for the author's twitter account or facebook page. If they haven't mentioned their book going on a free sale, you can be pretty confident you've found a pirate.

3. Membership services aren't free. There are legitimate services out there that allow you access to tons of books. But they aren't free. You pay a monthly service to get this access and the author receives a portion of that when you read their book. If there's not a fee, you've found someone stealing from authors.

4. Legitimate services are advertised. If you come across a website that looks completely above board, but you haven't heard of them, do your research first. A Google search of the service's name should generate plenty of results that are outside the site in question. They should have mentions from some of the big players in publishing such as Writer's Digest, Publisher's Lunch or another well known pub. If the only results are from the website you're researching, they are probably a pirate site.

5. Retailers claim responsibility. One of the best ways to determine if a site is a legal book resource, is to look at their legal disclaimer. Most pirate sites will make statements such as they don't claim any ownership of the material being shared or something to that nature. You will also see options for authors to request a take down. You won't find that at Amazon and B&N because those sites have a legal right to sell the material and the author/publisher has access to the book's listing. If a site claims they don't host the book on their site or have the legal right to list it, you've got a pirate.

There's a circle of hell for pirates filled with book shelves where every book has the last chapter removed. I'll let karma take care of them. But they are sneaky and I hate to see devoted readers get sucked into their sites on accident. If you ever run across a free book listing and just can't tell if it's legit, you can never go wrong reaching out to the author. A quick email or tweet to ask if a site is legal will always be appreciated and earn you super reader status.

Maybe someday we'll figure out a way to keep these thieves from making money off the hard work of others. Until then, be mindful of where you get your books and keep reading!

Agency Lessons: what makes a series stand alone

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made. 

So last week I wrote about how to query a series (FYI: the first book only). And the comments section reminded me that I might need to clarify a few things when it comes to a series. Specifically, what makes a book in a series a stand alone.

The issue came up because you should always indicate in your query for a series if the first book is a stand alone or not. But how do you know if your book is a stand alone?

I picked two really popular series to hopefully illustrate the difference and make it a little clearer for authors venturing into the query gates.

The stand alone: Harry Potter

And right off the bat, I'm guessing I lost several of you who thought the Harry Potter series was not made of stand alone books. But it is, I promise. Let's take a look at the first book, The Sorcerer's Stone.

This is the book that starts it all so it's a bit heavy in back story and description, but once we get into it, there is a clear goal for Harry: Keep Voldemort from getting the sorcerer's stone. It's a windy path to get there, but at the end of the book (SPOILER ALERT) Harry has recovered the stone and successfully kept Voldemort from using it to bring himself back from near death.

But Sarah, many of you say, what about all the open threads and unanswered questions. Yep, they are there. That's what makes this series different from one like Sue Grafton's alphabet series. That is written more like a sitcom with the same characters in each book, but not really tied together in plot. You could read those out of order and be okay. The same could not be said for Harry Potter.

The unresolved conflicts are what create the series arc in HP. This is important so I'm going to bold it. You don't have to answer every question in order for a book to be a stand-alone. Got it? Good. Now, let's look at the other side of series.

The non stand alone: Game of Thrones

So the first book in this series is about...all the different people, and...lots of stuff is going on, and...winter is coming. But at the end of the book, winter is not here and we have people dying left and right and no one came out the hero. Without the next book in the series we are left with almost zero answers and a stone castle full of questions.

And that's okay. There's nothing wrong with that kind of book, but George RR could never claim that the first book in that series stands alone. There isn't a single goal, conflict, resolution line to be found.

And that's what you need for a book to stand alone. One solid Goal: Conflict: Resolution plot line that ties the rest of the book together. Even if you leave several other threads open, your book can stand on it's own spine if you can identify those things.

I hope that clarifies series a bit and makes everyone feel a little more warm and fuzzy about sending out your next batch of queries. Well, probably not warm and fuzzy, but maybe less nauseous. That's a good goal.

Agency Lessons: Querying a series

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made. 

When it comes to writing a series, it seems like the extra questions that pop up seem to multiply with each book you add. Do you write the whole series and then query? Write the first book and then query with a full series synopsis? Write the first book and nothing else so you can walk away if it doesn't sell?

So many questions. And conflicting advice everywhere. So let's add a few more opinions into the mix, shall we.

I love a good series. There is something really gratifying about coming back to the same characters and following them as they grow. As an author, I appreciate just how hard that can be.

Let's start with when to write what. Some will say that you should only write the first book and that way you haven't wasted time writing a second book if the first doesn't sell. Others suggest you should write the whole enchilada before you sell so you have all the kinks worked out. Here's what I think.

Write what makes you happy. I wrote a manuscript and expected it to be the first in a trilogy. While I was mistakenly querying that plot-less wonder, I wrote the second book. I'm fairly certain neither one of them will ever see the light of day. But I'm not sorry I spent the time writing the second one.

For starters, I was so in love with the story that I knocked out the first draft in 10 days. Also, I know it helped me grow in my craft because practice is what makes me a better writer. And that was the story in my head right then. If I had tried to ignore it, I would have fumbled through writing something else until I came back to it. That's how my brain works. Maybe your brain works differently. The point is whether you write the series or just one book is up to you. Write what makes you happy.

Now when it comes to querying, I have a less touchy-feely answer. Do not query an entire series. I get queries all the time that try to explain an entire trilogy in a single query. As you can imagine, this is a disaster. Don't do this. Start with book one. Craft your query as if this book stood all on it's own. Then tell me that it's part of a series, completed or planned.

Also, let me know if your book can stand on it's own. If you are a debut author I cannot recommend strongly enough that the first book in your series should be able to stand on its own two feet. If it can't, don't tell me it can. I will know that it can't when I read your synopsis and then I will be in a bad mood because you lied. Don't lie. If your book needs the others in the series to tell a full story, tell me.

There is no wrong or right way to write a series. But no matter how you write it only the first book belongs in your query and synopsis.

Anyone want to share your best tips for writing a series? 

The definitive guide* on paying for reviews

On Wednesday I shared my tips for finding book reviewers. For most of you, I'm hoping that information was helpful. For some of you, it was overwhelming.

Maybe you're just barely eeking out an hour a day to write and the idea of spending all that time finding, researching and contacting reviewers makes you want to cry onto your blank pages. I don't personally relate since I'm one of those weird people that finds marketing fun. But I can understand.

If that all feels like too much, it's okay. You can hire a reputable and respectable blog tour company to organize your tour for you. Be aware that you will probably end up with fewer reviewers or pay heavily for them. I'm personally not a fan of this route, but it is absolutely an option and one that I support if this is what you need.

But I want to be clear that there is a big difference between paying someone to organize your blog tour and buying reviews. One of these is perfectly acceptable and above the bar and the other is a quick way to become a schwarmy author.

Buying reviews is, in my book, a seriously bad decision. It goes against everything I love about being an author and a reader. It taints the process of finding new books and makes the author look like a huckster instead of an artist.

Just in case there is any confusion when it comes to what exactly is a paid review. I've made this definitive guide* to steer you on the path of the straight and narrow.

*Or maybe not so much definitive as just the list of things I could think of. So...yeah.

DO give your book to reviewers in exchange for an honest review.
Some might feel that this is paying for a review. Trust me when I say that if reviewers were going to get paid, their time would be worth way more than the cost of my $2.99 eBook. Giving your book to someone who wants to review it is not paying them. On the reverse, I've seen folks ask for reviews and then provide a purchase link.This is not asking for reviews. This is begging for people to buy your book. Reviewers dedicate many (MANY) hours to reviewing books simply because they love them and want to share their passion with others. Understand that asking them to pay for your book is going to net you zero reviews.

DO NOT give someone the money to buy your book so their review shows up as a "verified purchase".
I've seen this listed as a viable method on various group sites and handed out as advice from people who brand themselves as book marketing professionals. Here's why this is a no-no. First, it is intentionally deceitful. The verified purchase identifier on Amazon is there so that a review is given more credence, since theoretically, the reviewer bought the book in question on their own and chose to review it. By giving someone the money so they get the verified purchase identifier, you are gaming the system. Bad. Also, I cannot recall a single time when I bothered to see if a review was from a verified purchase. I don't care and I'm guessing the average reader doesn't either. So your deception is pretty pointless.

DO understand that not everyone will finish/review your book.
Even when you've given your book to a reviewer for free, they may not finish it. And if they do, they might not review it. Understand that sometimes a reviewer chooses not to leave a review. Maybe because they honestly didn't like your book and don't want to give you a one star. So no review is actually a good thing. Regardless of the reason, a reviewer doesn't owe you anything. Remember when I said they are worth more than $2.99. That book was not a payment for service. It was a gift in the hopes of a review.

DO NOT pay someone in exchange for a review.
This is pretty clear cut, but you should never, ever give someone money as payment for their review. First, this goes against the terms of service for Amazon and is grounds for getting you and your books kicked off the website. Second, it is just so dirty. Seriously, it's wrong and gives me the heebie jeebies. Third, the people who write reviews for a living punch those things out by the dozen. They probably didn't read your book and you'll end up with a generic review that will most likely be worthless. Just saying.


DO expect that you will get negative reviews.
When someone agrees to read and review your book, they are not making a promise that they will like your book and give it a good review. Reviews are so powerful because readers put faith in their honestly. There will be people who don't like your book (shocker, I know) and they will leave negative reviews. The good news here is that you actually want a few of these on your book page. All 5-star reviews for a book makes them look fake or as if all your reviews came from your relatives. A few negative reviews gives more credit to the positive ones.

DO NOT pay a service to find reviewers for you
This one sounds tricky, but it's not. This is different than a service organizing your blog tour. A tour coordinator is in constant communication with you and the bloggers to ensure everyone has the information they need, your tour dates are covered and the tour is promoted. It's a lot of work and should be a paid gig. A service that is simply finding reviews for you is not doing any of that. They are hiring people who will give your book a glowing review for a fiver. There are probably a few sites out there that are simply coordinating reviewers with authors and keeps it all on the up and up. But for everyone company that is staying true to the nature of reviews, there are dozens who are churning reviews out like a puppy farm. I realize it's tempting, but just don't.

So there you have it. Reviews are super valuable to you and a major part of promoting your book. Getting them doesn't have to be torture. But if that sounds like less fun than having all your fingernails pulled off, don't turn to the easy answer of paying for reviews. It might help you in the short term, but eventually those fake reviews will come back to bite you and you'll wish you hadn't.

Agency Lessons: compassion doesn't equal compliance

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made.

I usually try to keep things pretty light and positive with a dash of reality here on the blog. That said, I recently received an email that has me so fired up that I'll ask for a little grace while I vent it out. In doing so, I hope to spread a bit of perspective and maybe help the next wayward writer.

I include my personal email address on the blog. I realize that opens me up to spam and inappropriate contact, but it's important to me to be available to my readers and to all of you. Truly, I love hearing from you, and helping other authors on their path is fulfilling. However, I do receive emails from time to time that should never be sent. And sometimes, like last week, I get emails that send me into a tirade that my husband has to sit quietly through.

The email I received started out poorly. The subject line read "Query for Sarah - to the wrong email, I know, but please read". I should have deleted it right then and there. I state clearly on my site that queries sent to my personal email will be deleted. But I didn't. Woe unto me.

The body of the email was basically a butter up opening paragraph, followed by an acknowledgement of the rule breaking and then five pages (which I did not read). I did respond that the individual needed to follow the guidelines and then deleted the email without remorse.

If that's all it had been, I would not be writing this blog post. I get that in a long list of emails, you might get one mixed up and send it to my personal address instead of the agency. And that's why I usually do open those up and direct folks to the website. I understand the neurosis of wondering for months if your email went through.

Instead of that being all, I received a reply back. Apparently, the querier wasn't looking for representation, but rather my opinion of their work. They decided that my reading five pages would be sufficient to decide if they should put their career on hold to pursue writing. Let's digest that for a minute. First off, as good as I may be, I can not tell you to quit your job and pursue writing based on five pages. Not that I would ever advise anyone in the first draft stage to quit their job.  Second, why in the world would you allow the opinion of one stranger who has only read five pages determine your career path? I'm an agent, not the Dalai Lama. No one, NO ONE's opinion should be that important.

Misguided as that may be, that realization made me more sad than angry. But that quickly changed, when the emailer asked me for a quick five minutes and compassion.

Because apparently, my refusal to disrupt my schedule to comply with an inappropriate request would mean I don't have any compassion. And that right there is when the heat rage crept into my face and my husband knew something bad had just happened.

As an agent and a writer, I donate my time constantly to judging contests, attending conferences, teaching workshops and running this blog. All things I do because of my love for books and writers. This is time that is separate from time spent doing my job, writing and taking care of my family. Don't take that as I'm way busier than everyone else so have pity on me. I mention it to show that I am already giving quite a bit of my time to the writing community. And I enjoy doing so. On my own terms.

For a complete stranger to email me, basically demand my help, and insinuate that failure to do so makes me a cold-hearted witch... Well, that's why we have this blog post.

Look, I get it. We are all looking for validation, help, a listening ear. This is even more important for new writers who are just getting their feet wet in the big literary world. But there are right ways and wrong ways to get those things. The wrong way is demanding them from strangers.

The right way? Here's a few ideas.

* Join a local writer's group or find some online critique partners. Not only can these individuals help you hone your craft, they can be a wonderful source of information and a listening ear when you need some extra moral support.

* Attend a conference. This can be a huge help if you are new. A well-organized conference can be like a crash course in writing. You'll have a chance to attend classes, meet other writers, and possibly get some face time with agents and other publishing pros.

* Ask someone to be your mentor. This is a little harder to get, but can be a wonderful opportunity. If there's an author that you admire who writes in your genre, you might want to reach out and ask if they would be willing to be your mentor. If you do this, you need to be prepared. Know exactly what you are asking of them, and be clear in your request. Are you looking for someone who can help you refine your manuscripts? Do you want someone who you can chat with once a month to ask about the industry? Also, be prepared for a no. Many authors have full time jobs outside of their writing lives and squeezing in another commitment isn't possible. Don't take this personally and understand that their lack of compliance to your request does not indicate a lack of compassion on their end.

I wish I could help every writer who contacted me about reading their work. I wish I had unlimited hours and a biological capability to survive on two hours of sleep a night. I wish I had a goose that laid golden eggs. If I did, I'd be more than happy to give personal advice and feedback to everyone. But I don't, and I can't. And that doesn't make me any less compassionate.

It's never wrong to reach out to someone you respect and admire, and I don't want this post to make anyone hesitant to email me. But know that words have power and, as much as I want to, I can't be all things to everyone.

Now, in the interest of helping the author who contacted me and other new writers, do me a favor if you will (though I understand if you can't). Spam my comments section with links to your favorite conferences, online writing groups, and places to find critique partners. This is an amazing community and I know we can help each other grow!

Agency Lessons: Not a good fit

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made.

Today, I'm reaching into the mail bag to answer a reader question about querying. Here's the question:

What does it mean when an agent says "it's not a good fit for me" when it was exactly what they were requesting?

This is a great question. As agents we tell you to pay close attention to our submission guidelines and what we are looking for. Many of us tweet special requests and there's an entire website dedicated to finding out exactly what agents are looking for. But, it's not uncommon to narrow in on an agent who has requested the very special blend of genre/character/voice that you have and still come away without a request. 

The reasons for this pass fall into two main categories: Missing the mark and Missing the goods

Missing the Mark
So an agent asks for a historical romance sent in Spain and you are pumped because you have just the Spanish Regency that is going to wow her. Turns out your Spanish Regency involves the aristocracy and what she was really looking for was something focused on the commoners.

It's easy to say, then why didn't she just say she wanted a Spanish historical that focuses on the commoners. But that's dangerous territory for an agent, the more limitations we place on our submissions list, the more authors who think we won't be the right match and pass us over. Or maybe we that agent was okay with the aristocracy, but recently took on a Russian historical that focuses on the royal family and just needs something different.

As agents we'll never be able to pinpoint the exact manuscript we're looking for, because we haven't read it yet. Does that make your job harder? Yes. It also makes our harder, too. It'd be lovely if I could give a check list of exactly what I want in a manuscript, but I don't know what those items are yet anymore than a reader knows exactly what they want out of a book.

So there's really no such thing as "exactly" what we're looking for.

Missing the Goods
Please don't throw tomatoes at me when I tell you that there are some phrases agents use to very politely say "this book just isn't good enough". No one likes to be told their book isn't up to par and it isn't any fun as an agent telling people they are not good writers. And yet, it happens. We get queries for projects that are just not even close to being publishable work. Not that the author in question can't be a fantastic writer, but the project is not ready.

"Not a good fit for me", "not right for my list", "not something I can sell", etc. These are all phrases that can mean, this isn't good enough. Now, I say can mean. Because they can also mean that a book just isn't the right fit. I come across projects all the time that are perfectly good stories, it just isn't something I feel strongly enough about to represent. So it's not right for my list. But sometimes, I say this because it's nicer and softer than saying "this is not even close to being publishable in it's current form".

Which is it?
When it's your query on the line, how do you know which of the categories you fall into? For sure, you really can't know. Yeah, sorry. But the best way to find out is to surround yourself with some honest critique partners who are willing to give it to you straight. You won't be doing yourself any favors if everyone only tells you how great your story is. Find other writers who know what makes a good story and then get their honest feedback.

This can be painful, but it will hurt a lot less than hundreds of form rejection letters.

Agency Lessons: The death and rebirth of the novella

Agency Lessons is a weekly post that gives authors and readers an inside look into the mind of a literary agent and a peek behind the curtain of how books are made.

If you take a gander over at my submission guidelines, you'll see that I don't accept novellas for representation. I don't keep up on what other agents accept, but I'd be willing to go out on a limb and say that the majority of agents are with me in this exclusion.

And yet, if you hop over to Amazon, you'll see that there are plenty of novellas out there in the marketplace and many of them are doing really well.

So.... on the surface, it looks like I and my fellow agents have our heads stuck in the sand.

But allow me to lay out the reasons for all this apparent tom foolery.

First, let's talk about the novellas that are doing well. They generally fall into one of two categories. The first are those put out in very niche genres and usually are priced low ($.99). The second group are those that are tie-in novellas for series. These have been especially popular lately in the YA market as little tastes to keep readers sated until the next book comes out. Those are great, but they are sold as stand-alones and are generally added in after the fact.

So group two isn't something you query, because it's more of a marketing tactic than a main project. Not to say that they aren't written well, they're just generally sold as a way to increase awareness for a series or promote an upcoming release. If you have a series out, this can be great, but it's not a query project.

And publishers aren't interested in that first group for good reason. They aren't going to make money within the traditional model. By themselves, novellas really aren't long enough to invest the money in a print run, so eBook is the only real option there. And while you can price them higher, right now the market isn't going to sustain anything much over $1.99 for a novella. That's just not enough to spread out among all the players in the traditional world. Honestly, without serious sales, I doubt it's enough to make much of a splash for an indie author either. It's hard to break even when you only earn $.33 to $.66 per book.

So what do you do with your novella?

You actually have several options. You can self-publish them individually. Package several together and publish them. Submit them to niche publishers or magazines. You can also post them for free on your website or an external site such as Wattpad to begin growing your reader audience.

Novella's may have experienced a death in traditional publishing, but they can have a rebirth. Just not in my query box. :)