Ask Nathan Bransford! Guest agent from 02/07 - 12/09!

johnrobison · Mar 8, 2007

Maprilynne said:
Just FYI people, Nathan never claimed to be an expert on books on illnesses and asked an honest question. Please don't jump allover him lest you scare him away. This is "Ask the Agent," not "Prove the Agent Wrong."

Sorry for coming off preachy but some of those responses were a little lecture-ish. Nathan does not need to be lectured.

Maprilynne

Well, speaking for myself, my apologies to Nathan if he thought I was "jumping all over him," as you said. I didn't think I was, nor did I think I was preachy.

I agree with what he said, also, in that a "book about an illness" is different than a memoir about living with an illness.

Honalo · Mar 9, 2007

what's the worst pitch

Mr. Bransford, hi, and thanks for taking out your time!

I'm revising my YA book and have just added you to the list of agents to query! It's a Christmas-themed book, which I hope is marketable (as with all things Christmas).

My question: What is the worst thing I (or anyone) could do in a pitch letter to an agent? What words should I avoid?

Thanks again!

Nathan Bransford · Mar 9, 2007

miztori said:
Hi Nathan,
I read your description at the beginning of this thread. I notice you dont represnt poetry, which is good for me because I dont write poetry. I write horror that has elements of Quirky humor, eroticism, and action. I was going to submit to an agent, but being as my writing doent fit neatly into a genre, am I better off going with a publisher such as Samhain? (for example)

Thank You,
Tori

You're going to be much better served going through an agent -- it sounds like you write horror, so I'd query agents who represent that genre.

Nathan Bransford · Mar 9, 2007

popmuze said:
Nathan,
Given the same author, track record and proposal, what percentage of agents would get said author pretty much the same advance?

Or do you think certain agents, just by reputation, can get more money for their clients, while others, because they're unestablished, will wind up getting less than the going rate?

I actually don't think this is possible to measure. The advance depends on the project and the author, and there are so many variables involved that it would be impossible to isolate the amount that an agent can influence.

Nathan Bransford · Mar 9, 2007

Another said:
Writers note the obvious implication: agents may not be your only approach target. Ask yourself if you know someone who knows the agent or is a client of the agency who might recommend you. More generally, what authors, publishers, bookstore owners, critics, editors, etc. know you and your work? And who do they know in the agent/publisher world? So maybe some ye old networking is in order.

Why is the obvious not always obvious?

Networking definitely helps, although for some people who lack connections this isn't always possible and querying is a fine backup plan that does work. And one thing to remember about networking is that it can get you a foot in the door, but you still have to have a great project!

Nathan Bransford · Mar 9, 2007

Mela said:
Mr. Bransford, hi, and thanks for taking out your time!

I'm revising my YA book and have just added you to the list of agents to query! It's a Christmas-themed book, which I hope is marketable (as with all things Christmas).

My question: What is the worst thing I (or anyone) could do in a pitch letter to an agent? What words should I avoid?

Thanks again!

I have a blog post on a really bad query letter that includes a lot of the things that you should avoid when writing query letters (just fyi I wrote the letter, so I didn't make fun of someone who submitted to me, which I wouldn't do): http://nathanbransford.blogspot.com/2007/02/anatomy-of-really-bad-query-letter.html

And I'm looking forward to considering your work!

Meerkat · Mar 9, 2007

Hi Mr. Bransford,

Have you ever considered inventing new genres to market that do not quite fit the current categories; and what would you call them?

And thanks for your continuing patience with us!

Nathan Bransford · Mar 9, 2007

gclare said:
Hi Mr. Bransford,

Have you ever considered inventing new genres to market that do not quite fit the current categories; and what would you call them?

And thanks for your continuing patience with us!

I've yet to see a book that couldn't be categorized. I would be thrilled to see a book come along that basically invents a new genre, but that only happens about once a generation.

Another · Mar 9, 2007

"Networking" versus "querying"

Nathan Bransford said:
Networking definitely helps, although for some people who lack connections this isn't always possible and querying is a fine backup plan that does work. And one thing to remember about networking is that it can get you a foot in the door, but you still have to have a great project!

And I though I was the only one dealing in the obvious. Clearly, networking ain’t possible without connections and one must still have a marketable project (I hesitate to say a "great" project given some of what makes it through to publishing these days, or any days).

But given your indication much if not most of what you (and other agents?) accept is NOT through the query process but referrals, it behooves the writer to understand networking, especially given the long odds of (as suggested on this thread) making it via query. So, issues Nathan may or may not want to address:

When might networking be possible and productive for an author or prospective author? Who are the people most/least likely to know agents and relevant publishers? In what "circles" do they run? Might some of these people be right under our noses (homeowner’s association, chamber of commerce, PTA …) or truly out of reach?
If one can’t identify relevant contacts via friends, work world, associations, neighbors, book groups, ski partners and the like, in what environments and settings are most/least conducive? Obviously (here we go again), being in publishing or media world or journalism versus, say, science may be better for developing relevant contacts. Or is that so?
Once network targets are identified, what’s the approach method? How to ask for the referral? What’s expecting too much or not enough? And from the agent’s perspective, under what conditions do they accept or reject referrals? Obviously, a referral from another agent within their agency is sure fire. What others are near sure fire? Or no go?

Irysangel · Mar 9, 2007

Hi Nathan,

How important is the synopsis to you?

I know we all panic and stress over our query letters (the resume) and the chapters (the product). Where does the synopsis fit in this? Some agents don't even request them, so it's hard to categorize how much (or how little) we should stress out about this particular aspect.

Thank you!

Eyethforce · Mar 12, 2007

Hello, I have an urge to ask you this question which bothering me for a while. I have surfed around the net, read the advises about get agents, query letters, and etc.. I came across the one topic which really hit me hard. Ok, that topic was "What to say when the agent calls." As almost every writers know what I am talking about, the call from agent.

The agents like what they see on the query letters and samples of chapters and then called you to see how you reacted or what you sounded on the phone..

Now, you see I have an problem.. I cannot exactly answer the phone because I cannot hear anything nor talk! (Oh well, I sure can hear loud bang from shotgun only if it was pointing at my ears.) And how in heck the agents can hear who I was like if I just speak in garbled language unknown to any species! In my belief, I think it is WRONG...

So what I can do about it? Any idea?

Judg · Mar 12, 2007

Eye, it seems to me that it would be very easy to include a short sentence near the end of your query specifying that you are deaf and that all communication should be done by email. I can't see why anyone would have any trouble with that.

And as far as I know, agents don't make that phone call to further evaluate the author, but simply because it's the fastest and simplest form of communication. So you have nothing to worry about.

Honalo · Mar 12, 2007

Nathan thanks so much for your reponse!
Here I go ... ready to query away ...

Honalo · Mar 12, 2007

if it's not too much trouble I have another question

I just read your worst query letter blog (hysterical) and came up with another question: What would you consider a brilliant pitch letter?
or, er... semi-brilliant? Exceedingly bright?
Above average?
OK ... would it get read?
Thanks!

PS: I'm at work writing this so there was no time for me to hunt further around your blog - if it's there please send over the link. Much obliged.

Nathan Bransford · Mar 12, 2007

Another said:
When might networking be possible and productive for an author or prospective author? Who are the people most/least likely to know agents and relevant publishers? In what "circles" do they run? Might some of these people be right under our noses (homeowner’s association, chamber of commerce, PTA …) or truly out of reach?

If one can’t identify relevant contacts via friends, work world, associations, neighbors, book groups, ski partners and the like, in what environments and settings are most/least conducive? Obviously (here we go again), being in publishing or media world or journalism versus, say, science may be better for developing relevant contacts. Or is that so?

Once network targets are identified, what’s the approach method? How to ask for the referral? What’s expecting too much or not enough? And from the agent’s perspective, under what conditions do they accept or reject referrals? Obviously, a referral from another agent within their agency is sure fire. What others are near sure fire? Or no go?

There are many ways to meet authors and agents, whether through writer's groups, writing conferences, e-mail, and yes, you wouldn't believe the success people I know have had through having really bizarre connections to the publishing industry, like having an aunt who lives in a building with someone's assistant -- if you put out the word that you have a novel, chances are someone you know can come through with a third degree referral to someone who works in publishing.

I think these types of referrals work best though when you really do know the author or publishing insider, rather than just hitting them up anonymously for a referral. When a referral does happen usually the author will give the agent a heads up and then the author sends a query letter.

I find that referrals are often successful simply because someone who is really serious about being a writer tends to know other writers, and their publishing connections sort of happen naturally due to their networking with fellow writers, their attendance of conferences and the like. So it's as much about their seriousness as it is about being intrinsically well-connected.

Nathan Bransford · Mar 12, 2007

Irysangel said:
Hi Nathan,

How important is the synopsis to you?

I know we all panic and stress over our query letters (the resume) and the chapters (the product). Where does the synopsis fit in this? Some agents don't even request them, so it's hard to categorize how much (or how little) we should stress out about this particular aspect.

Thank you!

I can only speak for myself, but I really don't put a whole lot of stock in synopses. I really really care about the query letter, which isn't just a resume, it's a brief encapsulation of the project that makes me want to read more. Then, if I'm interested, I'll head straight for the sample chapters. I'll only really take a look at a synopsis to refresh my memory on plot points.

However, there are agents who do care about the synopsis, so put a lot of work into making it snappy.

Nathan Bransford · Mar 12, 2007

Eyethforce said:
Hello, I have an urge to ask you this question which bothering me for a while. I have surfed around the net, read the advises about get agents, query letters, and etc.. I came across the one topic which really hit me hard. Ok, that topic was "What to say when the agent calls." As almost every writers know what I am talking about, the call from agent.

The agents like what they see on the query letters and samples of chapters and then called you to see how you reacted or what you sounded on the phone..

Now, you see I have an problem.. I cannot exactly answer the phone because I cannot hear anything nor talk! (Oh well, I sure can hear loud bang from shotgun only if it was pointing at my ears.) And how in heck the agents can hear who I was like if I just speak in garbled language unknown to any species! In my belief, I think it is WRONG...

So what I can do about it? Any idea?

Actually, I have a client who has hearing trouble, and it's not a problem for us at all. Just mention (maybe in a PS) that you have trouble hearing and you would prefer to communicate via e-mail. I'm sure if an agent falls in love with your project it won't be a problem.

Nathan Bransford · Mar 12, 2007

Mela said:
I just read your worst query letter blog (hysterical) and came up with another question: What would you consider a brilliant pitch letter?
or, er... semi-brilliant? Exceedingly bright?
Above average?
OK ... would it get read?
Thanks!

PS: I'm at work writing this so there was no time for me to hunt further around your blog - if it's there please send over the link. Much obliged.

Here's the link to a really great query letter that I analyzed. Hope you find it helfpul:

http://nathanbransford.blogspot.com/2006/11/anatomy-of-good-query-letter.html

popmuze · Mar 12, 2007

Nathan Bransford said:
I find that referrals are often successful simply because someone who is really serious about being a writer tends to know other writers, and their publishing connections sort of happen naturally due to their networking with fellow writers

If you've been published in a good magazine, you could ask your editor to recommend you to an agent. That worked for me.

Honalo · Mar 13, 2007

many thanks

Again, thanks for your help.
Having you here to answer questions has been a truly valuable resource - I've enjoyed reading the questions and your responses.

All the best,
Mela, the reindeer

K-Mark · Mar 13, 2007

Nathan,

Thanks for the help in advance. I have a dilema I need a little help with.

I wrote two middle grade books for boys. I sent out some queries and got a nibble by a pretty good agency. In my query for one book I made a small mention about the other. The agent asked for a sample of both. I sent them in September.

I didn't hear anything for three months, so I sent a follow up email in December. The agent replied within a day saying they were still considering.

Three months go by and it's March. I sent another follow up email, but there hasn't been any reply.

Normally I'd consider it a dead issue and move on. However, I saw a listing for another agent at this same agency actively looking for middle grade fiction for boys. I'd love to query that agent since it is a strong agency, but how do I handle it? Would it be improper to query the other agent? If I do query, should I mention the partials with the other agent at the same agency? And if I query the new agent without mentioning the whole scenerio and I'm lucky enough to get a sample request, do I mention the whole deal in the cover letter? Or...do I just move on?

Thanks for your help, I'm not sure how to handle this.

Nathan Bransford · Mar 13, 2007

K-Mark said:
Nathan,

Thanks for the help in advance. I have a dilema I need a little help with.

I wrote two middle grade books for boys. I sent out some queries and got a nibble by a pretty good agency. In my query for one book I made a small mention about the other. The agent asked for a sample of both. I sent them in September.

I didn't hear anything for three months, so I sent a follow up email in December. The agent replied within a day saying they were still considering.

Three months go by and it's March. I sent another follow up email, but there hasn't been any reply.

Normally I'd consider it a dead issue and move on. However, I saw a listing for another agent at this same agency actively looking for middle grade fiction for boys. I'd love to query that agent since it is a strong agency, but how do I handle it? Would it be improper to query the other agent? If I do query, should I mention the partials with the other agent at the same agency? And if I query the new agent without mentioning the whole scenerio and I'm lucky enough to get a sample request, do I mention the whole deal in the cover letter? Or...do I just move on?

Thanks for your help, I'm not sure how to handle this.

Hmm... that's frustrating that it's taking so long for them to reply. Honestly the proper course of action in these types of situations is kind of foreign to me, since neither I, nor an agent I've worked with, has left someone hanging like this. But just sort of thinking about it, I think there are really two courses of action:

1. Since you last heard that it is still under consideration, you could continue to follow up once a month until you hear back one way or the other, and, if it's a no, then wait three months to query the new agent (and don't mention the experience with the first agent).

2. Just consider it a no, wait three months, and then query the new agent (and again, don't mention the first agent). If the second agent somehow finds out that you queried the first agent and asks about it just say, "oh, since I didn't hear back I just considered that a no and moved on."

I always recommend a break between querying agents at the same agency because you never know who shares whose assistants, and you don't want to give the impression that you are querying indiscriminately.

Hope this helps, and good work being so patient.

K-Mark · Mar 13, 2007

It does help, thanks! I think I am going to take your advice and do it this way. Query other agents and wait three months. If I don't hear anything from the orignal agent by then (or if I don't get repped somewhere else), I'll query the new agent like you said.

Thanks for the help and good luck to you.

calamity · Mar 13, 2007

Hi Nathan, thanks for taking the time to answer our questions. I’m a tad confused about something and maybe you can help. I’m writing a memoir and recently I’ve started working on my query, researching agents, etc. For nonfiction books, all of my research has said that I need to write a book proposal. Is this true for memoir as well? I’ve written ¾ of my memoir and I don’t plan on querying until I have a finished draft. Do I still need to write a book proposal? Is querying for memoir any different from querying for a more ‘traditional’ non-fiction book (like stamp collecting)? If yes, how? I appreciate your time.

Nathan Bransford · Mar 14, 2007

calamity said:
Hi Nathan, thanks for taking the time to answer our questions. I’m a tad confused about something and maybe you can help. I’m writing a memoir and recently I’ve started working on my query, researching agents, etc. For nonfiction books, all of my research has said that I need to write a book proposal. Is this true for memoir as well? I’ve written ¾ of my memoir and I don’t plan on querying until I have a finished draft. Do I still need to write a book proposal? Is querying for memoir any different from querying for a more ‘traditional’ non-fiction book (like stamp collecting)? If yes, how? I appreciate your time.

The rules for memoirs are the same as the rules for novels -- you have to write the whole thing, and a proposal won't be of much help. So for a memoir, you write a query and hopefully you'll get requests for partials and fulls.

Also, you shouldn't begin querying until you have a third or fourth draft. It needs to be as perfect as it can possibly be before you start querying.

Ask Nathan Bransford! Guest agent from 02/07 - 12/09!

A Free Range Aspergian

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Forever Learning

She of Many Names

Eyethforce

DISENCHANTED coming soon

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