Despite the
instant success of Lauren Weisberger’s roman a clef,
The Devil Wears
Prada, for most debut authors, pitching a novel to agents and editors is
the most difficult step to getting published. If you can’t pique the
interest of either of those gatekeepers, you’re going to become
disheartened perhaps without knowing why. You might have the most potentially
marketable book since To Kill A Mockingbird, but if you can’t write a
query letter your manuscript is likely to yellow with age. Negative or
non-responses to query letters are why some writers give up and self-publish.
Self-publishing is an entirely different process that is not without its own
pitfalls, and is costly and the subject of another article.
Hopefully,
you have done your homework and you’re ready to write your letter. You
know exactly to whom you are writing, and precisely what kinds of books he or
she deals with. In the case of fiction, sending a thoroughly modern spy novel
to someone who specializes in the 10th century building of Europe’s
cathedrals, or to someone who is no longer with the company, is tantamount to
shooting yourself in the foot—no, the head. It’s worth a call to
insure the editor or agent is still there. For non-fiction, the rules are
specifically different and require an outline.
I find it helpful to
think of the query letter in four parts. The first paragraph (part one) should
simply introduce your book and why you are writing to the recipient. For
example you could write: “I’ve recently completed a XXX (identify the
type of book) of approximately XXX words, tentatively entitled (italicize) for
which I am seeking representation (or an editor).”
Part two is
the hard component. Here, in a couple of paragraphs, you have to summarize the
entire book. Think of it as being like the blurbs on book jackets, with one
difference. In cover blurbs, the outcome is deliberately left hanging to
tantalize the reader into buying the book. In the blurb as written for the
query letter, you have to give an indication of how the book ends. Don’t
be mysterious. Here, the agent or editor wants to know
(a) you can write
sentences that hang together,
(b) you have a plot that will draw the
reader in, and
(c) you have a satisfying ending.
Make a point
of identifying the primary protagonist of the book in the first sentence of the
blurb by naming the character. Traditionally the blurb is written in present
tense. You are saying (without saying it), “In the book, this happens and
this happens and then this happens.”
Part three should explain
what qualifies you to write this book. Describe your writing credits, as well
as any other pertinent experience. For instance, if the story is set in the
world of national or international tennis and you’ve played on the
circuit, that’s pertinent. It means that you know what you’re talking
about. Here you get a chance to be more personal, but not too cute.
Part four spells out what you will do i.e., “If you think you might be
interested in representing XXX (title, italicized), I would be happy to send
you a synopsis and either a partial or complete manuscript. I’m looking
forward to hearing from you at your earliest convenience." Yada-yada.
If the recipient wants to see more, he or she will probably ask you to
submit the first 3-5 chapters along with a synopsis. The synopsis is vital not
only in condensing the story, but in showcasing your characters. Be sure you
have completed your synopsis before you send out the query letter. They may
respond to you via email. I’ll talk about the synopsis in another article.
ABOUT THE AUTHORA writer/editor, I work with one client at
a time, beginner or pro, for a cost effective solution to your writing and
editing needs. Visit me at
http://www.susanscharfman.com 
