In June 2008's issue we talked about the query letter and its components. Now let's look at the business aspects of your query and focus on marketability.

Every day agents and editors receive countless queries and unsolicited manuscripts. As they sift through the backlog, they are looking for one thing and one thing only: work that will sell. Publishing is an industry, and if the editor can't get a clear idea of what kind of work you are submitting, he or she can't tell if it is marketable. It's your job as the author to present this information up front in your query letter.

Visualize your work as a commodity. Suppose you approach a store and tell Mr. Jones, the owner, you have a brilliant new gadget that would sell well in his store—but you hem and haw and never quite make it clear to Mr. Jones what your product is or who might buy it. There's a long line of salesmen waiting outside to pitch their products, so the owner dismisses you, irritated that you have wasted his time.

Editors and agents are also pressed for time and looking to weed out work that they can't sell. One of their first criteria is genre, so it's important to make this clear right away. This is a 100,000-word historical fiction romance. Make sure you target your historical romance to an agent or editor who actually represents this genre.

Address the following when composing your query letter:

Fiction or nonfiction
It may seem obvious but clearly state what you're submitting.

Genre
Identify your genre right away. Horror, science fiction, romance, Western, chick lit, children's lit—if you don't know what genre your work is, keep reading.

Audience
Who will be buying this book? Women ages 25-40? Single fathers? Beginning readers? This is where you determine your target audience. Be specific and avoid sweeping generalizations like "This book will appeal to everyone who breathes oxygen!"

What makes my book different?
You don't want to approach an agent with a query that says, "I have written something just like Margaret Atwood's The Handmaid's Tale." Your book might appeal to the same readers who would purchase Atwood's book, but it must be unique in some way. Compare your book to a similar title that has sold well if you can, but don't expect to sell a Harry Potter knockoff unless you've found a truly original angle.

Marketing
Publishers have their own marketing departments, but you should do some brainstorming of your own. It's impressive to note that you're an expert in your field and have some valuable contacts who may help with visibility. Or you have an idea for a Valentine's Day tie-in and have some verbal agreements for book signings. Show the agent or editor that you've been thinking of your work as a commodity, and they will too.

If you're having trouble determining your work's genre, you'll need to start with some research. First, find other authors and books that are similar to yours. Then, either do a Google search or go to the largest chain bookstore in your area and hunt down those titles. If your book would fit in with the others on the shelf, you've found your genre. Check the back of the book too, as the genre is usually identified there.       

An editor will notice if you've done your research, and this lends you credibility and professionalism. This begins with targeting the agent or editor who is most likely to read your query. Read trade journals to narrow the field, and do your best to find the most current editor and the correct spelling of his or her name. If the editor does not publish horror, do not send horror. If you're not sure of the agent's gender, do not make assumptions. (Address your letter to the agent's full name to avoid any embarrassment.) And, above all, give the agent or editor exactly what he or she needs to make a decision. This alone will set your query apart from the others.

As with so many aspects of the writing world, formatting issues are a gray area, and writers struggle with the burning question: One space or two after closing punctuation?

When in doubt, creative writers often turn to the Chicago Manual of Style, whose official view is that there is no good reason to use two spaces after a period for work that is to be published. (Obviously, this rule does not apply to personal correspondence, notes, etc.)

In the days of typewriters, extra space was necessary to create a more defined space between sentences for the reader's eye. Typewriter fonts are monospaced, which means that all the letters take up the same amount of space, and most of us were taught in typing class to add that extra keystroke at the end of a sentence. But computerized fonts are proportionally spaced, and a single space is sufficient to provide a visible break. The exceptions are the fonts Courier and Monaco, which are monospaced, but it's probably best to switch to a font such as Times New Roman or Arial rather than using the double space.

So save yourself a keystroke; there's something to be said for efficiency.

So, I’m sitting here wondering why the query I sent out last week has yet to be answered. It took several months to compose that query, and another four weeks to track down a suitable agency to send it to. You could say that I have quite a lot invested in this query, and now I need answers as to why I’m being ignored.

Could it be something to do with the post office? I suppose it’s possible the neighborhood letter carrier ran into a shambling group of zombies. When he discovered he had only a banana and a toothpick with which to defend himself, my poor query probably fell to the wayside and became covered with banana goo. It’s also possible that a flock of great horned owls swooped down and mistook my query for nesting material—good taste on their part. Even supposing that the letter carrier avoided zombies, owls, and envelope-eating voodoo doctors, my query couldn’t have made it to the agency’s door, or I would have heard something by now.

Unlike the literary agency I queried, my writing group was lightning quick in responding to my complaint. They’re asking why it took so long to complete a single query and wondering why I only managed to send it to one agency. Are they negative or what? They don’t know what I’ve been facing this past year! For one thing, I had a disastrous accident on my scooter last December. Then my frontal lobotomy didn’t go quite as planned, and things started slipping my already slippery mind. Spent several unproductive months watching the Food Network and buying Hulk Hogan Ultimate Grills from the Home Shopping Network. Oh, and let’s not forget my tragic loss in the national 52-Card Pickup tournament in Vegas.

It’s been a rough year, but I hope to get more writing done, not to mention a few more queries submitted in the months ahead. It would be really cool to sell a story or two. If so, I could pay for a few of those Ultimate Grills sitting in my garage...if any literary agents are reading this, maybe we could work out a deal?

Many writers have found success writing for the nonfiction market. The beauty of this market is that your book doesn’t have to be written before you can sell it. (In fact, many claim that it’s downright foolish to invest time and effort in a book that hasn’t yet been sold.) Unlike fiction, you can break into the market armed with nothing more than a killer book proposal, and we’re here to help you go about it.

In general, the nonfiction book proposal is designed to give editors a well-organized, detailed sales pitch describing what your proposed book is about and how it will make money for the publishing company. An additional bonus is that writing the book proposal forces the author to organize and focus the project approach. The book itself may go through many changes depending on editorial input, but the proposal should follow a generally accepted format. We’ll break down the anatomy of a book proposal and then give you some general tips.

COMPONENTS:

Title Page

Include your name and contact information with an approximate word count and the proposed title of your work. Make sure your main title describes the subject matter of the book to aid in keyword searches, and don’t rely on subtitles to convey vital information—subtitles are often dropped in computerized listings and library databases. Consider this your working title, as publishers may elect to change it.

**Optional: Summary (also known as the Overview, Synopsis, or Executive Summary) - 1 page maximum

Begin with a very short description of your book’s basic premise. Whatever makes your book stand out should be highlighted in the first few sentences. This is the "hook," so make it interesting and unique; powerful yet concise. Capture the editor’s attention right off the bat, and make it clear what you’re selling. If the editor has to hunt around for the point of your book, he/she is likely to toss it aside and review the next proposal in the towering pile.

Chapter by Chapter Outline - 1 to 4 paragraphs per chapter

Create a dynamic outline by highlighting each chapter’s major points. Emphasize each chapter’s unique and/or important function in relation to the rest of the book. By the time the editor has read this outline, he or she should have a clear idea of the overall book.

The Market

This section should include information about the book’s intended audience and why the book addresses the needs of that particular audience. Make sure that your market is broad (as in "women ages 30-60" or "people who buy cars"), and provide as many demographics of your targeted audience as possible. Include observations about current trends that favor your book and highlight what makes your book unique.

Also include information about the competition. If there are other books out there on the same subject, yours had best offer a new or original take. Identify current books that are similar, and explain how yours fills a specific niche. If there are complementary books out there, show how your book can be positioned to the publisher’s advantage.

Give the editor or agency enough ammunition to sell your work to their review board.

Author Information

This is where you list your education, writing credentials, contacts, experience—anything that makes you uniquely qualified to write this book. If you don’t have a journalism degree or a list of publishing credits, highlight other things that show you have what it takes to tackle the subject. For instance, you may be a parent of a special-needs child, and, although you have never been published, your experience qualifies you to offer a unique perspective—assuming that your writing is up to par.

You will also need to outline your own promotional ideas and resources to help market the book. Include information about affiliations, contacts, or endorsements you may have lined up. Do you have a prominent person willing to write the foreword? Media contacts? Web sites, bookstore appearances, newsletters, and possible sequels or spin-off information should be included in this section. To use the example above, you may be a member of the Autism Society of America, and with the contacts you have made within that organization you can offer greater promotional opportunities.

Specifications

This is where you outline an approximate word count, the number of chapters, and an estimated completion time frame. If your book will contain a number of charts, photographs, or illustrations, say so. You may also describe the general format you envision. However, be prepared to be flexible when it comes to length and format—the publisher will have the final say.

Note: A full-length nonfiction book contains 9 to 15 chapters. Don’t submit an outline for a book that contains less than 9 chapters. Make sure you have enough material (and time) to fulfill this obligation before you propose it.

Table of Contents

Quite simply, this is a list of chapter titles to give the agent or editor an idea of what will be included in your book.

Sample Chapters

If you have already begun the writing process, send one or two completed chapters (Chapter 1 and 2 are preferable). Do not send chapters from the middle of the book.

OTHER TIPS

Your book proposal should be similar in style to your proposed book. In other words, if your book is meant to be humorous and lighthearted, make sure your proposal is written in the same style.

Make sure the proposal is edited and proofread within an inch of its life. Agents and editors admit to passing over potentially great ideas if they have to wade through a sea of errors and typos and coffee stains.

Always include a self-addressed stamped envelope (SASE) for responses. Your material will be recycled.

When formatting, we recommend using a 12-point, easy-to-read font like Times New Roman or Arial, with one-inch margins all around, and left justification.

We love educating writers about ever-changing industry standards. Let us know if we can help you with any or all elements of putting together a stellar book proposal.

When you send out a query letter, it has approximately two seconds to grab an editor's or agent's attention before being relegated to the Round File. Forget trying to "trick" someone into noticing your query by using bright-purple stationery or flashy fonts—instead, give the editor exactly what he or she wants: a concise, well-written synopsis of your work that shows you've done your research, both into what an editor/agent wants, and what the public will want.

Many writers rush through the process of writing the query, thinking that the focus should be on their manuscript, not their introductory letter, but editors and agents do not have the time to evaluate manuscripts individually. Your query letter must be convincing on its own, both in its ideas and the quality of the writing. Any number of mistakes can get your query passed over, and although it may seem unfair to be judged on a one-page letter, that's the nature of the business.

A query letter is what a writer sends to an agent or a fiction editor in the hopes of having the entire manuscript requested. It is a one-page, self-contained introduction that says, in essence, I have a unique book (short story/poem) I'd like you to read. If you are intrigued by my query letter, I have enclosed a synopsis and sample chapters (or the short story/poems).

The concept is much the same for nonfiction books, except that the work does not have to be completed. The query letter is a polite introduction to your proposed nonfiction work, with the hope that the editor will be intrigued and request a proposal. I have outlined a book on home-schooling, and here is why I believe it will sell.

There is no magic formula to help sell your ideas. The most writers can do is to educate themselves on the art of the query—by keeping current on industry guidelines, studying successful query letters, heeding the advice of editors and agents, and through practice.

There are four necessary parts to a query letter, and it's up to you to decide how to effectively order them. Writers with impressive backgrounds, publishing credits, or expertise in their subject matter may choose to highlight their credentials first thing. An unpublished writer may choose to wow the editor with the premise of his story right up front. The important thing is to cover all the important points:

1) The "hook"

This is where you "hook" the editor or agent. Describe the general concept of your work, or use a personal tie-in to show you either have done your research or have a commonality with the agent or editor you're approaching. One or two lines should do.

In 1642 a volcano wiped out an entire village in Malaysia. This is the story of the two lone survivors.

Or: We met recently at the Oakdale Writer's Conference, where you mentioned that you were interested in Civil War material. My book, Civil War Tales, takes a brand-new look at the battle at Gettysburg.

At this early stage an agent will likely make the decision to read further based on genre alone. Make it clear what you are offering, and define your work in terms of genre and length and perhaps the reason you wrote the book (if there's an interesting story behind it).

My book falls into the women's fiction category and was inspired by a family member who struggled with bulimia.

Or: My book is a science fiction novel based on my experience in DNA research and is complete at 150,000 words.

2) The overview

This is where you describe the plot of your story. Keep it to one paragraph, and give just enough information to describe the general plot, the setting, central characters, the conflict, and the resolution. Be specific. Your plot paragraph should include the time frame of your novel as well as the location or setting.

This novel takes place in rural Georgia in the 1960s—a time of strife and racial tension.

Introduce your main characters, but leave the minor characters for your synopsis. At this point you want to avoid slowing the editor or agent down with any unnecessary information. Keep it interesting and keep it moving.

3) Your credentials

This is an easy task for previously published authors and experts but a daunting task for the unpublished writer. Whether you've got a string of best-sellers behind you or this is your first writing endeavor, make sure you come across as confident (but not arrogant). If your query letter is good, your lack of experience need not count against you.

Highlight any publishing credentials (no vanity presses!), writing experience, and education.

I've published numerous short stories in Literary Magazine and have a degree in journalism from Impressive College.

Or: This book is based on my findings while on an archaeological dig in Africa for Stanford University, where I currently teach archaeology.

If your background experience has no bearing on the subject, leave it out. However, if your writing credentials are not impressive, by all means highlight anything in your background that merits writing your book.

As a mother of a child with Down's syndrome, I feel uniquely qualified to write about the subject.

4) Thank you

In closing, be sure to thank the editor or agent for his or her time and offer to send sample chapters (if not enclosed) or the complete manuscript. Enclose a self-addressed, stamped envelope for convenience, and sit back and wait—or start working on your next submission.

Watch for a future post when we will tackle the issue of marketability when approaching editors and agents.

http://www.writersrelief.com/
Author’s Submission Service Since 1994

The first and most important part of the cover letter (besides accurate contact information) is the salutation, but with so many names available, this gets tricky. When we say tricky, we're referring to gender-neutral names. Unless you have a personal acquaintance with the editor/agent, you cannot know if the name is male or female. Many clients over the years have insisted on Writer's Relief using salutations such as Dear Mr. So-and-So or Attention Ms. Whoever. Addressing editors and agents using Mr. or Mrs. or Ms. used to be the norm. This is no longer true. In order to avoid embarrassment and alienating an editor (and NOT getting a good read), follow what has now become industry standard rules for addressing these decision makers. Simply use the first and last name of the editor/agent to whom you are sending your submission. This technique was used for mass mailings but has now become standard business protocol. Using both names for your submissions won't be held against you. On the contrary, the editor/agent will know you're not an amateur. For example, if the editor of a publication you are submitting to is named Alex Young, don't begin your letter with Dear Mr. Alex Young, because when she opens up the envelope she's likely to feel at least a little annoyed.

In the US, gender-neutral names are becoming trendier each year. Before 1960, these names were almost nonexistent. Since then, more and more parents have turned to names such as Dakota, Drew, and Zane. Also, when dealing with names from cultures other than your own—don't assume. Be cautious and tread lightly because you don't want an editor turned off by your lack of knowledge. This silly mistake could lead to you missing the opportunity of publication or at least a good first impression. If you feel uncomfortable about names in general, you can always begin your letter with "Dear Editor." Using a personal name is still considered the best option, so choose Dear Editor rarely. Here is a partial list of some of the names that we've run across over the years. Can you tell whether you should choose Mr. or Ms. when addressing your submission? Remember that the wrong assumption may cost you that good first impression.

Sam, Dale, Shemayahu, Fran, Aziz, Joel, Herm, Bobby, Sydney, Kinza, Marion, Gerry, Kerry, Joyce, Keiko, Gale, Flo, Jamie, Pupa, Thikhathali, Corey, Thabo, Zujun, and Don't Forget . . .

Ronnie!

http://www.writersrelief.com/
Author’s Submission Service Since 1994

Biographical information: A cover letter should include, if warranted, your education (college degrees), publishing credits (no vanity presses such as poetry.com), and any interesting facts (such as well-known authors you've worked with). You may share a short sentence or two of personal information. What makes you tick? Do you play jazz piano on the weekend? This personal information will make you more real in the mind of an editor or agent. Just don't get too cutesy or talk about your grandchildren for two paragraphs!

Length: Your letter should NEVER be longer than one page with one-inch left and right margins (top and bottom margins may be adjusted if more room is needed).

Contact Information: You must include your name, address, phone number, and e-mail. Having your own letterhead designed to your liking helps with this.

Show appreciation: You need to thank the editor for taking his/her time to read your submission.

Short and sweet: Prepare a cover letter that provides what the editor requires and then "gets out of the way" so your writing stands on its own.

Reference your SASE: All submissions should contain your self-addressed, stamped envelope. Say you've included it when you thank the editor for her/his time.

Appearance: Use high-quality bond paper (at least 24 lb. weight) and easy-to-read font, no larger than 12-point in the body of the letter, and no larger than 18-point for letterhead/contact information. Be certain your cover letter is presentable—no bent corners, smudges, etc. (The first impression an editor has of your work is your cover letter.)

http://www.writersrelief.com/
Author’s Submission Service Since 1994

The recipe for creating the perfect cover/query letter is simple: give editors and agents what they want, no more and no less. That's it. Basically, you need to prepare a letter that provides what the editor/agent requires and then "gets out of the way" so your writing (as illustrated by your work) stands on its own. Since 1994, we have helped many clients fine-tune their cover letters with great success.

Your letter must follow industry guidelines. It must be only one page, and it must contain editor/agent contact information. It may or may not contain a biographical paragraph if your writing credentials warrant such, and you must thank the editor/agent for his/her time. You may also include some interesting personal information that will grab the attention of the editor/agent such as: "I live in a 200-year-old registered historic landmark on the edge of a forest."

For Short Prose and Poetry: A cover letter accompanies short prose and poetry. It includes the title of the work in addition to some biographical information. With the cover letter you will include a master of your work, which has been professionally prepared (again, within industry standards), and your SASE ($.41 for response only; the sample pages will be recycled).

Query/cover letter which accompanies a book submission: In addition to the information contained in a standard cover letter, the query letter contains a "blurb" about the book. A short paragraph covering the basic premise of the novel or nonfiction work will draw the agent in and will encourage him/her to move on to the short synopsis or outline. (When we refer to query letters here, we are not referring to query letters used to "pitch" ideas for articles or books. These query/cover letters accompany sample pages of a book submission.)

http://www.writersrelief.com/
Author’s Submission Service Since 1994