I’m going to lift my head up from the sea of words that’s actively trying to drown me and take a breather. Before I dive back under, there are a few observations I’d like to share. I’m hoping these will come in handy for some of the #amquerying folks out there, along with #Pitchwars applicants.
Ye olde “I didn’t love it enough” refrain
When reviewing my #Pitchwars inbox, I did my best to take on the mindset of an agent or editor perusing their slush pile. One thing that leaps to mind immediately: anyone who’s ever queried a book has heard the feedback “I'm afraid I didn’t love it enough”—I feel like I’ve come to understand what that means. As with an agent or editor, a #Pitchwars mentor is going to read a work in its entirety several times prior to the agent round, and ultimately spend a lot of time on a project. That’s why the first thing I had to be able to say about a manuscript before requesting it was “I love this thing about it.”
For me, that often meant that the project stood out as being unique, yet felt paradoxically familiar (or even universal) in some way.
Obviously, there’s some frustrating randomness inherent with those last two statements—you won’t know what an agent or editor will love in their heart of hearts. You can stalk them on social media, read every public interview they’ve done, talk to their clients, and never discover the one thing about your story that would’ve tipped them in your favor. Maybe they used to write for an online roleplaying game about thieves, or they had a waking dream in the tub one time about islands floating in the sky—the point is, as excellent as your manuscript may be, there is still a subjective element to this process. The only solution? Cast a wide, but targeted net when you’re ready.
(Okay. I also didn’t make up either of those examples. #Pitchwarspoilers. Yes. I’m weird.)
Insights from the inbox and how I arrived at yes or no:
I’ve made a few requests at this point, and I want to discuss how I arrived at “I need to have the rest of this, now!” In order to do that, I’m going to walk you through the process I used:
I started with the query. I know a lot of other mentors start with the pages, but I wanted to hear the author describe their manuscript to me first. There were a few things that were an almost instant no from me.
- Queries that talked more about the author than the story. This was my biggest turn off to a manuscript. Let’s be honest, I’d probably like 90% of you if I met you in real life. You’re an SFF writer, and most of us are awesome, fun, quirky people—BUT… I’m here for the words! At this stage, you and all of your awesome come as a very distant second. One or two lines about your relevant expertise and publications were more than sufficient for most entries.
- Wrong category. Even if your story is amazing, if it’s not in a genre I read, I’m not going to grab it. I wouldn’t know how to help you. Likewise, most agents have insight into the markets they represent, and have relationships with editors who purchase books for those markets. Knowing who you’re submitting to and what they’re looking for is key.
- Queries with out of line word counts. Know the word count range for debut novels in your genre. (For F&SF under 60k or over 150k)
- Last, and most overlooked queries that weren’t specific. The words you use and the details you choose to include in your query are critical. This is what makes your story stand out. Try and avoid vague sentences that could land in anyone else’s query and focus on what makes your story unique. Otherwise you will blur into the pack of other queries your reader might weigh that day. In other words: Don’t be a minion.
On queries that failed my minion test, I went right into the pages. If they didn’t hook me quickly, the manuscript was a pass for me. That may seem unfair, but when I’m only going to take one project out of 200+ those are the kind of things that quickly separate one entry from another.
For queries that caught my eye, however, I went to the synopsis first. This is because I wanted to see if the writer understands their plotting, and if the story and its characters are going somewhere. I read the endings first. I know, that seems weird, but I wanted to know where the goalposts were, before discovering how the story from the query travelled to them. This is what carried the most weight into making a request, or passing on a story. A synopsis for an SFF novel is tough to write well. There are a lot of little details and world-building bits, and seeing the writer carve them down to the core assured me they knew which ones were most important.
Stories that sold me on the synopsis could’ve been slow in the opening pages, and I would still been interested. But you know what? They weren’t. All but one of the stories I read that had killer synopses grabbed me immediately with the pages as well. Those were the first stories I requested.
Now, going back to what I said earlier about the subjective nature of this process, there were also around fifteen seemingly awesome entries that didn’t hook me quite as quickly. There is nothing wrong with these entries. They may have simply lacked that one random, unknown little detail to get me jonesing for another taste. These ended up in my “maybe, but revisit later” pile. I have to assume this can happen with agents as well. We’ve all seen those manuscripts that slide out of line on Querytracker while others around them are rejected or requested—I wouldn’t be at all shocked if they’re going through the same thing.
Exploring personal likes and dislikes further, I got a lot of manuscripts that fell into certain categories, or tropes. Heading into #Pitchwars, I thought I had a pretty good handle on what I was looking for, and what I like to read. During the reading, I found out that there were a couple things that aren’t really my own, personal brand of orange Crush that I wasn’t aware of, and shoulda ended up on my Nopelist. I mentioned this to a veteran mentor, who promptly replied “Pitchwars, teaching mentors their tastes in novels since 2010!” One of the things I found out I don’t love, are psychics. This probably relates to a bad experience I had watching Firestarter as a child. As it turned out, I received a LOT of submissions prominently featuring psychics (20+, I think).
And yet… I requested a book featuring, you guessed it, psychics. The query was on point, the pages had excellent voice, and the synopsis held all kinds of room for character growth. So… as much as submissions are random and subjective, as many variables exist that we can’t control as writers, there are still a few things purely in our hands.
The continuous focus we put into refining our work, and the ongoing bravery of sending it to people who can fall in love with it, drastically increases our odds of finding the one person who will.