Hello fam and happy Tuesday. I saw a lot of tough threads yesterday re: querying, and realized the only thing anyone can control is the query itself--not the outcome. As this is one of the opportunities in my #RevPit subs, I thought I might #RevThread about this important doc (1
You have 4 seconds. That's about the length of time to read a text message. In those 4 seconds, you need to hook the agent. Why? I timed myself reading subs for #Revpit to get the calculation right. It took, on average, 10 minutes for me to read the query, then pages (2
That's 17 hours to read 100 subs. Agents can receive on avg 50-100 queries PER DAY. Think about that. The query should take time to write and perfect. It's the single most important document you'll ever compose when it comes to trying to sell an agent on the idea of your mss (3
Then, what do you need to include in order to nail it?
1: The hook. This is a one-liner that takes everything that makes your mss different, wraps it into a snappy sentence, and--hopefully--makes an agent say DAMN! (4
Tired: Jack and Jill go searching for water, but a tragic accident sends them tumbling down the hill.
Wired: Jack doesn't realize he's just dropped the last bucket of water on Earth...until it's too late.
(5
Next--this is harder than it sounds--you have to focus on the main plot. If there's a passage that sounds like: with the help of friends they meet along the way, they face dangers and bad guys until they figure out how to save the day.
You haven't focused on your plot. (6
You're actually only giving a brief overview of things to expect, not what happens. Agents need to know what happens. No, you don't have to reveal everything--that's for the synopsis (THERE ARE NO SECRETS IN SYNOPSES!!! MWAHAHAHA). So, how can you focus? (7
Here's a fun trick! Ask your beta readers/CPs to sum up your story into a paragraph. 9/10, writers THINK that element x or y is ESSENTIAL for the query...when it really isn't. Use your readers' summary and build a query from that. That's what stood out to them, after all (8
Alright. You're ready to write the plot summary part of the query! Now what?
Para 1: This is MC--what they want/desire--and this is their normal (9
Para 2: But when X happens, MC is pushed out of their normal and must do Y. If they don't, Z will happen, and Big Bad will cause Even Bigger Bad Things to occur... (yes this works even for quiet stories. Big Bad refers to stakes--things the MC stands to lose) (10
Para 3: Unless MC can overcome 'A' (their emotional wound, the thing standing in the way of them achieving what they want, as listed in para one...but now the stakes have been raised and they MUST overcome). MC now has a choice. Overcome, or Consequences Most Dire (11
Clarification on the 4 seconds: In those 4 seconds, the agent will either be hooked enough to read on, or pass. Now, this isn't true of all agents, of course. But most still won't read the sample if the query doesn't grab them. They just don't have time. They're not getting paid
AND they have a ton of work to do that has nothing to do with the slush. Some have assistants to help with the query pile (yay!), but most don't. Just keep that in mind
To add to all the discourse, publishing advice doesn't apply to the query trench right now. For more information on what's happening out there, here's another thread #RevPit
I hope some of you found this helpful. Please be mindful that it's hard to tweet tips sometimes due to character limits, and I have lots of subs to go back and carefully consider or I would have fleshed this out! But, if you have questions, just ask! #RevPit I'll be around
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It's time for some real talk on this Friday morning. Publishing might be opaque AF, but if you want some peace of mind about what's been going on in the query trench for the last **checks wrist** two yrs, read on. Some are NOT going to like what I have to say #writingcommunity
Let's start with the following: The reason it feels like querying and pitch contests are "dead" is NOT "because writers aren't writing good books right now." If anything, competition is fiercer than ever because you are all so damn talented #writingcommunity
To get to pitch contests, and address that discourse, we first have to talk about wtf is going on. Let's start with the pandemic, and the impact of it. News outlets and crap online use the word "pandemic" like it's something that happens. It doesn't.
Alright fam. It's Thursday, and it's time for another #RevPit thread. On the back of yesterday's #10queries , I think it's time to discuss the query itself #amquerying#writingtips (1
You have 4 seconds. That's about the length of time to read a text message. In those 4 seconds, you need to hook the agent. Why? I timed myself reading subs for #Revpit to get the calculation right. It took, on average, 10 minutes for me to read the query, then pages (2
That's 17 hours to read 100 subs. Agents can receive on avg 50-100 queries PER DAY. Think about that. The query should take time to write and perfect. It's the single most important document you'll ever compose when it comes to trying to sell an agent on the idea of your mss (3
What is it? Non-specific notes on my submissions, with hopefully helpful advice to help ALL writers. At this time, I can't guarantee feedback to these entrants, but I sure will try!
The key:
A: Adult
YA: Young Adult
MG: Middle Grade #RevPit#10Queries
I've reached the point during #RevPit where I get really down and out. For those who don't know, I'm not only a Developmental Editor, but I'm also an author, and I've been on the other side of contests more often than not. A thread. (1
Until #RevPit the idea of subjectivity didn't quite sink in. The daunting task of reading really great queries, and incredible pages...it takes a toll. Like, how am I supposed to only pick one?? At least agents can request as many awesome manuscripts as they like! (2
@KyraMNelson bared her soul on this the other day, and you can read her thread here (3:
It was March of 2014. Our son was 7 months old, and what was meant to be a happy occasion--the first time my extended family met our miracle boy--was marred by the passing of my beloved grandfather 3 months prior. I hadn't been able to make it home for the funeral #RevPit (1
The trip itself was grand--going house-to-house, eating scones, filling up on tea at every stop, and visiting graves (as a culture, we have an interesting relationship with death). Trips home for me are never relaxing. They're excitement, then sadness, mixed with jetlag (2
And to make it worse, the return flight from Shannon used to always be at 9:05am (thanks United), which meant we always had to be at the airport at 6 for check-in...which meant rising at 5...and the long tearful goodbye that no one should have to do before coffee (3
2. Ted flexed his hands, balling them into fists as a crimson flush stormed up his neck. Nobody said that shit to him. Not since he'd made Billy Braiden regret his damn mouth in 8th Grade. This guy, he didn't know who the hell Ted was. But he was about to find out (19
Those were two different examples, both Deep POV, both with the same physical (visceral) show, but with two different triggers that completely changed the scene. To summarize, you need... (20
1. A character profile 2. Dig DEEP into your character's wound...the thing that contributes to their trauma/prevents them from dealing w/h trauma 3. Develop character Voice 4. Connect emotion to not only the character, bt what's happening in the scene. 5. Get in MC's head (21