Querying? Here’s How to Speed Up the Process

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Regardless of whether you’re sending off a short 300-word article or a novel, querying is a major part of a writer’s life. The trouble is, it can take an ungodly amount of time if you don’t create and use a strategy. Here’s what you can do to speed things along and get good results.

1. Create a drafts folder in your email.

For every piece you have, create a query letter in your email. Place the drafts in a separate folder that is clearly labeled, and unless the submission guidelines state otherwise, place “[query–[Last Name]–Title of Piece] in the subject line. The only blank areas should be the recipient’s name and the date. This allows you to search for the draft within your email client, and when you send it out and get responses back, you can see at a glance which submission you’re getting messages about.

Once you have your query drafts, when you find a publication, editor, or agent you want to send it to, copy the text into a fresh email. Then fill in the name and date details and add any information you can to personalize it, such as similar titles the publication has run.

2. Set up auto-reminders.

Tasks like sending follow-up emails or noting that an agent is past their typical response time can be difficult to keep track of. Use a system like Query Tracker or even Google Docs to set reminders about each task. This way, you don’t have to spend extra time double-checking whether you’re up-to-date–you can just follow your reminders as you go and get ‘er done.

3. Use color coding.

If you’re tracking everything in a spreadsheet, color coding will allow you to quickly sort your rows and columns by the status of the query, type of query (e.g., fiction), or other factors.

4. Summarize guidelines. 

For every publisher, agent, or editor you want to submit to, create a spreadsheet row with all pertinent information you’d need to submit, such as the agent’s name or the query email address. Include a cell in this summary row with a link to the submission guidelines for later reference. Then, in a final cell, list all of the pieces you plan to submit to that publisher, editor, or agent. This way, you don’t spend time looking up website URLs again, and you quickly can cross off agents, publishers, or editors for each piece after a query is finished.

5. Schedule time.

Many writers query whenever they have a moment, and there’s nothing wrong with that. But scheduling time in advance allows you to get in the frame of mind to work with real focus, and you can set yourself up to work when you know you’ll have quiet or won’t get interrupted. It also makes it less likely that you’ll push the querying to the back burner, as it’s an official calendar event.

Remember, no matter what hacks you use to make querying go a little faster, it’s still a process that’s going to take a few months at a minimum. Most publishers, agents, and editors have a standard response time of eight to 12 weeks, although some will respond in two to four weeks. So no matter how many queries you can get out, you’ll have waiting to do. Since you’re going to have time on your hands, my advice is always to have multiple irons in the fire. Work in batches, tweak based on the feedback you get, and then try again.

How Sunk Cost Keeps You Reading (and Writing) Bad Books

 

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For a lot of jobs, once you reach a certain point, it doesn’t make a whole lot of sense to stop. Whatever you’ve already invested demands that you keep going, or else you’ll probably end up taking some kind of loss.

This is known as sunk cost. And unfortunately, it doesn’t just apply to work. It applies to your reading list, too. It easily can keep bad books in your hands.

What basically happens is, you pick up a book, get a little way into it, and realize that it’s just not lighting any fireworks for you. But whatever the issue might be (e.g., poorly developed characters), you look at how many pages you’ve finished or the amount of time you’ve already committed, and you think that you’ll somehow be in the hole if you don’t keep going until the last page.

Or, let me rephrase–sunk cost just keeps you reading bad books.

Of course, sunk cost applies to writers as they create, too. You might feel so invested in a concept, for example, that you keep trying to finish it no matter how many truly unfixable flaws the book has. This issue can get worse over time, because the book can get wrapped up in your entire identity and self-concept as a writer–if you don’t finish, you think, then you’re not serious enough or have to let go of something meaningful for you.

3 horrible consequences of sunk cost in reading and writing

It’s bad enough that sunk cost related to reading robs you of your immediate joy. But an equally insufferable problem is that, because you commit your time to the bad book, you’re locked out of other good ones. And that’s an incredible disservice to the writers who really deserve to be discovered and enjoyed.

This issue has been around practically since books first became mainstream. But I think it’s gotten worse with the growth of self-publishing. Don’t misunderstand here–I think self-publishing can be a beautiful thing and put power back in the hands of writers where it belongs. But because it is so easy, there also are plenty of people putting out content that’s mediocre at best. So readers have more opportunities and options, but the noise is louder, and it can be harder to figure out which writers are worth a risk.

On the writer side, if you can’t let go of a bad concept that you’ve transferred onto your sense of skill or who you are, then you might never move forward to ideas that honestly are better and have more potential of bringing income and fame. You can deliver an inaccurate representation of what your best is, and as a result, struggle to be taken seriously.

How readers and writers both work against the problem

If you’re a reader, then combat sunk cost with three basic strategies:

  • Read reviews–lots of them. No matter what you’ve been hearing about the book through the grapevine overall, get a balance of the 5 and 1 star ratings. This will help you feel like it’s OK to go against the grain of the popular opinion if needed.
  • Scan the table of contents to make sure that the entire book truly covers what you need or are interested in, or scan a few pages or paragraphs from different spots within the text to get a basic sense of the writer’s voice and delivery.
  • Set a test boundary you can apply consistently to any text. For example, if you’re not sucked into the book in x pages or minutes, then you’ll put it back on the shelf.

And if you’re a writer, lean on these tips to improve your manuscripts:

  • Use beta readers through your entire writing process. There always will be outlier opinions, sure, but feedback can help eliminate most of the issues that disappoint readers long before your final copy is available, and you often can apply what you learn to your next book.
  • Advertise transparently. It’s tempting to try to pigeonhole your work into a neat box you know buyers respond to, but if you are absolutely clear what the book is for or about, readers are more likely to feel confident in the selection. Bait and switches don’t earn you any long-term loyalty or referrals.
  • Throw quantity out the window. This means that a book takes however long it takes to get right, and that you don’t try to quantify success by how many titles you’re cranking out. Being prolific is not necessarily synonymous with being a truly great storyteller.
  • Hone your elevator pitch. Regardless of whether you like to outline everything down to the paragraph or fly by the seat of your pants, if you can’t pinpoint the key message of your book in one to three sentences, then you’re just not ready to write it. Period. And remember, the pitch is a summary. It is NOT a wistful or idealistic expression of your intent for the text (e.g., “I want readers to feel”; “I want to create a book that…”).

As a reader, you have more books at your disposal than you ever could finish in a lifetime. But life is too short to spend it committed to bad ones. Don’t let sunk cost make the experience of reading suck. And if you’re a writer, work hard to make sure that readers are sticking with you because you’ve done something exceptional, not because they feel like it’s too late to turn back. The easier it is for you to toss ho-hum or unworkable ideas in the trash, the more you’ll create work that’s truly awe-inspiring.

Why Classifying Books According to Genre Needs to Die

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If you go to agent or publisher websites, a common call is for writers to create something entirely fresh, something that doesn’t fit the usual molds. But even with those statements, I’m not entirely convinced that the publishing world or general public has abandoned genre classifications as much as agencies and houses would have people believe.

For starters, bookstores, websites and libraries still label books based on traditional genres to make it easier for people to find what they are looking for. And if you query as an author through tools like QueryTracker or other online forms, the tool almost always require you to smoosh your book into a category. Agents and publishers also want to know what genre you’re working with and show that you understand how your book fits that target niche or compares to previously published works. They expect a summary for that in query letters and proposals, and most of them are very clear on the site which genres they do or do not work with.

I absolutely understand the need for a system of organization. But what if, for example, I have a mystery set in an earlier period, something a la Enola Holmes? Is that a mystery or a historical? What if I have a love story set in outer space? Is that science fiction or romance? Or what about books that challenge social conceptions or time? The recently released “Bridgerton” on Netflix, for example, is based on Julia Quinn’s novels, but since it is an intentionally contemporary spin on the 1800s era, is it too inaccurate to be a regency anymore?

Some books do fit very neatly into categories. But many do not. They are like sporks in a utensil drawer, simultaneously belonging and not belonging for their “oddity”. And as a writer, I see the current mode of labeling as being truly problematic. If my book does bend genres, it can be very difficult to present it according to the tools and expectations agents, publishers and book stores all have. It even can be hard to determine whether certain agents or houses would want to accept a query, which then can create additional work for authors who submit a preliminary inquiry before formally introducing the manuscript.

But perhaps even more concerning than presentation or organization is the conflicting message of creativity and adherence to group. Writers who are continually forced to slap labels on their work for the sake of the label might mentally limit themselves regarding what their books can be. They might start to think of themselves as this type of writer or that, when in fact a good writer isn’t a “type” of anything–they can write whatever they da-n well please.

We perhaps could solve the issue simply by creating tools that allow writers and others to select an “Uncategorized” or “Genre-Bending” classification. Explaining the mashup with references rather than a label, such as X Book + Y Book, could work in queries, store placement and promotional materials. But such a shift requires people to let go of the knee-jerk desire to mentally classify to a high degree. The freedom we could gain, however, could be truly transformative in terms of what ends up on the page.

How to Deal with Other People Finding Writing Success Instead of You


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You know those social media posts.

The exuberant ones.

The ones where people announce they’ve just found an agent, met some ridiculous word count goal or had a publisher snap up their book in a six or even seven figure deal.

On the one hand, I am genuinely over the moon for the writers who are putting up those messages on Twitter, Facebook and other platforms. And that’s because I empathize. I know first hand all the hours that goes into creating the manuscript, editing it and sending it out into the world feeling crazily protective and hopeful. And so I make it a point to congratulate them. They deserve every kudos, and I mean what I say in my responses.

Yet, there’s also the side of those posts that’s kind of like a punch in the gut.

With brass knuckles.

Maybe some razor blades.

And you know what? Just throw in a random bomb embedded with rusty nails and screws in there, because you know, what the heck.

There’s something about those posts, which I admittedly and ironically dream of putting up myself one day, that holds a crappy message. Something that says, “See? If you were just ‘good enough’, too, then you’d have that agent/deal/paycheck/fame. Comparatively, your writing is stinkier than the rear end of a hippo.”

Talk about a motivation killer.

But the thing is, none of those writers is saying that. They’re not trying to rub it in. They’re just genuinely so elated that they can’t contain it. And deep down, I know better. I understand that the industry is highly subjective and very much about making the right editorial connections. And I understand that even “bad” writing that’s a grammatical mess still can have a great story at its heart. So the real question is just how to bounce back from the temporary blech that seeing others’ success inspires. Because if I (or you) can just bounce back from that, you can keep writing, submitting and pursuing the writing goals you have.

So here’s what I’ve found personally works:

  • Read other types of posts. I’m not going to tell you to go on a social media fast, because that might not be realistic given your need to promote your work. But what you can do is focus on particular types of posts. Look at how many people are still drafting, querying, or just looking for advice on which writing tool is best. You might not have the deal or agent yet, but there are tons of people right where you are who can offer support and remind you that you’re not alone. Pay close attention to the posts where people share little bits of drafts–favorite lines, for example–or talk about a beautiful moment they had with writing. Those kinds of posts reveal what matters to other people and can remind you that writing is about a lot more than money or other perks.
  • Stick to a plan. If you are going about your writing inconsistently or without a plan, it’s easy to feel like you aren’t making real headway. But a plan lets you measure progress based on a specific strategy. Every time you post something, every time you send a query or take the half an hour you slotted for outlining, you can say you really did something. You are trying. You are not idle. You’re moving forward. And that’s a heck of a lot better than feeling like you have zero direction.
  • Trash your own writing. This might seem a little counterintuitive, but ripping your drafts to shreds teaches you not to get too attached, and to be open to trying new options that ultimately could make the content work significantly better. Even if you end up going with your original version, the exercise in exploration can give you a sense of progress and development that’s a huge confidence booster. You also might end up with snippets or new concepts that could lead to entirely new works later on.
  • Do something other than writing. Writers are just like other professionals in that they can attach a huge part of their identity to their work. That’s why it’s so painful to see the other “I made it” posts from others–it’s not just about having your project validated, it’s about having you validated. So if the sting is getting too sharp, go spend time in other activities or hobbies. This doesn’t mean stop writing. It just means that the writing should be balanced with other aspects of who you are. Do whatever you enjoy to remind yourself that, although writing is part of you, it doesn’t define your worth.

People who find writing success deserve to celebrate it and brag a little. This applies to you just as much as to anyone else. But since it might be a while until it’s your time to celebrate, don’t just wallow. Be proactive about staying in a positive mindset. You’ll produce better when you aren’t depressed and stressed, guaranteed.

Is Technology Killing the Printed Book?

These days, it’s challenging to find someone who doesn’t get at least a little daily screen time in one way or another, what with Kindles, smartphones, laptops, iPads and the like so readily available. The convenience of these devices is unquestionable, considering the amount of information and number of applications consumers can get. This raises the question of whether technology is killing one of my favorite things–the hard copy book.

The first fact writers and readers have to accept is that an electronic version of a book doesn’t necessarily have to connect to a print copy–that is, a publisher can opt to publish something solely in electronic form. This means that publishers won’t release some writing in hard copy format, ever, and from that standpoint, technology can limit the number of printed books out there. On the other hand, the reduced cost of e-publishing means that publishers can entertain more authors, so while the number of printed books might not reach its full potential, the number of works available in general goes up. That’s not a bad thing in an age when literacy is a hot topic in education circles.

Even though publishers can save a lot of money by putting out electronic books, they have some strong reasons to keep the more expensive print presses rolling. Lots of people like traditional hard copies of books simply because of the emotional and aesthetic aspects of holding them, flipping pages and even taking in the aroma of the paper and ink. These are things a digital copy of a book simply can’t offer. Some people also prefer hard copies because they can so easily write their own notes in the margins or highlight text. Additionally, certain types of books do not lend themselves as well to electronic formatting. A book on art, for example, might be better appreciated if the pictures in the books are not reduced in size due to screen size constraints. These types of books often hog the resources of a viewing device and have slow load times, or they might require plugins or additional applications for viewing to occur properly. Another good example is children’s books, because kids can be hard on electronics and often benefit from hands-on activities.

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Ebooks might not be suitable for everyone and might eliminate some aesthetic positives associated with reading.

Lower income individuals also can be at a disadvantage with strictly e-publishing, because it costs significant amounts to purchase and replace the devices that read the electronic files. Before publishers can eliminate print publishing completely, they have to address the problem of class and financial divides–failure to do so might widen educational and literacy gaps. This is particularly relevant to academic publishers. Lastly, some individuals might not be comfortable with electronic documents or devices, such as the elderly or those with a disability requiring special formatting or printing.

All these things considered, technology certainly is changing the way people read, and it’s giving people more options about what to read. But because technology is never perfect, it likely will be a long time before the hard copy book gets completely phased out.