Posts Tagged ‘#amquerying’

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#AuthorMentorMatch is like a contest, only without all of the contest-y bits.

Basically, a team of writers — most of them published, all of them experienced — have gotten together to offer their services as mentors for up-and-coming writers.  Like a contest, hopefuls fill out an application and submit it along with their query and first 10 pages to their choice of 4 mentors (out of 30).  Each mentor will choose one mentee, and they will then spend the next several weeks polishing, revising, and perfecting the manuscript for querying.

That’s it. There’s no agent round, no elimination round. There’s just authors and mentors getting matched.But, really, that’s everything, isn’t it.  This, exactly, is why we enter all of the contests in the first place — to win free advice from a professional and a chance to really take our manuscript up a notch.

The latest round (Round 2) opens April 13, and this time it is open to YA and MG — there are mentors specifically for each age group.  In their o wn words:

What is Author Mentor Match?
Author Mentor Match pairs unagented, aspiring YA & MG writers with mentors to help them with their manuscripts and guide them through the publishing process.

There’s no contest aspect –- AMM focuses on building lasting relationships. Mentors will help writers revise their manuscript before querying, give advice and tips on agents, and support through the process.

Our Mentors
Every one of our mentors has gone through the process of revising their manuscript, researching agents, and done time in the query trenches. Our mentors are published, debuting, on submission or in revisions with their agents. We are excited to give back to the community and help you polish your manuscript, craft the perfect pitch/query, and take your writing career to the next level.

How It Works
Mentees can apply to up to four possible mentors, submitting general information about themselves and their book via a submission form, then emailing their query and first ten pages to us. The mentors will consider all mentee submissions carefully, potentially asking for more pages, before selecting someone to work with.

Who’s Behind It
Author Mentor Match was created by Heather Kaczynski and Alexa Donne in Fall 2016, who comprise of 2/3rds of the current moderating team. The incomparable Kat Cho has joined the mod team for Round 2.

If you have a manuscript close to being ready for querying, check it out: http://authormentormatch.com. Good luck!

Being Liked

Posted: March 29, 2017 in Writing
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It’s nice to be liked.  I can say this without ego, because for quite awhile, now, I have been persisting without likes.

Aside from the general low-level anxiety that comes with little or no acknowledgement for one’s work over time, I also have been experiencing some confusion.  When we started querying my daughter’s and my novel in early 2015, we immediately began entering pitch contests.  Our very first #PitMad, we received several likes, including one from a small publisher.  As you will have guessed, none of these resulted in the sale of our book, but that’s hardly the point. The point is, we were utter novices at pitching, and yet in our very first contest we interested several agents/publishers.

That never happened again.  Our first pitch (all four versions, in fact) were horrible.  We hadn’t even properly identified the stakes or what were the key parts of the plot to pitch.  And yet we got 3-4 likes.  Later we sought and received advice on our pitches, on how to query, and most-importantly, how to actually improve our manuscript so that identifying the stakes and key plot points were much easier.  And yet, as we improved our manuscript and our presentation to agents, we received fewer requests.  In particular, #PitMad seemed to forsake us altogether.

I’m not bitter about it, not especially.  But I am curious, because I want to succeed. I want to crack the formula that leads to success — the sale of our book.  I see others manage it, and they are almost universally younger than I am.  And that implies to a thoughtless observer that they are less experienced, and therefor less deserving. This is the sludge that builds up in one’s motivational “engine.” I know our manuscript is better than before (and I am improving it still, as I have notes for still more important revisions), yet my confidence going forward is not where it should be.

Last week, during the most recent #PitMad, our latest pitch got liked. And just like that, I felt my confidence rushing back.

It’s a little pathetic, isn’t it?

#RevPit is Coming!

Posted: March 23, 2017 in Writing
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You may have heard that Pitch to Publication (#P2P17) has been postponed indefinitely. Pitch to Publication is a contest to which writers submit their complete samples of their complete manuscript to a choice few of a wide range of professional freelance editors. Each of the participating editors will select 1 (or possibly 2) manuscripts, which they will then spend the next five weeks editing.  Essentially, if you get chosen, you get your manuscript edited for free.  Those chosen will then have their polished manuscripts put on display for agents to request.

We have not been given a reason for the delay of this year’s Pitch to Publication, nor a new date. However, the stable of editors nevertheless refuse to disappoint the eager and aspiring writers who have been anticipating this contest.   They formed a new site, called Revise and Resub, and they have announced a brand new contest which is essentially the same as #P2P, called #RevPit.

This is fantastic news! Pitch to Publication has had great successes in the past, and now those same editors are on-board to perform the same service in a nearly identical contest on the same exact date, April 7th.

So check out the details and choose your 3 editors (and 1 alternate); you can check out all of their bios, specialties, and wishlists on the Revise and Resub page.  Then get your query and first 5 pages polished to a shine.  And follow #RevPit on Twitter to keep up-to-date on the contest.

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I’ll be the first to admit sometimes I just can’t find the motivation to dive into another big revision of my manuscript. After a time one gets used to the chapter-by-chapter scale of writing, and whatever your pace is, that pace becomes comfortable, familiar. If you are part of a critique group, you can get feedback on that chapter within a week or two, and fix most issues in a couple of days. But full manuscript revisions?  Not only do they take more time to plan and actually write (it’s like taking a finished tapestry and deciding to replace all of the yellow theads with green theads), but once you’re done, getting meaningful feedback on your changes can take months. This is especially onerous if you have interrupted your querying process and wish to get back to it.

So … you’re not querying, and not exactly writing, either. You’ve put aside any other writing projects because you want to put this one to bed. You do a lot of planning and mulling of possibilities and testing of various ideas, while the clock ticks relentlessly.

This is where I am. I recently received some useful feedback and embraced the suggestions, seeing real possibility of improvement if I can make the changes just right. But the other two books I’m working on have been shifted to the back burner, and no matter how much I stare at my notes, I can’t seem to get excited about actually messing with the latest “final” version of my manuscript. That one is still in the hands of beta (gamma?) readers, for chrissake! Sure I want to get back to querying, given that the possibility of success ought to be higher with the revisions in place, and I want to get back to working on the sequel, but even if I do, how long will it be before I can rustle up anyone willing to read it and give me feedback? Because I don’t want to burn any bridges, querying with a flawed manuscript (again).

The motivation to revise (again) has taken a sabbatical.

You remember how I’m always saying how entering contests is good for your craft and career, even if you never actually get picked for any of them? Well, here’s some proof. In my online critique group someone started a forum topic on the recent Pitch Madness contest. “Who’s entering?” “Want to swap entries and gI’ve each other feedback?” And like that. I posted my entry — a 35-word pitch and the first 250 words of the book, along with the genre and age group. I didn’t get picked in the contest, this year, and given that this is the third year I’ve entered with a different version of this same manuscript, I later commented that I was beginning to question my ability and the marketability of this particular book.

Someone else on that thread said that they’d read the entry I had posted, and doubted I had anything to worry about. They would be delighted to read my full manuscript and offer feedback, if I wanted.

I responded immediately that I would gladly welcome the kind offer, but first I needed to finish this pesky revision.  And, boom, I had my motivation to get on with it.  Because I had a reader already lined up, eager to give feedback, so I could get back to querying.

You never know where motivation will come from. Be on the lookout for it and when you glimpse it snatch it up like ambrosia. Because sometimes it apears just like a gift from heaven.

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They say with age comes wisdom. I’m 53, and I’m still waiting for mine.

But I’ve been a serious writer for much less time. I wrote in high school and college, and even eventually (20+ years) finished a Dungeons & Dragon’s-inspired novel, but I didn’t get serious until about 4 years ago, when I embarked on a middle grade novel with my daughter. For this novel I approached it from the very start with the intention of being traditionally published. I already had a good foundation of how to write good dialogue and descriptions and pacing and tension and all of that. But this time I wanted to end up with a novel that somebody else might actually want to read.

So I got busy.  I took online courses and bought books about plot and downloaded lectures on the 7-point story structure. I found the online writing community and became an active participant in a critique group. I discovered the universe of writing hashtags on Twitter and jumped in with both feet. I figured out how to access my manuscript on my smartphone and bought a portable keyboard so I could write anywhere or anywhen. I kept my enthusiasm at a constant slow roiling boil, and was always working on some aspect of my book or its plot or its characters or the world-building or the query or the synopsis.

And when I thought everything was ready, I went into a frenzy of querying agents.

I wasn’t ready. Actually, the manuscript wasn’t ready, but both statements are equally true. The thing about querying is that for the most part, once you’ve queried a given agent and they pass, you’ve pretty much burned that bridge. There are exceptions where an agent might ask for a Revise and Resubmit, or tell you the manuscript isn’t quite ready but please keep them in mind if you decide to revise it on your own. These are pretty rare. And while there are hundreds of agents out there seeking books in any given genre, the list isn’t infinite. If you’re not careful you will eventually run out.

In the past, whenever I managed to get some feedback on my full manuscript, I typically endeavored to revise as swiftly as possible so I could get right back to querying.  But now I’m a bit more philosophical (if not not yet wiser). I’m realizing I don’t want to cross off another swath of potential agents by sending out a manuscript that isn’t ready. So I’m developing some patience. I’m taking my time to make sure these latest edits are going to stick and solve the problems pointed it by readers. I’m realizing I don’t want to do this forever, and I’m realizing the end of my list of potential agents is not that far away.

Maybe I’ve gotten some of that wisdom after all.

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There is a lot of advice out there about querying your manuscript, but one of the most common pieces of advice is “Don’t give up!” Variations on this include “Aim for 100 rejections a year,” and “Don’t stop querying until you’ve queried at least 80 agents.”

Fine. I have no problem sticking it out that long. I’ve gotten a grip on my self confidence and can keep this up for as long as it takes. The problem actually comes when you start to run out of agents to query. So what do you do then?

I’m not sure it’s possible to run out of agents to query — only to run out of places to look. There are hundreds of agencies in the U.S. alone, and even if you strike out with one agent, rarely is it prohibited for you to try again with a different agent at the same agency. So where do you look? Following is a list (far from exhaustive) of places you can find agents eager to read what you’ve got, or at least eager to take a look.

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  • Annual Guide To Literary Agents. This is basically an alphabetical directory of agencies, with detailed information including what they are looking for, what terms they offer, recent sales, how to submit, and the names of individual agents. The book also has detailed articles on how to write a good query, how to write a synopsis, what agents look for, etc. The book also contains a directory of conferences. In addition to this book, you can also find similar books such as Writer’s Market, Children’s Writer’s & Illustrator’s Market, Novel & Short Story Writer’s Market, Christian Writer’s Market, and Poet’s Market.
  • AgentQuery.com.  “The Internet’s largest free database of literary agents.” You can search by quite a large selection of genre keywords in fiction and non-fiction.  The site also contains many resources for writers, including information on e-publishing, networking, what to do with an offer, etc. There is also an active writer’s forum, including critique groups and genre discussions at agentqueryconnect.com.
  • ManuscriptWishlist.com.  This site continues to expand and improve, and now includes extensive articles by active agents and writers, and a monthly e-newsletter to whitch you can subscribe. Manuscript wishlist grew out of an annual Twitter event during which agents and publishers would post on the hashtag #MSWL what kinds of things they were looking for. The main (and best) feature of the site is the searchable database, which focuses on what each individual agent is looking for and how best to get their attention, as well as specific submission guidelines. There is also mswishlist.com, which is basically just an agrigator of Twitter posts using the #MSWL hashtag, which by this point is just a contrast stream. This site also has streams for #AskAgent, “queries” (such as #500queries, #100queries, #tenqueries, etc., where agents post their responses to a set quantity of queries they receive in the course of their daily routine), and #PubTip, as well as a listing of agents on Twitter, including the genres/age groups they represent. You can click on any of these tags, such as MG, and get a filtered list of agents who represent that category.
  • Twitter. Yup. It isn’t just for witty observations and pictures of you lunch anymore.  Haunt the writerly hashtags, such as those mentioned above, as well as #QueryTips, #AmQuerying, #AmWriting, or even just your genre or age group, and you will find an active flow of tips, advice, announcements, offers of assistance, and upcoming events. Many of those who post on these hashtags are agents seeking submissions or offering the benefits of their experience. This is a great way to connect with agents who share your tastes and interests.  Pay attention to the contests, too, because even if you don’t choose to enter, most of them include a roster of participating agents and their bios, wishlist, and contact information.

These are all really just the starting point. Because once you find a potential match through one of these resources, you will want to investigate further before dashing off that query burning a hole in your hard drive. Find them on Twitter and explore their posts. Visit their website — many have both an agency page as well as a personal page. Search the Internet for interviews and read them; you will often discover some pet peeve to avoid or some special interest you share. But most importantly, you will want to find that thing in common between what you have to offer and what they most want to discover in their in-box. This is the key to personalizing your query to each agent.

My last piece of advice is to start a spreadsheet to keep track of who you have queried, by date, and what responses you receive, if any.  Many agents will indicate that no answer after a certain amount of time = a pass.  I personally use Microsoft’s OneNote, because it is free and mobile. I have it on my PC, my iPad and my phone, and they are all automatically synced.

Now, you should have no problem putting out a query a day, or five a week, or whatever goal you set yourself. Get to it, and good luck!

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If you are a querying writer with aspirations of becoming an agented author, pitch contest season is like June for college graduates — polishing their resumé and practicing their interview face. For us writers, it is time to get our bits ready.

The “bits” to which I am referring are your 140-character Twitter pitch and your 35-word longline and your 250 to 300-word synopsis and the first 250 words of your finished manuscript.  Plus, you’ll need to have your genre worked out (pick ONE; fantasy steampunk horror romance is not a thing). Know your age group (pick ONE). Choose a couple of good, contemporary comps (NOT Harry Potter, NOT 50 Shades of Gray, and something you’ve actually read and an agent has actually heard of).

Also, you know, just know your story and your characters, because many of these contests will ask you to come up with a clever “code name” for your book, or answer a “character question” as part of your submission. Sometimes these contests will pop up out of nowhere, and you will discover you have only a day or two to get everything compiled and ready to submit during a small window.

Let’s take Sun vs. Snow, for example. This year the entry window opens on January 23. So, as I write this, there are still almost two weeks to prepare.  On the above-linked website there are very specific instructions for how to format the e-mail you will submit, including spacing, what font to use, where to bold, etc. There is a character question, so even if you have all your bits neatly organized in a folder, you still need to write a pithy (100 words or less) answer to this.  Then when the window opens at 4pm Eastern time, you have less than 5 minutes to hit send, because they only take the first 200 entries. In past years the contest filled up in four minutes.

READ THE CONTEST GUIDELINES CAREFULLY. Because this really is a case where judges will be overwhelmed with entries and must whittle down to just a few who can go through. What do you win? That varies from contest to contest, but generally “winners” of dinferential stages earn close, personalized feedback from professional editors, who will help you polish your ms and query and get them ready to present to agents. These contests almost always earn someone a contract with an agent. But don’t enter if you’re not prepared to do a lot of revisions very quickly.

Getting in is hard, because these contests are fiercely competitive, but they are worth it because someone always makes it through, and the odds go up the more you participate. Not to mention you will have an opportunity to receive free, professional feedback — not only on your ms, but you can learn from the feedback others receive. There is almost always a Twitter feed you can follow to read live comments from the judges as they evaluate the (usually) anonymous entries. It’s fun (and terrifying) to imagine they they might be talking about your entry.

You have nothing to lose, so why not give it a try?

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Here’s the thing about being a writer with a goal of becoming a published author: the target keeps moving.

Okay, sure — the prize is always to get your book published.  But there are lots of steps along the way.  And not all of them are baby steps; some of them are ginormous steps.

  • Coming up with a novel-worthy plot and compelling characters.
  • Finishing a complete manuscript.
  • Learning how to give and take useful criticism.
  • Nailing a killer beginning.
  • Learning to get comfortable killing your darlings in the revision process.
  • Writing a 2 page synopsis of your entire novel.
  • Writing a 2 paragraph synopsis of your entire novel.
  • Writing a 2 sentence synopsis of your entire novel.
  • Sending out your first query.
  • Receiving your first rejection.
  • Taking the plunge and entering a pitch contest.

Every time you hit one of these milestones, you’ve accomplished something big in your career as a writer.  Each of these milestones is something you can build on to help you get to the next one.  Like way points on a long mountain-climbing expedition.

Here’s another thing about being a writer with a goal of becoming a published author: you have to know you might never actually get there.  Yet, for every published author, this did not deter them along the way.

So, what does “success” look like?

Have you ever climbed a mountain?  No, me either.  But I’ve seen a lot of movies and stuff.  It seems to me that along the way up the mountain, when you stop on those scenic way points and put down your pack, you can take a moment to look over the vista from your new vantage point.  Look back on where you came from and all you have passed through to get to where you are.  Assess your progress.

That is what success looks like.

 

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There’s been a be it of a debate over at my critique group.  This isn’t the first time this has happened.  Our long-standing debate has been a kind of a glass-half full/glass half-empty philosophical conundrum for as long as I have been a member (three years).

The feature in question is the Hook Queue, in which members can enter the first 1,000 words of their story and get feedback.  This sounds great on paper, and in practice many, many members like it.  I don’t happen to be one of them.

See, here’s the thing.  The whole critique group is based on a credit system; you have to critique the work of others to earn the credits you need to spend in order to submit your own work.  It creates motivation and an atmosphere where giving critiques is as valuable or more valuable than receiving them.  Which is actually true.

The Hook Queue is a little different.  Entering into the Hook Queue costs you 3 credits, but you can earn them back by critting 10 other hook submissions.  Here’s how the queue is described:

This queue is a little bit special. Here the critter is playing the role of an underpaid editor searching for that special perfect snowflake of a manuscript amongst a pile of hopefuls.

Anyone can post into this queue but you must have extremely thick skin. The queue is meant to give you an indication of how good your hook is and where editors might stop reading, and more importantly, why.

The theory is that you should run though these quickly (you are timed) and when you feel like stopping, make a short note explaining why at that spot.  It is quite a contrast to the regular story queues we use for chapters, in which additional points are awarded to critters for making more verbose critiques.

The Hook Queue is only open one week per month.  And after each one the debates roll out anew.  Some people (myself included) want more detailed comments on these all-important opening pages of our story, not a cold brush-off.  We want to know what is working so we can make more of that.  But the entire concept of the Hook Queue is that members are asked to pretend they are editors or agents, when mostly likely none of them actually are.  Critters are only guessing at what an editor is looking for.  These people are writers themselves — an entirely different breed.

The people in favor of this method like to point out (according to everything they “know” to be true about slush readers) that they are all just looking for reasons to reject your manuscript.  One member went so far as to suggest they already have all the clients they need and the slush pile is their lowest priority, so in order to get home to their families they slam through it — just like the Hook Queue is designed.

I’m here to tell you it just ain’t so.

The editors, agents, and slush readers I’ve spoken to (quite a few) express their love of their work.  They can’t wait to find the next great book that takes their breath away, and they invite anybody with an Internet machine to send them their manuscript. But don’t take my word for it.  The other day I ran across an AMA (“Ask Me Anything”) on Reddit, being conducted by a slush reader for a New York literary agent.  He answered questions for hours revealing, among other things, that he does it for no pay because he simply loves books, and would rather read a good story than watch television.  Here are a few of his comments/answers:

Most agents will read nearly 100% of all queries and probably something close to that in full requests. What the readers like me are doing is helping to level them out. We’re making sure that good stuff gets noticed quick, because the agent is racing to find new talent before someone else scoops them up. And we’re leveling the agent out when they fall in love with a book that may have some serious flaws. Trust me when I say this – Agents and readers alike want desperately to be in love with your writing and your story. We live for it. Look at it less as gate-keeping and more as trying to find the gold nuggets in the sifting pan faster because there’s only one giant pan and a thousand gold-hungry sharks swimming in it. More eyes is better than less.

 

A good slush reader has to be aligned with the agents interests. The agent wants to find great writing and great/talented authors to sign. Slush readers that are just looking for reasons to hate things last about as long as critique partners who like to tell you how horrible you are at writing (maybe a week?). Now, we sure may get a bad rep for pointing out things that we feel are flaws (especially when the writer doesn’t agree) but I can tell you that what we present is opinion and sometimes Agents ignore their slush readers completely and go with their gut and sign authors they simply love.

 

Anytime a [slush] reader likes a work, it’s good for the author and the agent alike. A reader helps the agent have a pulse on what the “average joe” reads and likes. It gives the agent a more rounded opinion of the work. It can help the agent overcome a gut reaction or objection, and it can point out a flaw that the agent didn’t see.

So, if you are in the query trenches right now, desparing because you think the keepers of the keys to your publishing kingdom only have eyes for your mistakes, buck up.  The people you’re querying want to love your book.  As this slush reader said, “There are exactly 1000 things pulling the attention of an agent at any one moment. If you can keep them from caring about anything but reading the next sentence, you’ll have an agent by tomorrow morning.”

Now, I just need to wade back into the debate and convince everyone that our Hook Queue has got it’s head on backwards.

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This is the big one, kids.  The gold standard of pitch contests, and one of the longest-running. There are something like 130 mentor teams participating this year, broken into four age categories: Middle Grade, Young Adult, New Adult and Adult. The contest runs from today through November 9.

But what is it?

Oh! I didn’t see you there, under that rock.  Okay.  PitchWars is a contest for writers with complete manuscripts and a polished query letter. You choose four mentors or mentor teams (a lot of those this year) and submit your first chapter, query, and contact info. Over the course of the next three weeks, those mentors will review all of their entries and request additional materials from those writers whose manuscripts they like. And by “like” I mean they feel like they can connect to the story and the author, and can offer concrete advice for revising the entire manuscript to agent readiness. These are experienced people — slush readers, professional editors, published authors. Many of them are past PitchWars winners.

Then, for the next two months, the chosen mentees will be in constant communication with their mentors, frantically revising their manuscripts and query letters according to their mentors’ advice.  Then, during the first week of November, these revised pitches and manuscripts will be showcased for participating agents.  There are over 60 of those, this year.  The goal, of course, is for an agent to sign you.  That happened to over 50 people last year, and over 200 in the 4-year history of PitchWars.

Do you have a manuscript you are ready to query?  If so, and you want to enter, the details are here.  When you are ready, the entry form is here.

Good luck!