Why Agents Reject 96% of Author Submissions

Did you know that 96% of authors seeking agents are rejected? Flip it around, and it can be said that only 4% of them land an agent. Peruse through Writer's Market and you'll see that right alongside an agent's address is their acceptance rate.

The reason for rejections typically comes down to a few key issues. Follow these solutions, and my bet is doors will start opening.


Photo Credit: Heather Hummel Photography
 
1. Problem: Failure to Follow Submission Guidelines.

Every literary agent has their own, specific submission guidelines. Failure to adhere to these guidelines will often put your query letter in the trashcan, either the virtual one or the metal one, faster than a shooting star disappears into the galaxy.

Solution:

Pay close attention to each agent's individual submission guidelines. Visit their website and click on Submission Guidelines. Read them in detail and find out the answer to these types of questions: Do they only want a query letter? Do they want a query with the first five pages? Do they want a query and the first three chapters? Do they only accept queries via e-mail or via snail mail? Are the submission guidelines the same for e-mail as they are for snail mail?

Once you know their guidelines, follow them to a T. Remember that each agent has different guidelines, so expect to spend a lot of time researching them.

2. Problem: Genre Confusion.

Not all men prefer blonds and not all women prefer tall, dark and handsome. The same rings true here. Not all agents want whatever genre you're selling. Sending a query for a romance novel to an agent who only accepts nonfiction genres is a huge waste of time. Not finding out what genres grab an agent's attention will only set you up for rejection.

Solution:

Use resources such as Writer's Market or AgentQuery.com and perform a search of agents who represent your specific genre. From there, visit your selected agents' website and verify that their bio matches what the resource says. Agent information from an outside resource can differ from the agent's website; therefore, always defer to the agent's website.

3. Problem: Let's Face It: Your Query Letter Sucks.

A bit harsh? Consider that in a recent informal survey I did on Facebook, 10 out of 10 people said they hate writing query letters. The reason was unanimous...because they simply aren't good at writing them. If someone is not good at writing them, I am certain agents will agree.

I am the minority in that I embrace the query letter challenge like a kangaroo to her joey in the pouch.

Solution:

A rock solid query letter needs a few components to grab the attention of an agent.
The opening paragraph should not rave about how your book is the next (fill in the blank famous book/author). Instead, the opening paragraph is meant to stylistically make a pitch regarding your protagonist and book in a way that the agent will fall in love with them.

The second paragraph ought to provide the synopsis. Do not include every little detail like the color of the protagonist's hair, what day of the week she gets her manicure, or all the friends she meets along the way. The synopsis is meant to summarize the essence of the obstacles she overcomes. Stick to the big picture details.

The third paragraph is all about you. What relevant credentials, honors, and awards have you or your books achieved? In other words, why you and not the next author in their inbox?

Lastly, the closing paragraph should recognize the agent's submission guidelines, why you felt they were a good fit for your novel, and an action to take...i.e. requesting the full manuscript.

Note: Include all of your contact information: address, e-mail address, and phone number.

4. Problem: Nonfiction is a Different Beast than Fiction.

Did you know that 70% of nonfiction books are ghostwritten? What most people don't know is that rather than hiring a ghostwriter to write their entire book, what they really need first is a complete book proposal, three sample chapters, and a cover letter. A book proposal is made up of many components, such as an overview, competitive titles, marketing, etc., and runs at least 10 pages.

The problem in this case is that most people don't know that to pitch to an agent, they need a proposal and only three chapters written, not the entire manuscript. Once the book sells to a publisher, the rest of the book is written.

Solution: 

If a nonfiction author is going to write their book rather than hire a ghostwriter, they're best served educating themselves on how to write and pitch a proposal to an agent. Alternatively, they can hire a professional ghostwriter to write their proposal and sample chapters. Because 70% of nonfiction books are ghostwritten, agents expect a nonfiction author with a big platform to hire a ghostwriter for their book(s).

5. Problem: Spelling and Grammar

I shouldn't have to state this, but I will. If you're submitting a query letter to agents, ensure that all spelling and grammar issues are resolved. This industry thrives on the written word, and typos or shortcuts are a turnoff.

Solution: 

Hire a professional (not your Aunt Rose) to read your letter. You should also read it out loud. It is amazing how many errors you can catch when you read material out loud.

The query letter editing and reworking that I have done with clients has increased their agent response rate from almost 0% to at least 75%. Many of them have gone on to land agents and multi-book deals. Following these five guidelines ought to help increase your odds of landing an agent.

One last note. Patience and persistence are a huge part of being successful in this industry. I'm sure you've read enough about all the big authors who were rejected, but, it was their persistence that paid off in the long run.

Follow Heather Hummel on Twitter: www.twitter.com/HeatherHummel
This post originally appeared on the Huffington Post. 

Indie Authors Seeking an Agent: Take Note! Q&A With Literary Agents Jeff Kleinman and Michelle Brower (Part II of III)

"If a book has 250 reviews with 4 and 5 stars, and 70,000 in sales, 

this author has a lot of promise." 

-- Michelle Brower

If you're an Indie author looking for an agent, take note! In this Part II of my interview with literary agents Jeff Kleinman and Michelle Brower of Folio Literary Management, they open up about industry numbers that tend to grab their attention by sharing the importance of Amazon rankings, reviews, price points, and book sales.

Michelle Brower: Photo Courtesy of Folio Literary Management
Q: How many book sales does it take to impress an agent?

Michelle: It definitely depends on genre because an author would need more romance sales to actually impress an editor in that market; whereas in women's fiction, historical fiction, or literary fiction, an author doesn't need quite as many sales. What I'm ultimately looking for is sales north of 60,000. But, a book's price point is also important. I cross-reference those two numbers to calculate about how many sales a publisher would be able to reasonably expect.

Price point matters because 50,000 sales is not just 50,000 sales. 50,000 sales at $.99 is one thing. 50,000 sales at $3.99 is another. 50,000 sales at $6.99 is entirely another. We can't sell books at $.99 and make money. Because of these factors, we find the e-book market to be very price sensitive.

As for free, if an author had 30,000 free downloads, we can't really use that as a number to determine whether or not it would translate well into the traditional market.
 
Q: How important are Amazon rankings?

Michelle: Amazon rankings are important for different reasons. I actually think they are really important if you want to grab the attention of an agent because that's mostly how someone would see a book... when it pops up higher in rankings. Those could have halo effects. For self-published authors, I would generally recommend starting with a little bit higher price point, but getting sales so that the rankings improve. The more readers hear about and buy a book, the more the book gets reviews, and it sort of all snowballs.

Ultimately, the ranking for us is really not what we are looking at though. Why? Because it doesn't matter at the end of the day if a book ranks #2 on Amazon because it sold 1,000 copies in one day but it never sold anymore or very few.

Q: How important is it for an author to have more than one book?

Michelle: It's critical for an author to create a relationship with their readers by having more than one piece of material. I always look at the relationship between the author and their readers. Most of the successful self-published authors will get a new reader on their second book who will go back and read the first one.
If an author has a series, that can definitely help, but I also think it's just the book. If a reader likes an author, they are more likely to go back and purchase something else or wait for the next release. I think that that's something in publishing that's not really considered the brand. It's actually the author who is the brand. If an author is doing well, readers will come back whether they are sci-fi, fantasy, or romance.


Jeff Kleinman: Photo Courtesy of Folio Literary Management
Jeff: Michelle is right because readers who like an author's Book X would also be interested in Book Y. I had an author who wrote three books, and the first two were stand-alone. The third one has a really, really great character that everybody wanted to read about. However, readers didn't necessarily read the other two books because the character wasn't in it. So, it's not going to be just about the author. It depends on how strong a character is. That is something any author should be thinking about as they write because in order to have a loyal fan base, you need to make a character who is strong, quirky, and interesting enough to support multiple books.

Keep in mind that readers buy the successor books for one of two reasons. One is an author whose name they start to trust and the other is because of a character they start to trust. For example, a lot of times they won't know the author, and they just want to read more because of the character. Jack Reacher is a great example. A reader can know Jack Reacher, but they might not know Lee Child is the author.

Q: How influential are reviews?

Michelle: We tend to put reviews into two sections: customer reviews from Amazon or GoodReads only and "other reviews," because we know there are a lot of services out there providing reviews. Some of those "other reviews" have made a big difference for authors. For example, Darcie Chan had a Kirkus Review that ended up really launching her.

Reviews are intensely important for visibility. I'm generally looking for a book with upwards of 100 reviews, and that they're good reviews because certainly if a book has 200 reviews with several 2 star reviews, that won't interest me. So even though I'm looking at upwards of 100, I'm more comfortable somewhere in the 300 range. I think that at 100 reviews, a book doesn't have the sales yet to necessarily translate into traditional publishing.

Reviews are important because they affect visibility in the Amazon system. Amazon has algorithms I don't pretend to begin to understand, but one of the pieces is the number of reviews and at what level. It's important for self-publishers to work at increasing reviews and hopefully having them snowball into more reviews and sales.

Ultimately, when presenting to a publisher, I provide a cross-section. If a book has 250 reviews with 4 and 5 stars, and 70,000 in sales, this author has a lot of promise. Alternatively, if a book has 200 reviews and only 10,000 sales, it's going to be so much more challenging to present them and say, "You should invest money in this author."

***
Did you miss Part I? Click here.


Follow Heather Hummel on Twitter: www.twitter.com/HeatherHummel


This post originally appeared on the Huffington Post.

The Author Success Story Behind ABC's Resurrection: Q&A With Literary Agents Jeff Kleinman and Michelle Brower (Part I of III)

Photo: ABC
What began as an interview with literary agents Jeff Kleinman, Founding Partner, and Michelle Brower, Senior Vice President, of Folio Literary Management turned into enough material for a three part Q&A series on what agents really want from authors. The forthcoming second and third parts of the interview touch on what they're looking for in both a manuscript and an author, as well as advice for self-published authors looking for an agent. This part, however, dives into the incredible story behind author Jason Mott, whose best-selling novel The Returned became ABC's breakout success, Resurrection. I've decided to start with Mott's story because it exemplifies how good things really do happen to good people.

Q: We all love a great author success story, and the one of Jason Mott's novel, The Returned, turning into the hit ABC series, Resurrection, is now at the top of my list of favorite breakout successes. How did Mott transition from his job as a customer service representative for Verizon to the best-selling author success story he is today?


Michelle Brower: Photo Courtesy of Folio Literary Management
Michelle: I'm actually looking at the Resurrection poster on my office wall right now. Jason is a great example of how traditional publishing can work out best for an author. He was working at Verizon as a customer service representative at the time. He had an MFA in poetry, so he really had committed himself to writing.

I found his novel, The Returned, in my slush pile, making him an unsolicited author. I read it. I loved it. We worked together on it by doing lots of edits. When I sent it out, it turned out that it was very popular. Mira bought it for a significant deal. We then took the manuscript and connected with a co-agent who specializes in film and television. They then sold it to Plan B in an auction where other TV production companies were involved. That was when we made the pilot. After that, we hoped and prayed! ABC decided to order the series, which meant it launched on air, and the book became a best-seller. As evidenced by Mott, everything can hit on all cylinders.

Q: What was the time frame from book publishing to television launch?

Michelle: The Returned actually became a TV show before it came out in paperback. It never happens that fast. We had a lot of luck and a good set of circumstances. They bought the book before it was actually published and then produced it shortly after the hardcover came out, which was when we moved into making the pilot. I doubt it will ever happen like that for me again. It was just so good, and all the right things happened. That's not the typical experience, but we are all really thrilled about it. Jason is the nicest man. I have to be completely honest... he is so sweet; he is kind; he's hard-working; he is a dream author.

Q: For fiction authors, how important is platform over good writing?


Jeff Kleinman: Photo Courtesy of Folio Literary Management
Jeff: I can't reiterate enough the impact of a great concept, as evidence with Mott, who is a really talented writer. He has an MFA in poetry, so he knows how to craft words. I am going to sound like a broken record, but it really does come down to excellent writing. Too many authors try to find a "formula" or the "key" that will get things through. I am afraid authors will think too much about platforms and connections and then they'll go out and do LinkedIn with every celebrity. That's not what it's about. The bottom line is you have to have some housewife in Dayton, Ohio, pick up your book and say, "Oh, my God, I love this book!" and pass it to their friend, also in Dayton, who then passes it to a friend in Indianapolis. That's how books sell. Word-of-mouth. Ultimately, to do this, a book has to deliver.

Q: How often do books go to auction? 

Jeff: It is not unusual to have a battle over books. Michelle will get a book, and then she'll say, "You won't believe this, but six other agents have it!"

She is always fighting for an author. This happens with the publishers, too. If we send them a book that publishers are excited about, there will be multiple offers. The problem is the authors think it's through some kind of formula: that it's about platform or the exact right query letter. They don't think it's because they actually wrote a book worth reading. A query letter can be really good, but if there isn't a good book behind it, it doesn't mean anything. Authors can't jockey into the system. They sit down one day and decide to write a book, but they must think about the voice and developing quality characters.

Michelle: For me, a fiction writer with a platform is icing on the cake. If the author has a platform, that's great, that helps me sell the book better. But what really counts is how good the book is.

Q: What are your slush pile statistics? 

Michelle: I primarily work with literary fiction, which takes a lot more work editorially; whereas, a romance agent might have more volume overall.

A few years ago I did the math for my slush pile when I created a database for a blog post. I receive about 15 query letters daily and request between 10 and 15 full or partial manuscripts in a year. The maximum number of authors I sign out of my slush pile per year is four. That would be maximum; I usually only sign between two and four.

Discouraged? Don't be. Jeff and Michelle give great advice on landing an agent in the next two articles.
Also see my previous article: "Why Agents Reject 96% of Author Submissions"

Follow Heather Hummel on Twitter: www.twitter.com/HeatherHummel
This post originally appeared on the Huffington Post.