First Contact, Part 2 (Querying an Agent)

Last entry, I discussed what I've discovered to be true about where a writer or artist must be prior to seeking out someone to represent them to working professionals. Judging by the e-mails I received, I struck a chord with many of you. I am honored that you found something helpful in my words, but I should follow-up that entry by reminding everyone what I posted is simply one way to do it. Don't take my advice alone.

Also, apologies on the time it has taken for me to follow-up. As many of you know, I never want for something to write. I always keep myself busy with various writing projects in several different forms of media. Recently, however, I was interviewed and hired by Bio's Remnant, a new independent video game developer. My work with them kept me away from my blog for a time as the project got underway but now that I've established a pace and a rhythm, I feel comfortable setting it down long enough to resume my blog.

Anyway, today's entry will be tighter in focus. As the subtitle of my post indicated, I will be writing about the Agent Query process.

I want to start by mentioning this: This process is far less painful than it has been made out to be. The following is a quote I've copied from AgentQuery.com,

"Agents take queries very seriously, and yes, they really do read them. It’s not some universal rumor that agents have perpetuated because they all have a secret fetish for being bombarded with mail. Sure, agents make it sound like digging through the slush pile is the last priority of their day. Some agents even relegate the ambivalent task of reading unsolicited queries to an assistant or intern. But the fact of the matter is that most agents do read queries. Even more importantly, agents actually respond to ones that spark their interest.

So write a professional, intelligent, concise, intriguing query and not only will you entice an agent to ask for more, but you’ll move yourself one step closer to a book sale."

Doesn't sound all that frightening, does it? The reality is, the process is simple once you know what literary agents are expecting. As a writer, you only need two things prior to sending your query: Item 1 is something finished to pitch them. Item 2 is knowing exactly who you are sending your query to, and why.

Whether you've written a children's book, a book, or a script you should have it finished before you begin to query agents. As you'll discover when you begin to read Agent profiles at sites like the one mentioned above, they are assuming what you are pitching is finished and they'll have something to immediately begin to try and sell for you. Keep in mind, they are interested in your second work, as debut novels and scripts usually don't bring in all that much money. Having that first project done goes a long way in proving that you can finish what you start.

Item 2 is an often overlooked aspect of the query process, but you should be aware who exactly the person on the other end of that e-mail is and why you are sending it to them specifically. In fact, most agents state in their Submission Guidelines that you include this as part of your query. The implication here is to do your research and learn who the agent is.

Writing a query is the next point to bring up, and let me tell you, it is far simpler than you realize. Follow the formula below:

• Start with a one sentence description of your project. Remember: ONE sentence. For example, Sheriff James Toole has arrived in the town of Waterhouse with a plan to evict the dangerous outlaws living there and protect the hard-working families of the surrounding areas.
• The next paragraph should be an expanded synopsis that explains the first sentence.
• The third paragraph should be an explanation of who you are, your resume, and why you selected this agent.

And that's it! Everything else will be agent specific. They might want you to put a certain phrase, their name, or the name of your project as the subject of the e-mail. They may ask for the first ten pages of your book to be attached or they just might want an excerpt copied into the e-mail. If it is a script, they likely will want a logline and perhaps a few dialog samples. Regardless, this is another reason why you should do some research on the agent before you send anything to them.


Finally, here is a list of questions to ask yourself as you go about researching agents:

Does this agent have a sample list of published books and authors on their website?
Not having books advertised or mentioned on an agent or agency's website is a red flag. They make money via selling written works. If their site doesn't "Show-off" who or what the agent has successfully represented then it is likely they have not been successful. Exemptions exist, but make sure you find out what or who the agent has represented and how recently they have had success before you send your query.

Does the agent represent my chosen genre?
Should be obvious, but make sure you practice due diligence on this front. Don't assume they will represent science fiction because they represent fantasy, and don't assume they represent all forms of the genre you are writing in. For example, I've seen an agent list in his biography that he was searching for science-fiction with a female protagonist. Not all agents are this specific, but you get the idea.

Are they accepting submissions?
Again, sounds obvious but I've found myself sending an e-mail in to an agent only to be browsing their site later and find they weren't accepting queries. Research handles this question and the ones before it as well. Know your agent and you stand a better chance of success.


...And that concludes my blog post on this topic. Just remember to be patient and to never give up. Most agents I've queried have replied kindly to my submission, even when turning it down. Some have even given me some advice on how I might be more appealing in the future. Keep an open mind and I'm sure, you'll do find.

Good luck! And let me know if you find any success!

~M. A. Weeden

First Contact, Part 1

The Christmas tree is going down (a bit late, admittedly, but we hang on to Christmas like it'll make us rich) and snow is falling, but spirits are rising. And not the half-hearted rising current temperatures are doing, either. This is full-blown enthusiasm. Astatic excitement as a result of unexpected success.

I've conquered my fears, and I'd like to share this personal victory with everyone out there who aspires to write, act, direct, or anything else that requires an artist to approach other people. You see, my skills haven't taken a giant leap forward in recent months and I haven't stumbled upon a new character or setting that completely changed how I saw my creative limitations. I haven't even gotten anything published recently. What I have done is learn how to connect with others in a productive manner.

Sounds easy, I know. But recent conversations with nearly a dozen of my friends and fellow writers have reminded me of where I used to be. Perhaps, with this post, I can address what makes many of us in the creative field of work hesitant to make First Contact with agents, producers, directors, and managers.

Step One is identifying your strengths and weaknesses. My friends and family know, I'm definitely the outgoing sort. I even have the ability to adapt to my surroundings and survive at least a few hours with just about any social group. I could sit in a bean bag chair at a local library and quietly discuss a new fiction novelist for hours or I could toss shots of Jack Daniels at a bar while shooting pool and drinking pitchers of Yuengling. Point is, I am easygoing and relaxed enough to get along with most people. Even so, approaching someone with my literary work scared the bratwurst out of me.

It was ponderous; Here I am, a guy who has always has something to say, and when I'd open an e-mail to send something to an agent, I'd lose my words. Calling a production company on the phone usually resulted in me hanging up the moment they picked up. Call me gutless, and I'd agree with you. What was the deal?  Despite having social aptitudes, talking with people about my work was a serious weakness. Eventually, I sat down and wrote about my shortcomings, and what I came up with startled this social butterfly.

I was insecure. Not about my material, which I felt was great, but insecure about myself. I had no network and no one to open any doors for me to this big, "evil" industry that requires you to know people. I was also misinformed that I needed someone else to do some of these things for me. Ultimately, I had nothing to say to working professionals because I had no identity to sell.

Is this the same problem you have? If so, the answer is alarmingly simple. If not, then read on anyway because I have more to say to those of you who have the confidence in yourself and your "brand".

Okay, for those of you who aren't secure in your "identity" as a performer, artist, or writer, this paragraph is for you. While you are probably expecting me to say, "Climb that hill trooper! Overcome your weaknesses!", or some other clever variation, you would be wrong. Bludgeoning your way into the future by writing more or working harder is not going to help you. If you are in this category along with me, then you've created great characters that you've received excellent feedback on, you are confident in your stories, and you feel like you have plenty to say. If you can check those three boxes, then it is time for you to look at yourself.

A hard, long look. You need two things to gain the confidence you'll need, and you've done both already at least several times. Just like you did for your best character, you need to give yourself a Voice and an Identity.

This blog you are reading is my Voice. It is written not as I talk in person, not as an anonymous commentator, but as a blend of genuine feelings and carefully considered word choices. The resulting Voice is me, but with a bit of oomph. A sliver here and a morsel there of what you can expect to see in the works I do. Whether or not you like my Voice is moot, because it is mine, and it is consistent.

That consistency is what builds your Identity. Let's pull an example in here, such as Samuel Clemens. Eventually, he created such a strong Identity by consistently re-imagining the ideas and words of others (his Voice) that he ended up becoming that identity as Mark Twain. Obviously, we aren't all aiming to rename ourselves and travel the world to deliver scintillating social commentary, but we can learn from Mr. Clemens. The more you read the words of any author or see the movies of any director, the more you think to yourself one of two things: Either you "love" their Identity, or you "hate" it. Regardless, you know what to expect.

Which brings us to the question you should be asking yourself right now. How can anyone know what to expect when my voice is inconsistent?

I cannot inform you completely on how to craft your Voice or where to put it on display. That is up to you. I got my first legitimate writing gig by talking about my work with a complete stranger I met while playing Dragons of Atlantis on Facebook. I sold myself to someone who needed a writer simply by surrounding myself with people (via video game, but the principle is what counts) and having an Identity. Once you have that, no one can hype you up like you can. Tell everyone you meet that you are a writer (or musician, artist, etc) and do it in a consistent manner. The implication here is that you need to interact with people. Online or in person, it doesn't matter. You simply need to let people know.

That is the easy part. The hard part is fabricating those encounters in an environment that is not as 'loose' as say, a multiplayer game online or a bookstore. I'm talking about querying agents. This is the part that requires the most work, but really, it is pretty simple once the aforementioned concepts are in place. You just need to do a bit of research and see how to format a query and what sorts of information to put into it. After that, agents are easy to find. After all, they need you in order to make money.

Here is where the previous two paragraph unify: If you don't have an Identity, then you stand little chance of scoring an agent via the query process. Why? Because they are looking to make money on your second and third book, not your first. If you've got a TV pilot, having that first script be excellent is only part of it, they have to know you are a writer with a lot to say and that you will be good for many episodes. Debut novels and first time TV pilots don't rake in the cash as per the norm and they won't bet that yours will.

Lastly, the best way to know that you've successfully found your voice is by never being at a loss of what to say. You will always have something to comment on and always have something to write. You will know what to paint and which roles to chase after. Which songs to sing or to compose. Even better, you will be able to make yourself smile because you have added something to the world that wasn't there previously. THAT is a good thing, no matter if you sell it or not.

For those of you who already have their voice and identity ironed (if you do not agree with the previous paragraph, then you don't) out but are still fearful of Taking The Next Step, you have a different problem. In your case, you are suffering from insecurity toward your creative works. And you may not even know it.

Regardless which of the two types of insecurities I've mentioned belong to you, you need to be able to tell a prospective agent, producer, or other working professional that you are the best for the job you are seeking. When I wrote comedy scripts for an acting troupe, I told them that I could write the best comedy scripts for what they were trying to do and then I delivered. I wouldn't have had a job if I hadn't advertised myself as the best. Thus, if you have a strong voice, and you cannot convince others you are the best at what you are doing, then you need to take a step back and examine your skillset or your relevancy. If it is the former, then you have to improve by reading more, researching proper ways to write, and expanding your vocabulary (for a writer) or doing what is necessary to increase your skill level at whatever it is you are trying to do.

Harsh words? Maybe. But only through being honest with yourself will you succeed. Even if you are talented and intelligent however, it doesn't make your work relevant. For that acting troupe, I didn't just suddenly know how to write comedic scripts for a Murder Mystery Dinner Theater, I put in the work to learn how to provide the right script for my client. The greatest script in the world would have meant nothing to them if it didn't provide the service they were looking for. Further evidence toward these concepts was shown when my good friend Janece joined in on the fun of writing these scripts. She had a voice, sure, but that was only part of why they loved her work. She learned how to provide what they were looking for. The point between some of these lines is this, neither Janece nor myself sacrificed our identity or our "craft" to write what we did. But we were able to apply that identity to something we could sell.

Relevancy is King, so ask yourself, is my work relevant? If it is not relevant yet (IE, no one cares that you are writing it) then it is time to work on something that is relevant. The reality of the industry is, you can self-publish and make more money that most agents and publishers can get you initially, but if you can't even sell yourself to someone who stands to make money by making you a client then you can't expect anyone to want to read your self-published eBook. (It should be noted that I am not bashing either method of getting yourself published. If you can publish an eBook that you know is relevant and well-written, then go for it yourself. It has definitely become a legitimate means of getting yourself out there and paid for your efforts.)

Eventually, there is a change in a writer, actor, or other working professional's life when everything he or she does becomes relevant simply because their name is attached to it. THAT is when you can start "teaching" rather than "Entertaining" with your craft. Just like Heinlein made himself relevant by appealing to teenage boys with his early books, your time will come.

My time will come too. No reason to be impatient about it.

~M. A. Weeden

(Next entry, I'll talk about Agents some more. I've located some pretty nifty ways of finding the ones who are looking for talent)