{"id":316,"date":"2020-11-20T10:08:03","date_gmt":"2020-11-20T10:08:03","guid":{"rendered":"https:\/\/jerichowriters.com\/?p=316"},"modified":"2024-05-22T15:40:59","modified_gmt":"2024-05-22T14:40:59","slug":"harry-binghams-45-tips-to-help-you-find-your-literary-agent","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/harry-binghams-45-tips-to-help-you-find-your-literary-agent\/","title":{"rendered":"45 Tips To Help You Find Your Literary Agent"},"content":{"rendered":"\n

If you make it as a writer, it is highly likely that your relationship with a literary agent <\/a>will be the most enduring and important of your entire career \u2013 so the decisions you make at this stage really matter!<\/p>\n\n\n\n

The tips below won\u2019t guarantee you that you find the right agent for you, but if you follow them carefully, they will help your chances of doing so. Keep reading \u2013 and good luck!<\/p>\n\n\n\n

How To Choose Your Agent Shortlist<\/h2>\n\n\n\n
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1. Know your genre<\/p>\n<\/blockquote>\n\n\n\n

In finding agents, you need to have a reasonable understanding of your own genre.<\/a> In some cases, that\u2019s clear. (Got a detective? You\u2019re writing crime.) In other cases, it\u2019s not \u2013 in which case, you\u2019re probably writing general, contemporary fiction. Which is fine. Not all work has a very specific genre. But if you\u2019re in this broad, general category, it helps to know if your work is more commercial or more literary. If it\u2019s in between (thoughtful, but accessible) you can describe your work as \u2018suitable for book groups\u2019. That\u2019s a hot area for literary agents, so do use the phrase if it applies to you. (Whenever you search for agents through us, be sure to select your genre before making use of other filters.)<\/p>\n\n\n\n

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2. Don\u2019t box yourself in<\/p>\n<\/blockquote>\n\n\n\n

Plenty of work falls on boundaries between different territories. For example, if you are writing a near-future thriller, you could equally well describe your work as sci-fi, or as a techno-thriller. An agent who did like thrillers but didn\u2019t normally handle space-opera type SF might well be interested. It\u2019s fine to approach agents who work on either side of your boundary. Other common areas of overlap might be \u201cchick-lit noir\u201d, so look at all the genre options. Be willing to think about agents who work in areas adjacent to your own.<\/p>\n\n\n\n

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3. Don\u2019t search for specialists<\/p>\n<\/blockquote>\n\n\n\n

Most agents don\u2019t specialise. My own literary agent handles high end literary fiction, and serious non-fiction, and popular non-fiction, and chick-lit, and crime. What\u2019s more, he handles bestselling writers in most of those categories. The lesson for you is simple: you need an agent who is open to your genre. You do not need one who specialises in it.<\/a><\/p>\n\n\n\n

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4. Don\u2019t look for an agent who is local to you<\/p>\n<\/blockquote>\n\n\n\n

Most agents work in London. Most writers live elsewhere. But agents only congregate in London because that\u2019s where the publishers are. Since you want your agent to really, really know the publishing industry, you shouldn\u2019t select one on the basis of how close they live to you. Truth is, you won\u2019t see your agent face to face all that much \u2013 and when you do, it\u2019ll mostly be because you\u2019re seeing your publisher.<\/p>\n\n\n\n

The only real exception to this rule has to do with Scottish writers, who may prefer an Edinburgh-based agent, simply because travel to London is so expensive and time-consuming. Even then… all the big publishers are based in London. Personally, I\u2019d want my agent to know those guys intimately.<\/p>\n\n\n\n

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5. You want an agent who wants you<\/p>\n<\/blockquote>\n\n\n\n

Every world has its superstars, and there exists a handful of superstar agents with high name recognition. But those guys have starry names because their client lists bulge with bestsellers. Realistically, those guys are much less likely to offer you representation and they will have much less time to offer you if they do. 99% of new writers (and maybe 99.9% of them) will be better off with an agent who is genuinely eager for their business. You\u2019ll get more time and more attention. Look for agents keen to build client lists, they are more eager to find and take on new writers. View all agents here.<\/a><\/p>\n\n\n\n

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6. Remember that it\u2019s publishers who create bestsellers, not agents<\/p>\n<\/blockquote>\n\n\n\n

A lot of writers will read the advice above and think, \u201cI want my career to stand the best possible chance of success. Why wouldn\u2019t I get the top literary agent out there?\u201d<\/p>\n\n\n\n

But you don\u2019t want the \u2018top agent\u2019. You want the best literary agent for you. That means one who has the time to take you through editorial changes<\/a>, who won\u2019t ditch you as a client if things don\u2019t immediately go to plan, and who will argue patiently and sincerely for your merits. In short, you want one who won\u2019t be distracted because J.K. Rowling, Ian McEwan, et al., is on the other line.<\/p>\n\n\n\n

And the core of any agent\u2019s job is simple. It\u2019s to think of 8-10 editors who might well like your work, then email it to them. That\u2019s it. And any competent agent should be able to do that. You don\u2019t need to be a superstar.<\/p>\n\n\n\n

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7. Look for points of contact<\/p>\n<\/blockquote>\n\n\n\n

When you\u2019re reviewing an agent\u2019s profile, look for any points of contact. \u201cLoves rock-climbing\u201d might not mean much in terms of literary tastes, but if you\u2019re a keen climber, you shouldn\u2019t scorn that potential point of contact: you\u2019re looking for anything. And if you\u2019re not a climber, but your book has a superb climax set in the high Alps, then thats a definite reason to reach out.<\/p>\n\n\n\n

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8. Look for agents who represent your favourite authors<\/p>\n<\/blockquote>\n\n\n\n

Perhaps there\u2019s an author in your exact genre whom you love, in which case it would certainly be interesting to find out who represents that person. But you don\u2019t really have to find authors in your genre. For example, if you are writing \u201cchick-lit\u201d, but there\u2019s an agent who represents a couple more serious authors whom you adore, then that\u2019s a meaningful point of contact \u2013 an indicator of shared taste. Just search the name of an author (surname only is fine) and their agent will appear, assuming that the agent-author relationship is public information.<\/p>\n\n\n\n

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9. Avoid the obvious!<\/p>\n<\/blockquote>\n\n\n\n

You\u2019re a crime writer? Yes, you admire Ian Rankin, of course you do. But Ian Rankin\u2019s agent will get a lot of letters says, \u2018Dear X, You represent Ian Rankin who is one of my favourite crime authors…\u2019 Do you really think that the good Mr X is going to sit up and take notice?<\/p>\n\n\n\n

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10. Compile a shortlist of 8-12 names, and then double-check everything<\/p>\n<\/blockquote>\n\n\n\n

We recommend a shortlist of about a dozen names, no more. Most books won\u2019t even go out to as many as a dozen publishers and editors are even pickier than agents, which means if you can\u2019t impress one in 12 agents, you don\u2019t stand much hope with publishers. But don\u2019t go to too few agents either. Approach six or fewer and you risk being rejected for essentially random reasons (too busy right now, lost your manuscript, don\u2019t really like this kind of story, got a client who\u2019s doing the exact same thing right now…)<\/p>\n\n\n\n

Once you\u2019ve got a shortlist of agents that you\u2019re happy with, you should double-check their websites. Our own database is as up to date as we can make it \u2013 but there are limits to our reach and you are hoping to sign up with someone for the duration of your career. Now\u2019s a good time to double-check your facts!).<\/p>\n\n\n\n

So, in sum, find a literary agent in your genre, one looking for new clients (or at least open to them). Ignore location. Seek points of contact, including favourite authors. Then check and double check your shortlist.<\/p>\n\n\n\r\n

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Start your agent search now<\/p>\r\n <\/a>\r\n <\/div>\r\n

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Looking for agents who will love your work?<\/h2>

Take the stress out of querying by searching our database of literary agents from the UK, US, Canada and Australia. View bios at a glance, access exclusive interviews, and build your shortlist of agents in your genre.<\/p>\n<\/div>

\r\n Start searching<\/span><\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/section>\r\n\n\n\n\n\n

How To Write A Query Letter For Literary Agents<\/h3>\n\n\n\n
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11. Get their name right<\/p>\n<\/blockquote>\n\n\n\n

Is it John or Jon? Is it Mr Sam Spade or Ms. Sam Spade? Don\u2019t offend an agent with your very first words. You also need to make sure that you have their current address and other details correct. If you don\u2019t know whether it\u2019s Miss Jo Johnson, Ms Jo Johnson or Mrs Jo Johnson, it\u2019s just fine to write \u201cDear Jo Johnson,\u201d In fact, Dear Firstname Lastname is probably standard these days, publishing is not a particularly formal industry.<\/p>\n\n\n\n

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12. Re-check the basics<\/p>\n<\/blockquote>\n\n\n\n

If you\u2019re writing children\u2019s fiction, don\u2019t send your work to an agent who handles only adult material. And while most agents wanta a fairly standard submission package (letter and synopsis and first three chapters), do check what this specific agency wants and follow their rules.<\/p>\n\n\n\n

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13. Keep it simple<\/p>\n<\/blockquote>\n\n\n\n

A covering letter doesn\u2019t need more than a page. Perhaps if your work is quite literary and you want to expand a little on theme and your impulse to write it, you can go into a second page \u2013 but that qualification applies to maybe one writer in twenty. In other words, it probably doesn\u2019t apply to you.<\/p>\n\n\n\n

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14. The first paragraph should cover the basics, briefly<\/p>\n<\/blockquote>\n\n\n\n

Your first paragraph should be just a sentence or two that sets out: (a) the title of your book, (b) the approximate genre, (c) a brief characterisation of the book and (d) a word count.<\/p>\n\n\n\n

Thus, for example, if I had been a new novelist seeking an agent for my Talking to the Dead<\/em>, I might have said:<\/p>\n\n\n\n

\u201cI am writing to seek representation for my first novel, Talking to the Dead. The book is a Welsh-set police procedural of about 115,000 words and features a young female detective, who is in recovery from Cotard\u2019s Syndrome.\u201d<\/p>\n\n\n\n

See? That\u2019s a perfect first para because it instantly gives an agent their need-to-know info (crime novel, Wales, police procedural, word count), plus a little teaser \u2013 a reason to read-on: \u201cCotard\u2019s? What\u2019s that? Sounds interesting \u2026\u201d<\/p>\n\n\n\n

That opening paragraph is not hard to write. <\/a>If you can\u2019t write a perfectly good one, then your book is no good anyway.<\/p>\n\n\n\n

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15. The next paragraph can expand<\/p>\n<\/blockquote>\n\n\n\n

The next paragraph should open out a little more. So my second paragraph might have said something like this:<\/p>\n\n\n\n

\u201cThe detective, Fiona Griffiths, is a twenty-something junior officer, based in Cardiff. She\u2019s highly intelligent, driven \u2026 and odd. As a teenager, she suffered from a genuine but rare disorder, known as Cotard\u2019s Syndrome \u2013 a psychological condition in which the sufferer believes themselves to be dead. Fiona is no longer directly afflicted, but the illness continues to dominate her life and her sense of self. Then, as her Major Crimes team starts to investigate the violent deaths of a part-time prostitute and her, Fiona realises that the past feels dangerously alive again.\u201d<\/p>\n\n\n\n

That\u2019s all you need. The paragraph expands our opening teaser into something with more meat on it \u2013 something that should tempt a reader to read on. But that\u2019s all \u2013 about a hundred words should be fine. If you\u2019re going over the 150 word mark, you probably need to rein back.<\/p>\n\n\n\n

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16. That paragraph should convey your elevator pitch or USP<\/p>\n<\/blockquote>\n\n\n\n

That second paragraph has one crucial job: it\u2019s to force the agent to turn to page 1 of your manuscript with a smidge of excitement and interest. That means you need to convey the Unique Selling Point of your book with brevity and force. Note that you should not say, \u201cThe Unique Selling Point for my book is…\u201d That just feels heavy handed and clunky. (Want to know more about Elevator Pitches? Find out here<\/a>.)<\/p>\n\n\n\n

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17. You do not need to summarise your plot<\/p>\n<\/blockquote>\n\n\n\n

That\u2019s the job of your synopsis. Notice that my sample paragraph above (point #15) said nothing at all about plot. Yes, it mentioned the initiating murders, but that\u2019s it. It doesn\u2019t say anything about what happens thereafter. It doesn\u2019t need to.<\/p>\n\n\n\n

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18. You are not writing a book blurb<\/p>\n<\/blockquote>\n\n\n\n

The blurb on the back of a book belongs on the back of the book. You are addressing a potential agent, not a potential bookshop browser. Thus the paragraph above about Talking to the Dead<\/em> mentioned Cotard\u2019s Syndrome, which no book blurb would ever do. (Because that would ruin one of the big reveals at the end of the book.) Focus on the agent and your USP or elevator pitch. The blurb will come much, much later in the process.<\/p>\n\n\n\n

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19. You don\u2019t need to explain everything<\/p>\n<\/blockquote>\n\n\n\n

If you are writing about a fantasy world where \u2013 I don\u2019t know \u2013 gravity is upside down, or England has a good footie team, or Amazon pays some tax, you can pick out anything that is key to your brief overview of the book. But you don\u2019t need to explain every little thing. The covering letter needs to offer a glimpse of stocking, no more. The book itself will do the rest.<\/p>\n\n\n\n

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20. Finally: a few words about yourself<\/p>\n<\/blockquote>\n\n\n\n

And that means a few words. \u201cI am a thirty-something mother of two. I currently work part-time as an accountant, but am retraining as an exotic dancer.\u201d Or whatever. Unless there is a direct and important relationship between who you are and the topic of your manuscript, you don\u2019t need more than the very briefest sketch of who you are. No one cares and no one ought to care: it\u2019s your book that matters here; you are merely its transmission device.<\/p>\n\n\n\n

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21. Your website, your Twitter account<\/a>, or your online footprint are much less important than you might think<\/p>\n<\/blockquote>\n\n\n\n

You will see suggestions online, including from some people who should know better, that these days agents really care about your social media profile. And that is simply not true. Yes, admittedly, if you have 100,000+ blog visitors monthly and your book is a non-fiction work directly connected to the subject of that blog, then agents will be impressed, and so will publishers. But that\u2019s it. Blogs or sites with smaller followings don\u2019t mean much in sales terms, and they certainly don\u2019t mean much when it comes to promoting fiction. So you just don\u2019t need to say anything about your current online footprint. If publishers want to discuss it with you down the line, then they will, but it\u2019s not something to worry about for now.<\/p>\n\n\n\n

(And by the way, my Fiona Griffiths crime series has been published all over the world, is critically acclaimed, and has been televised. In all that time, I\u2019ve only had one conversation in publishing about my e-footprint, and that was early on, and was never followed up. That\u2019s how little publishers care.)<\/p>\n\n\n\n

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22. If you\u2019re impressive, say so (for fiction writers)<\/p>\n<\/blockquote>\n\n\n\n

A covering letter is not the place to mention your school prizes or your work on the parish magazine, but if you have accomplished something genuinely noteworthy say so.<\/p>\n\n\n\n

\u201cThe maritime scenes in my novel draw heavily from my own experiences at sea: I have sailed single-handed round the world and have competed in a number of international yacht races. The shipwreck scene towards the climax of my novel is largely based on a similar accident that befell me a few years back.\u201d<\/p>\n\n\n\n

A paragraph like that would do very nicely \u2013 but, if you\u2019re writing fiction, it\u2019s not all that likely you have a similar connection to make. In which case, don\u2019t worry. Most people don\u2019t.<\/p>\n\n\n\n

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23. If you\u2019re authoritative, say so (for non-fiction writers)<\/p>\n<\/blockquote>\n\n\n\n

While it\u2019s relatively rare for fictioneers to include much biography in their covering letter, the reverse can be true of non-fictioneers. For example, if you are writing a book on artificial intelligence, then you will certainly be expected to demonstrate authority. So:<\/p>\n\n\n\n

\u201cI am current head of Google\u2019s Artificial Intelligence Laboratory \u2026\u201d<\/p>\n\n\n\n

Or, \u201cI am Professor of Cybernetics at the University of Wherever \u2026\u201d<\/p>\n\n\n\n

Or, \u201cI have worked extensively as a smart systems consultant to blue-chip companies including \u2026\u201d<\/p>\n\n\n\n

\u201cI am the Science and Technology editor on the XYZ newspaper \u2026\u201d<\/p>\n\n\n\n

Any of those things would do just fine. \u201cI\u2019m a keen amateur student of these things and think the subject is really, really important\u201d \u2013 that kind of thing would not fare so well. As a non-fiction author, you are expected to demonstrate compelling knowledge.<\/p>\n\n\n\n

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24. If you\u2019ve self-published, that\u2019s fine, but be realistic<\/p>\n<\/blockquote>\n\n\n\n

These days, agents will receive plenty of self-published manuscripts<\/a>, and it\u2019s fine if yours has already seen the light of day. But agents will only be impressed if your manuscript has seen a lot of downloads. That means 30-50,000 downloads, if the manuscript was being offered for free. And it means at least 10,000 downloads if the manuscript was being sold at a meaningful price. ($0.99 or \u00a30.99 as an absolute minimum.)<\/p>\n\n\n\n

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25. Be careful about mentioning competing similar works<\/p>\n<\/blockquote>\n\n\n\n

If you are writing fiction, it\u2019s fine to place your novel by triangulating from other authors. For example, you might say, \u201cThis is, roughly speaking, Philippa Gregory territory, but transposed to Dark Ages Mercia.\u201d That helps an agent understand the kind of book you\u2019ve written. (Though even in that example, it would probably be better to convey the same message without the PG reference.)<\/p>\n\n\n\n

On the other hand, it is not clever to say, \u201cMy book combines the philosophical grandeur of a Saul Bellow, the prose of John Banville and the compelling narrative of a James Patterson.\u201d You\u2019re welcome to think all those things \u2013 but don\u2019t say them out loud.<\/p>\n\n\n\n

If you are writing non-fiction, a couple of references are very often useful. For example, \u201cThe book is a lively, popular account of quantum physics, in the footsteps of such texts as Quantumly Wonderful by Mr A and Oh What a Wonderful Atom by Ms B.\u201d If you do use that kind of tactic, be very clear about how your book differs from those fine texts.<\/p>\n\n\n\n

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26. Don\u2019t misspell anything<\/p>\n<\/blockquote>\n\n\n\n

Humans make typos and most writers are human. And that\u2019s fine: a well-presented manuscript doesn\u2019t have to mean a flawless one, but an agent submission pack is the first thing the agent reads. So no misspellings. None. No excuses.<\/p>\n\n\n\n

That also means you need to avoid all other hideosities. No it\u2019s when you mean its. No references to my \u201cfiction book\u201d. (It\u2019s called a novel.) No bad punctuation.<\/p>\n\n\n\n

You want to be a professional writer. So be professional.<\/p>\n\n\n\n

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27. No horrible sentences<\/p>\n<\/blockquote>\n\n\n\n

And mere tidiness is not enough. You also can\u2019t express yourself badly. You need to eliminate any clunky, ugly, or badly phrased sentences. So don\u2019t write sentences like this:<\/p>\n\n\n\n

\u201cEmily (who is the hero in this bit) then finds herself in a dungeon which is really like the one in Game of Thrones (second series) except that my one has this big arched window really high up, which Emily tries to climb out of for an escape attempt but can\u2019t because she slips and really hurts her ankle.\u201d<\/p>\n\n\n\n

Don\u2019t write sentences even a bit like that. Please. They make our gums hurt.<\/p>\n\n\n\n

In sum, keep your letter short. All you need is a couple of overview-type sentences, then a paragraph or so on your book, then a short paragraph of background about you. That\u2019s it. Make sure that you get the basics right (spellings, punctuation, who you\u2019re addressing) and make sure you write with economy and professionalism.<\/p>\n\n\n\r\n

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Feedback from literary agents<\/p>\r\n <\/a>\r\n <\/div>\r\n

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Book an Agent One-to-One<\/h2>

Receive honest feedback from a professional literary agent on your query letter, synopsis and first 5000 words, and learn how you can make your submission pack shine.<\/p>\n<\/div>

\r\n Find out more<\/span><\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/section>\r\n\n\n\n

How To Write A Wonderful Synopsis<\/h3>\n\n\n\n
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28. Don\u2019t stress<\/p>\n<\/blockquote>\n\n\n\n

Most writers stress over their synopses. They shouldn\u2019t: the things just aren\u2019t that important. Some agents ask for them but hardly read them. Get your synopsis right, yes, but don\u2019t fret about it. Half a day should be easily enough for the task.<\/p>\n\n\n\n

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29. Keep it short, but not crazy-short<\/p>\n<\/blockquote>\n\n\n\n

Anything from 500 to 1,000 words is fine. Less than 500 words seems a little on the thin side (unless perhaps your book has a notably clean narrative line, in which case OK.) More than 1,000? No need. That\u2019s just more words. Keep it tight.<\/p>\n\n\n\n

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30. Tell the story<\/p>\n<\/blockquote>\n\n\n\n

A synopsis tells the story of your novel. That\u2019s all it does. You\u2019re not pitching the novel. You\u2019re not writing a cover blurb. You\u2019re just telling the story. Which you know intimately, right? This is not a hard assignment.<\/p>\n\n\n\n

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31. Keep your text neutral<\/p>\n<\/blockquote>\n\n\n\n

A synopsis isn\u2019t usually a good place for atmosphere, humour, detailed characterisation, or anything else. Those things are for your book. A simple factual narrative is fine.<\/p>\n\n\n\n

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32. Don\u2019t worry about spoilers<\/p>\n<\/blockquote>\n\n\n\n

Of course there are spoilers in the synopsis, just like there\u2019s alcohol in beer. That\u2019s kind of the point. If you really, really don\u2019t want to give away the very ending, you can say something along these lines: \u201cJones is all set to raid the warehouse, when Karen arrives with news that will devastate them both \u2013 and lead to a final, bloody and unexpected finale.\u201d<\/p>\n\n\n\n

But, if you can steel yourself to do it, just tell the whole darn story including the ending. That\u2019s what agents want.<\/p>\n\n\n\n

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33. Put key names in bold<\/p>\n<\/blockquote>\n\n\n\n

When you first mention the name of a key character, you should set it in bold, or even bold caps. Like this:<\/p>\n\n\n\n

\u201cKAREN, a thirty-something police sergeant, is appointed to \u2026.\u201d<\/p>\n\n\n\n

That makes it easy for an agent to see who\u2019s who and to check back if they get confused. (And synopses are confusing; that\u2019s just the way they are.)<\/p>\n\n\n\n

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34. Presentation matters. So does your prose<\/p>\n<\/blockquote>\n\n\n\n

As with the covering letter, you should make sure that your synopsis is well-presented and free of horrible sentences.<\/p>\n\n\n\n

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35. You can briefly restate your book\u2019s USP before the synopsis proper<\/p>\n<\/blockquote>\n\n\n\n

If you want, you can have an italicised line or two before the synopsis proper that sets out the book\u2019s premise or broad narrative arc \u2013 anything that reminds the agent why they like the idea. So, for example, this would be nice:<\/p>\n\n\n\n

\u201cJacob is a diamond dealer in Rotterdam. When his warehouse is burgled, he wonders how the thieves got past his security system \u2026 and why his wife was driving the getaway car.\u201d<\/p>\n\n\n\n

That sets up an enticing premise in slightly more than 30 words. Or you can sketch the whole story in the same kind of space:<\/p>\n\n\n\n

\u201cTwo brothers quarrel in the trenches of the First World War. They separate and each found a mighty oil business \u2013 one striking rich in the sands of Persia, the other sprouting up in the oil fields of East Texas. Then another war comes and the two men are obliged to confront their pasts \u2013 and each other.\u201d<\/p>\n\n\n\n

That\u2019s fifty-something words and sketches a book that is 600 pages long (my third novel, as it happens.) These introductory snippets don\u2019t excuse you from writing a full synopsis, they just enrich the one you\u2019ve written.<\/p>\n\n\n\n

So recap your story in about 500-1000 words. Put key character names in bold. Keep your prose clean and reasonably neutral. Avoid howlers. You get bonus points for a short, tempting intro.<\/p>\n\n\n\n

How To Prepare Your Manuscript For Literary Agents<\/h3>\n\n\n\n
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36. Check: Are you really ready?<\/p>\n<\/blockquote>\n\n\n\n

Most writers send out their manuscript before it\u2019s ready. That can mean anything from poor prose and a lousy concept through to a text that is really pretty good but in need of a good, hard, final edit<\/a>. A lack of polish can kill your chances, so be professional. Give your manuscript another close read. Be picky: agents will be.<\/p>\n\n\n\n

(Not sure if you\u2019re ready? <\/a>You can get paid-for editorial advice for your manuscript. It\u2019s very rare that writers are not helped by professional editorial feedback.)<\/p>\n\n\n\n

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37. Your first three chapters: getting that right<\/p>\n<\/blockquote>\n\n\n\n

Most agents ask for a covering letter, a synopsis and the first three chapters. But what do the first three chapters really mean? What if your chapters are strangely long? Or short? And should you count your prologue?<\/p>\n\n\n\n

The answer is that agents don\u2019t really care about these things. Just send about 10,000 words, ending at a natural break in your text. That\u2019ll do fine.<\/p>\n\n\n\n

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38. Check for common errors<\/p>\n<\/blockquote>\n\n\n\n

This post isn\u2019t long enough to list them all, but here are the top fifteen.<\/p>\n\n\n\n

\n

39. Check spellings, punctuation, typos, prose<\/p>\n<\/blockquote>\n\n\n\n

No horrible sentences, okay? A few typos don\u2019t matter, but good presentation is still essential.<\/p>\n\n\n\n

\n

40. Make sure that your text is properly formatted<\/p>\n<\/blockquote>\n\n\n\n

There are no strict rules here (unlike in the screenplay business), but do check that:<\/p>\n\n\n\n

\u2013 Your margins are normal (your program\u2019s default settings are fine).
\u2013 Your text is 1.5 or double-spaced.
\u2013 Your dialogue is correctly presented.
\u2013 You begin each chapter on a fresh page.
\u2013 You avoid weird fonts.
\u2013 You lay your book out like a book, not a business letter. That means no blank line between paragraphs, but each paragraph should be indented (anywhere from 0.2\u2033 to 0.5\u2033). You should set the indents with the Paragraph Format menu or with the Tab key. You should not rely on the space bar.
\u2013 Either left hand justified or both-sides justified text is fine.
\u2013 It\u2019s still better to print on one side of the page only. If that offends your eco-sensibilities, plant a tree \u2013 or look for agents who take work by email: most now do.<\/p>\n\n\n\n

\n

41. Remember to insert page numbers<\/p>\n<\/blockquote>\n\n\n\n

This gets its own bullet point, because a lot of people forget, and then have to print their stuff off again. And while you\u2019re at it, pop your name and manuscript title in the header or footer of each page. (So when an agent drops your stuff, they can put it all back together again.)<\/p>\n\n\n\n

\n

42. Nice clean title page, please<\/p>\n<\/blockquote>\n\n\n\n

Your title page should ideally contain:<\/p>\n\n\n\n

\u2013 Your title (in a font as large as you like)
\u2013 Your name
\u2013 Your contact info
\u2013 A word count, rounded to the nearest 1,000 or 5,000 words
\u2013 And nothing else<\/p>\n\n\n\n

You do not need a dedication, or an acknowledgements, or anything along those lines. This isn\u2019t a book yet, it\u2019s a pile of paper. Also, it\u2019s a bit fancy-pants putting an epigram on a manuscript, but some manuscripts are a bit fancy-pants. In which case, put it on the title page, or on the page immediately following.<\/p>\n\n\n\n

\n

43. No copyright notice<\/p>\n<\/blockquote>\n\n\n\n

You don\u2019t need a copyright notice \u2013 it\u2019s legally meaningless and, in any case, no agent steals copyright.<\/p>\n\n\n\n

\n

44. No cover art!<\/p>\n<\/blockquote>\n\n\n\n

A publisher is not going to use your cover art. So don\u2019t show it to agents.<\/p>\n\n\n\n

\n

45. The Golden Rule<\/p>\n<\/blockquote>\n\n\n\n

There is only one golden rule of the agent submission process and that is the hardest. You must write a wonderful book. Good is not enough. Competent is not nearly enough. Agents take about 1 in 1,000 submissions. Your work has to dazzle.<\/p>\n\n\n\n

Happy writing, and best of luck!<\/p>\n\n\n\n

More than ready to get the ball rolling with agents, but just need a little push? Or perhaps you\u2019ve had a few rejections but aren\u2019t sure why? Our Agent Submission Pack Review<\/a> gives you detailed professional advice on how to perfect your submission and increase your chances of securing an agent.<\/p>\n\n\n\n

\n\n\n\n\n","protected":false},"excerpt":{"rendered":"

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