My apologies for breaking up that interesting submission practicalities in the morning/query composition in the evening rhythm we’d had going here for the last few days of Querypalooza. I had fully intended to sit down and write another example-stuffed post on the subtle differences that frequently separate a successful query from one less likely to generate a request for pages, saving the partials-related information below for tomorrow morning.
A few hours ago, however, I received some very bad news about a blog-related situation I absolutely had to drop everything and correct right away. It ate up much of today’s writing time. Fortunately, I already had this post written: I had intended to deal with partials at the end of last week, before I got carried away by excitement over generating full query examples.
So I decided that it would make more sense to post it now, rather than writing frantically into the wee hours on a content-related post. That way, we all get to bed earlier, and the post quality will almost certainly reflect my bad day less. (Case in point: when I did try to generate examples this evening — surprise, surprise — the storylines all seemed to relate to this afternoon’s crisis. Not really fair to you, that.)
Last time, I wrapped up my advice on the assembly and packaging of a requested partial with some advice long-time readers of this blog MAY have heard before:
No matter how many pages or extra materials you were asked to send, do remember to read your submission packet IN ITS ENTIRETY, IN HARD COPY, and OUT LOUD before you seal that envelope. Lest we forget, everything you send to an agency is a writing sample: impeccable grammar, punctuation, and printing, please.
Sometimes, one’s own weary peepers are not up to the job — and with good reason. If you’ve been up half the night printing out those pages the agent of your dreams requested yesterday, so you may pop them in the mail first thing tomorrow, chances are that you’re going to be more than a little stressed out and tired by the time you get around to proofreading.
Heck, you may even be so longing for your pillow’s sweet, sweet embrace that you find yourself sorely tempted — dare I say it? Apparently, I do — to blow off this necessary step and seal the envelope. Or hit the SEND key.
That would be a bad idea, and not only because even a cursory once-over might have caught that missed word in the middle of the second paragraph of your first page. You know, the one left over from your third revision, when you decided your opening needed more action. (You haven’t read it in hard copy since you made that change, have you? Too bad; Millicent the agency screener was kind of liking that scene — but she knows from experience that a revision-hangover typo on page 1 is probably indicative of a Frankenstein manuscript full of similar half-made changes.)
It would be an equally bad idea to send out a query packet without last-minute proofreading, and not only because then, you might have noticed that you eliminated some grammatically-necessary punctuation when you cut out a sentence because it made your letter longer than a single page. (See parenthetical logic in previous paragraph for the probable conclusion. Hey, I don’t call them Frankenstein queries for nothing: this easily-identifiable type of revision residua might as well be waving a white flag at Millicent, shouting, “Hey, lady! This writer doesn’t go back and re-read his own work between revisions! Doesn’t that render it quite likely that the manuscript, should you request it, will exhibit Frankenstein tendencies?)
May I make a simple suggestion to counteract the editorial deficiencies brought on by trying to rush a query or submission packet out the door? Before you rush those requested materials off to the post office or hit SEND, it’s an excellent idea to have another set of eyes scan those pages first.
Ditto with contest entries and residency applications, by the way; it’s just too easy to miss a crucial typo yourself. Particularly if you’re really in a hurry to meet a deadline — and what entrant or applicant isn’t? — and neglect to read your submission IN ITS ENTIRETY, IN HARD COPY, and OUT LOUD.
Why do I feel compelled to slip this golden piece of editorial advice into this post more than once, you ask — or, indeed, repeat it so often? Because I can already feel some of you gearing up to blow it off, that’s why.
Specifically, those of you who have been huffing impatiently throughout the last few paragraphs. “But Anne,” those of you who pride yourself on your attention to detail point out, “I must have read the pages the agent asked to see in my partial 75 times while I was revising them. I’ve read them so many times that two-thirds of my brain cells think they’re already published. What could I possibly learn by reading them again, much less IN THEIR ENTIRETY, IN HARD COPY, and OUT LOUD?”
Quite a lot, actually. Like, for instance, if when you changed your protagonist’s sister’s name from Mona to Maura, you altered every reference. Or if every line of the requested synopsis printed out legibly. Or — brace yourselves; this may be a hard one for some of you — if the minor changes you made in the course of the 71rst read are consistent with the ones from read 72.
Shall I rephrase that, to drive home the point a little harder? Okay, how’s this: had you re-read every syllable of your partial, contest entry, or writing sample tucked into a residency application between the time you made those final few changes and when you popped your last submission into the mail?
Or since you popped your last submission into the mail? What about your query letter — or, indeed, any page you have ever sent out in a query packet?
Wow, the crowd’s gone so quiet all of a sudden. Was it something I said?
For those of you who were not suddenly flung into retrospective panic about what kind of typo or printing snafu you might have inadvertently passed under Millicent the agency screener or Mehitabel the contest judge’s over-tired eyes, you needn’t take my word for how often writers realize only after something’s out the door that it wasn’t quite right. Many members of the Author! Author! community have already shared their horror stories on the subject; it makes for some enlightening reading.
Feel free to add stories of your own on that list; sharing them honestly will help other aspiring writers. But do not, I beg you, set yourself up for a spectacularly instructive anecdote by failing to read the very latest version of your partial, contest entry, or query packet writing sample IN ITS ENTIRETY, IN HARD COPY, and OUT LOUD.
Yes, even if you plan on submitting those pages via e-mail or by entering copying and pasting them into a form on an agency’s website. On average, people read 70% faster on a backlit screen; unless you share Superman’s optometrist, you’re infinitely more likely to catch typos, logic problems, and omissions in hard copy than soft copy.
(The lenses in Clark Kent’s glasses aren’t prescription, you see, but clear, and thus his vision is…oh, never mind.)
While I’m already hovering over you like a mother hen, here’s a post-submission regret I hope I can wipe from the face of the earth forever: including a business-size (#10) envelope as the SASE for a partial or a contest that returns materials, rather than an envelope (and appropriate postage) large enough to send back everything in the submission or entry packet.
“But Anne!” half of those with submissions currently languishing at agencies across the U.S. cry. “I thought the point of the SASE — that stands for Self-Addressed Stamped Envelope, right? — was so the agent who requested the partial could mail me a letter, asking me to send the rest of the manuscript. Or, heaven forfend, a rejection letter! If he didn’t like my pages, wouldn’t he just, you know, toss ‘em in the trash or recycling bin?”
Well, the agent (or, more likely, the agent’s Millicent-in-residence) usually does include at least a form-letter rejection in a homeward-bound SASE, but that’s not the SASE’s primary purpose, from the agency’s point of view. As we have discussed at some length over the past few days, its primary use is to get all of those pages out of its office and back to the aspiring writers who sent them.
That’s not just because if they didn’t, the average agency’s halls would be so filled with rejected pages by the end of the first month that Millicent wouldn’t be able to fight her way to the coffeemaker through the chest-high stacks of pages. (She would have had to give up her traditional lattes by the end of the first week; she wouldn’t be able to find the front door during her lunch break.) They also return the pages because it’s in the writer’s copyright interest to know precisely where his pages are at any given time — and should any of that seem paranoid to you, you might want to take a gander at the SHOULD I WORRY ABOUT MY WORK BEING STOLEN? category on the archive list at right.
If, on the other hand, the idea of a submission’s tumbling into unscrupulous hands doesn’t strike you as particularly outrageous, but the logic behind the writer’s providing the postage to convey her own rejection to her does, I would recommend a quick read through the posts under the SASE GUIDELINES category.
And for those of you reading this post in a tearing hurry because you’re frantically trying to get a partial out the door and into the mail, or whose fingers are itching to hit the SEND key for electronic submissions, let me just go ahead and state it as a boldfaced aphorism: with any submission, always include a SASE sufficiently large for the agent to send the entire submission back to you, with enough stamps attached to get it there safely.
Again, emphasis on stamps. Attaching metered postage to a SASE is another fairly common mistake in submitting a partial. So is neglecting to add any postage at all. Out comes the broken record player again:
Or recycling. Although you’d be astonished at how many agencies — how to put this gracefully? — don’t take full advantage of all of that space in their recycling bins.
A third common mistake submitters of partials often make comes not when they are packing up the partial, but later, after the agent has approved the partial and asked to see the full manuscript. That’s the agency parlance for the request, anyway; in writer-speak, it’s usually called asking to see the rest of the book.
Therein lies the root of the mistake: the semantic difference is crucial here. All too often, successful partial submitters think that a request for the entire manuscript equals a request for only the part of the manuscript the agent has not yet seen.
The agent asked to see the rest of the book, right?
Actually, she didn’t — what asking to see the rest of the book means in agent-speak is that the agent is expecting the ENTIRE manuscript to show up in her office, neatly boxed and accompanied by a return mailing label and enough postage to get the whole shebang back to the sender, if it’s rejected.
Starting to see a pattern here?
I do — and have for years: when aspiring writers just assume that they know what a request for materials entails, submissions often go awry; ditto with query packets. When they take the time to find out what is actually being requested (or is called for in an individual agency’s guidelines), irritating Millicent by such mistakes is 99.999% avoidable. (Hey, there’s no accounting for how moody she might get when she burns her lip on that too-hot latte for the fiftieth time this year.)
Sadly, much of the time, the difference isn’t even the result of conscious step-skipping. Many first-time submitters — and virtually all first-time queriers – frequently don’t even know that there are rules to be followed.
Want to know what half the Millicents currently screening would say in response to that last sentence? It’s illuminating about the calm harshness of professional evaluation: “So I’m supposed to make allowances because these writers didn’t do their homework, effectively penalizing all of those conscientious writers out there who take the time to learn the ropes? I’ll bet that most of these mistaken submitters didn’t even bother to check whether my agency’s website has submission guidelines.”
To which Mehitabel would add: “And virtually every contest on earth includes very specific submission guidelines in its rules, yet I’m continually astonished by how few entrants seem to read them. I’ll seldom actually disqualify an entry because it violates a presentation rule, but how can I justify penalizing all of those nice entrants who did follow the rules by allowing a violator to proceed to the finalist round of judging?”
Okay, so maybe they wouldn’t be quite that forthcoming. Or prolix. If I’m going to be completely honest, I would have to admit that this is what either of them is most likely to say when such a submission crossed their line of vision: “Next!”
The results of that wrath are not pretty: summary rejection seldom is. Neither is Mehitabel’s wrath, or the as-yet-to-be-named individual screening applications for that writers’ retreat you would give your eyeteeth to attend.
I’m taking christening suggestions for the application screener, by the way. I’d originally dubbed her Petunia, but that doesn’t exactly inspire awe and fear, does it? (In case any of you had been wondering over the years, everybody’s favorite agency screener is called Millicent here at Author! Author! because it means she who works hard. I’ve said it before, and I shall no doubt say it again: screening is incredibly hard work, and as much as aspiring writers may resent having to learn what Millicent is under orders to resent, the US-based agency system simply would not work without our Millie taking the time to look through all of those submissions and queries. So when the agent of your dreams discovers you, you might want to send her a thank-you note: in all probability, she was the first person in the publishing industry to notice your book’s potential.)
Another major mistake that dogs query packets, submission packets, and contest entries involves confusing a partial with a writing sample. What’s the difference, you ask? Well, chant it with me now, followers of this series:
A partial is the first X number of pages of a manuscript assumed already to be complete, numbered consecutively and stopping at the bottom of the exact page the requester specified as the maximum. A writing sample is a selection of a book’s best writing, regardless of where it falls in the book.
When an agency’s guidelines request five or ten pages to be included with the query, however, they are talking about the first five or ten pages of the manuscript. So even though query packet pages are indeed a writing sample, they should be treated like a submission.
That strikes many aspiring writers as counter-intuitive, and with some reason. I suspect the source of this confusion most often stems from second-hand conference anecdotes. In a pitching situation — the place an agent-seeking writer is most likely to be asked to produce an actual writing sample — 5 pages is usually the maximum length. However, a lengthy writing sample might include more than one scene, and those scenes might not run consecutively.
So when the neophyte querier who’s heard a few conference horror stories sees that an agency says he can send five pages, he may well say, “Great, I’ll send my best five pages: let’s see, that would be pp. 342-347,” where a more experienced querier would cry, “Well, obviously, the five pages they mean are pp. 1-5 of my manuscript.”
The same misunderstanding trips up a simply phenomenal number of contest entrants every year: when the rules state that an entrant should send 25 pages of the book she wants to enter, what Mehitabel is expecting to see are the first 25 pages, not a chapter from the middle that the writer happens to like. Or — and yes, I’ve seen this with my own weary eyes — 7 pages from the opening, 6 from Chapter 5, 4 from Chapter 13, and 8 from Chapter 23.
Yes, you read that correctly: sadly, they misinterpret the rules’ call for X number of pages from, say, a novel, as permission to send X number of pages from anywhere in the book, so they submit a bouquet of writing samples. Faced with such an array, most contest judges will simply stop reading.
Sorry to be the one to break that to you, contest entrants and mid-book-loving queriers. But isn’t it better that you hear the hard truth from me than rack up even one unnecessary rejection?
And yet it’s an understandable mistake, right? And extremely common, particularly in entries for contests that simply ask entrants to send a specified number of pages of a novel, without mentioning that those pages should be consecutive — oh, and if the entrant might by some odd chance want to win the contest, those pages had better begin on page 1 of Chapter 1 of the book.
Shall I take that gigantic collective gasp of indignation as an indication that some of you past contest entrants wish you had heard one or more of those tidbits before you entered?
Again, let’s state it as an aphorism, for the benefit of last-minute skimmers: unless a literary contest’s rules specifically state otherwise, assume that the entry should begin on page 1 and proceed consecutively. Part of what entrants in any prose contest are being judged upon is the ability to construct a strong narrative and story arc.
In answer to the question that most of you are probably screaming mentally, I have no idea why so few contests’ rules don’t just state this point-blank. It’s not as though it’s a rare problem — every contest judge I’ve ever met tells a sad story about the well-written entry that knocked itself out of finalist consideration via this error. And I’ve judged in a heck of a lot of literary contests, so I’ve met a whole lot of judges over the years.
I could spend a few more minutes of my life shaking my head over this, but over the years, my neck has gotten sore. I’m going to take the warning as heard — it was, wasn’t it? — and move on.
Before I do, though, let me call on those of you whose hands have been patiently raised for a while now. Yes? “But Anne, how does any of this relate to my query or submission packet? Are you perhaps implying that the last aphorism could be applied to sending partials or writing samples to agencies?”
Nicely caught, oh hand-raisers. Put another quarter in the jukebox:
Writers asked to submit partials occasionally fall into the writing sample trap as well, but frankly, it’s less common. Perhaps writers marketing books harbor an inherent desire to have their stories read from beginning to end, just as a reader would encounter their work in a published book. Perhaps, too, agents’ requests for materials tend to be for much heftier portions of a manuscript than many contest entries would tolerate: 50 or 100 pages for a partial is fairly normal, but many contests for even book-length works call for as few as 10, 20, or 30 pages, sometimes including a synopsis.
But just to head any problems off at the pass, as well as to illustrate why a nonconsecutive partial made up of even superlative writing would not be a good marketing packet for any manuscript, from an agency perspective, let’s close out this short series by going over the expectations for a partial one more time.
Come on; it’ll be fun.
When an agent or editor requests a partial, she’s not asking for a writing sample consisting of 50 or 100 pages of the writer’s favorite parts of the book, a sort of greatest hits compilation — if that’s what she wants, she (or her submission guidelines; check) will tell you so point-blank. She is unlikely to prefer a writing sample as a submission, in any case, because part of what her Millicent is looking for in submissions is storytelling acumen.
Think about it: in an unconnected series of scenes gleaned from across your manuscript, how good a case could you make for your talent at arranging plot believably? How well could you possibly show off your book’s structure, or character development, or even ability to hold a reader’s interest, compared to the same story as you present it in your manuscript, beginning on page 1?
If you have any doubt whatsoever about the answer to that last question, run, don’t walk, to an objective first reader to help you figure out whether the current running order of events tells your story effectively. (Didn’t think I’d be able to work in another plug for someone else’s casting her eyes over your pages before you submit them, did you?)
What an agent or editor does expect to see in a partial, then, is the opening of the manuscript as you plan to market it to, well, agents and editors: it’s precisely the same as the full manuscript, except it doesn’t include the pages after, say, page 50.
And if Millicent loves that partial and asks for the rest of the book, what will you do? Send the entire manuscript, right? Right?
I couldn’t resist tossing in the pop quiz, to see if you’d been paying attention. I wouldn’t want any of you to end the post still confused about any of this. (And if you are: please, I implore you, leave a question in the comments.)
And remember, read any submission guidelines very thoroughly before you invest your heart, hopes, energy, and/or precious time in preparing a partial packet or contest entry. This is no time to be skimming; make a list and check it twice, like Santa Claus.
Yes, even if the request consisted of a grand total of three lines of text in an e-mail. Why? It’s very, very common for aspiring writers to become so excited by a request for pages that they forget to include something the agent specifically asked them to send.
Oh, how I wish I were making that one up…but it happens enough to show up on most Millicents’ lists of pet peeves.
So what’s the best way to avoid this terrible fate? I always advise my editing clients to pursue a multi-part strategy for an agent’s request for pages, agency guidelines, or contest rules:
1. Read the list of what’s required once, then set it aside for at least five minute.
2. Read it again, this time more carefully. Make a checklist of everything it is asking you to do. (No, a mental list will not do. Put it in writing.)
3. Wait a day before going back to triple-check that the list is accurate. Then, and only then, put together the packet or entry,
4. As you place each item in the envelope or box (or attach it to an e-mail), check off each item.
DO NOT SEAL THE ENVELOPE OR PRESS SEND AT THIS JUNCTURE. That way lies disaster.
5. Re-read the original guidelines or letter, comparing what it requests to your list.
5a. If the list is an accurate reflection of the expectations, check once more that what is in your packet matches what is on the list.
5b. If it does not, remove everything from the envelope. Go back to Step 1.
5c. If you are not sure, if you’re not much of a detail person, hand your list to at least one person who happens to love you, ask him/her/that ungainly mob to check it against the guidelines or contest rules, then to verify that what’s in your envelope is in fact what you have been asked to send.
6. Seal envelope or press SEND.
You didn’t think I was going to leave the kith and kin I’d disqualified from giving you objective feedback from helping you altogether, did you? Everyone has a task here at Author! Author!
That’s what how a supportive community works, isn’t it?
In that spirit, I shall make a valiant effort to come up with a truly impressive array of enlightening query letters for tomorrow’s posts. I should be in a better mood by 10 am PST, right? Keep up the good work!