How to Pitch an Agent

by C. Patrick Schulze 

Listen to a PODCAST of this article.

You know what's more difficult than writing a NOVEL? Selling your novel to an AGENT. It's one of the more daunting aspects we writers face.

By nature we writers live in world more solitary than most. We sit alone and clack on a keyboard for hours on end. And welcome the opportunity. It's this aspect of our collective personalities that tend to ensure our strengths lie in areas other than finding an agent to represent us.

However, there's not as much to landing an agent as you might think. All you have to do is sell them on your book. And all that takes is ninety seconds. You can do anything for ninety seconds, right? In four words I'll tell you how you do that.

Fill the agent's needs.

Not enough? Okay. Allow me to outline the agents needs for you. This get a bit deep, so hang on. They need good authors to represent.

Now that I've done the hard part for you, how might you fulfill their needs?

One secret, after you've written that high quality novel of course, is your book pitch. It's that ninety second synopsis of your novel.

Keep in mind a pitch has only one function. To make and agents think, That's interesting.

To convince anyone something is "interesting," you've got to be able to tell them about it. In our world of writing, we explain our books and novels with a book pitch.

With an effective pitch, I'll bet you're eighty percent or more on your way to publication.

So, how to put our ninety seconds of fame to good use? Here's a simple way to do that.

Think of your pitch as your verbal sales brochure. If you've ever studied brochures, you know they say very little but feel very good. That tells us our verbal brochure, our pitch, should be infused with an emotional tug of some sort.

Remember our old friend, CONFLICT? Yep. He comes into play here, too. The secret to your book pitch is conflict.

That is to say, if you want to pitch an agent, just give them a short summary of your PLOT. Mention first what the protagonist desires, why he wants it what keeps him from it. If you get nothing else in, it's okay. It is nice if you give them word count, genre, target audience, etc. If you don't have the time, they'll ask if they're interested.

Now for a couple of other things to keep in mind.

First and foremost, nothing happens until you make it happen. Go to the writers' conferences and set appointments with agents. Pay a reasonable fee if you must.

Keep your pitch itself short. Think three sentences and ninety seconds, tops.

Can you read your pitch to them? Sure. It answers their questions whether you recite or read it. Tell them before you pull out your cue cards, though.

Be sure to point out any connection you have with the agent, no matter how small and to let them know why you chose to speak with them.

If you're not sure how to write your pitch, begin your first sentence with the word, "when" and your second sentence with the word, "can." That'll usually put you on the right track.

Of course, you know this is a business meeting, so treat it as such. Be polite, professional and considerate.

And for my final recommendation, always remember, my friends, fortune favors the bold.

By the way, I've got a joke for you.

How do you pitch an agent?

Why, you wind up and toss 'em.

Until we meet again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the now-at-the-editors novel, "Born to be Brothers"

How to Promote Your Writing with Technology

by C. Patrick Schulze

Listen to a PODCAST of this Article.

The world of writing is about to roll over in the grave it doesn’t know it’s in yet. The writing industry is on fire and undergoing cataclysmic alterations to its landscape due to the advancement of technology. And everyone involved with writing, agents, publishers, book stores, readers and those who do the writing, are caught up in this technological conflagration. It is my opinion the landscape that emerges from this titanic struggle will look very different than the one with which we are now familiar. The industry will survive, no doubt, but in a vastly altered state from the one we see today. As to those who do the writing, I believe they will become business people who write, rather than writers who do business. In fact, this alteration has already begun in earnest as even traditionally published authors are now required to do their own marketing.

With this in mind, it becomes evident writers should embrace this technology if they wish to enhance their marketing efforts. Here’s some thoughts I garnered on how to do that.

As a writer, you should consider using podcasting and videocasting to promote your novel. Even Simon and Schuster said this was necessary. Here’s why.

First and foremost, people spend a lot of their time on the Internet which is already transportable. Even more, the future of the Internet is video. In fact, video search is growing in popularity at an astonishing speed.

If you’ve paid attention to how to market books in today’s environment, you know the new attitude toward sales is all about the human connection. This link builds trust between people and trust is a critical element in marketing. With this in mind, video is about as personal as we can get without being there.

The best aspect of video is it’s demographics. From Elites TV, you’ll find video demographics are “53% male/47% female. 55% urban with median income of $74K. Nearly 70 percent are college educated, 47% are married, median age is 33, 71 percent are employed.” Pretty strong marketing core, wouldn’t you say? And best of all, these are the people who buy the books.

Would you like one more reason to get into video casting? Few authors do it. That leaves you with a larger piece of that pie. Keep in mind as the younger writers among us come up, they’ll use video and leave those who don’t in the dust.

How do you get involved with videocasting? It’s simple, really. Pick up a video camera at your favorite electronics outlet then talk into it and upload it to YouTube. After that, promote the hell out of it. Check out Gideon Shalwick’s article GetYourVideoOnline.com for more information.

An offshoot to video is a book trailer. Joanna Penn of TheCreativePenn.com has a nice article on how to create your book trailer at BOOK TRAILERS: 11 steps to make your own.

Next, you should consider podcasting as a marketing tool. Podcasting is about as easy a thing as there is to do. You download FREE RECORDING SOFTWARE from Audacity, pick up a microphone and start talking.

Why podcast? Well, with the advent of the IPod and its multitude of copycats, your audience can take you with them anywhere they go. It’s free and the spoken word has a great deal of impact. However, one of its most important features is it makes you read your work aloud. This technique has magnificent powers of influence over your writing. I can almost guarantee your writing will improve by the simple act of podcasting. To get an idea of how this translates into real life, check out BlogTalkRadio.

I have one last comment for you on book marketing in this gilded age of the Internet. Check out THIS INFORMATION from Joanna Penn for even more help. After all, much of my research for this article came from her.

Oops, I have one more one last comment. Fortune favors the bold, my friends. Be bold and embrace the technologies of writing and your writing career has a better chance for success. Until we meet again, I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

Why I Will Self-Publish - Probably.

by C. Patrick Schulze

Listen to a PODCAST of this article.

I’m about to finalize my decision as to how I am will sell my emerging novel, “Born to be Brothers.” With that in mind, I must soon decide if I am to self-publish and endure all that entails or face the gauntlet of the publishing industry and all the rest that comes with that. (We have not chosen an easy industry, have we folks?)

I see advantages with either scenario and I also see drawbacks with both. However, the more educated I become on the subject, the more it seems it is in my best interest is to go it alone. Here’s my train of thought. Please so advise if you disagree. I am open to an honest discussion on the matter.

Agents:

I like the idea of an agent who represents me and feel I have the capability to find a quality agent. That part doesn’t concern me. I really don’t like the process of how they choose the writers they represent. No, I agree with the query process. After all, even writers need a resume. What tweaks my cheeks is their query restrictions. One minor, unintended error that has nothing to do with the quality of your writing, and you’re only opportunity to have them read your resume is lost. Don’t get me wrong, they have to do this. I understand and even agree. I just don’t like it. However, the real rub? Once I find the proper agent for me, will I be the proper author for them? The odds are quite limited. Why hang my future on such low odds when I have other options?

Publishing Houses:

Publishing houses do ease, though not guarantee, entry into the brick and mortars, which are the premier distribution channel for the writing industry - for now. However, distribution is their only remaining asset of any real worth and with the explosion of technology, I see their grip on distribution slip with each day that passes. In fact, I believe the Internet is about to leave them in the dust and take over their monopoly with distribution. Amazon, a technology company, even affects their sales model. That’s not a sign that instills confidence in me relative to their strength or ever their stability within the writing world.

Another major issue I have with pub houses is they’ll hire some salesman who MAY give my book a ten second pitch. If he wants to. Honestly? I want that salesman to answer to me, not some conglomerate who sees me not as a customer but as a product. Again, I understand and have no solution for them, I just don’t like the system.

Further, there’s almost no chance for an advance, which means I work on commission - a commission based not on my productivity but some unknown salesman’s capability. Now, I’ve worked on commission before and made a bunch of money doing it. But I either held the salesman’s position or the salesman worked directly for me. Under their arrangement, I’ll most likely never even meet this person, let alone develop a relationship with him. And yet, my career hinges on his efforts. It’s a scary thought to someone like me who has always pulled up his own boots.

The pub houses will not assist with marketing, so that effort and expense lies with me regardless.

The pub houses sometimes offer editing services, but even that benefit is dying. Plus, I can purchase that service on the open market and have a say in whom I hire. They do have book cover design services and that’s nice, but I give up all control over how they present what, in the final analysis, is my work. Further, I can purchase that service on the outside at a reasonable price and maintain total control.

Something else of which I do not approve? The publishing industry is absolutely subjective and good novels are lost all the time to this limiting aspect. Again, I do understand and it can be no other way, but that also dilutes my potential to a great degree. Again, I could lose not on my abilities, but on a stranger’s tastes or even their emotions of the moment. It just does not send that proverbial tingle up my leg.

So as I see it, to work with a major pub house, I give up a huge portion of my potential profits in exchange for little more than a diminished distribution system based primarily upon old technology? Hum…

Self-Publishing:

I do have one advantage most writers do not. I’ve owned and operated my own businesses since the days of paper boys with bicycles. I’m experienced with going it alone and I’m comfortable with the idea. I will admit this aspect of who I am influences me a great deal.

The major drawback to self-publishing? All the issues rest with me. I don’t worry too much as I’ve been a business decision maker my entire adult life, so making these kind of judgments are sort of par for the course.

Cost. It’s a big issue. However, it won’t break the bank, so it’s not too large of an issue. Besides, my wife is on board, so the real hurdle is already crossed.

Marketing. This is a major issue with those who self-publish and beyond the well-written novel itself, it’s the meat and potatoes of success. However, I’ve been self-employed and marketing since I my tenth birthday. Though the cost of it is a consideration, the Internet has supplanted much of that cost. I can work up copy, build web sites, use social networking and all the rest. I’ve even got contacts.

Product: I do believe I’ve got my breakout novel in hand and am convinced my novel will sell with correct marketing. It’s a great story and the narrative is well written and well edited. In fact, I dare say it’s better than most books the pub houses crank out. I know… I know… we all feel that way about our babies, but I’ve written two stinkers, so I’ve got somewhat of a handle on good vs. bad. This one is good.

Publishers: I’m not too worried about that. I’m good enough at research and I’ll find a good print shop, which is really all they are. I used to own a wholesale print shop, so I have a feel for what to look for.

Editing: I’ve got a relationship with an excellent editor who is reasonably priced and brutally honest with me. Besides, I’ve grown into a pretty good editor myself over the years.
Book Cover Design: Graphic artists are everywhere and some are even reasonably priced. Besides, I’ve got some great ideas and I’d like to see them fleshed out.

Distribution. Now here’s the other of the two big issues. Again, I’ll forgo the brick and mortars for the Internet any day. The B & M’s are a dying breed and the Internet allows me to get my marketing message into almost every home in the English-speaking world. I’ll have a worldwide market, which includes their customers. So again, marketing is the secret to distribution.

By the way, have you noticed the B & M’s now sell the very products that will either kill their business model or force them to become something other than a book store? “Here’s yer sign.”

Profit potential? I’ve worked up a business plan and feel I’m actually ahead with self-publishing. Especially when you consider the digital end of things. I’ll not have the overhead the pub houses do so my business plan gives me an huge edge when I keep all the profits rather than some small percentage. I retired from the business of coaching other businesspeople and did so for many years. I have confidence in my plan.

So, that’s my way of thinking on this important writing decision. I challenge you to show me where I’m wrong.

In the mean time, how ‘bout some referrals to self-pub houses that have impressed you?

Thanks for your suggestions.

C. Patrick Schulze
Author of the emerging novel, "Born to be Brothers."

The Key to Your Author's Platform

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

The word, “platform” is bandied about these days as one of those many things an aspiring author is required to have. So what is an “author’s platform?” Here’s your quick definition. Your platform is nothing more mysterious then how you get the word out about your book. It’s how you market your novel. Or, as they describe in this associated ARTICLE, it is “your writing and publishing resume.”

The good news? A platform is within the reach of everyone who works at it. The bad? It takes time and effort to establish your platform.

The next question, of course, is why does someone writing a novel need one of these things? The initial answer is obvious. It helps you reach your target audience, those who will purchase your novel. And that is why you’re writing, right? Also, for good or bad, your platform gives you a leg up on garnering the interest of agents. If you think from the agent’s perspective, he gets paid only when your novel sells. So, he wants to know you already have a list of book buyers interested in your novel. The larger your platform, the better the chances an agent will represent you. The same thing applies to those who decide to self-publish. You’ll sell more books if you’ve developed a ready audience of novel buyers. It really is all about the money.

Now that I’ve mentioned money, if you’re smart about what you do, you can develop your platform for very little financial input. Though they could help, you don’t need expensive newspaper and radio ads. Neither is it required you find some wealthy benefactor to support you. (Boy, wouldn’t that be nice?) The fact is, most tools an aspiring author needs to build a platform are free or nearly so. Money should not be your stumbling block.

What might you do to create your author’s platform? As Joanna Penn says in her ARTICLE, “there is no magic bullet.” But here is a primer on how to get started.
 
Develop an email contact list. Every person with whom you come in contact is a potential book buyer. Get their email address and keep in contact. There are all sorts of programs for this, such as Constant Contact or even ACT! (No, I’m not a paid endorser of either.) However, this is one of your best tools with which to build your platform.

Here’s another idea, and one I appreciate. Write Articles. Like this one, for example. Create a blog and post your articles. This establishes credibility and offers people an opportunity to learn how you write, to experience your writer’s voice and so on. It allows them to get to know you.

You may also wish to join and utilize various social networking sites. Those you should consider include Twitter and Facebook.

Another optimum step is to publish and optimize your web site. This is your premier sales tool. 

Secure testimonials. This can be daunting for many, I know, but there is nothing like word of mouth to get your platform cranking. Often when people read those articles you write, they’ll give you testimonials on their own. They leave them in the comment section of your blog. In fact, I’ll ask you to leave a testimonial when you’ve finished reading this article. Will you do that for me? (See how easy that is?)

Another option to consider is to publish a newsletter and send it those people who follow you throughout your various digital incarnations. 

Don’t forget to utilize Amazon.com and its many tools. It’s a marvelous site to develop your writing platform.

There are any number of other ways to build your platform and you might look to THIS post by Rachelle Gardner for ideas from other successful authors. 

As I close, allow me to offer one telling statistic I received from a VERY successful author here in Richmond. He told me only 6% of the people who came to his book signings found out about him from his efforts with traditional ads. 94% come from his social media contact work. 

Best of luck in your efforts to create your platform and drop a line if you have any questions.

So, you now have the key. Go open some doors.I hope you know by now I wish for you only bestsellers.

C. Patrick Schulze Author of the emerging novel, “Born to be Brothers”

How to Write Your Novel's Hook-Line

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

A hook-line is a one or two sentence summary of your novel. Although the term, “hook-line” is singular, it may consist of two sentences, but it should probably be no longer than that. It is the high-concept of your novel compressed into a few words and should enable your target audience to grasp your storyline at once. Think of it as an elevator speech for your novel or as a teaser on its dust jacket. You might even consider it a marketing tag-line.

The purpose of your hook-line is to grab someone’s attention and encourage them to learn more about your novel. The secret to it, however, lies in its hidden sales pitch. That pitch should suggest your novel is something they would want to buy. You’ll see what I mean when we outline the five elements of your hook-line.

Why do you need a hook-line? Well, consider the target market, or audience, you’ll want to develop for your novel. Your initial market is comprised of a single person, an agent. In this person’s case, your hook-line will often be the opening line of your query letter. Your hook-line should spark their curiosity in some way and persuade them to learn more about your novel. It should do the same with an editor, a publicist, wholesale book sellers, retail book buyers and eventually the consumer or reader.

So, how does a writer create their hook-line? It’s not as difficult as you might think as it need not encompass your entire storyline, just some critical aspects of it. All you need is enough information to peak someone’s interest. If you cover the five fundamental elements of a hook-line, you’ll be all right. The premier elements of your hook-line are listed below.

1. Character: Who is your hero and what does he want?

2. Conflict: What is it that keeps your hero from his goal?

3. Uniqueness: What makes your novel stand out from all the others?

4. Setting: Insure your setting, or at least your genre, is obvious.

5. Action: Your hook-line needs to at least promise excitement. 

Can you see how these five components would have the potential to tweak an agent’s or a reader’s curiosity? Might a compelling description that highlights these points encourage them to buy your book? If you know much about selling, you’ll realize it just might.

Let’s take a look at the tag line for my current manuscript and see if it fits the criteria.

Though Jak and Clay share a camaraderie known to few but brothers, each falls in love with Kate and requests her hand in marriage. Despite her choice of one, their brother’s bond remains intact until the American Civil War threatens and forces them to decide whether their loyalties lie with love, with friendship or with their nation.

Let’s evaluate this to see if it fits the criteria outlined above.

Character(s):

Jak is our hero and he wants to hold onto his friendship with Clay and have Kate for his wife. He also requires an honorable decision as to his personal loyalties when the war erupts.

Core Conflict:

This is the decision the characters must make relative to the war and their relationships.

Uniqueness:

How many love triangles do not tear apart the relationships? The fact the three remain close is most unusual.

Setting:

This novel takes place during the mid-nineteenth century in America, which is shown by the outbreak of the Civil War.

Action:

We have three lives that revolve around the love triangle, the war and the decision they all must make.  

Do you agree or disagree this covers the five critical elements required of a hook-line? Have you come up with your hook-line as yet and would you care to share? I’d love to see it.

Until we meet again, you know I wish you only best-sellers

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

How to Find Your Agent

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

Most of us understand the passage to shelf space at the major book retailers is best realized by way of agent representation. And whether a writer wishes to admit it or not, each of us at least fantasizes about seeing our titles on the stores’ shelves.

So, how does an author find an agent to offer representation? This isn’t so difficult, though it does take time and effort.

It goes without saying you first must have mastered the craft of writing, with all that entails, and have that well-written book or novel completed. After all, an agent can’t ask to represent you unless you have a quality product they can sell for you. However, once you’ve traversed that long, arduous path of writing, it’s time to look for your agent.

A first priority is found in your professionalism. Few louts will ever receive an offer. Think of it from the agent’s perspective. Would you rather work with an idiot or a professional? So would they.

Next, you need to take the time to focus on the right kind of agents. Take careful aim at those suitable agents who might offer you the best chance of representation. The shotgun approach, that is querying every agent that might still live and breathe, will only waste your time, ego and money, not to mention the time and money of the various agents. Your purpose is to identify those agents who are most suitable to your novel or book, those who represent your genre. 

Here are some tips on how to find the right agents.

If you’re unpublished to date, a great way to find your agent is at writers’ conferences. (Check out James River Writers for a great one in central Virginia, USA.) Focus on those agents who represent your genre and those with whom you’re a match on a personal level. Don’t forgo the personality match. It’s kind of like getting married to the wrong person.

There are any number of literary publications that can point you toward that perfect agent. They include, Writer’s Market, Literary Marketplace, Publisher’s Weekly, Writer’s Digest Magazine and the current Guide to Literary Agents. Pick up or check out these and other literary sources at your local library. All of these publications can assist you to identify those agents who might be interested in your novel.

Review books of those authors who write in your genre, then read the acknowledgment section. Quite often a novelist will mention their agent in this part of their novel. Those identified are, without question, agents who accepts your genre.

The Internet is loaded with sites to help you find that one agent you need. Consider Agent Query, or The Society of Authors’ Representatives . Google “literary agents” and see what else you might find.

Network with other writers. Join a local writers’ group or two and become active in those groups. Being active is the secret to become known within these organizations. The membership should include a number of published authors and after they get to know you, they may be willing to introduce you to their agents.

Join one or more of the hundreds of national and international writers’ associations such as Poets and Writers, National Association of Women’s Writers or The Association of Writers & Writing Programs. Take the time to insure the groups you join are useful to you. Again, after they get to know you and your work, these members may be willing to pass your name along to their agents.

In time, you’ll have a list of potential agents developed. Once you do, organize it according to those who best suit your needs. If you’re an aspiring author, the secret is being honest with yourself. Look first to those who don’t represent the biggest names in the business. Try to find those agents with a bit of experience, but who still seek new authors to represent within your genre.

Once your list is complete and organized, it’s time to query. After that, it’s time to wait. On them, not on your writing. It can take months to hear from an agent, so here is where your mother’s warning comes into play: patience is a virtue. In the mean time, work on your next novel, enhance your education and so on. Just keep writing.

Once you do receive that first exhilarating call, be particular. The wrong agent can be worse than no agent at all.

Best of luck with your agent search and know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

The Secrets of the Dreaded Synopsis

I’ve yet to meet an author who looked forward to writing their novel synopsis. In fact, many believe it’s more difficult to write than the novel itself. Not to say it’s easy, but a few simple tenets can get you started.

Let’s first ask if a synopsis is even necessary these days. From reading the submission guidelines of agents, I see many don’t request one and that leads me to believe it has lost much of its influence. However, some still do, and as an aspiring author never knows which agent will represent them, it’s a good idea to have it ready.

The second question is why would an agent would feel a synopsis necessary. The critical reason I found in researching this article is it can be THE pivotal item that gets an editor to read your manuscript. That’s enough for me right there. However, if you need more, consider the following. A well-crafted synopsis can assist the author in finding weak plot points and point you toward ways to polish your story arc. It also assists in improving characterization, plot and setting. Further, it is often utilized by various departments of a publishing house once they accept your novel.

We now know the if and why, but what about the what? What, after all, is a synopsis? Many confuse it with an outline which describes what occurs in the storyline, to whom it happens and when it happens. In contrast, a synopsis portrays the “why” of your story. The novel outline describes the action or what happens, whereas the synopsis offers the conflict or how your characters react to that action.

The essential components to a novel synopsis are:

1. The Opening Hook
2. Character Sketches
3. Plot Highlights
4. The Core Conflict
5. The Conclusion

If you think about what the synopsis is supposed to accomplish, these five aspects make perfect sense. It will give the various readers a good feel for everything they might need to know about your story. Let’s look at each of these components.

The Opening Hook: Start strong. Remember this is about conflict, how and why your characters react the way they do. It is not about action, what happens to them. For example, you would not open with the first line following for it speaks of the action in the story, whereas the second tells the reader about the characters’ REactions.

Two men fight over a woman.
Two brothers lose their friendship when a woman comes between them.

As with any reader, the agent looks for something that will engage them. If your story doesn’t’ sound interesting right away, they’ll probably not read further. You’ve got ninety seconds, so power your way through them.

Character Sketches: This does not mean you describe your characters but rather get to their individual core conflict and the conflict between your two or three main characters. What makes your hero undertake his great quest? Why is your villain working with such diligence to thwart your protagonist? Think motivation rather than descriptions.

Plot Highlights: Give some detail to the first and the climactic scenes and a couple of those in the middle of your story. Use only those scenes that highlight the emotional action and conflict within your story. Make sure whoever reads your synopsis knows just how much trouble befalls your hero.

Core Conflict: Your Opening Hook will probably introduce your core conflict, but make sure you enhance it here. Don’t allow anyone to misunderstand the “why” of your story. If you have multiple conflicts, highlight the premier point then maybe the next couple of levels.

The Conclusion: Show the agent your novel is worked to its completion and flesh out the ending. They want to know the entire story. If they don’t know the ending, they’ll assume it doesn’t work. Tie together any major loose strings and point to a sequel if your novel is one of a planned series.

That’s all there is to it. With things spelled out like this, it doesn’t seem quite so onerous, does it? Use your writer’s voice as you did with your novel and the agent will have a good idea of what it is you’re offering for him to sell.

Best of luck and know I wish you only best-sellers.

C. Patrick Schulze

Tips on How to Find an Agent for Your Novel

Can a novel writer achieve success without an agent? Of course. All you require are strong marketing skills, a firm grasp of specific technologies, appropriate contacts, a few bucks, a bit of luck, time and perseverance. As you might expect, most of us mere mortals don’t have more than one or two of these, let alone all of them. So, it remains true for most of us, the best route toward success as an author is to place our novel in the capable hands of an agent.

So, how does one go about finding one of these elusive beings? Truth be told? Its difficult. It’s very difficult. However, if you can find that bit of luck, or better yet create your own, there are some things you can do to enhance your prospects.

First and foremost, write that saleable, excellent manuscript to its completion. No exceptions, no excuses. Without a marketable product, the agent has nothing to sell for you and everything else is mute. You may have a magnificent product, but if there is no market to buy it, agents can’t help you. You may have the perfect market, but a substandard novel will never sell. Writing is a business, so deliver a quality product first.

Next, understand two things. Agents are looking for new authors. Every agent wants to land the next Tolstoy or King or Koontz. If you’re not up to the status of these authors, agents will work with you, if you can help make them a living. (No, it’s not all about you and your book.) An agent’s goal is to sell books and they’ll sell your book if you have that marketable product.

The next concept to understand is agents are people too. They’re real people like you and I with children, bosses, vacations, illnesses, bills and all the rest. They’re not horned wild-eyed creatures looking for souls to crush. They actually want you to thrive, for your success breeds their success.

Next, narrow your search to those agents looking for your genre of writing. Consider this. If you’re looking to purchase a new automobile and some guy tries to sell you a table, what are the odds you’ll bite? They’re about the same as an agent who sells children’s books buying your horror story. Don’t waste your time or theirs.

There are any number of avenues by which you might filter the agents to find those who are receptive to your genre. You can start, of course, with the current “Guide to Literary Agents” at your local bookstore or on the web. You might also consider the Association of Authors' Representatives Web site at aar-online.org. There is no limit to the resources available to determine which agent will consider your work. Jump on the Internet and get to work.

Next, research the books the appropriate agents have published. This secret just might be one of your most important aspects to landing an agent, by the way. By knowing the agent’s published works, you can compare your manuscript to those they’ve already sold. When you query them later, compare your work to one or more of theirs. As an example, if your novel has exceptionally strong characters, then compare your characters to one or more books the agent has already represented that also have similar characterizations. This gives the agent a handle on what you have to offer and two additional pieces of information. One, you’ve done your research and are knowledgeable about the industry, and two, they already know how to sell your book to their publishers.

In tomorrow’s post, I’ll continue with this idea and give you more tips on how to influence an agent to represent you.

Until then, I wish you best-sellers.

C. Patrick Schulze

Eleven Elements of a Successful Synopsis

Many writers have more difficulty writing the three hundred word synopsis than the one hundred thousand word novel. The reason for this? It’s a different type of writing. Regardless, it is something all writers who hope for publication need to master.

Not all agents will require a synopsis, but should they ask for one, it’s wise to have it ready for them. To improve your prospects for having an agent offer you a contract, insure your synopsis has the following components.

It MUST have a strong lead sentence.

This should at least hint at the core conflict of your story. Look at the following examples and, if you were an agent, decide which opening sentence would peak your interest?

“Joe is a night watchman at the local peanut factory.”

“Joe, the night watchman at a haunted peanut factory, is about to die.”

The initial amount of time an experienced agent will give an unknown writer is numbered in seconds. The secret is to engage his interest right away, you’re chances diminish with each passing moment. As his interest grows, so does the time afforded you. Grab his interest from the very start.

Insure your synopsis is logically arranged.

Organize your synopsis as you did your novel. Expect to expend as much effort editing this as you did your manuscript.

Write your synopsis with as much precision as your novel.

What does an agent need to know about your novel before he’ll consider offering representation? As you might expect, he requires a good story with well developed characters, effective dialogue and an author with sophisticated writing skills. If he does not see any one of these things by way of your synopsis, the odds of his offering a contract approached zero. Therefore, you should insure your synopsis exemplifies your writing skills at their best.

Introduce your major players. The agent does not need to know Joe’s height, weight and other vitals, but rather his motivations. Why emotions move him in your story? Is it love, revenge, fear? Make sure the agent understands who your major characters are, how they are interrelated and the conflict that interweaves among them. You should have no more than three major characters in your synopsis or your novel.

Plot your principal conflict points. Joe does not sound like much of a character unless, as mentioned in the opening sentence, the peanut factory is haunted. Suddenly what happens to Joe rises to a higher note, as do his reactions to his profession and the nocturnal guests. Make certain the agent understands all the major turning points in your novel and how your characters react to them.

Write your synopsis in the present tense. This may be difficult if your novel is set in the past, but do it anyway.

Use strong verbs. Just like with your novel, insure your synopsis is as well-crafted as is your manuscript. You may wish to review my post from yesterday about this subject. It may help.

Eliminate adverbs and adjectives. You did this with your novel, right? For the same reason, effective writing, do the same with your synopsis.

Get the punctuation right. If you miss a comma it probably won’t kill your chances of success. But then again, why give the agent a reason to say, “No?”

Include Your Story’s conclusion. No, I don’t mean to rewrite the words, “The End.” This means the agent must understand what happens to your protagonist by the end of your story. No surprises, okay?

Taking the time to craft your synopsis with as much care as you did your novel will enhance your chances for landing that all-elusive agent. And once you do, I wish you only best-sellers.

C. Patrick Schulze

12 Ways an Agents Considers Your Query

I am not an agent, I’ve never had an agent, nor have I ever personally known an agent. Why then, am I the one to write this article? Well, I’m probably not. Still, I’ve been walking this path for a while now and I have learned to use those senses located around my face. This article is what I’ve learned as I’ve traversed my chosen trail.

An agent is in the business of selling books to publishers. They are business people like every other business person out there. They contend with P&L’s, customers, contacts, inventory control, and all the rest. They are looking for authors, even aspiring authors, for without us they are unemployed.

We, the authors clacking away at our keyboards until the dawn lights the morning sky, are their inventory. It is their job and profession to see their inventory put into the hands of their clients, the publishers. The secret, as with any business, is to choose the correct inventory to sell to the correct client. The query letter is one method they use to locate that inventory.

Though not necessarily presented in the order of their thought processes, this is my understanding of when they receive your query, how they look at it.

Is the story within one they can sell? If their contacts weigh heavily toward romance publishers, sending a query touting a nonfiction book on the weaknesses in the Theory of Relativity is wasted on them. They may have no background in selling this type of book and they’ll most likely pass.

If they’ve just sold a similar book, they’ll probably not try to do it again as they’ve already pitched their contacts on the storyline.

If the story within is not interesting, they’ll pass. If this is your storyline is dull, overused, out of date, etc., the agent knows none of their contacts will buy the book from them.

If the story within is not unique, they'll probably pass. If your hero is named Luke and he’s an orphan living on a farm in some far, far away galaxy and he will soon discover he has the power to summon the forces of nature to his aid and… Well, it’s been done. You may have a slight chance if your work has a unique aspect to it, but save yourself the trouble and write a new story.

If your query is not professional in nature, it tells them you are not a professional. These guys are pros, and they want to surround themselves with like-minded individuals. Learn what each agents wishes to receive and give them that.

Their time is valuable and limited. Assuming your query even reaches their desk, you have maybe twenty seconds of their time available to you. If your query starts with, “I am so important to you,” or some such nonsense, you don’t even get the twenty. However, if you start with a good hook that catches their interest, you’ll get the extra ten seconds that previous blowhard squandered.

They look to the quality of your writing. They consider your query a sample of your writing skills and seek those who are well versed in the craft. Why would they try to sell inferior inventory? That is what you are if you have yet to learn how to write.

They do consider your provenance, if you will. Why are you the one to write this work? If you’ve not stepped into a classroom since you quit school in the seventh grade, they will not consider you the best source for recommending how to alter the educational landscape. If you write spy novels but have never seen the thin end of a pair of binoculars, you’ve probably chosen an incorrect genre. Write what you know. No, you need not have a writer’s pedigree, but you do need to exhibit knowledge of your subject matter, be it fiction or nonfiction.

They want to know why you chose them. If you’re querying every agent in the known universe, that’s fine from your perspective, but to them it’s a sure sign of your lack of professionalism. Query them for a reason and tell them why you did.

They do respect the recommendations from within their sphere. Wouldn’t you? They have clients and contacts they trust to know their desires and markets, and a confidant is their most efficient method of finding a new author. Try to get a recommendation. As difficult as that may be, it is your truest path to publication.

They want to know you’re in this as a career. They don’t earn as much money off a single book as they do a number of books. If they have your book published and twenty thousand copies are sold, how man dollars get into their pocket? How much do they earn if they sell twenty of your books at twenty thousand copies per? This is a business for them, even if it is not for you.

This is a subjective business and they will often pass on a manuscript for a reason as simple as it does not “call” to them. Sorry, guys, but life is unfair and so is the publishing world. That is why you query multiple agents.

If your query does not exemplify these qualities, I recommend you keep trying to improve your writing and querying skills.

I’d love for an agent to comment on this as to any errors in my thinking or omission in the list.

Until my next posting, kind readers, may all your books be best-sellers.

C. Patrick Schulze

A New Editing Method?

Good day, Writers,

As many of you know, I’m in the process of sending my manuscript Born to be Brothers to agents for representation. What this means is there have been three people editing this thing a total of ten times from first word to last – my agent twice, my wife twice and me six times. Further, six others did a beta review! (Whew…) That’s sixteen edits!

My wife Kate has supported my writing without hesitation from the first minute and is by far my best cheerleader. (I’ve ordered pom-poms but they’ve yet to arrive.). As I began sending “Born to be Brothers” to agents for representation, Kate made a suggestion. She asked if she shouldn’t read it aloud to me to see if that might improve it even more. After so much editing, even reading it aloud to myself three times, (complete with character accents), I assumed her idea would be of little value. Still, it might be interesting to hear it, after reading it so many times. But edit it again? Nah… It’s been edited to death! Right?

Wrong!

Well, we’re at page forty-two, of four hundred plus, and I’ve already altered the ms thirty seven times! Some alterations were simple synonym insertions while with others entire paragraphs were rewritten.

My point, of course, is Kate enlightened me to an entirely new methodology of editing which is proving invaluable. The upshot in my case was to immediately cease sending Born to be Brothers for agenting. You can bet I’ll be working on it another week or two before I start that oppressive undertaking again.

I do, have a question, though. How among of you knew this and why didn’t anyone tell me?

I do hope my experience has given you yet another tool to improve your writing.

Until my next posting, good writing.

Patrick

The Secret to His Success? A Platform.

Good day, Writers,

I'm working the Internet this morning, trying to continue my self-education on how to find a new agent and ran across this web page:

http://www.guidetoliteraryagents.com/blog/How+I+Got+My+Agent+Billy+Coffey.aspx

Thought some of you might find it interesting.

Patrick

In Need of a Good Agent

Started looking for a new agent today. Way lot of things to consider! Do they accept your type of work? Do they have a track record of substance? If not, what sort of promise do they hold? Are they looking for new authors? What type of books have they sold and do those sales represent your work? Seems like more time on this than the manuscript. I will forge ahead, however, and slay this beast!