29 Ways NOT To Submit To An Agent by Carole Blake

This post originally appeared on Lucy Hay's Bang2Write blog and continues to be once of her most visited pages! Here's what Lucy says: 

Many thanks to Carole Blake from the Blake Friedmann Literary Agency for providing a VERY comprehensive list on how NOT to submit to an agent. This is a fab list and  I have actually had a number 27 myself!! Maybe it was the same lady? 

1. No gimmicks. Don’t send food, flowers – or anything else. Food goes straight into the bin … just in case. I’ve read lots of crime fiction.

I once received a large parcel that weighed almost nothing. Inside was a rubbish bin and a letter saying the writer assumed the submission would end up there so was sending me one to speed up the process. The partial for a crime novel that was attached looked rather good. I left the bin, letter & ms on my desk. Next morning our office cleaner had removed the contents and put the rubbish bin neatly next to my desk. There was no way to contact the author despite a story on our website and some tweets … That was the end of that.

2. Your own cover design. They almost always look very amateur. A publisher will produce a professional design that takes account of the current market. Even thinking that they might take your design marks you out as amateur.

3. Any kind of jokey letter making fun of the publishing business – I bet this won’t get read etc. In the cold morning light of a busy office – not funny. See no 1.

4. Don’t trash other authors – they might be my clients

5. Don’t send a first draft. Let it sit for some weeks after finishing. Then read & revise. Better to do that before you get a rejection.

6. Don’t keep sending further corrected versions. Revise first & let it sit before submitting.

7. Don’t send again once rejected, unless I’ve invited you to.

8. Don’t send in overly elaborate packaging. I am thinking of a full manuscript, in a lever arch file (duh!) wrapped first in plastic film, then in 2 layers of corrugated cardboard, then brown paper sellotaped around the ENTIRE package. Then in more brown paper. By the time my office had fought our way in to it I hated it already. See no 24.

9. Don’t mark it “private & confidential”. It’s not: it’s a business transaction. I don’t want to come back from a trip abroad to find an unopened unsolicited manuscript on my desk.

10. Don’t make spelling mistakes in the covering email or letter. Or the ms. And don’t rely on spellchecker: read it all the way through several times. See 5 and 6 above.

11. Don’t write the covering letter or email in the voice of one of your characters. I recently received a letter written in the voice of a gorilla. It’s annoying.

12.Don’t send 3 mss with one submission, all in different genres – it shows you’re not thinking about the market and how it works.

13. Don’t have a silly email address. I recently had a submission from someone whose email address was ‘blahblah’. And don’t share an email address with your spouse. This is business correspondence: you need to look professional. Your own email address costs nothing.

14. Don’t say you’re sending your ‘fiction novel’. If you don’t know how to use language, you shouldn’t be writing a book.

15. Don’t write to me abusively after I’ve rejected your ms. Publishing is a small world. And bad manners won’t make me want to work with you. See attached, from an author complaining that we won’t take his work which is in a genre our website makes it clear we don’t work with.

16. Don’t say you’ve read my book from cover to cover and then proceed to offer me a manuscript in a genre I’ve clearly stated I don’t work with.

17. Don’t send your ms in a fancy font, difficult to read. Keep it simple.

18. Don’t email with a peculiar colour background. Keep it simple.

19. Don’t openly email 50 agents at once (I’ve had them!), with all the email addresses shown. At least try to pretend you’ve selected me because you think we would make a perfect team.

20. Don’t tell me you’ve been recommended by a friend of mine and then mention someone I’ve never heard of.

21. Don’t compare your own writing to literary greats: it will only provoke me to disagree. Modesty is more attractive, and allows me to form my own opinion.

22. Don’t plead for individual feedback once I’ve rejected your ms. I received 1000s of submissions a year: there just isn’t time. And I do have to spend some time working for the authors I do actually represent.

23. Don’t tell me your family and friends love your ms. They love you: they are biased.

24. Don’t send me a paper ms. Not any more. See no 25.

25. This perhaps ought to be No 1: do NOT submit to me until you have checked out our agency website and read the submission guidelines. Do NOT. Just do NOT. It’s in your own interest.

26. Do NOT pitch your novel to me at breakfast during a writers festival. If I have to explain why, you may not have read the previous 25 points properly

27. Do NOT slip your synopsis under the door of the ladies loo I am occupying. It happened. Once. I suspect that woman will never do it again.

28. If we are chatting at a cocktail party and you have pitched me your novel, and I say, ‘I can’t take in verbal pitches, I need to read storylines, but please do send it to me.’ do not – under any circumstances – tell me the story all over again. And then do the same thing at the next 3 parties we both attend. This happened to me. I will never knowingly occupy the same room as that novelist ever again.

29. Do NOT submit to me on Facebook or Twitter. Chat, yes. Become friends perhaps: but social media is social. It’s not for stalking or submitting. I block people for doing that.

Why 29? Because if I don’t stop there I might go on forever, instancing all the time-wasting submissions I’ve seen over the years. But – you know what? I still get a tingle when I open new submissions … there is sometimes gold in those emailed submissions mountains!

And here’s one of those offending cover letters …

Liz Fenwick’s writing tips #Romance14

This blog post originally appeared on the Romance Festival website. The Romance Festival is an online literary festival which took place between the 7th & 8th of June 2014 and allowed people to meet their favourite romantic fiction authors, chat to other readers and writers, and get the lowdown on the best in romance, all without leaving the comfort of their own homes! You can follow the Romance Festival on Twitter here.

Liz Fenwick’s Writing Tips:

  1. Have a hero with whom you can fall in love. I have to love the hero, if I don't how can I expect my heroine or reader to?
  2. Think conflict…that’s what makes the reader turn the page. Conflict is shouting, it’s when characters have different goals or what they need is different from what they want.
  3. Try to write something every day but accept that sometimes this isn't possible. Do not beat yourself up…sometimes the laundry does come first and so does dinner (except when a deadlines is approaching!)
  4. As writers we have strengths and weaknesses. Take time to improve your weakest areas until they shine as much as your strengths. Never stop learning your craft.
  5. In twenty minutes a day you can write a novel in a year. Five minutes free…a scene can appear. Any spare time can be used. Grab them. My writing time is always disturbed by family and travel, but I embrace this rather than resent it. I do my best writing when I'm stuck on a plane or a train.
  6. Listen to your work. I use text to voice software so that the computer reads it to me. This gives you separation from your work and makes editing easier.
  7. Writer’s Block – egg timer. Set it for twenty minutes and say you will only write for that time and it doesn't matter what you write. It works!
  8. Read, read, read. Read not just in your own genre, read the best sellers, read literary, read history, read biography, read magazines and the news papers. They all tell stories- just in slightly different ways. From this reading you will learn what works and what doesn’t. You will read books that you wished you wrote (and when you do – analyze to see why you felt that way then discover how you can make your writing better). You will read books and wonder what others saw in it - then analyze it. Fill your writing ‘well’ from the women’s magazines and the latest news.
  9. Be kind to yourself. No book is ever perfect…even the ones we hold up as perfect. Your first draft is for you only, possibly the second and the third too. Writing a book is not a race. Take a breath and enjoy the journey. Accept criticism. Develop your inner critic but contain it as well. Learn to trust yourself.

Liz’s latest book is A Cornish Stranger. You can find her on Twitter here.

Agents Don't...

Partly inspired by a twist on Richard Charkin's recent talk and his 'Don'ts for Publishers', we've turned this on its head and instead put together a list of Agents Don't…’, intended to debunk some common myths about agents, or help explain how and why we agent!

 Agents Don't…

1. Publish your books. We seek a publisher for your book, and ensure your work is in the hands of a great editor and their team of marketers, publicists, digital experts and sales people.

2. Earn anything until you do. We work on a commission basis, so we only get paid when our authors do! This ensures that it's in everyone's best interests to take a book that's in the most appealing shape possible, to publishers, and why we might spend a lot of time honing your manuscripts and proposals before they go out on submission to editors.

3. Know the tastes of other agents. Strange to admit, but other agents are either our friends, our competition or both! We might know them socially, and know a little of their list of authors, but when it comes down to it representing a book is a personal business and we don't always know what floats another agent's boat. So that’s why we are very rarely able to recommend other agents if we turn your book down. Agency websites are most helpful; go and look at an agent's list and their bio, for the best information on what they're looking for.

4. Have any time to read during office hours. It's a common fallacy that we're to be found at our desks, feet propped on stacks of manuscripts, thumbing through our authors' newest deliveries and reading at our leisure. I WISH. Sadly there is no time to read during the day; we're busy negotiating deals and the resulting contracts, chasing payments and checking royalty statements, forwarding requests for our authors' appearances at festivals and events, meeting editors and listening to what they're looking for, liaising with publicity and marketing teams, catching up with colleagues on sending out our books for translation and media sales, and pursuing potential new authors. Very occasionally we might be able to squeeze some editing in on a Friday afternoon, but usually all reading (and editing) is done outside work hours.

5. Have the time to reply to submissions with detailed feedback. Unfortunately we simply don't have enough hours in the day to feedback our thoughts on your three chapters or proposal. And, if we want to be businesslike about it, it’s not in our interests to spend time editing a book we’re not going to work with! However, if we think a book is good enough to consider despite its flaws, or that it could be very interesting to us after a good edit, we will always say so. Equally, if the writer has talent but this book is not for us, we’ll say so.  And no book comes to us in perfect shape!

6. Appreciate rude or persistent writers, whether that's someone calling up the agency reception at regular and increasingly agitated intervals, or barging in on a conversation at a Fair or Festival. We know you're anxious to hear from us and, trust us, if you've a great book or idea then we will definitely be in touch. However, if you've a great book but have been rude to our receptionist or in chasing emails, we won't want to work with you. Polite and professional is the best way for us both to be!

7. Choose brand over book. It has to begin with a great novel or book idea, not just with one hundred million followers on Twitter (however helpful that might be further down the line!). Writers seem to worry a lot these days about their ‘profile’, and it can’t be denied that this is a concern to publishers sometimes too. However, we all need to be convinced that there’s a good, publishable book in whoever we represent (we would always hope that there are many good, publishable books ahead for an author), so the best introduction to us and to a publisher is with a winning idea and strong writing. Not every single author we work with is social-media savvy. I’d personally recommend using Twitter as it’s a LOT of fun and a brilliant place for talking to other writers and sharing writing experiences, as well as a valuable peek into the publishing industry via agents and editors, but it’s not essential.

8. Give up on an author after just one book. As mentioned above, we usually take on an author with a view to them having a long and fruitful career. This is why good writing is important; you could have one great idea, but then… nothing. But if you’re a good writer then we’ll keep chatting with you about potential new book ideas. And if your first book doesn’t sell, we’ll talk to you about pursuing something else. We’re in it for the long term!

9. Chase trends. Because a) we couldn’t possibly predict them (who saw FIFTY SHADES coming? Pardon the unintentional filthy pun) and b) we couldn’t keep up – most books benefit hugely from several months of editing, marketing and publicity, by which time the reading public is going crazy for the next trend: whatever happened to vampires?

 10. Go to lunches and parties just for the free booze. Yes, we know there is the popular belief that we are carousing every night, quaffing cheap party wine and canapes, but actually we go to these kind of social events (much less so now than a decade ago, too) to fit in catching up with editors and their colleagues, hearing about what they’re publishing and using these friendly occasions as an opportunity to pitch our books. And if we can munch a tiny quiche whilst we talk about our fantastic authors, so much the better.

11. Have to read just their own authors’ manuscripts and the submissions pile, but also a wide variety of newly-published books to keep up with competitors and publishing tastes. I try to cram in one non-‘work’ book per weekend, so I’m up-to-date with the books that are appealing to editors and readers alike. Why did everyone rave about The Fault in Our Stars? Best way to find out is to read it…

12. Only make deals.  It’s all about career planning and thinking strategically, looking ahead to try and shape an author’s career in the long term. We’re also sounding boards for our writers, who might come to us with new ideas and their plans for their futures; we maintain a continuous conversation about how we’re going to develop an author and their books, and how best to get them to where they want to be. This is becoming especially important in an ever-evolving publishing landscape, with new platforms, formats and models to explore with our authors.

13. Like telling their clients about rejections.  It hurts the agent too: they’ve taken the client on because they admire and love their work, and have a genuine and unswerving belief that a book should be published. Rejections are rubbish for everyone, and don’t get any easier!

 14. Exist in a vacuum.  We’re all actually human (strange as it might seem) and while reading and editing seeps into every moment of our supposedly spare time, we do occasionally have to have time off, do something else, to maintain perspective. (I don’t think we ever REALLY switch off, but a bit of fresh air can do wonders for new inspiration…) Just as writers are advised to put a book to one side for a little while once they’ve finished the first draft, in order to edit with a bit of new perspective, we all benefit from a break.

15. Sit behind our desks ignoring submissions, feeling superior or polishing our keys to the gates of publishing. (In short: take everything you read about publishing in the newspapers or similar, with a LARGE pinch of salt.) We're desperate to find good books and great authors; we comb our submissions pile as frequently and as thoroughly as we can, and are always happy to meet new writers, whether on Twitter or IRL. It's important for us to be accessible and excitable! And we never get bored of finding that next incredible book. 

By Juliet Pickering

What is Transmedia?

Lucy Hay from Bang2Write explains...

Do you have a project to build a following for, but you're bored of crowd funding spam and authors shouting BUY MY BOOK! every five seconds on Twitter and Facebook? You're not alone … but in a sea of ideas, films, scripts, submissions, novels AND other writers, what can you do to stand out?

What if I told you the answer is transmedia --- and it's free? Transmedia is just "multi platform writing" … It's just using additional methods to get your message out. In the case of my debut YA novel, THE DECISION: LIZZIE'S STORY, I have been utilising free social media (Twitter & FB) to build an audience, as well as help teens access information & services related to the issue behind the story.

Many people groan when they hear the word, "transmedia": they believe it's something made up to "sell" yet more products and services writers don't need. But transmedia is just multi platform writing; it can empower you as a social media marketeer to reach and build your audience, even if you have very little money. In this edition of the B2W newsletter, I am putting my transmedia project LIZZIE'S DIARY under the spotlight and offering loads of tips so you can see how I did it and built an audience in a matter of weeks to support the distribution strategy of my novel.

On March 1st, 2014 I launched LIZZIE'S DIARY -- this is the backstory to the events in my novel, detailing the choices Lizzie made in falling pregnant in the first place, as well as introducing the audience to the storyworld of Winby, Exmorton and Linwood, as well as other characters who appear in the novel. You can view all 4 instalments HERE.

So if you're wondering how to stand out in a sea of projects online, then why not launch your own transmedia project?

Originally published on Bang2Write 01.04.2013

The Elevator Pitch

Juliet Pickering writes on the "quick, snappy" elevator pitch writers should arm themselves with.


Many authors find writing a synopsis a tricky task. ‘How can I condense my 250 page masterpiece into just 250 words?’ they cry, their faces tortured already with the thought of the impossible job ahead…

But I'm asking you to do something even worse here: write an elevator* pitch, or two or three sentences that encapsulate your novel or your book quickly and accessibly. And make it sound irresistible too.

As an agent, I often have to come up with elevator pitches – or a one-minute pitch for each of the books I represent – so that I can excitedly tell an editor about the books I'm offering soon on submission that they might love. And editors and publishing teams must do the same to relay enthusiasm and information about their books to colleagues, readers and booksellers. In the age of Twitter we’re living in a world that has an ever-decreasing attention span, so these quick, snappy pitches are essential.

It might be that I've bumped into the editor at a party somewhere and I've got his/her attention for five minutes. Or that a scout has popped into Blake Friedmann's offices to hear from my colleagues and me about the books we’ll be selling at Frankfurt; we’ll get five minutes each to pitch up to five books whilst the scout furiously scribbles notes. That’s why I need an elevator pitch at my fingertips, and why you should have one too: so you can make the most of grabbed opportunities, and leave a lasting impression with a succinct summary. Next weekend I’ll be leading a workshop about honing your two-minute pitch at the Writers’ Festival in York; the Festival attracts scores of agents, and the networking events create the perfect place for the attending writers to pitch us their books, but there’s nothing worse – for either agent or author – than standing there awkwardly and fumbling through a 20-minute conversation about your novel, at the end of which neither of us is really any the wiser about the story that’s been written.

So how can you condense your entire book into a couple of sentences? Believe me, I do not underestimate the difficulty of this task! I’d suggest starting with a few lines and whittling them down. What happens, who does it happen to, and what is the book’s USP?

For example, look at the first two lines of Orion’s Amazon pitch for GONE GIRL by Gillian Flynn:

Just how well can you ever know the person you love? This is the question that Nick Dunne must ask himself on the morning of his fifth wedding anniversary, when his wife Amy suddenly disappears.

These two lines pitch the book in a very neat way: they pique our curiosity and make us think about our own relationships, hint at dark goings-on, and then deliver the thrill of a missing person, but a missing person who has seemingly been in a happy marriage for five years. We are also introduced to the two main protagonists, Nick and Amy Dunne, without our even realising it. Can you do the same for your book? What would your equivalent pitch be?

Once you’ve written your quick pitch, MEMORISE IT. I'm not joking! Have it ready to trip lightly off the tongue at all times. You never know where you might bump into a friendly agent (stalking is not recommended and neither is pitching on Twitter!); Ben from LitFactor originally got in touch with me to write this piece because he’d read my woeful tale of being pitched at in a jacuzzi. Whilst I wouldn't recommend hanging out in jacuzzis and wrinkling yourself like a prune in order to get your book published, if you’re in the right place at the right time with the right agent, an elevator pitch could be the best thing you've ever written.

Good luck!

*Strictly speaking, for us UK residents, this should be a ‘lift pitch’. Elevators are for ascending Americans.

Originally published on LitFactor, 10 September 2013