How I got my agent (Part 3): Querying
Introduction
Welcome to the final instalment of my three-part series on how I secured my dream agent! Here, I finally get to the details of my querying process.
Preparing for querying: knowledge is power
I read online articles, and attended writing courses and workshops that focused specifically on the art of querying and crafting effective query letters.
I also kept myself updated on the publishing industry by reading The Bookseller. Keeping an eye on who was getting deals, going to book fairs, and representing what, was part of me developing a list of agents who would be a good fit for my work. I also used the Writers’ and Artists’ Yearbook to fill out this list. I identified agents as probable to be a good match if they expressed an interest in similar genres, character, and themes to those of my book.
Another helpful step in my preparation was getting pitch package critiques and agent one-to-ones (through, for example, Jericho Writers and IAMInPrint, as well as further charity auctions as mentioned on my last post). These provided feedback on my query letter, synopsis, and sample pages. They highlighted strengths, as well as areas for improvement such as the hook, comps, and length.
As with writing courses, these cost money, so I was privileged to be able to afford them. Sometimes people give away free critiques on social media, so keep an eye out for those; also, you could arrange with peers to critique each others’.
Facing ‘Declines This Time’, and iterating
Like many writers, my initial round of querying resulted in a series of form rejections. (I recorded these as ‘Decline This Time’ on my spreadsheet tracking my queries, both because that’s less depressing, but also more accurate – you don’t know how an agent might respond to a future query from you.) It was disheartening, but I didn't let it deter me forever. When I’d started querying, I had hypotheses about things about the manuscript that could be removed or changed to make it more appealing. I acted on these (at the time, without the benefit of agent feedback), and revised the manuscript.
I also (based on learning from further workshops, above) made my query letter significantly more ‘hooky’, shorter, and with different, more focused and contemporary ‘comps’. I think this helped with the second round of querying.
The power of positive feedback and pitching success
Before querying again, I had an extra boost of confidence. I was lucky enough to be able to attend the Harrogate Crime Festival, and had the opportunity to pitch my novel to industry professionals (2 agents, 2 editors), as part of the ‘Dragons’ Pen’ event, chaired by Mark Billingham. All of them, based on my pitch, wanted to read the manuscript – I think only one or two other ‘pitchers’ secured a clean sweep of the board like this. I sent it to them, and a second phase of agents.
Whilst this round of querying didn’t result in an offer of representation, it did result in requests for the full, and personalised feedback. Several agents indicated that, although this book (as more psychological suspense than thriller) wasn’t quite right for their list, they would like to see the next thing I wrote – if I hadn’t been ‘snapped up’ for book one! I also got a very helpful editorial note for the opening, which I worked on before querying again.
Shortlisted, and finding my agent
I received two further boosts. My novel had been shortlisted in two competitions (for the Mo Siewcharran Prize, and the Joffe Books Prize). This recognition not only boosted my confidence but also I’m sure helped garner attention from agents when I next came to query. (One of these prizes had the old version of the manuscript, the other with the new opening, so it was good to know both could do well!)
Encouraged by these successes, I queried a final time. I had more personalised responses and requests for the full - I think because the opening had improved, but also because I could say I’d been shortlisted in competitions. I caught the attention of my dream agent! Silé loved my book, believed in its potential, and offered representation very quickly.
A point about luck here: Silé had been an agent who I had my eye on from the beginning of my querying process (having come across her through the HarperCollins Author Academy). But I hadn’t queried her in my first batch, because at the time it seemed like her list was more non-fiction, so when I queried that agency I plumped for a different agent whose MSWL (‘Manuscript Wish List’) I seemed to fit better. But by the time it came for my third phase of querying, Silé had moved agencies, and so I was happy to have the opportunity to query her after all! Funny how things work out sometimes…
Final thoughts on the whole process
The querying process was undoubtedly filled with its fair share of challenges and rejections. However, by preparing for it as early on in the writing process as I could, making revisions both to the manuscript and the pitch package, and making use of opportunities for positive feedback and competition success, I found the agent who saw the value in my work.
Thanks for joining me on this journey of securing an agent. I hope my experiences provide you with encouragement on your own writing path. What stands out to me, as I reflect, is the importance of developing one’s craft as a writer, learning to understand and try to appeal to the industry (whilst also remaining true to oneself as a writer), having a supportive writer network, and not underestimating the role of privilege and luck. I’d like to think that my book itself is good, but no matter how good a person or their output is, the outcome is always the result of an interaction between that and a roll of the dice on this planet – like dating, it’s not just about who you are, but about getting lucky and meeting the right person. Having supportive people around helps you keep rolling those dice until they come up double sixes!
I wish you the best on your own querying journey!
Curious about this novel that secured me representation? You can read more about, and pre-order it, here!