Hurdles to Publication

  

Q: A query, an outline, and a synopsis walk into a bar, and a writer/bartender shoots themself. Publishers and agents often want one or all of these thinga-ma-jobbies. Any advice for writers who are flummoxed by how to create them?

 

From Susan

 

I remember how high a mountain it seemed to write that query letter for the first book, how much advice, some of it contradictory, we got in classes and workshops and writing groups. Like most of us, I sweated bullets trying to be sparkly and smart and concise and friendly and informative and brief and specific to the agent’s professed interests and positive without being egotistical. I probably wrote it twenty times at least, had it shredded by fellow classmates, wrote again, and got to the point where it became so much harder than writing the 75,000 word novel. I confessed my desperation to a published, award-winning author and member of SinC, who, blessed be her, took me on as a mentee and helped me set aside all the internal finger-wagging and led me to a good final version. She even let me use her name and a brief blurb she wrote for me in the query as a way of saying I really had written something work looking at. It worked and the agent used some it in in her pitches to publishers. I’ve never had to write another, for which I am deeply grateful.  

 

Advice re queries, 18 years later: Agents are even more inundated with pleas for representation now. Their requirements for communication are strict and I have been told that the smallest violation by someone submitting may get their email dumped because agents need any way they can find to stem the avalanche. Second bit: use every honest, legitimate touchpoint you have to get their attention. You met them at a conference – mention it specifically and thank them for even a brief moment of connection there. A published author they know or represent has recommended you to their attention. (Make sure that author has given you permission to use their name.) There’s more but there are other sources than me, a handful of whom will be covering this in the coming days, so stay tuned.

 

Outline: Ugh. I’m awful at it, fortunately never had anyone ask for it. To me, they’re soulless and only prove the author can write an outline, not enticing text.

 

Synopsis: Ah, now, there’s a format I’ve learned to like. This will sound crazy, but the biggest obstacle for me was sharing the solution to the mystery before the synopsis reader read the book. I can write flap copy easily, but that only includes the hook, not the cooked fish! Agents might request a one, two or four-page synopsis and with any of them I think there are a couple of vitally important things to keep in mind. The agent is looking for the same level of tasty prose they expect to see if they then ask for pages. Don’t rush it and miss the opportunity to show your talent and creativity. Even with a tight word limit, don’t give up a few telling details of character, or setting, or tension. Second, the agent wants to see how well you’ve organized your story. Don’t skip around, don’t waste space on back story or flashbacks or side explanations or history of the setting. Focus, focus, focus is critical here. You can do it because you were focused enough to write an entire manuscript that is in the best shape you’re capable of making it before submitting. 

 

Be strong, be brave, be creative and be optimistic!

MURDER AND THE MISSING DOG is up for pre-order and comes out in early March. It's set in my favorite Burgundy town, includes more than one mystery, and was fun to write. I'll be doing some guest blogs (and will talk more about it next time I'm up here) and a few appearances. I hope to catch up with you somewhere!