writing a cover letter to a literary agent

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How To Write a Covering Letter

Literary agents will read the manuscript you send, and some the synopsis, but all will read the covering letter. Writing an effective one may take you a long time, but it is well worth the trouble. 

The whole thing should:

• Be well written – you are writing to people who care about words
• Be concise (don’t waste their time; you want to direct them to the manuscript rather than tell them everything about you). One side of the page is plenty
• Look attractive (it is the spaces on a page that draw the eye in, not the text, so paragraphs of different lengths and a ragged right-hand margin really help to attract the reader and keep them going)
• Be knowledgeable about the agency 
• Begin well (according to David Ogilvy, the copywriting guru, the first 11 words are crucial)
• Describe the project briefly (in no more than two or three sentences) so that the reader is clear about what kind of book is on offer, and wants to know more
• Never say at the end of the letter that you’ll telephone in a few days to follow up your submission – it sounds rather menacing (but do email to check on progress if you haven’t heard anything in a month or so).

Some agents and publishers acknowledge what they receive; others do not. Do bear in mind that some small agencies or publishers only deal with the unsolicited submission pile every few weeks, and so the waiting time may be slightly longer.

An agent’s advice

Here is the advice of  literary agent Simon Trewin on writing an introductory letter:

" Life is short and less is more. No letter should be more than one side of A4 and in a good-sized (12pt) clear typeface.

Sell yourself. The covering letter is one of the most important pages you will ever write. I will be honest here and say I find selling myself very difficult, so I can see how tricky this is – there is a thin line between appearing interesting/switched-on/professional and arrogant/unreasonable.

The letters that include phrases like “I am a genius and the world doesn't understand me” or “My Mum thinks this book is the best thing she has ever read” (of course she does – that is her job!) don’t exactly fill my heart with longing! In your pitch letter you are trying to achieve some simple things: you want me to feel that you take your work seriously. Wear your writing history with pride. Tell me about that short story you had published or that writing course you attended and the fact that you are writing alongside a demanding job or in the evenings and weekends when the kids are asleep. Tell me why you write – I love hearing about the different paths that have led people to the moment when they think “I want to write”.

Tell me who your influences are and tell me about the book you are sending me. A few lines will do the job here; I just want to get a sense of the territory I am going to enter. Tell me what you want to write next. Hopefully you won’t be following your commercial romantic comedy with a three-volume science fantasy epic or vice-versa!

At the end of your letter I want to feel in good company and ready to turn the page. I am not interested in seeing what you look like or how old you are – we are not running a model agency here! Publishing isn’t as obsessed with age and beauty as you might think, but it is obsessed with finding distinctive new voices. And a final point: get a friend to read the letter and give you some honest feedback. Put it to one side for a day or two and come back to it – distance is a great editor. "

Simon Trewin

Case Study. The Night Attila Died: Solving the Murder of Attila the Hun by Dr Michael Babcock  

Dear [Literary Agent]:

I am seeking representation for a non-fiction book entitled The Night Attila Died: Solving an Ancient Murder Mystery. I am a college professor with a PhD in medieval languages and literature from the University of Minnesota and a MFA in Creative Writing from the University of North Carolina. [1]

Historians tell us that Attila the Hun died on his wedding night in 453 AD. Drunk and flat on his back, he died of natural causes – an internal haemorrhage. The only problem with this account (and it’s a big one) is that it’s a complete fabrication. The Night Attila Died challenges 1,500 years of history by presenting evidence that Attila was murdered and that the truth was covered up in the official imperial records. [2]

The events and characters are among the most interesting that history has ever assembled on one stage. There’s Aetius, the ruthless Roman general and boyhood friend of Attila who defeated the Hun in a decisive battle in Gaul. There’s the weak and stupid emperor, Valentinian III, who pulled a dagger from his robe and assassinated Aetius in a jealous rage. There’s the emperor’s older sister, Honoria, who secretly plotted to wrest power from her brother and managed to start a world war in the process. [3]

In the eastern Empire, the characters are just as colourful: Emperor Theodosius II, a weak ruler who bungled the first assassination plot against Attila, and Emperor Marcian, whom I accuse of masterminding the plot that finally destroyed the Empire’s greatest enemy. Throw in, for good measure, a scheming eunuch and a pathetic little dwarf named Zerko. It’s a great set of characters. [4]

But what the book is really about is philology. The textual science pioneered two centuries ago by the Brothers Grimm is the tool that lets us peel away layers of conspiracy and propaganda. Through the philological method we can reconstruct what really happened and how the conspiracy to kill Attila was covered up as official history. Chapter by chapter the reader participates in the detective work. In the end the threads of an ancient conspiracy are revealed and the verdict of history is overturned. [5]

There’s more at stake than just a good detective story. This is ultimately about what happens when two cultures with irreconcilable worldviews collide. It’s how we confront the Other with all the power of the sword and pen. What emerges from these violent confrontations is a skewed understanding of the past. We may call it history, but it’s often just propaganda. The Night Attila Died is rooted in the historical moment of the late Roman Empire, but the conclusions I draw are deeply connected to our own time. [6]

My publications to date are academic, in particular a book on the literary representations of Attila. I am uniquely qualified to write The Night Attila Died, having spent 15 years studying the historical and literary records as preserved in Latin, Greek, Old Church Slavonic, Old Icelandic, Old French, and Middle High German. (But that isn’t keeping me from writing a lively narrative!) I am recognised as an expert in this field and have consulted for a History Channel documentary on “famous deaths”. As an enthusiastic and dynamic speaker who speaks widely at conferences, I intend to promote the book aggressively. [7]

May I send you a full proposal with a sample chapter? [8]

Michael A Babcock, PhD

Commentary (keyed to the paragraph numbers)

[1] Direct introduction. No beating around the bush. No ‘clever’ attempt to hook the agent. Identify the type of book it is. Briefly identify yourself and your credentials.

[2] The hook. What’s unique about this book? Why should the agent keep reading the query letter?

[3] What you’re trying to demonstrate in the body of the letter is your style, your personality, and the ‘interest factor’ of the subject itself.

[4] With carefully selected details, you can pique the interest of the agent. Agents and editors love books – that’s why they do what they do. So show them what the pay-off will be for reading this book. You are also conveying the depth of the subject and your expert handle on the material.

[5] Establish the significance of the topic and its relevance. Establish points of contact with general knowledge (the Brothers Grimm).

[6] Again, this draws out the significance and timeliness of the subject – that is, you’re trying to answer the ‘So what?’ question.

[7] Return to your credentials and qualifications as to why you're the best person to be writing this book. 

[8] End with a direct, unambiguous appeal that requests a specific follow-up action.  

How it worked

‘This letter was sent out by e-mail to agents and out of the ten I submitted to, I heard back from nine and all nine wanted to see the full proposal. Of these nine I had three agents who were interested in representing the project and one, in particular, who pursued it aggressively. This agent called me up and expressed such enthusiasm for the concept and my writing style, that I felt he was the natural choice. Even though there were better known agents who were interested in the project, I opted for the lesser known agent on the theory that he was highly motivated to sell my book. The book sold in less than a month. There were three editors who were interested in making an offer on the book; in the end it came down to two and the higher bid won out. As a side note, the book sold on the strength of the formal proposal and a single sample chapter. The book was sold in December 2003 and submitted in final form to my editor in July 2004. It was published in July 2005 by Berkley Books.’

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How to Write a Stand-Out Cover Letter

• How to Write a Stand-Out…

SO, WHAT IS A COVER LETTER?

Literary agents and many literary competitions require a cover letter along with your sample chapters and synopsis. This is a formal introduction to you and your novel. Note: It is not a CV, a bio or a blurb for the book. It’s a letter, written from one professional to another, that should make the agent or judge want to read more. The biggest mistake entrants to the BPA First Novel Award made this year was getting the balance off, either writing too much about the novel or too much about themselves – some poor novels didn’t get a mention. There’s a rough template most agents and competition judges will look for, and it’s pretty doable! Let’s give it a go.

TELL US ABOUT THE NOVEL

First, tell us about the novel. That’s what you’re trying to sell! You want the agent to finish the cover letter with such curiosity about the book that they’re hungry for the sample chapters. 

The first paragraph will usually reveal the title , the genre , the word count of the completed manuscript (If you don’t include this, they might worry you haven’t finished it!) and something that offers a taste of the novel, like a mention of the themes you’re going to explore.

Be specific when stating the genre – if it’s general fiction, think about whether the market is commercial, book club, upmarket or literary. If it’s YA, don’t just say it’s YA – is it a YA romance? YA dystopia? Who’s out there writing YA crime? The literary agent will be familiar with all the terms, so the more specific you are, the easier it will be to picture an audience for the book.

Once you’ve provided these core facts, write an elevator pitch . This is a single sentence that conveys your novel’s hook or USP. For inspiration, check out the Sunday Times Bestsellers List:

• Richard Osman’s  The Thursday Murder Club : Four friends in a retirement village team up to solve a mystery on their doorstep.
• Paula Hawkins’  The Girl on the Train : A commuter’s fascination with a married couple she passes every day turns deadly.

It’s a good idea to follow this up with a one-paragraph description of the novel. Unlike the synopsis, it doesn’t need to tell the entire story, but it should be just more than the premise. Tell us who the protagonist is, what happens to upset the balance of their life, and what their goal is (presumably to restore said life balance!). If you can do that in a couple of sentences, you might also mention one of the novel’s core turning points.

Cover letters should describe the novel first, then the writer, then remind us of the novel at the end. In a short final paragraph, say what inspired you to write the book and offer some comparable titles . (Check out agent Nelle Andrew’s advice on comparable titles .)

The letter should be targeted towards the literary agent or competition judge you’re writing to. Some writers choose to open with this and others incorporate it into the later paragraphs. The best way to make a connection and show you’ve done your research is to mention an author on the agent’s list who has a relevant readership. You could also explain why you think your novel aligns with what they describe in their wish list.

TELL US ABOUT YOU

It’s the writing, not the writer, that’s important … but the agent or judge does want to know about you too. They especially want to know why you were the one person who could write this book . And it’s true – no one else could write the book you’ve written. So tell us why. Did your job as a psychiatrist inspire the analysis of your antagonist’s motivation? Do you live in the idyllic town where the book is set? Have you studied the era of your historical novel? Share relevant details about yourself. 

The agent or judge also wants evidence that you are a writer. You’re not just someone who thinks they have a novel in them; you take your craft seriously. If you can, share what magazines your short fiction has been published in, the competitions you’ve been listed in or the creative writing courses you’ve completed. If you don’t have that kind of experience, share anything that tells us you’re serious. Join a writer’s workshop group and tell us about that. Attend an online masterclass (like the ones BPA runs ) and mention that. Experiment with writing in different forms and tell us about it. S hare which contemporary authors have inspired you, so it’s clear that you’re well read. Just don’t put, ‘This is my first attempt at writing fiction,’ and leave it at that. It doesn’t inspire confidence.

A cover letter should be professional, like the cover letter you would send with a job application, but you also want it to have some personality. And given you’re basically applying for the role of ‘novelist’, it needs to be well written.

So, keep it formal, make sure it’s eloquent, and try to get some flow into it. When you read it aloud, it should sound natural. If it doesn’t, it might be that you haven’t varied sentence length, that you’ve used rigid language, or simply that you’re trying too hard. As formal as a cover letter should be, you want your enthusiasm for this novel you’ve spent so long writing to imbue the lines. 

COMMON ISSUES IN ‘BPA FIRST NOVEL AWARD’ SUBMITTED COVER LETTERS

• Formatting it like a CV or splitting it into sections titled ‘Bio’ and ‘Novel Summary’.
• Sharing irrelevant detail about your personal life. 
• Making it too short – 200-350 words is a good guideline.
• Or too long – unfortunately, nobody’s going to read a cover letter past the first page!
• Writing a vague description of the story e.g. ‘When a mysterious event happens, a woman will have to look to the past to uncover the truth.’
• Including long-winded explanations of why there’s a huge market for your book.
• Coming across as arrogant … or lacking in confidence.
• Sharing more about the novel’s message than its story.

WRITE THE COVER LETTER YOUR NOVEL DESERVES

Once you’ve finished a manuscript, the instinct is to get it on submission as soon as possible, but it’s worth taking the time to give an accurate and exciting representation of the work . Literary agents receive many submissions a day and have to fit reading time in with a huge workload. You need to grab them in the cover letter so that they’re already thinking of you as a potential client when they read the sample.

Out of everything you could have written on the blank pages of a document titled Novel , you’ve carefully chosen each word of this story that has to be told. You know people will love it and you hopefully have a sense of who and why . Get that across to the agent or competition reader, and maybe, just maybe, they’ll request the full manuscript.

For personalised feedback on your cover letter, you might want to consider a BPA Submission Package Report – enquire here .

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How to write the perfect pitch letter to an agent

Clare harlow: 'look out for other writers who aren’t afraid to gently tell you how to make your work stronger', samuel burr: 'writing is a craft and not a gift as far as i’m concerned' , by anna davis, 7th jan 2019.

So, you've finished your manuscript and are eager to share your work with literary agents. One question I'm always asked by students is: How do you write the perfect pitch letter to a literary agent? Here are my top 15 tips on how to make your submission pitch letter stand out from the pack:

1. Write to a specific agent and do your research

Start out by thinking carefully about who you're going to send your work to. Research thoroughly on literary agency websites and generally online, reading interviews with individuals and checking their social media profiles. Pick agents who are clearly interested in the kind of book you're writing and who appear to be eager to find new writers. When you write your query letter, tailor it to the individual - even though this means you'll have to rethink your pitch letter for each agent you address it to. Don’t write to 'Dear Curtis Brown' or 'Dear Sir' or 'The Submissions Department' etc. Always write to a person.

2. Address the agent by their first name

Only the oldest, most formal of agents are uncomfortable about being addressed by their first names – and really, those are not the people you should be approaching for representation in any case. There’s no need for Mr, Mrs, Ms etc.

3. Keep the pitch-letter short. It should be no more than three brief paragraphs ...

... one which pitches your novel; one which tells the agent a little about you; and one which talks about why you’ve chosen to target this particular agent. It’s up to you which order you do these in. I’d probably kick off by pitching the novel, but others would advise differently. People will tell you that the letter should be no more than a page – actually I’d say it should be much shorter than a page. Whenever we run agent-letter workshops with our London-based students, we end up telling at least 80% of the students that their letter is too long …

4. Kick off your letter by pitching your novel

This is the time to utilize your best one or two-line pitch. You should be giving the central question which drives your novel and hooks in the reader, or stating what’s at the heart of your novel. Ideally, use a slightly different version than whatever you've put in your synopsis to avoid repetition. And it’s good to tell us whose story this is too … Aim at two or three sentences (no more than that, really – this has to be brief and to the point) which introduce your story. Don’t try to cover your whole plot – your synopsis will be doing that job. You’re just looking to whet the agent’s appetite. Include the title of your novel (perhaps even as the heading for the letter). You should also give the genre of your novel if you know it. People often mention their word-count, in their pitch letter but there’s no real need for this: You should probably put that on the title page of your material.

5. Talk about why you’re addressing this particular agent

Agents like to feel you’re writing to them for a reason. Find out something to say which is specific to them: If you’ve read or heard something they’ve said about writing or the kind of novels they’d like to represent – or perhaps if you’ve met them – you could mention this. If there’s a reason you think you’d fit well on their list, say what it is.

6. Include mention of one or two comparison novels

This is when you liken your novel to other similar works. It’s a good idea to find books to compare to yours which are current and commercially successful – and ideally which are represented by this particular agent (though this might not be possible – it will depend very much on their client list). But don’t pick novels which are really major works or you’re setting the bar very high for yourself – perhaps unreachably high. If you can’t come up with good comparison novels, it could instead be a good idea to simply mention one or two of the relevant agent’s clients whose work you particularly admire. Don’t worry too much about the issue of ‘comparison novels’ though, if you can’t come up with any. It’s not the most important aspect of the letter. And don’t include lots of them. Two is enough.

7. Tell the agent a little about yourself

What you do, etc. Leave out details which are not strictly relevant or interesting. If you are a doctor writing a medical drama – say that. Mention any creative writing courses you’ve taken which are prestigious and with selective entry. It’s not worth mentioning self-published books unless they’ve sold well (by which I mean well into the thousands). Mention awards and writing competitions you’ve won if they are not too obscure. Remember, this should only be a short paragraph – don’t get bogged down in detail – be selective and only mention points which speak positively of you and clearly work in your favour.

8. Avoid bragging

... or stating that your novel will be the next huge international bestseller etc. On the other hand, don’t apologise for your novel  or for taking up the agent’s time with it – present it confidently. Read over your letter when you’ve finished writing it to make sure that everything you say is positive – don’t say anything negative at all.

9. Don’t tell us that your wife/husband/best friend/children etc love your novel

The agent doesn’t care about any of that!

10. Be focused – don’t pitch more than one novel or memoir in your letter

Talk about just one novel. If the agent calls you in for a meeting, that’s the time to talk about other projects, future work etc.

11. Do put time, thought and care into your pitch letter

Don’t be slapdash, and check your grammar and spelling. You need to be professional in order to be taken seriously by a professional.

12. There’s no need to include ‘polite padding’ in the query letter

For instance, you don’t need “I’m sending you the opening of my novel and synopsis in search of representation” – the agent will know why you’re writing to them, and you can just go straight into the pitch. Similarly, you don’t need to thank them for their time or say you’re looking forward to hearing from them etc – just write the real meat of the letter and then sign off. Make every word count.

13. Don’t ask for a meeting with the agent

... or state that you’re interested in working editorially on your novel. Just present the novel and then allow the agent to come forward with their idea of what should happen next. They will, in any case, assume you’re happy to come for a meeting or do some rewriting if requested to. Don’t make a point of saying that you’re sending also to others … They'll assume that anyway.

14. Don’t crack corny jokes

It’s just excruciating. And don’t talk about a ‘ fictional  novel’ – all novels are fiction.

15. Don’t be obsequious

The agent doesn’t need you to flatter them or suck up to them.

Oh - and did I say keep it short? ...

Courses to help you pitch with confidence

Check out our one-day Pitching Your Novel course. Expert CBC editors, Jennifer Kerslake and Abby Parsons, will lead a group of 16 students through the dos and don’ts of writing your pitch and query letter to literary agents during a full day of Zoom teaching.

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Learn to edit and polish your novel to the highest standard and then pitch with confidence to the publishing industry. Edit & Pitch Your Novel – Advanced is an online course comprising teaching videos and notes from our founder Anna Davis alongside tuition and feedback from author Lauren Pearson. Plus, five Zoom masterclasses with publishers and literary agents.

If you're looking for a flexible online course, join our bestselling six-week Edit & Pitch Your Novel course.

How to Write a Submission Cover Letter That Will Wow Literary Agents

As a writer, you spend countless hours perfecting your manuscript, pouring your heart and soul into every word. But did you know that the cover letter you include with your manuscript submission is just as …

Written by: Adam

Published on: November 20, 2023

The purpose of a submission cover letter is to introduce yourself and your work to literary agents. It gives you the opportunity to make a strong first impression and convince the agent that your manuscript is worth their time and consideration. While the content of your manuscript is undoubtedly important, a well-written cover letter can help it stand out from the slush pile and increase your chances of getting noticed.

Understanding the purpose of a cover letter for manuscript submission

Before diving into the nitty-gritty of writing a cover letter for manuscript submission, it’s crucial to understand its purpose. A cover letter serves as a professional introduction to your work and provides a glimpse into your writing style and personality. It should be concise, engaging, and tailored specifically to the agent or agency you’re submitting to.

When a literary agent receives a submission, they often have limited time to review each one. A well-crafted cover letter can pique their interest and make them eager to delve into your manuscript. Think of it as a teaser, enticing them to read further. It’s your chance to showcase your writing skills and convince the agent that you’re not only a talented writer but also a professional who understands the industry.

Essential elements of a cover letter for manuscript submission

Now that you understand the purpose of a cover letter, let’s explore the essential elements that should be included. First and foremost, your cover letter should be professional in tone and format. Use a standard business letter format with your contact information at the top, followed by the agent’s details and the date. Address the agent by name if possible, as it shows you’ve done your research and personalized the letter.

Next, introduce yourself and mention the title of your manuscript. Briefly explain why you chose to submit to that particular agent or agency. This demonstrates that you’ve done your homework and are genuinely interested in working with them. Highlight any relevant writing credentials or experience you have that make you uniquely qualified to write the manuscript. Keep this section concise and focus on the most impressive aspects of your background.

Finally, provide a brief summary or pitch of your manuscript. This should be a compelling and concise overview that captures the essence of your story and leaves the agent wanting to know more. Avoid giving away too much detail or spoiling the plot. Instead, focus on intriguing the agent and creating a sense of curiosity. Think of this section as a movie trailer – it should leave the agent eager to dive into your manuscript and discover the full story.

Tips for writing an attention-grabbing opening paragraph

The opening paragraph of your cover letter is your chance to make a strong first impression and grab the agent’s attention. Start with a compelling hook that will immediately engage the agent and makes them curious about your manuscript. It might be an intriguing question, a shocking statistic or a captivating anecdote. The key is to make the agent want to keep reading.

After the hook, briefly introduce yourself and your manuscript. Mention any relevant writing credentials or experience that make you stand out. Highlight why you chose to submit to that particular agent or agency. Show them that you’ve done your research and are genuinely interested in working with them. This personal touch can make a significant impact and show the agent that you’ve put thought into your submission.

Remember to keep the opening paragraph concise and to the point. Agents receive numerous submissions every day, so they appreciate brevity. Avoid rambling or providing unnecessary information. Instead, focus on crafting a strong and attention-grabbing opening that leaves the agent eager to read more.

How to showcase your writing credentials and experience

When it comes to writing a cover letter for manuscript submission, showcasing your writing credentials and experience is essential. This section allows you to demonstrate your expertise and convince the agent that you’re a talented writer who is worth their consideration. Here are a few tips to help you effectively showcase your credentials:

Highlight any relevant writing achievements: Focus on the writing credentials that are most relevant to your manuscript and the genre you’re targeting. This could include published (or self-published) works, writing awards, or any other accomplishments that demonstrate your skill and experience (such as building an audience on social media).

Provide details but be concise: While it’s important to provide some context and details about your writing credentials, remember to keep it concise. Agents have limited time, so make sure to highlight the most impressive aspects without overwhelming them with unnecessary information.

Tailor your credentials to the agent or agency: Research the agent or agency you’re submitting to and tailor your writing credentials accordingly. If they have a particular interest or speciality, highlight any relevant experience you have in that area. This shows the agent that you’ve done your homework and are genuinely interested in working with them.

By effectively showcasing your writing credentials and experience, you can establish yourself as a credible and talented writer. This increases the agent’s confidence in your abilities and makes them more likely to consider your manuscript.

Crafting a compelling summary of your manuscript

Perhaps the most crucial part of your cover letter for manuscript submission is the summary of your manuscript itself. This section is your chance to give the agent a taste of what your story is about and entice them to read further. Here are a few tips to help you craft a compelling summary:

Keep it concise: Your summary should be brief, typically no more than a few paragraphs. Focus on the main plot points and the core themes of your story. Avoid getting bogged down in unnecessary details or subplots.

Capture the essence of your story: Your summary should give the agent a clear idea of what your story is about and what makes it unique. Highlight the main conflict, the protagonist’s journey, and any intriguing elements that set your manuscript apart.

Create a sense of curiosity: The goal of your summary is to leave the agent wanting to know more. Don’t give away all the details or spoil the ending. Instead, create a sense of curiosity that compels the agent to dive into your manuscript and discover the full story.

Crafting a compelling summary takes time and careful consideration. It’s often helpful to draft multiple versions and seek feedback from trusted peers or writing groups. Remember, your summary is your manuscript’s first impression, so make it count.

Do’s and don’ts of writing a cover letter for manuscript submission

To wrap up our guide on writing a submission cover letter, let’s go over some essential do’s and don’ts to keep in mind:

• Address the agent by name if possible.
• Tailor your cover letter to the agent or agency you’re submitting to.
• Highlight your most relevant writing credentials and experience.
• Keep your cover letter concise and to the point.
• Proofread your cover letter for any grammatical or spelling errors.

Don’t:

• Ramble or provide unnecessary information.
• Oversell or exaggerate your writing credentials.
• Give away too much detail or spoil the plot in your manuscript summary.
• Forget to personalise your cover letter for each submission.
• Forget to follow the submission guidelines provided by the agent or agency.

By following these do’s and don’ts, you can ensure that your cover letter is professional, engaging, and tailored to the agent you’re submitting to. Remember, the goal is to get a foot in the door, make a good first impression and convince the agent that your manuscript is worth their time and consideration.

The Ultimate Guide to Novel Length: How Many Words Should Your Book Be?

Creating memorable characters through dialogue: a guide to writing effective conversations in your novel.

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Hints for a Great Cover Letter

[I originally posted this piece over 12 years ago. The information still holds true, but I suspect many have not found the necessary information elsewhere, so I dare post it again. I’ve left all the comments intact since they add to the ongoing conversation. Feel free to add your thoughts.]]

_________________________

Here are a few suggestions for you to consider when approaching an agent or an editor. Remember to use these as hints…do not follow them slavishly as if a literary agent will spend their time critiquing your cover letter.

By the way, we distinguish between a cover letter and a query letter. A cover letter goes on top of a longer proposal and sample chapters. The query letter is a stand-alone letter that goes to the editor/agent without a proposal or sample chapters. We prefer the cover letter and the rest of the package. Why? Because a query only shows that you can write a letter. A proposal begins the process of showing that you know how to write a book.

Address the letter to a specific person. If sending something to The Steve Laube Agency, simply address the appropriate agent. Every proposal will cross the desk of the designated agent eventually. (Please do NOT send it to all of us at the same time)

Use this cover letter in the body of your email, but NOT the proposal and sample chapters! You’d be stunned to see how many people contact us with a blank email carrying only a subject line of “here it is.”

Don’t waste your time or ours. Do your homework! If you are submitting to an agent, visit their website and follow their guidelines!!! We cannot emphasize this enough! Make certain to spell the person’s name right. (My name is spelled, Steve Laube. Not “Laub” “Labe” “Lobby” “Looby” etc. But note that Bob Hostetler has to address me as “sir” or “the honorable” or “Mr. Boss”.)

If you use The Christian Writers Market Guide or some online database listing agents or editors, make sure you have the most current information because addresses do change (go to their website). Our main office changed its mailing address in February of 2007…and we still discover material is being sent to the old address. You would be astounded by the number of calls or inquiries we receive from writers who have not done their research. Someone called the Phoenix office the other day looking to talk to one of our agents who does not live or work in Phoenix.

Whatever you do, do  not say your book is the next bestseller like Purpose Driven Life , Eat Pray Love, Left Behind , or  The Shack , or that it will sell better than  The Da Vinci Code ,  Twilight ,  Harry Potter , or  The Chronicles of Narnia . That shows an ignorance of the market that is best left alone. [update note: These examples will date you really fast. The Harry Potter books are over 25 years old, published in 1997.]

In addition, please do not claim “God gave me this book so you must represent or publish it.” We are firm believers in the inspiration that comes from a faith-filled life, but making it part of your pitch is a big mistake. Read this blog post for a larger discussion on this point.

____________

The 4-part Cover letter:

1) A simple introductory sentence is sufficient. Basically, you are saying “Hi. Thank you for the opportunity…”

2)  Use a “sound bite” statement. A “sound bite” statement is the essence of your novel or non-fiction book idea in 40 words or less.

The fiction sound bite could include:

a. The heroic character b. The central issue of the story c. The heroic goal d. The worthy adversary e. Action f. The ending g. A grabber h. Or a twist

The non-fiction sound bite should include the main focus or topic. One suggestion is to describe the Problem, Solution, and Application.

If someone were to ask about your book you would answer, “My book is about (write in your sound bite.)”

Another word for sound bite is “hook.”

3)  Tell why your book is distinctive – identify who will read it . (Targeted age group….adult, teen, youth) – point out what’s fresh, new, and different.

One suggestion would be, for your intended genre, read several recent books in the same genre as your own to familiarize yourself with the market.

4)  G ive pertinent manuscript details : a) mention whether or not your book is completed (if it is not, then give an estimate as to when it will be finished) b) word length of the complete manuscript, even if it is an estimate (approximate – round off the number) c) pertinent biographical info d) tell the agent if it is a simultaneous submission e) let the agent know they can discard the proposal if rejected.

Click here to review a sample non-fiction cover letter from someone who approached us via an email inquiry. We signed her as a client.

Keep the letter to one page!!

Please don’t use narrow margins or tiny print to fit it all on one sheet. That is silly. We once received a cover letter with an 8-point font and 1/4-inch margins. It was virtually unreadable.

About Steve Laube

Steve Laube, president and founder of The Steve Laube Agency, a veteran of the bookselling industry with 40 years of experience. View all posts by Steve Laube →

Reader Interactions

January 17, 2011 at 5:45 pm

Thanks for clarifying the difference between a query and a cover letter. And I never thought about including a note about discarding the proposal if it’s rejected. I’ll remember that next time.

January 17, 2011 at 8:40 pm

Thanks for the helpful information. Appreciate, too, your making it print friendly. This is going into my “Writing Aids” file.

January 19, 2011 at 2:52 pm

This is very helpful. Thank you for this overview of the cover letter. I critique manuscripts at writers conferences, and I plan to refer them to this post!

January 19, 2011 at 11:09 pm

I am confused; this article requires a cover letter be ONE page, double-spaced, exactly while the Guidelines article requests the story be summed up in up to THREE pages, single-spaced. So what are you supposed to do since these contradict and I would like to present myself as expected by Mr.Laube?

January 20, 2011 at 8:24 am

Let me clarify so as there is no confusion.

This article is about the cover letter. Keep that to one page.

The synopsis is not the cover letter. That piece is where you tell the whole story of the novel in a maximum of three single spaced pages.

Any presentation package to an agent or a publisher has three parts. 1) The cover letter (one page) 2) The proposal – which includes, among other things, a synopsis of the book or story 3) Sample chapters

Hope that helps!

March 8, 2012 at 11:53 am

Thank you Steve. Any bits of wisdom imparted to the masses is wonderful.

February 4, 2016 at 11:54 am

So, just to clarify, should the promo sentence, sales handle and back cover copy be included in the same document as the synopsis?

The word count, target audience and platform are all mentioned briefly in the cover letter. Should they also be reiterated more in-depth in the proposal?

Just trying to line up my wayward ducks. There’s no point in submitting a manuscript if it isn’t submitted properly.

September 21, 2017 at 8:20 am

Thank you for your guidance and clarification. It helps to have every aspect broken down so well.

May 21, 2021 at 4:29 am

thanks for the offered clarification, one further point please. Perhaps I am reading too deeply and detailed, but cover letter, sample chapters, synopsis, we are talking three separate attachments to the email, given the different structures of each piece. Thanks

January 20, 2011 at 10:33 am

Now I understand. Thank you for taking the time to reply 🙂

As an aside, for further clarification – the sample chapters should always be the first three correct? (No other chapters instead?) And if you have a prelude, I would assume that would not be counted as the first chapter, particularly if it is only a few pages?

One last question please: in the cover letter should you use specific names of characters or simply be broad until you arrive at the synopsis?

Thank you so much for making things clear and God bless you.

January 20, 2011 at 11:06 am

Sample chapters. Always the first pages. Include a prelude or a preface if applicable. The idea for the limitation is to keep what you send under 50 pages of text. Some chapters are very short, some are long. But sending too much will put you in the “I’ll read this someday, when I have the time” pile.

As for the cover letter? You aren’t retelling the whole story in the cover letter so character names are not as critical. But they can be used if appropriate. Don’t write something like “Snow White along with Sneezy, Sleepy, Dopey, Doc, Happy, Bashful, and Grumpy went to the local grocery store to buy some apples.” That can wait for the manuscript or the synopsis if you want to use those names.

January 20, 2011 at 1:37 pm

Great! Thank you again and one absolutely necessary (and final) question please: my prelude is the first 4 pages and that with the first three chapters bring you to page 60. Is that a problem? Should I just cut the story off at page 50? Thank you and this is my final question 🙂

January 20, 2011 at 1:44 pm

I can safely say, without seeing your work or reading a word, that your chapters are too long to begin with.

Cut your chapter length by thinking in terms of scenes. Make chapter breaks more frequent. A twenty page chapter in a novel is far too long in today’s market.

To be even safer, consider hiring a good freelance editor ( click here for a list ) to give you help and advice before ever sending it to us. If a manuscript is pretty good, we will reject it. It has to be magnificent and nearly ready for market.

March 20, 2017 at 10:23 am

Any idea of the price range for a freelance editor that you have listed on you link?

January 20, 2011 at 7:17 pm

Thank you for the input. My work is Christian fiction, so a few of the chapters are for world-building so that is why some of the chapters may be a little longer. I have plenty of chapters that are 8 or 11 or 14 pages long, but the third one in particular is 27 pages. I suppose I will have to split that up of course, and I do think in terms of scenes (as in a movie)…So be it then.

January 21, 2011 at 1:43 pm

One more question: if you are writing a trilogy and are only submitting the first book thus far, would the synopsis cover only the 1st book or would it encompass all 3? Thank you!

January 21, 2011 at 1:47 pm

Ryan, There is no hard and fast rule. It is usually a good idea, when submitting a trilogy, to have at least a half page worth of synopsis included in the proposal. A publisher needs to have something they can see in order to buy.

March 16, 2013 at 4:14 am

I have a project encompassing 5 books on the religious beliefs of the Founding Fathers which uses the historical record to refute the Internet claim that the FF were deists and atheists. The first book is done, 2 others are 85% done. There are over 600 separate cited sources in the first book, two-thirds of which are in the public domain. Must I get written permission from the other 200 sources before I can publish the book or will footnoting the quotes used with TITLE, AUTHOR, PUBLISHER INFO, DATE, AND PAGE NUMBER be sufficient ?

Thanks very much for your help.

January 21, 2011 at 9:38 pm

Great, and with that, I have run out of questions, much to your satisfaction 🙂 Thank you and I will be sending you something soon.

February 15, 2011 at 4:58 pm

This is a great post. Thank you.

I do have a question, though. I have published my book (11/8/09), but I would like to be represented. What kind of pages do I submit? The book or the final draft of the ms before it went to print?

Also, this book is the first of a series of books that I have outlined at this point with one other ms done (children’s book, which is apart form the series).

How would I document this in a cover letter (the book and subsequent ideas I have outlined as I know you don’t accept children’s books)?

I appreciate your time and attention.

February 19, 2011 at 11:05 pm

A necessary question: are the sales handle, promo sentence & back cover copy lumped in with the synopsis or are they separate in a fiction proposal so that the proposal would contain a cover letter, synopsis, sample chapters and then another page with those 3 items? It just is not clear from what I have read on here. Thank you for clearing this up! God bless you in His name, Ryan

May 17, 2011 at 6:58 am

Dear Steve,

Thank you for explaining what you expect of our submissions to your office. I spent the night finishing my proposal and cover letter to your specifications and sent out my package today.

Faithfully, Christopher Holms

August 19, 2011 at 8:33 pm

Steve, I’ve finished my first Biblical historical novel about Jesus, the God-man. While my goal was to stay with twenty pages per chapter, some are a couple of pages longer. And how many lines per page do you suggest? I’ve tried to stick with the typical publisher’s guideline, but would appreciate your comments on this area. Also since you state that you’re open to all genres of fiction, does this include Biblical historical?

August 20, 2011 at 11:13 am

Simply use the computer’s double-space format. Also use one inch margins on all four sides. And use a Times Roman 12 point font. Whatever you do, do NOT try to squeeze more lines on a page. That will only irritate a reviewer.

In general, when using the above formatting you will end up with about 300 words on a page…which is very similar to the word count on a finished book.

A chapter that runs to 20 pages is probably going to feel long, depending on the action and dialogue included. That is over 6,000 words in a chapter.

As for our agency’s interest? I personally tend to stay away from most Biblical fiction. The only exception is Tosca Lee (see her novel HAVAH: The Story of Eve). But you may find that our other two agents may be more interested.

And be aware that if your novel is based on the life of Jesus you will need to compare it to the classic novels by Marjorie Holmes and the novel by Walter Wangerin…all of which are still in print.

October 2, 2011 at 7:35 pm

As as up and coming writer, it’s so important to attend conferences, begin networking, but most of all, read about your craft. In order to put your best foot forward, a writer needs to know what is expected. I’ve learned the answer to many of the questions above through writers groups, networking at conferences and obtaining an editor to work with me on my projects.

October 8, 2011 at 8:58 pm

Thank you for this practical advice! Much appreciated. I in preparing the proposal to send off, I am grateful for your graceful bluntness of what you are looking for. Saves us both time and energy when communicating.

October 20, 2011 at 11:46 am

Thank you for outlining so clearly what exactly you expect in a cover letter! I was unclear on one point, however; the first part you identify – “a simple introductory statement is sufficient.”

I confess, I’m unsure on what you are looking for in that statement. Your example is, “Hi, thanks for the opportunity,” but I can’t imagine that you’re looking for something to blunt and plain. What are you wanting from the author in this statement; what are you seeking to know? Is this statement really necessary, or could a cover letter open with the second part, the sound bite?

Thank you for taking the time to clarify this matter.

November 5, 2011 at 10:55 am

I have the same question regarding the Introductory Statement. Thank you for posting this information about the cover letter. It is a huge help!

November 25, 2011 at 4:21 am

Steve, when submitting a proposal for a novel that is intended as the first of a trilogy, is this something that should be mentioned in the cover letter? I’m uncertain as the second book is not yet written and the first works as a stand-alone.

Thanks so much,

November 26, 2011 at 8:43 am

Marge, If you intend to propose a series, even if book one stands alone, that should be mentioned in the cover letter and the proposal. If you are doing a query letter without a proposal then most definitely reveal the plan for a trilogy.

But if you are not certain a second book can be written then do not mention it, instead go with the stand alone.

There are times where the success of a first book creates demand for a sequel. However, most agents and publishers like to know that there is a career or a future with a particular author beyond the first book. One-book wonders do happen, and with some success. But generally we look at the total potential of an author.

May 9, 2014 at 5:50 am

Steve, Is your answer intended to convey to those of us in later life that we have little chance of finding agents and publishers? Now that I am in my early sixties and have retired I finally have the time to write but I am realistic enough to see that my literary career is unlikely to be long.

How do foreign authors work with American agents? Our style and spelling do not always align well with yours – I am English but I write (and speak) in British English not American.

Many thanks Steve

May 9, 2014 at 9:09 am

Steve Long,

We have no idea of the age of an author because we are reviewing the content of a proposal. The age of the author is immaterial.

Our primary audience is the U.S. reader. If you write with British English a U.S. based publisher will note that they will have to work harder at the various editing stages to change the style to fit U.S. English standards. Some contracts even name the Chicago Manual of Style as the standard to which the submitted manuscript must comply.

My advice? Change to the American style of English and it won’t be a potential barrier.

December 5, 2011 at 7:03 am

We write for the love of it, to entertain and educate and nobody knows for certain what will fly, so don’t worry too much about anything.

Yes, being professional is good so one ought to be polite and open minded, but we need to write compelling stories – – those that will pull readers in and not let them out easily.

Set our tone, grab a theme and move the story along like an expert, keeping us engaged, questionning and interested. Action, drama, suspense, pathos and transformative characters are excellent pieces of narrative. Hook ’em and don’t let them go.

January 24, 2012 at 12:59 pm

If I have a self-published book but hope to see it reach a greater audience, do I make copies of the pages to submit to you? I do not have them on a Word document form any longer. Thanks!

February 9, 2012 at 12:11 pm

You will need to have your manuscript in digital form at some point (Word is preferred by most publishers). If you self-published it had to be in digital form at some point. Even your printer should be able to provide a file. If it is a PDF it can be converted back to Word with the right software.

Just copying pages and mailing them is not a good idea.

January 25, 2012 at 3:19 pm

I’m a Canadian who has a completed manuscript about a personal family tragedy that garnered both political and public support. It tells how our faith and God’s intervention brought discoveries that eluded authorities after the failure of the largest search launched in 30 years.

Although this is a personal story, the case is now being used at symposiums for both Crown and Defence attorneys in Canada.

Does this story fall into the category of anything you’ve worked with or be willing to work with. I am looking for an agent in a very competitive field.

February 9, 2012 at 12:14 pm

Hard to comment in a blog comment like this because technically I still don’t know what the story is about. Best not to use the comment section to make the pitch.

We have, on occasion, represented a personal story if it is highly unusual and has commercial appeal. In 2013, look for UNTIL WE ALL COME HOME by Kim de Blecourt as an example (published by FaithWords).

March 2, 2012 at 10:40 pm

Steve – I am seriously impressed to see that you are still tracking new comments on this post a year after it was first posted.

April 30, 2012 at 2:41 pm

Thanks for the how-to on the cover letter.

May 7, 2012 at 2:46 pm

Hello: I’d like to receive an example of a one page cover letter to an agent. I have query and synopsis letters and some agents want a cover letter as well. Thank you for your help! Brenda Sue (This is a fiction, suspenseful, murder, romantic novel dealing with international art theft.)

June 19, 2012 at 1:08 pm

Hi Steve, Thanks so much for going far beyond the call of duty and explaining exactly what is a cover letter. Now, it’s up to me. I’ll do my best.

Blessings, Jackie King-Scott

July 7, 2012 at 11:58 am

Steve, I have a quick question. I am nearing completion on a Biblical fiction novel about the nativity of Jesus. Since everyone is already familiar with the story, should I take a different approach to the cover letter and synopsis?

Thank you for any advise.

Respectfully, Deborah

January 18, 2014 at 11:03 am

Your cover letter should focus on what makes your story unique. That “selling point” is critical for a publisher when considering whether or not they can make room for it in the marketplace.

July 23, 2012 at 7:03 pm

Thanks so much for all the help you’ve given us in this post.

Sincerely, Jackie

August 8, 2012 at 7:49 pm

I’m curious to know if you can provide a sample cover letter as an example. I’m sure it would help others who are visual learners like myself.

In Christ, Fletch

January 18, 2014 at 5:56 pm

A sample non-fiction cover letter is now available for review on our site: https://stevelaube2.wpengine.com/sample-cover-letter/

August 23, 2012 at 10:04 am

Hello Steve, I have a question. I published a book with another publishing company that turned out to be a POD. My book has a part two to it. The way that I wrote part two you really don’t need to read part one to understand. I would like to send it to you. Would this be a good idea to send in part two.

January 18, 2014 at 11:01 am

That is risky because while you may think the reader doesn’t need part one, in reality there may be things in the story that are confusing to a reader of book two.

I’ve never seen a publisher jump at the chance to publish book two in a series if they do not also publish book one.

August 23, 2012 at 6:46 pm

Hello, I am currently self published under a freewill contract in which I can cease printing at anytime. I have had issues getting proper statements and wish to be represented for traditional publishing. Will this be an issue for you to accept a manuscript?

January 18, 2014 at 11:00 am

Not an issue if you own the publication rights. It is your book to sell to another publisher.

January 13, 2014 at 11:08 am

Thank you for the helpful information. I have one question: when sending a proposal by email, do you want a query letter in the body of the email and the a cover letter, sample chapters and synopsis attached as a file, or is the cover letter in the body of the email? Thank you, Lara Van Hulzen

January 18, 2014 at 10:59 am

The body of the email should contain a pitch of some sort. The content of the cover letter described above would serve that purpose well.

A HUGE mistake is made by some who send an email with the body of the email blank or with a sentence like “Here is my book. Take a look.”

Or “If you want to read my book go to this web page.”

January 18, 2014 at 10:39 am

Do you prefer single or double-spacing in a cover letter?

January 18, 2014 at 10:56 am

Single spaced. Just like a regular letter.

The only thing that is double-spaced is the sample chapters or manuscript itself.

January 18, 2014 at 11:57 am

Thank you, sir, for the fast reply.

April 29, 2014 at 9:03 am

I have nothing to submit in the moment except my deep gratitude for your site, so full of so much a writer needs to understand and apply. It’s like a free tutorial, clean, clear, concise, a true resource for the explanation of the sticky things, like query, and proposal and what to send to whom, what never to do, what’s absolutely necessary to do, and anything else that causes a writer to do the Stupid Stumble. You save our face over and over with all this help.

I just want to express my pleasure to have discovered such a credible site run by a gifted teacher. Okay. Back to the memoir.

July 22, 2014 at 11:23 am

I am now confused over the length of chapters. My chapters in standard spacing are between 8-13 pages in length. When I double space them as asked the first three chapters are 19 pages in length. So when you recommend chapters be less than 20 pages are you talking about double-spaced print or standard print? Thanks for your reply.

July 23, 2014 at 6:42 am

Always send a manuscript using Double-spaced text. The proposal and synopsis is single spaced.

Thus your chapters are very long. But it may be that they are just fine as is. Sometimes you can get away with longer chapters.

I do recommend leaning toward shorter…

March 7, 2015 at 8:30 pm

Within the first paragraph (second sentence) one reads, “…As if a literary agent is going to spend their time….” I would have thought someone in the “profession” would be a bit more capable of matching a singular subject with a singular pronoun. This confusion of “number” has become acceptable I suppose because so many are willing to worship at the altar of political correctness, so as not to appear behind the times while ruffling feathers.

March 7, 2015 at 10:31 pm

I suppose I could have use “his or her” or “his/her” instead of “their.” But instead I used what is called the “Singular Their.”

See this post about that topic: https://stevelaube2.wpengine.com/the-singular-they/

Hope that helps clarify.

May 18, 2015 at 2:49 pm

I have written a memoir and believe that Karen Ball is most likely the agent with your group who would be interested.

I understand that a cover letter, proposal and sample chapters should be sent to her. In reviewing your instructions for submissions, it seems that much of the information in the cover letter gets repeated in the proposal (or is it just me?!)

Should I therefore just keep the cover letter very succinct? Or do a combo cover letter/proposal and attach sample chapters? Thank you! I’m very new to this.

June 5, 2015 at 11:48 am

So when writing a cover letter you should specify that you are writing or have written a series of books? I am on my third book and plan on making at least two more. I was told before when writing the manuscript to only focus on that one book, and to reveal the ending of that one book.

October 27, 2015 at 5:50 pm

Hi Mr. Laube, After reading through the post and the comments, I just want to make sure I understand. Do you prefer the cover letter and proposal to be emailed or mailed?

November 8, 2015 at 8:00 am

When researching agents and their submission requirements, I see “query, synopsis and first 3 chapters or 50 pages”. I’ve never heard of a “cover letter”. My novel is a 29,000 word middle grade story.

February 3, 2016 at 8:43 pm

It’s really, really hard to boil down a 200 page book to 40 words. I feel like I”m trying to write a haiku of my entire life….

February 10, 2016 at 11:35 am

When you write or type a query letter; should you follow the guidelines of literary sites or not to follow the submission guidelines? There were a few writers who didn’t follow the guide-lines and sent a query letter and got represented.

June 13, 2016 at 3:33 pm

Steve, can you offer a sample 40-word sound bite for a historical? Struggling with the 40 word concept.

Always learn from you.

August 22, 2016 at 2:29 am

if you are writing a cover letter, or book review, synopsis etc. you should take a glance at this page to find out some tips

September 19, 2016 at 9:50 am

I was hoping you might clarify for me concerning your guidelines for submission of a query letter versus a cover letter. Do you prefer a query letter be sent via email with the book proposal and sample three chapters or a cover letter sent through the mail with an attached book proposal and sample three chapters? I am slightly confused because its appears the cover letter would only be sent if you were interested in the query letter. Would it be possible to send the covered letter instead via email with the attachments for the book proposal and sample chapters?

July 4, 2017 at 7:55 am

Daniel, I can see how that might be confusing. Try not to overthink it.

Let me clarify…as far as our agency goes, which is not a universal thing.

Never send us a query letter. That one page, if sent by itself, will not help us evaluate your writing in any way.

Always send a full proposal. A part of that proposal will be your cover letter, which is basically a “hello my name is” sort of introduction.

November 2, 2016 at 7:32 pm

Great post. I didn’t think I could shorten my pitch to a 40 word sound bite, but I did. Thanks

April 6, 2017 at 9:09 am

Hi Steve This is great. I just watched your interview in the Masters class in the Jerry Jenkins Writers Guild. That was very informative. Thank you. If I want to use a pen name do I include this information in the cover letter? Thank you for your time.

July 4, 2017 at 7:52 am

Yes. It can be as as simple as “I write under the pen name of I. Noah Tall, which you will notice on the title page of the proposal.”

July 3, 2017 at 11:18 pm

Thanks so much for this helpful post! I just have one question–where can I find the book Hope for Anxiety Girl from the example cover letter? I am 100% the target audience and I so want to read it! I can’t find it online and I’m wondering if a) it was retitled, b) it’s not yet published, or c) it was repurposed into a different book. Thanks again! 🙂

July 4, 2017 at 7:50 am

Rebecca. That specific book idea has gone through multiple iterations but has yet to be published. However, the writer has had other successful projects released. The latest is a co-authored book (with Kathy Lipp) called OVERWHELMED.

https://www.amazon.com/Overwhelmed-Quiet-Chaos-Restore-Sanity/dp/0736965386/ref=sr_1_1?s=books&ie=UTF8&qid=1499179781&sr=1-1&keywords=cheri+gregory

July 4, 2017 at 8:52 am

Thanks! I purchased a copy of Overwhelmed last night. 🙂

July 28, 2017 at 10:50 am

In the Proposal Guidelines, it says to include:

Promo Sentence Sales Handles Back Cover Copy

Do you actually want to see those headings in the proposal? Sorry if this is a dumb question.

September 22, 2017 at 11:37 am

You’re my kind of girl! Although we’ve seasons and waxing and waning needs, I’ve grown comfortable in the book club porch hammock with a tome of my own selection. I hate someone else deciding where I need to mature or what I’m going to spend a month devouring.

“Teach us to number our days aright, o Lord, that we may gain a heart of wisdom.” With a barrage of published and digital words stalking us, we need discernment on what edifies.

October 9, 2017 at 12:41 pm

I’m a man with a unique name and a unique manuscript searching for a unique agent. I found your answers very helpful, practical and instructive. Thank you.

July 18, 2018 at 3:09 pm

Hello! I’m not sure if you still check a post this old, but I’ll give it a try. Should the cover letter be the body of the email with the rest of the proposal as the attachment, or should it be a part of the attachment with the rest of the proposal?

August 15, 2018 at 7:51 am

Thank you for the helpful post! It’s nice to have a concrete idea of what the agent is looking for before sending out the book proposal.

April 11, 2019 at 12:48 pm

This is wonderfully informative. Thank you!

June 10, 2019 at 5:47 pm

In looking at the guidelines for a proposal, it lists a number of things for non-fiction, compares fiction and adds a few additional notes. My question is, in non-fiction it asks for a half page to one page overview. If all of the additional topics are addressed for fiction it seems to cover a lot of what is described in the overview. Do you want a half page to one page overview for a fiction proposal as well?

June 13, 2022 at 6:54 am

Steve, Thank you for this terrific perennial post! The patient answers to the many questions demonstrate your passion for supporting writers. Thank you for taking the time to instill such great knowledge. It is much appreciated by this new author.

June 13, 2022 at 8:10 am

Thanks so much, Steve! These posts with examples for how to do the basics are always so helpful. I look back on them whenever I work on my proposals. Such a great resource!

June 13, 2022 at 1:26 pm

Steve, I’ve published numerous articles and love my work as an editor of books and articles and author and editor of academic research. If I submit everything you described in this great article correctly and well, and my contemporary and historical women’s fiction books have been alpha and beta reviewed with strong support and appropriately edited, but I have virtually no platform (only 1046 Followers on my website), is there realistically any point in submitting a proposal to an agent before I build a larger platform? Thanks to reading Writer’s Guide and this column for many years, I think I’ve mastered and actually enjoy the submission process you described, but I keep running into the platform roadblock. If there is no platform of thousands to cite in the proposal, is it likely to generate an offer to represent or publish? Thanks!

August 2, 2022 at 9:59 am

Okay, so I got to eat a little crow here(which isn’t bad if you put a little A-1 on it), I didn’t read the submission instructions properly and submitted my information, and a portion of my book totally wrong. I have since gone back and read as I should have done in the first place. Now I will PROPERLY submit my work as it should be. I hope this didn’t cause too much of a headache for you and your staff and please forgive my anxious foolishness. I do have a couple of questions: 1. Do I have to wait a certain amount of time before I can re-submit my work? 2. The manuscript is being edited, should I wait until the edit is complete before I resubmit it?

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The Perfect Cover Letter: Advice From a Lit Mag Editor

Today’s guest post is from Elise Holland, co-founder and editor of 2 Elizabeths , a short fiction and poetry publication.

When submitting your short-form literature to a magazine or journal, your cover letter is often the first piece of writing an editor sees. It serves as an introduction to your thoughtfully crafted art. As such, it is significant, but it shouldn’t be intimidating or even take much time to write.

As editor at 2 Elizabeths , I see a variety of cover letters every day; some are excellent, and others could stand to be improved. There are a few key pieces of information to include, while keeping them short and sweet. In fact, a cover letter should only be a couple of paragraphs long, and no more than roughly 100-150 words.

A little research goes a long way

Seek out the editor’s name, and address the letter to him/her, as opposed to using a generic greeting. Typically, you can find this information either on the magazine or journal’s website, or in the submission guidelines.

Read the submission guidelines thoroughly. Many publications will state in their guidelines the exact details that need to be included in a cover letter. With some variation, a general rule of thumb is to include the following:

• Editor’s name (if you can locate it)
• Genre/category
• Brief description of your piece
• If you have been published previously, state where
• Whether your piece is a simultaneous submission (definition below)

Terms to Know

The term simultaneous submission means that you will be sending the same piece to several literary magazines or journals at the same time. Most publications accept simultaneous submissions, but some do not. If a publication does not accept them, this will be stated in their guidelines.

Should your work be selected for publication by one magazine, it is important to notify other publications where you have submitted that piece. This courtesy will prevent complications, and will keep you in good graces with various editors, should you wish to submit to them again in the future.

The term multiple submission means that you are submitting multiple pieces to the same literary magazine or journal.

Cover Letter That Needs Work

Dear Editor, Here is a collection of poems I wrote that I’d like you to consider. I have not yet been published elsewhere. Please let me know what you think. Bio: John Doe is an Insurance Agent by day and a writer by night, living in Ten Buck Two. He is the author of a personal blog, LivingWith20Cats.com. Best, John Doe

What Went Wrong?

John Doe didn’t research the editor’s name. A personal greeting is always better than a simple “Dear Editor.” Additionally, John failed to include the word count, title and a brief description of his work.

There is no need to state that John has not yet been published elsewhere. He should simply leave that piece of information out. (Many publications, 2 Elizabeths included, will still welcome your submissions warmly if you are unpublished.)

John included a statement asking the editor to let him know what he/she thinks about his work. Due to time constraints, it is rare that an editor sends feedback unless work is going to be accepted.

Unless otherwise specified by the magazine or journal to which you are submitting, you do not need to include biographical information in your cover letter. Typically, that information is either requested upfront but in a separate document from the cover letter, or is not requested until a piece has been selected for publishing.

Cover Letter Ready to Be Sent

Dear Elise, Please consider this 1,457-word short fiction piece, “Summer.” I recently participated in the 2 Elizabeths Open Mic Night, and am an avid reader of the fiction and poetry that you publish. “Summer” is a fictitious tale inspired by the impact of a whirlwind, yet meaningful, romance I experienced last year. In this story, I gently explore the life lessons associated with young love, with a touch of humor. This is a simultaneous submission, and I will notify you if the piece is accepted elsewhere. Thank you for your consideration. Kindest Regards, John Doe

What Went Right?

In this letter, John includes all pertinent information, while keeping his letter clear and concise. In his second sentence, John also briefly states how he is familiar with the magazine. While doing this isn’t required, if done tastefully, it can be a nice touch! Another example might be: “I read and enjoyed your spring issue, and believe that my work is a good fit for your magazine.”

I hope these sample letters help you as you send your short works to magazines and journals for consideration. While you’re at it, I hope you will check out 2 Elizabeths ! We would love to read your work.

Elise Holland is co-founder and editor of 2 Elizabeths , a short fiction and poetry publication. Her work has appeared in various publications, most recently in Story a Day . Through 2 Elizabeths, Elise strives to create value and visibility for writers, through writing contests , events , and more!

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Love this! The letter is short and to the point, and covers all the necessary information. Great tips! I always worry that the only publishing credit I have is the winning entry in a short story contest through the local paper. Should I mention that? And writing conferences I’ve attended?

As Elise says, it’s OK if you’re unpublished. Don’t worry about it. But feel free to mention your winning entry. If the writing conferences would likely be known to the journals’ editors, you might mention one or two.

[…] recently wrote a full article on the perfect cover letter, here. Check it out for clear, simple instructions, along with sample […]

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Thanks for the concise and useful information! I’ve heard that it’s also a good idea to include a sentence or two that makes it clear that you are familiar with the kind of work the magazine has published in the past. Is this generally advised, or would you consider it nonessential unless specified in the submission guidelines?

How to write the perfect letter to a literary agent

Posted 27 November 2020 by Rufus Purdy

Rufus Purdy, an editor and tutor on the forthcoming Write Here… Online novel-writing course , explains how to write the perfect submission letter to a literary agent.

I’ve heard a lot of writers moaning about literary agents. People say they’re lofty gatekeepers of the publishing industry, they’re only looking for authors who are already famous or who have at least 100,000 followers on social media, they’re not interested in new talent unless that person is writing a slightly different version of what’s sold by the shelfload over the past year, they make you wait for months before sending you a crushing, two-line rejection… And while there is a small element of truth to all those statements, most agents are very nice people, who do what they do because they adore great writing. I worked for the Curtis Brown literary agency for six years, and all my colleagues there were constantly on the lookout for great stories, told in a fresh and interesting way. And all were desperate to find talented new authors and get their work in front of as many readers as possible.

Your first point of contact with a literary agent will be the covering letter you send to them along with your synopsis and sample chapters. So what will agents be looking for in that letter? Well, a good covering letter should be short and it certainly shouldn’t go on for more than one page. And by a page, I mean a single page in Microsoft Word, with an easily readable, 12-point font (ideally Times or Times New Roman) and normal margins – not with lines stretched right out till they’re touching the edges of the paper. This letter should be written to a specific agent. Your aim in this letter is to make the agent you’re targeting feel as though you’ve singled them out above all others to represent your novel, so don’t use ‘Dear Sir’, Dear Madam’, ‘To whom it may concern’ or – worst of all – ‘Dear agent’. Using the agent’s first name is absolutely fine, but make sure you spell it correctly. Nothing screams sloppiness and a lack of attention to detail like getting someone’s name wrong in the opening line of a letter.

You want to grab the agent’s attention, so your first paragraph should deal with pitching your novel. You don’t need to go into great detail – you’ll also be submitting a synopsis, remember – but you do want the agent to be excited by the idea of the book you’re sending them. You should also let them know what genre your novel sits in (if it is, indeed, in a clearly defined genre) and what sort of books your novel would sit alongside in the bookshops. While you should avoid grandiose and ridiculous comparisons, you shouldn’t be afraid to liken it to work by other authors – especially if those are authors which that agent represents, or who are doing particularly well in the current book market. A sentence such as ‘this novel will appeal to readers who enjoy the books of Gillian Flynn and Erin Kelly’ tells the agent everything they need to know about your book’s place in the market, without you coming across as arrogant.

You should then introduce yourself to the agent and, if you can, tell them about why you chose to tell the story you’re sending them. If you’ve spent the past 15 years playing in midfield for Hartlepool and your novel is about the world of English lower-league football, then that’s something the agent should know. Flag up anything, too, that shows how seriously you take your writing. Mention any work you’ve had published, any prizes you’ve won and any writing courses you’ve taken. I would avoid talking about novels you’ve self-published, though, as, no matter how good those books were, self-publishing is – I’m afraid – no distinguisher of quality. Unless, of course, that self-published novel shifted thousands of copies and made the Amazon Kindle top 10. If you don’t feel as though you have anything to say in these areas – and the majority of authors approaching agents don’t – then just tell the agent something interesting about yourself. Try to pique their interest with a couple of memorable details – perhaps you grew up in a hippy commune, you won the Blue Peter Christmas card-designing competition when you were a child, you’re a keen falconer – so your letter stands out from the hundreds they receive each week. Don’t make jokes or go into self-deprecation though. This is you, formally introducing yourself as a potential client, and you want to come across as professional.

Then you need to talk about why you’ve chosen to target that particular agent. There’s a reason you’ve selected this person to write to, so tell them what it is about them that chimed with you. Is it that they represent your favourite author? Do they say in their online biography that they’re looking for books just like you’re sending them? Are they particularly dedicated to finding authors from a particular country or region? Did you like what they said about finding new talent in an interview you’ve read? Show the agent you genuinely want to be represented by them, but don’t be too crawling and obsequious about it. Just be polite and professional.

Finally, make sure you check the spelling and grammar in your letter, and any author names and titles of books you’ve mentioned. I’ve seen far too many covering letters in which the author hasn’t done this, and it just gives a really bad first impression.

Rufus Purdy is an editor and tutor on the Write Here… Online novel-writing course , which costs £99 for eight weeks and begins on 18 January. For more information, please visit writehereuk.com .

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When you are preparing to submit your finished story to an agent or publisher, it can be rather daunting. First, you need to decide whether you are going to approach an agent, a publisher, or both simultaneously. Once you have decided, you need to write the cover letter to accompany your manuscript – but how do you make the perfect pitch to an agent or publisher?

The importance of a cover letter

This is your introduction to an agent or publisher and an opportunity to concisely provide information about your book and yourself. First impressions count, so make sure it’s brilliant. (No pressure, then). Check there are no errors in the letter, such as spelling or grammatical mistakes and also ensure you have the correct name (and spelling!) of the person you’re writing to. Don’t distract an overworked editor or agent with fancy fonts or gimmicks. Just keep it simple and keep it clear. You want to leave the reader feeling confident that:

• You are familiar with the market and that there could be a place for your book.
• Your book itself will be worth reading.
• You could be a good author to work with (writing credentials aren’t essential for this – just follow submission guidelines, proofread your letter and make the effort to research the publisher/agent and authors they work with).

How to write your letter

Think of your letter as having a beginning, middle and end. There’s no precise formula, as long as everything that needs to be included IS included. A letter might look like this:

Beginning – this introduces yourself and your work. What age group is your book aimed at? Genre? Word count (this shows you know the market, and your word count is appropriate for the age range)? Why have you approached this agent/publisher specifically? It’s fine to submit to several places simultaneously, but out of courtesy, mention if other agents or publishers are also reading your manuscript or whether this publisher/agent has it exclusively.

Are there published books with a style similar style to yours? Mentioning these will not only give agent/publishers a feel of your book and where it might be placed, but it also shows you’ve read widely and are familiar with the market.

If nothing really springs to mind, don’t worry. If you say it’s like Harry Potter and it clearly isn’t, your reader will just think you’re wasting their time.   

Middle – this is your big chance to showcase your book. Write a few lines with the bones of the plot, without revealing everything. If you’re writing a funny book, it can be a good idea to include an element of humour, too.

You can start with a concise pitch, which can help focus your reader’s attention. Using a logline like the ones you see on Netflix descriptions can help. One well-used formula is:

When (inciting incident happens) (character) must (do something) in order to (accomplish something).

There are other ways to communicate the information, however. You could introduce your pitch with a tagline – those witty, concise descriptions (which often come in threes), like the phrases at the bottom of a cinema poster. Or you could include memorable, impactful quotes from your story. Or you could pose questions to the reader.

Look at these examples for my middle-grade debut, The House At The Edge of Magic:

• When pickpocket Nine steals a house ornament which transforms into a full size magical house, she must break the curse which traps the mysterious residents in exchange for her heart’s desire: freedom.
• A witch’s curse. A hidden treasure. A wizard in fluffy slippers. Welcome to the House At The Edge Of Magic.
• Sometimes you are a whisper away from magic without even realising it. When pickpocket Nine accidentally steals a cursed house ornament, her life is about to change. Can she break the curse and secure her own freedom before the clock strikes 15, time runs out and her chance is lost forever?

End – after you have pitched the book itself, let the reader know a little about yourself. Do you have any writing credentials or writing experience? Have you attended writing festivals or courses? Agents like to know you’re capable of producing more than one book, so it’s helpful to give a brief outline of other stories you’ve written or works in progress.

Choosing where to submit

• Research agents – who do they represent? What books do they like? Have you heard of their authors? Follow them on Twitter to see whether this could be the agent for you. Attend webinars or talks where agents are speaking if possible.
• Follow publishers on Twitter, read their blogs, ‘like’ their Facebook page – how well do they promote their authors? Which books do they love at the moment?
• Do the publishers / agents have similar books to yours on their list?
• Do they accept books for your targeted age range? Some don’t accept picture books, or rhyming texts, or fantasy, or young adult books. Always double-check before you submit.
• You can use books or magazines (e.g. Children’s Writers’ and Artists’ Yearbook ) to research agents and publishers but always visit their websites for up to date information.
• READ SUBMISSON GUIDELINES – submitting without reading them may lead your story to be rejected.

The road to publication isn’t always easy but with a good submission and a perfect pitch, you stand a far better chance. So good luck and happy submitting!

Sample lette r

Top Secret Location

The Depths of My Imagination

Dear CAREFULLY RESEARCHED NAME INCLUDING PRONOUNS IF APPROPRIATE,

A witch’s curse. A hidden treasure. A wizard in fluffy slippers.

Welcome to The House At The Edge of Magic.

I hope this finds you well. I’m delighted to send you the synopsis and first three chapters of my novel, The House At The Edge of Magic. I heard you speak at a webinar run by SOMEONE where you expressed an interest in funny books and fantasy, so I thought my story might be of interest.

The House At The Edge of Magic is a 30,000-word comic fantasy adventure for middle-grade readers.  When orphan pickpocket Nine plucks a beautiful ornament from someone’s purse, she’s sure her bad luck is about to change. But when her treasure grows into an enormous house full of magic, mystery and ridiculous residents, she learns the house is under a terrible curse. If Nine can break the curse before time runs out, she will be given something in exchange. Something which she longs for with all her heart: freedom. But time is running out, and someone is watching her every move. The race is on.

With flavours of Dianne Wynne-Jones’ Howl’s Moving Castle and Alice in Wonderland , against a backdrop of Oliver Twist , this story has heart, humour and more than a sprinkling of mischief.

This is my first middle-grade book, but I have been writing picture books for several years, and recently attended a Writing Fantasy and Magic course by Amy Sparkes. I am currently working on a chapter book series about a pig-obsessed princess who lives in a sock, and a picture book about Maud the Carrot who decides to rule the world.

Thank you for taking the time to read my story. I hope you enjoy it!

Best wishes,

Amy Sparkes

www.amysparkes.co.uk

OPTIONAL FOOTER WITH CONTACT DETAILS

Blog & Newsletter – 06.09.2022

Writing Tips: How to Write the Perfect Cover Letter  

You’ve come this far: you’ve written your manuscript and polished it as much as you can, and now you’re ready to share your work with literary agents. But before you share your work, you need to write a submission cover letter. So, what is a submission cover letter? And how can you write one that will make your work stand out from the rest? As an agency that receives hundreds of submissions each week, our agents have shared their tips on how to write the perfect cover letter, and make sure that yours is a cut above the rest.

What is a cover letter?

In short, a cover letter is something which introduces you and your novel to an agent. It’s the first point of contact between you and the agent, so it needs to be short, convincing and to the point. Your cover letter should entice the agent and make them want to pick up and read your manuscript.

How should I structure my letter, and what do I include in it?

Firstly, make sure you address the specific agent you are submitting to.

Include an enticing pitch in the body of your email. This should include a one-line hook outlining the central premise of your book; a short, back-of-the-book type blurb; three comparable books in the market today; a short bio; and any other information relevant to your work, such as any courses you have taken, or any prizes you have been shortlisted for, or won. 

When thinking of your three comparable books, try and make the comparisons as precise as possible. For example, ‘this story blends the charm of Gail Honeyman’s Eleanor Oliphant is Completely Fine with the Agatha Christie-esque mystery of a Ruth Ware novel.’ This will give us a clear sense of where it might sit in the market.

What are your agents looking for in a cover letter?

Madeleine Milburn, CEO and Literary Agent: I look for a clear, concise covering letter with a professional yet conversational tone that gets to the heart of the story quickly. Imagine you are pitching your favourite book…how would you get a reader excited? Look at the blurbs on the backs of books and see how they entice someone to start reading. I also love a title that stands out, and resonates in some way, before even opening the manuscript or knowing anything about the story. 

Hayley Steed, Senior Literary Agent : Personally, I love a strong concept – a one line pitch that makes me stop and catch my breath, an idea that feels new and exciting whilst having a clear audience and pitch, a book that feels like it’s doing something different within a familiar genre. I’m always reassured by convincing comparison titles too – I know that a novel is going to deliver if the writer knows exactly who they’re targeting and where it would sit in the market.

Olivia Maidment, Literary Agent: I am always really impressed by a cover letter that shows that an author has really thought about and grappled with their key themes and central ideas, and how to navigate those ideas in their writing, their style, and the stories they tell. I want to work with authors who have something to say and really put the time into working out how to say it, and I love to see those elements coming together in their pitch.

Emma Bal, Literary Agent:  For non-fiction what I am looking for in a cover letter is an author’s mission statement – why they want to write this particular book and why they should be the one to write it. If an author can establish how their ideas fit into the wider discourse, and what is original about those ideas, even better.

Hannah Todd, Literary Agent: The thing I’m always impressed by in a covering letter is accurate comparison authors or titles. It takes some market awareness to be an author, and this shows that you know what is out there and where your book would sit on the shelf. It also shows us that there is already a market out there for your book! There are LOADS of great resources out there on this (most recently  this twitter thread ) and maybe we’ll do our own post on it in future!

Rachel Yeoh, Associate Agent : In upmarket and literary fiction, I really want to get a strong sense of the themes that that author is writing about – why are these themes important? How are you tackling them in fresh, distinctive ways that will make readers pause for thought?

We know how daunting the querying process can be, but we hope that with these tips you can polish up that cover letter and feel confident whenever you decide to share your work with agents. Good luck!

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How to pitch your book to an agent

The majority of authors we publish, especially fiction books, will be represented by a literary agent.  To get a literary agent to represent you as a new writer, you’ll need to pitch your book to them, usually in the form of a covering letter or email.   

Cathryn Summerhayes, a literary agent at Curtis Brown, talks to us about what she looks for in a pitch from a new writer.

When should a writer approach an agent?

For fiction, whether you’re writing for adults or for children, it always makes sense not only to finish your book, but to revise it. Get some readers (not just your mum and dad), and redraft and redraft until you feel you have got it to absolutely the best point you can without help from an agent and/or publisher.

No author’s first draft ever gets published – and an agent wants to really get the sense that you are hard-working, have spent a lot of time with your manuscript and you are determined to get it right. 

For non-fiction, you need a proposal that gives an overview of the project, a breakdown of the chapters you plan to write and at least one complete chapter to give a sense of your voice and direction. 

For all writers I would work on your ‘back of the book’ pitch – a couple of hundred words that really crystallises what the book is about. I far prefer these to long synopses.

What are you looking for in a writer?

I’m always looking for the same three things:

• Authenticity – why are you so well placed to tell this particular story?
• Uniqueness of voice – don’t tell me you are the next JK Rowling, instead be the best NEW thing.
• Intricacy of plotting – a good story cannot stand up if an author hasn’t thought about what every page will add to the telling of that story.

What are the common pitfalls?

Typos, accidentally cc-ing every other agent you’ve sent to, submitting to the wrong agent – I often see material I wouldn’t consider on my list, even though my online profile and the agency’s website make it very clear what I do and don’t like. We understand that you will want to submit to more than one agent, but just make sure if you are copying and pasting material over, that you make the necessary changes. 

You’d be amazed how many times I see things like ‘I would love  to be represented by United Agents’ (I work for Curtis Brown).  Sloppiness suggests your work will be lazy and that you might not be a good self-editor, and ultimately that you might not be the best author for me to represent. 

This is your audition, your biggest job interview ever, so do put the work in!  If you have written something brilliant, you don’t want to fall at the final hurdle by messing up the covering letter.

What do you like to see in a covering letter?

I like to get a very clear sense that the writer is in this because they love writing, not because they see pound signs flashing up. So, if you are working on a second book, say that. We like to see that you are not a one-trick pony and are in this for the long haul. Tell me that you have entered short story competitions, been published in magazines, attended a creative writing course, festivals, etc. Just show me that you are passionate  about the business of writing. 

Cathryn's top tips for a covering letter

• The key thing when approaching agents is research, research and more research. It helps your submission when you make each agent you approach feel like they have been specially selected because of authors they represent, projects they are committed to, or even hobbies they love.  Check the acknowledgements pages of books you love which are in a similar genre to yours. Often they will thank their literary agent - this could be a good place to start.
• Don't make basic mistakes. Spell the agent's name and the name of the agency they work for right. I’m afraid little things loom large on the slush pile – treat this as a job application.
• Pitch with confidence! But not arrogance. If you feel this book is the best thing you have written and that it is ready to share with agents, then communicate that with enthusiasm. 
• Nail your one line pitch – is it  Star Wars  meets  Bridget Jones ?  
• Have a nuanced 200 words that really crystallises what the book is about. A smart, to the point submission letter, that gives a clear overview of the material that is being submitted, is vital to capture an agent's interest.
• A sense of where your book would sit on the shelves if it were to be published today. Is it literary or commercial? Fantasy or sci-fi? Is it a memoir or a book examining a social issue?
• Make sure your first page is killer  so that you have the agent hooked straight away. 
• Only put relevant details about yourself in your letter - things like prizes won, your qualifications, where you were born, are fine, but be brief. 
• If you have a big social media presence, you can include your handles - but be prepared for the agent to look at your content. 
• Sell yourself, and sell your work. You are your own best advocate.

You can send your manuscript to Curtis Brown through their submissions portal  here .

The best place to find a full list of literary agents in the UK is the  Writers’ & Artists’ Yearbook . 

Read about a day-in-the-life of a Literary Agent in  How To Get Published .

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How to Write a Query Letter: 3 Paragraphs That Hook a Literary Agent

by Abigail Perry | 0 comments

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If you're interested in getting your book traditionally published, it's crucial that you sign with a literary agent who loves your story and has a vision for your career. To do this means you need to write the single most important page you'll ever write outside of your book: a query letter.

No pressure, right?

If the thought of writing a query letter freaks you out or confuses you, hit the pause button and breathe for a second. You are not alone.

Here's the good news: there is a method that will help you get an agent to say, “Sounds great! Send me more.” I call this the three-paragraph method. It's all about the hook-book-cook!

What I Learned About Writing Query Letters by Working at a Literary Agency

When I studied film and television in college, I learned how to develop and present an elevator pitch. After graduation, I turned to publishing. Eventually I attended the Writer's Digest Conference in 2015, where I pitched my story in a pitch slam.

This experience was intimidating and fantastic. I had presented elevator pitches as an undergrad to my film professors, but I had never pitched my story idea live to a literary agent in under a minute. It also taught me one  part  of a query letter that you need to master in order to hook a literary agent.

Flash forward a few years later to when I worked as an Editorial Intern. To this day, I consider this one of the most valuable experiences in my writing and editing career.

And while I learned a lot more than just query letters in this role, evaluating query letters is an important part of any literary agent's job. I witnessed this firsthand.

I'd like to share what I learned to help you write a great query.

What is a Query Letter?

A query letter is a one-page letter that acts as a sales pitch. Although these were once sent as snail mail queries, writers now email their letters. This email should be concise, one page, and sent to a specific literary agent. The goal of a query letter is to hook that agent and get them interested in reading more of your manuscript.

You don't have to have a finished manuscript to write a query letter, but you absolutely should have a finished manuscript before you query a literary agent, unless you're a nonfiction writer and pitching a book proposal for a nonfiction book.

Rule of thumb? Focus on quality over quantity. While I have read my fair share of longer query letters that literary agents considered, short ones pitched well stand out.

What does short mean?

A single-spaced page, in standard Times New Roman, 12-point font, that is probably around 500 words. I'd encourage writers to stick to this length when writing their query letters.

Going over this suggests that you're trying too hard to tell your story. You shouldn't have to try hard to pitch the big hooks. The main character , stakes, and unique plot should be able to stand on their own.

Do You Really Need a Query Letter?

Yes. You bet. 👌

If you want to publish with traditional publishing, you need a query letter. It's as simple as that.

Query letters are one of the first steps in the publishing process.

Agents receive a lot of emails in their query letter inbox. Seriously, it's a bucket load. Because of this writers might think that some don't take query letters seriously. Writers might also take it personally if they don't get a response from a literary agent months after querying them.

Look, all rejection stinks. Nobody likes that feeling. But this is part of the traditional publishing business, and I think understanding why agents don't have time to answer every query makes the process more manageable.

• 3% to read partials
• 1% to read fulls
• less than .01% offered representation (signing about three to five clients a year)

It's not a shock that this isn't a lot.

Still, not querying gives you a zero percent chance at signing with an agent, especially since it is highly unlikely that a publisher will offer to publish a story that you have self-published or that is already published. There are outliers, like Andy Weir's The Martian , but your best shot by far is by querying an agent.

So, how do you write a query letter that stands out?

A Note on Self-Publishing

Self-publishing does not require a query letter. But learning this three-paragraph method can still help self-published authors because the second paragraph teaches a strategy to write your back cover.

Back covers work as great sales copy for Amazon and other online sellers!

First, Personalize Your Query Letter

Do not submit a query letter that is not addressed to a specific agent. Literary agents are part of literary agencies, but the specific agent is the one you will grow a business relationship with.

Which reminds me, make sure you spell their name right! Double check.

You'd be surprised how many query letters spell the agent's name wrong, and while this doesn't guarantee a rejection, it doesn't help.

If a literary agent is interested in representing you, they will do their fair share of research on you and your work. Mistakes happen, but spelling a name correctly makes for a friendlier beginning.

Some other reasons you want to query a specific agent are:

• When you query a literary agent and they like it but it's for them, they may pass it onto a colleague who is a good fit.
• You should want a specific agent for a reason. Querying any random agent isn't good for your business goals and writing career.
• Knowing a specific agent gives you an opportunity to make a connection with them (see paragraph one later in this post).

Personalizing your letter proves you've done your research, and it will likely make you more passionate and excited to work with that agent.

3 Research Strategies to Help You Personalize Your Letter

I emphasized the importance of research for specific literary agents, and you should do this.

However, there are a total of three elements you should research before writing your query letter to help not only with how you write it, but also give you a better idea about why you want to work with a literary agent and literary agency.

1. Your List of Dream Literary Agents

I recommend making a list of seven to ten dream agents before writing your query letter. This might make the letter easier to write, too, because you're writing to someone specific instead of a general audience.

There are several great ways to do this. Here's a list of ideas for you to consider.

You can find a literary agent who might be a good fit for you by:

• Looking in the acknowledgments section of a book that works as a good comp title for your story
• Visiting Query Tracker
• Checking out my upcoming podcast on #MSWL (coming soon!)

2. Comp Titles

Comparable titles (or comps) won't break your query letter if not included in it, but good ones can seduce an agent into asking for more.

Before you include comps, however, make sure they are excellent ones.

Keep in mind that bad comps are worse than no comps, so it's better to not include comps in your query than include bad ones.

How can you tell if your comp choices are good picks?

You can learn more about strong comp titles in this article .

3. The Agency: What They've Sold and How They Work

Although you should address the letter to a specific agent, you should also research the literary agency. Just because one agency makes more six-figure deals than another doesn't mean they're the best agency for you.

There are a lot of factors that might make an agency the right fit for you or not. It's worth taking the time to think about what you want and need from an agency so you know whether the agencies you query fit the bill.

How to Write a Successful Query Letter with 3 Paragraphs

Agents look for specific details in a query letter. You can be sure they'll want to know your book's:

• Connection point
• Main character
• Back cover pitch with a hook
• Author bio , with writing credentials

It can be tempting to try to explain your book at length, but a query letter is not a synopsis. You want to make this pitch short and concise.

This is why many agents prefer three paragraphs (give or take) that show a literary agent exactly what your book is about, whether or not it's a good fit for their list, if it will sell, and a little about you.

If you read query letter examples, the order of these paragraphs might be mixed. However, I personally prefer the order I'm about to share with you because it (1) establishes clear expectations of what a literary agent should expect, (2) hooks with a back cover description, and (3) shares more about the author.

Agent Carly Watters calls this order the hook, book, cook approach.

Paragraph 1: Hook

Paragraph one is about hooking a literary agent by setting up expectations for the book and making a connection.

When submitting multiple query letters to different agents, this is the one paragraph you need to differentiate. The rest of the query letter can stay the same.

Why does this paragraph change? Because you should be querying a specific agent for personal reasons, remember?

Make a connection by doing this:

• Describe the word count, genre, and title of your book, which should appeal to their manuscript wish list.
• Identify why you want them as your agent, and why you think your book is a good fit for their list.
• Share comps that the agent likes.
• Maybe  include a story premise .

Let's look at an example of how to do this.

One of my favorite books in 2021 is Nancy Johnson's The Kindest Lie . It's a timely book that explores the issue of systemic racism in America, and could be described as Smart Book Club Fiction.

Nancy's literary agent is Danielle Bukowski of Sterling Lord Literistic. I know this by looking at the acknowledgments section in her book.

Now let's pretend I have a book that is similar to Nancy's, and I want make a connection with Danielle. I research the books Danielle likes to represent by visiting one of the ways suggested in the dream agent section above.

Here's what I find on Danielle's website:

She wants to represent books “traditionally overlooked by the publishing industry, as working on books that represent the world is important to me.” Wow, I love that.

And if I thought my (hypothetical) book fit into this category, like The Kindest Lie does, this would be a phenomenal point to make in that first paragraph.

Sharing this in the first paragraph shows I've done my research on Danielle. That I want to work with her , not just any agent who represents my book's genre. It also gives me a chance to share that I love authors and books she's represented.

Knowing all this, I could use these details in my query letter's first paragraph. Like:

• Briefly what my book is about (I'll go into more detail with this in paragraph two, so don't go overboard here; focus on how it connects)
• Genre, Title, and Word count
• Why my book would interest Danielle

P.S. Don't forget to address Danielle specifically. Don't make it out to the literary agency, and absolutely avoid “To Whom It May Concern.”

Put it all together (one to two sentences):

Dear Ms. Bukowski (or Dear Danielle), After reading (and loving!) Nancy Johnson's debut The Kindest Lie, I am submitting my BOOK TITLE HERE for your review. It is a 90,000-word Smart Book Club Fiction story about SOMETHING UNIQUE TO WHAT SHE IS LOOKING FOR or a ONE-SENTENCE SUMMARY. I think it will appeal to your interest in representing books that the publishing industry usually overlooks.

Notice a few things about that paragraph:

• BOOK TITLE HERE: Write the book title in ALL CAPS, not italics.
• 90,000-word: The book probably isn't exactly 90,000 words, but round to a nice even number.
• Smart Book Club Fiction: State the genre of your book, and make sure it's on the agent's list!

Some other good ways to make a connection with an agent could include:

• Make a connection with anything they say they're looking for on their manuscript wish list.
• Share how it's similar to any story they've represented in the past (remember those good comps!).
• If you heard an interview with them, mention it and tell them why you liked this interview.
• If you met them at a conference or heard them speak at a conference, mention the connection.
• If you've attended a workshop they ran, mention it and share why you liked it.

Paragraph 2: Book

Paragraph two is all about the big pitch for your story premise. It does not describe the entire plot or every minor plot. It should read like the back cover of a book, which is why it's great to explore the back covers of comparable titles before writing this.

One element you'll want to consider when writing the back cover is your story's stakes. I like to think about James Scott Bell's whiff of death suggestions: psychological, physical, and/or professional death.

Note: Do not mistake value shifts for genres used in traditional publishing. While knowing your story's main stakes are great for writing and editing it, a traditional publisher will want to know it's a YA Fantasy story, not an Action or Performance story.

That said, knowing your value shifts can help you show them why your story has life and death stakes, or why your character's professional reputation is on the line, or their sanity in some way.

There are various ways to write a story's back cover, and some pantsers and plotters even use this to plan their book before writing it. However, I always turn back to James Scott Bell's strategy for writing back covers, which he covers in his book Revision and Self Editing .

This is his suggestion:

• Sentence One: Identify the protagonist, their vocation, and their initial situation (status quo)
• Sentence Two: BUT when (this happens) + the main plot problem
• Sentence Three: Now + death stakes

Ultimately, you can write this back cover in as little as three sentences.

Some query letters write this in two to three short paragraphs (with a heavy emphasis on short: each paragraph is two to three sentences). Keep in mind that you do not want to explain too much of your story when writing this. Let the plot and main character stand on their own.

Do not give away the ending. Instead, suggest the journey.

Here's the back cover for Nancy Johnson's The Kindest Lie :

Notice the last paragraph? You don't need an overarching description about the big ideas in the book in your query letter, but if you can write this well, that's great to include.

Additionally, this is a published back cover, so it's longer than what's expected in a query letter.

If you want to read  The Kindest Lie  and more of Nancy's amazing work, visit her website here .

Paragraph 3: Cook

The last paragraph in a query letter is your author bio. The most important idea here is that you write a bio that shares your credibility as a writer, or any big information that sheds light on your professional writing resume, seasoned with a dash of your personality.

Don't force details here. If you haven't published before, that's okay. You absolutely can call yourself a debut writer . You don't have to have an MFA to get a literary agent (although you can mention it if you do have one).

If you have published, mention this. Even better, if you have a big platform or other numbers that would benefit your book's sales, include these.

Don't hold back on anything that demonstrates your publishing career!

Ultimately, bios don't need to be long. They are meant to give the agent a sense of who you are from a professional standpoint; think quality over quantity again. They could also include one memorable fun fact that humanizes you and shows your personality.

Here's Nancy Johnson's bio:

A native of Chicago's South Side, Nancy Johnson worked for more than a decade as an Emmy-nominated, award-winning television journalist at CBS and ABC affiliates in markets nationwide. A graduate of Northwestern University and The University of North Carolina at Chapel Hill, she lives in downtown Chicago and manages brand communications for a large nonprofit. The Kindest Lie is her first novel.

Bonus: Don't Forget the P.S.!

Including a P.S. underneath your signature that reestablishes your connection with the agent is a good bonus piece. Be genuine with this, and speak to the agent when you write it.

Also, it's nice to thank the agent for their time before your signature. It can't hurt to include your website address directly beneath your signature. This will suffice for contact information; you don't need to give phone numbers or addresses in a query. Try something like this:

Thank you so much for taking the time to review my manuscript. Warm Regards, YOUR NAME YOUR WEBSITE ADDRESS P.S. Congratulations on NAME OF CLIENT'S BOOK surpassing 100,000 copies sold! What a deserving milestone!

P.P.S. Pitch Your Story with Confidence!

Spend time with your query letter. If you want, get a professional critique and share it with your writing community. And when you're ready, pitch your story with confidence .

At some point, you have to hit send. You've done the research. Do it confidently!

THE GOOD PLACE: A Query Letter Sample and Template

This sample query letter is not a real letter used to query an agent but one I've crafted to model the Hook, Book, Cook format. To model this, I selected a hypothetical literary agent and built on the DVD description for one of my favorite TV shows, The Good Place (season one).

I also made this query letter YA by imagining that Eleanor is sixteen years old and not thirty-something.

Keep an eye on this space. As writers in the Write Practice community pitch successful query letters, we'll share those here, too.

Dear Ms. Schur, I absolutely loved the fun sense of humor and uplifting tone in Leslie Knope's YA debut, The Wonders of Pawnee, which is why I think you'll enjoy my 70,000-word YA Fiction novel, THE GOOD PLACE . It is a perfect blend of serious life questions explored by spunky characters full of wit, and will attract readers who adore love stories like Justin Reynolds' Opposite of Always and philosophical questions like in Gayle Forman's If I Stay. After sixteen-year-old Eleanor Shellstrop dies in a tragic accident, she winds up in the afterlife—and it's amazing. Here, in what's called the Good Place, Eleanor enjoys the endless pleasures of frozen yogurt, soulmates, and wonderful people who have dedicated their lives to performing good acts. Eternity here is perfect. The only problem is Eleanor isn't supposed to be here. In fact, her life decisions wouldn't have even gotten her close. But when Eleanor confesses the clerical error which only happens because she's reaping someone else's reward to her soulmate, indecisive ethics professor Chidi, trouble really starts to boil. Now, with the help of three unlikely companions, Eleanor struggles to learn how to be good in order to make sure her secret stays a secret. Not only for her eternal life, but the friends she grows to care about, and increasingly endangers with her growing mess. I am a veteran actor turned writer with a B.S. in TV, Radio, and Film and have spent the last decade studying story structure on the stage and now in books. As an avid YA fiction reader, I enjoy supporting authors on Goodreads and Instagram, where I have 14,000+ followers as a #bookstagrammer. THE GOOD PLACE will be my debut. Thank you for your time and consideration. Best Regards, Jenny Pages www.jennypages[DOT]com P.S. I really enjoyed your latest podcast episode on New Girl . That Jessica Day cracks me up!

Other Places to Find Examples

Here are some of my favorite examples:

• Love, Hate, and Other Filters by Samira Ahmed
• The Fifteen Wonders of Daniel Green by Erica Boyce
• The Writer's Life Lily King
• Hooking Your Reader & Keeping Them Turning Pages
• In Praise of Bookstagrammers

What About Stories Written in Dual POV?

I've talked to a lot of writers who ask this question: what if your book has more than one point of view ? Should you include all of these in your query letter?

The answer: most likely.

Query letters set up expectations for your story, right? So if your story is written in dual POV , it wouldn't hurt to give the literary agent a heads up about this. Mention each POV and show how each has their own story arc that inevitably weaves together by the end.

How do you do this? Check out how authors of multi-POV novels have summarized their books in their back cover copy.

Here are some examples of strong multi-POV back covers:

• The Nightingale by Kristin Hannah
• Girls with Bright Futures by Tracy Dobmeier and Wendy Katzman
• Everything I Never Told You by Celeste Ng

What You Should Expect After You Hit Send

Most literary agencies have a policy that you won't hear a response from the literary agent if it's a pass. Others might notify you that you've been rejected. And everyone who wants to read more will contact you.

It hurts to be rejected. I get it. But please do your best to not take rejections personally, or get bummed out if an agent doesn't let you know directly that the book isn't for them.

It can feel very much that a rejection of a book is a rejection of you, but it isn't.

You might think, “Well what the heck, why don't they let me know why it's a pass? Or even that it is a pass?” While most literary agents would love to write personal rejection notes and give some notes for edits, they just don't have the time to do this. Query letters and signing clients is part of the job, and an exciting one at that!

But they also have to agent.

While you're waiting, work on your next book. Keep writing! Read some of those books piling up on your bookshelf. Go for a run with your pup. Play with your baby. Eat popcorn. Plot out your next big idea!

And if you get rejected, keep going. Submit to other agents on your agent list.

Remember, it only takes one yes!

Red Flags to Avoid in Your Query Letter

​One final note.

We've talked about what a literary agent likes in a query letter, and what will catch their attention and hook them.

We probably should also briefly cover some red flags, or items that will (likely) lead to hard rejections. Take note of this list, and be sure your query letter is free of all these items:

• A query full of typos . Mistakes happen, but a query letter littered with grammar mistakes suggests careless writing, and anything that draws an agent's attention too much will distract them from the story pitch.
• Misspelling the agent's name. This doesn't lead to an automatic rejection, but try to get this right. Proofread your query letter!
• Anything suggesting that you're the next James Patterson or another big writer, or your series will sell like Harry Potter. It hasn't yet, so don't state this.
• Saying your book will sell millions of copies. Again, it hasn't yet, so leave this out.
• Being rude, threatening, or gimmicky in any way.

You have one chance to impress each agent with your query letter, and you want your letter to shine, with no bumps or hangups that might cause them to turn away. Make sure your commas are all in the right places!

Can You Follow Up?

You haven't heard from the literary agent in a while. Should you follow up?

If the submission guidelines say a no response is a rejection , and it's been longer than three months, it's probably a rejection.

Some agents don't mind a polite follow-up, but don't be hasty with this. Give the literary agent time to review their query letter inbox. And keep in mind, not every agent loves follow-ups. If you follow them on social media, they may talk about this on their platforms. Follow their lead.

Overall, I err on the side of leaving it be and not putting your book in one inbox. You can absolutely have that number one agent, but don't be afraid to query other agents after a significant time has passed (again, I recommend three months).

There's nothing wrong with following up politely. But best not to put your book in one inbox.

The Key Principles for How to Write a Query Letter

We've just covered a lot of information about query letters. Here are the key takeaways to keep in mind as you write your query letter.

• A query letter is the most important page you will write besides your book.
• Don't query an agent until you've finished your manuscript (or written a nonfiction book proposal).
• Research and build a dream agent list (seven to ten).
• Query a specific literary agent, not just any agent.
• Use the preferred three-paragraph format: Hook, Book, Cook.
• Add a P.S. to make your query letter stand out.
• Follow submission guidelines.
• Be respectful, don't use gimmicks or lash out if you're rejected.
• Three months is a common wait time before hearing from a literary agent.
• Avoid query letter red flags.
• Write your next book after you submit your book to literary agents.
• Submit your story with confidence! Remember, you have a say!

Above All Else, You Need to Write a Great Book!

Publishing is a tough industry, and you need to dig deep and stay true to your passion if you want to publish you need to muster your love for storytelling and keep going !

I genuinely believe that stories have the greatest chance to engender growth in positive directions. They are bright gifts that teach us perspectives we couldn't learn intimately if locked away instead of put into print.

You are a writer.

You can do this. But to traditionally publish, you will want a literary agent. Your relationship with a literary agent is a business relationship first, and the submission process is also part of that business.

When you understand the mechanics of the submission process and master the three-paragraph format in your query letter, you'll boost your chances in the slush.

Ultimately, though, a query letter is only the first step in signing with a literary agent. Even more important than writing than a knockout query letter is writing a great book!

A great book is what a literary agent will offer to represent! The query letter gives them exciting reasons to check it out.

What scares or confuses you about writing query letters? Do you think these three paragraphs will help you overcome that fear or confusion?  Let us know in the comments .

Now that you know the preferred three paragraphs in a query letter, pick the paragraph you find most intimidating and give it a go!

Spend fifteen minutes writing this paragraph.

It doesn't have to be perfect. You can't revise anything that isn't written, and we all need to start somewhere!

Once you're done, post it in the Pro Practice Workshop for feedback. Do this confidently and with an open mind for critique.

Then, comment on three other people's paragraphs. Ask for them to critique your paragraph, too. This is how we help one another!

Good luck, and happy querying. I can't wait to see your book debut in the world!

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Abigail Perry

Abigail Perry is a Certified Story Grid Editor with professional teaching, literary agency, and film production experience. In addition to writing Story Grid masterwork guides, she works as a freelance editor and is the Content Editor for The Write Practice. Abigail loves stories that put women and diverse groups at the center of the story—and others that include superpowers and magic. Her favorite genres include: Smart Book Club Fiction, Women's Fiction, YA Fantasy, Historical Fiction, and unique memoirs. She also has a B.S. in TV, Radio, and Film and loves working on screenplays that are emotionally driven and/or full of action. You can learn more about Abigail on her website.

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Getting representation from a literary agent is essential for anyone who wants to be published by one of the big five publishers, but agents are busy people and there are many other writers trying to get their attention. How can you make your submission materials – your pitch letter, sample and synopsis – stand out?

It should go without saying that the most important thing is the manuscript itself – you aren’t going to get representation unless the book is terrific, as well as being something the agent feels able to sell to a publisher.

But, before the agent even reads your manuscript, they will look at your covering or pitch letter. This is the place where you introduce your book, and it’s the best place to grab the agent’s attention.

There is a lot of expert advice on the internet about how to structure a pitch letter and what to include. There are some differences in details, but most of the positive advice in these articles boils down to ‘write a great book, find the agent who will want to sell it, and introduce it and yourself to them really well’ – because that is what the pitch letter is for. It is a quick introduction to your book that induces the agent to read the manuscript – no more, no less.

Perhaps it is because the list of what to do is so simple and short that many of these articles spend at least as much time, if not more, describing the longer list of what not to do in your pitch letter.

Anyone who has had the experience of working their way through a submission pile will tell you about all the distracting nonsense writers put into their letters, all of it something other than introducing their book really well. Many writers pad their pitch letter with various irrelevancies, and get in their own way by trying to be different or memorable for some other reason than presenting a fantastic book. And while they’re trying so hard, they – fatally – completely fail to do the one thing the letter is for.

The pitch letter should be short – definitely no more than a page and preferably shorter than that, so up to around 300 words total – and it needs to:

Pitch your book

• Introduce yourself

It’s great if you’re able to explain how you think your book will fit in with that individual agent’s list or tastes, or if one of your comparable titles is something they also represent, or that you met at this or that event and the agent invited you to submit, but if you don’t have the material for this kind of personalisation, it’s better to skip it rather than forcing it.

Anyway, none of that will matter if you don’t get the main thing right, which is introducing your book. Even introducing yourself is secondary, and for good reason: the thing that matters is always the book.

Research other pitch letters

A great way to begin is to look at lots of other pitch letters. As well as giving you a feel for the shape and rhythm of a compelling introduction, reading others’ attempts will help you avoid many of the common mistakes.

Am I suggesting you need to go and work for a literary agent so you too can have the unenviable experience of wading through a real-life slush pile? No, that’s not necessary. There might be a part of me that wishes I could make writers experience the letters they send to agents from the other side, just to hammer home why they are so frustrating, but luckily a literary agent has basically already done this.

My suggestion is that you spend some time in the Query Shark archives and read as many posts as possible. There, you will find hundreds of query letters in a variety of genres willingly offered up to Janet Reid, an NYC literary agent and the eponymous shark, who proceeds to tear each one to shreds before explaining what the writer should do instead.

There are obvious benefits to reading what an actual literary agent says about a given pitch letter (or query letter for Americans). It’s advice straight from the horse’s mouth. And her advice is very transferable, so you don’t need to worry about the source being American if you are from the UK or elsewhere.

Janet Reid was once famously known as Miss Snark in an earlier, anonymous incarnation, so I will warn you now that she’s very direct and she doesn’t sugarcoat anything. But she’s not being mean, she’s just being clear.

Her approach is probably quite alarming for some people, especially if they are not used to genuine directness, but I would argue that that’s no bad thing if one is trying to enter an incredibly competitive industry like book publishing, because too much sensitivity and a tendency to take criticism personally will not serve you well. Directness like hers will help you detach and see more objectively what makes a good letter and, by extension, some of what makes a book one an agent can sell.

Once you’ve got a strong sense of what works and what doesn’t, you will start to see how you can apply what you’ve learned. It will be time to think about how to describe your own book.

What is your book about? Many writers, on being asked this question, panic and start rambling. Or, they summarise the plot from beginning to end, when the synopsis is the place for explaining that.

Lots of pitch letters try to introduce the book using a list of dull facts shorn of context, like the time period, the place the book is set in and the protagonist’s job title, none of which is inherently interesting. Or, the pitch letter describes a version of one of the common plots, with nothing much to differentiate it from the thousands of other books using that basic plot.

Try to be deliberate about considering this question. What makes your book interesting? What is the central conflict or issue? What is it that will make a reader want to experience this story?

But then, don’t go the other way and use only broad statements about the book’s plot and themes, because being so vague is nearly as unhelpful as concentrating on dry facts. If you’re tempted to try to encapsulate the book in sweeping statements of what it all means, consider whether those remarks are really relevant. If the reply to your pitch could be ‘Ok, but what is it actually about ?’ then try again.

Keep reminding yourself that the purpose of your letter is to get the agent to want to read your book.

Simplify, simplify, simplify

At this point, you may have a long paragraph, and possibly two or three, that includes all the things you really want to tell the agent about your book. You may think that it’s all essential, but that’s not true. Every book can be introduced in two or three sentences.

Remember, what you need to get to is those two or three sentences that compellingly provide a reason to read the book.

Distil those paragraphs down to their fundamentals. Simplify your way down to the very essence of the book. Make the pitch as tight and forceful and striking as it can be.

Try the result on some of your early readers or your writing group and see if they agree that it’s an accurate description of your book, and that it’s strong enough to make someone want to read it.

When you feel really confident that you have a brief paragraph that accurately and compellingly introduces your book, you can write the rest of your pitch letter and use it to submit your work.

And if you want to test it out on a publishing professional first, book one of my online mini consultations , during which we can go through your submission materials together and I can provide feedback and suggestions for improvements.

This post first appeared in 2022 on author and editor Alexa Tewkesbury’s blog, Lemon Tart .

More from the blog

• A Realistic Audience For Your Book Is Not ‘Everyone!’
• Literary Fiction & Commercial Fiction: What’s the Difference?
• The Pitch Letter & Synopsis: Essential Ingredients For Your Book Submission
• Will a Traditional Publisher Republish my Self-Published Book?
• Interpreting 3 Kinds of Rejection by Agents and Publishers

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Blog • Understanding Publishing

Posted on Jun 02, 2020

Writing a Non-Fiction Query Letter (+ Sample Query Letter)

Writing a non-fiction query letter is like writing your own ticket to the big time. If you want to convince an agent or publisher that your idea has ‘bestseller’ written all over it so that they get it published , the few hundred words that make up your query must be irresistibly compelling.

Elsewhere on this site, we go into detail on how to write a query letter for a novel . You can head there now and download a checklist for fiction queries which, truth be told, are about 90% the same as non-fiction ones. But with the help of current and former agents on the Reedsy marketplace, this guide will help you understand the other 10% that will push your non-fiction query over the top.

Note: This following process is not intended to be linear, starting with “Dear Ms. Agent” and ending in “Yours sincerely.” Instead, it’s a thorough guide that will prepare you for the querying process.

Create an airtight book proposal

What’s the biggest difference between a fiction and non-fiction query? In non-fiction, the author is not expected to provide a completed manuscript the way a novelist would. Instead, they present a book proposal, a 15-50 page pitching document with various details and sample chapters from your book.

Reedsy has created a dedicated guide to writing book proposals that will show you how to prepare this document. But here’s the gist: a proposal should aim to answer the questions every agent will want to ask about you and your book. The document can be broken down into the following sections:

• An overview — what is the book about?
• Target audience  — who is it written for?
• About the author — why are you the one who should write it?
• Marketing plan — how are you going to help sell it?
• Competitive titles — what are similar titles on the market?
• Chapter outline — how are you going to structure your book?
• Sample chapters — can you actually write?

Don’t start querying until you have solid content for each of these sections. According to Jon Darga , former non-fiction editor at Penguin Random House and current agent at Aevitas Creative Management, agents and acquiring editors will notice if you leave anything out.

“I've seen a lot of proposals that think they can get away with just the pitch and an annotated table of contents. But we need to be able to make sure you can write, too! Overall, though, a non-fiction proposal should be faster and easier to put together than the full manuscript that you'd read with a novel. Much less writing!”

FREE RESOURCE

Book Proposal Template

Craft a professional pitch for your nonfiction book with our handy template.

Personalize your letter for each agent or editor

Agents and editors get flooded with queries and submissions every week. They call it slush , which shows how optimistic they are about pulling gold nuggets from their query piles. With this in mind, editor Rachel Stout (formerly an agent with Dystel & Goderich) reminds authors that they need more than a well-written pitch to get an agent’s attention.

“You need to show this agent that you are being intentional in your querying, and that you're reaching out to this agent for this book, for this specific reason. You're letting that agent know you're particular about who you query.”

This is where personalization comes in: the process of researching individual agents and publishers in order to:

• Ensure that you only query those who want what you have to sell; and
• Show the recipient of the letter that you are interested in them , specifically.

The second point is crucial. You need to demonstrate that you’ve done your research and you’re not just firing off boilerplate emails and BCC’ing the rest of the publishing world. It can be as simple as getting their name right (more of an issue than you’d imagine) and mentioning a book they’ve worked on — bonus points if it’s similar to yours!

Rachel goes into detail and reveals her top tips in a recent webinar on personalizing queries . Watch the replay and check out the transcript for invaluable advice on personalizing your non-fiction query letter.

Resources for researching agents

Ready to research some literary agents? Hit the ground running with our extensive directory of non-fiction literary agents! We have 500+ agents listed right there, all of whom have already been researched and vetted by our team, allowing you to pick from the best of the best.

Additional resources for researching agents include:

• Agent databases such as Agent Query , Query Tracker , or Publishers Marketplace (see the profiles listed for each agent in our directory ).
• Acknowledgments pages of similar books (which you can comb through for more of an old-school approach).
• Publishing conferences where agents and editors will happily speak with authors.

You'll find more assistance and resources in our post on how to find a literary agent . But in short, you need to find agents who are both open to submissions and seeking your type of book, then make notes of details about them that you can use to personalize your query letter.

Show that you’re the right person for the job

What makes a non-fiction query stand out from the crowd? For Jon Darga, it’s about author platform more than anything else:

“Not necessarily how many Twitter followers you have, but positioning yourself as the one best person to write that book. It would be really difficult to write, say, [cancer physician] Siddhartha Mukherjee's The Emperor of All Maladies if you weren't involved in the medical sciences in some way.”

Your platform doesn’t depend on advanced degrees, either — it’s about how your experience makes you uniquely qualified to write this book. In this next section, we’ll look at the short bios of first-time authors to see how, as Jon says, they position themselves as the best person to write each of their books.

Example 1. Memoir

This is Going to Hurt: Secret Diaries of a Junior Doctor by Adam Kay.

The UK’s biggest non-fiction hit over the past few years, this memoir offers readers a humorous look at the doctors, nurses, and wards of Britain’s national healthcare system.

About the author (from the book): “Adam Kay is an award-winning comedian and writer for TV and film. He previously worked for many years as a junior doctor.”

Analysis: Boom — there it is. Who better to write a funny book about being a doctor than an acclaimed comedian who used to be a doctor? Before this book was published, Kay’s modest profile as a comic may not have been enough to pass as a “platform” — but his expertise on the subject has more than made up for it.

Example 2. Business

ReWork: Change the Way You Work Forever by Jason Fried and David Heinemeier Hansson. 

This 2010 book showed its readers a new approach to entrepreneurship that leverages inexpensive apps and tools to simplify and streamline businesses.

About the author (from the book): “Jason Fried and David Heinemeier Hansson are the president and co-founder/president of Basecamp (formerly 37signals), a privately-held Chicago-based company committed to building the best web-based tools possible with the least number of features necessary.”

Analysis: Fried and Hansson co-authored a book that’s intrinsically tied to both their story and their product; they built a company that created the very solution that allowed them to grow. Very meta.

Example 3. Health and Addiction

We Are the Luckiest: The Surprising Magic of a Sober Life by Laura McKowen

In this inspirational book , the author addresses the big issues faced by alcoholics in a charming and heartwarming way.

About the author (from the book): “Laura McKowen had a successful career in public relations and the Mad Men -esque drinking culture of advertising. After getting sober, she became recognized as a fresh voice in recovery, beloved for her soulful and irreverent writing. She now leads sold-out retreats on sobriety and is a celebrated yoga instructor.”

Analysis: McKowen’s bio is a quick and highly effective sell of her book. We see that the author has been through the wringer and can offer a first-hand account of alcoholism. Her mention of running “sold-out retreats” validates her claim of being an expert in helping others cope with their recovery. It also implies she has an existing audience of potential buyers

Sometimes, you just need something that no one else has

Let’s say that you don’t have a sexy CV, IMDb credits, a successful company, or even a personal story that ties into the subject of your book. In Jon Darga’s experience, that’s not necessarily a dead end: “I have published books without an obvious platform by writers who convinced me they'd found information and connections that nobody else had!”

A unique angle can take many forms. For example, you might take the wisdom found in ancient texts and spin it in a novel way (like Becky Sheetz Runkle did with Sun Tzu in her book, The Art of War for Small Business ). Or perhaps you’ve uncovered primary sources that other historians may have missed, as David Blight did in his 2018 biography of Frederick Douglass ). So long as you’re able to demonstrate why a more experienced writer couldn’t do a better job than you on this particular book, there’s still hope.

Query Letter Template

Learn how to grab a literary agent’s attention with our free template + checklist.

Start the letter with your strongest selling point

When you’re pitching a novel, you’re always told to “start with the hook,” which refers to a killer plot detail that makes anyone listening want to learn more. In a non-fiction query, the goal is still the same — to hook the reader — but the bait can take many forms. And guess what? You already know what most of these hooks are.

Hook 1: The Story

Dear Ms Buchanan,

I’m seeking representation for my debut non-fiction book, APOCALYPSE COW, which uncovers the darkest chapter in the USDA’s history: a failed 1980 paramilitary operation to neuter millions of cattle in South America.

Hook 2: Your platform

Dear Mr Caulfield,

You've definitely heard of my clients, but if I've done my job right, you've never heard of me. Meryl Streep's nose? Julia Roberts' forehead? Madonna's... everything? All my handiwork. I'm Beverly Hills' most prolific cosmetic surgeon and author of INNER BEAUTY OUTSIDE.

Hook 3: Personalization

Dear Ms Wormwood,

I recently read your post in the Publishers Weekly blog on the dearth of younger voices in historical non-fiction. You mentioned an interest in the Pre-Raphaelite Brotherhood, and I would love for you to consider representing my non-fiction book, ROSSETTI VS. THE ART BROS.

Hook 4: An untapped section of the market

Dear Mr Chinaski,

I am writing to seek representation for my book, WFH: WORK, FAMILY, HAPPINESS — an irreverent parenting guide for the 5 million digital nomads scattered across North America — a third of whom are on the cusp of starting families.

Once you have the agent or editor sitting up and paying attention, it’s time to reel them in with the rest of your query letter...

Follow instructions and don’t reinvent the wheel

If you have wacky ideas for attention-grabbing ways to write your query letter (Pretend to be their high school buddy! Jokingly threaten to harm their pets!) then take a breath and start again.

In almost all cases, the best approach is a straightforward one: follow a fairly standard format and clearly communicate why they should be interested in your book.

With online submissions now being the norm, you often won't have to worry about structuring your query letter. You just have to fill in a form. But here’s a piece of advice that could make or break your query:

Follow the submissions guidelines.

This tip sounds so obvious that it verges on insulting. However, as we mentioned at the start of this guide, agents and editors are often swamped. A query that fails to follow the submission guidelines will be viewed poorly at best, and at worst, be rejected sight unseen.

In cases where submissions guidelines are loose, your query should contain:

• An irresistible hook
• Some aspect of personalization
• Estimated word count
• Intended readership
• Comparative titles
• A brief, relevant bio
• Your book proposal with sample chapters

To see what a standard non-fiction query might look like, here’s an actual example of a letter that worked.

Sample Non-fiction Query Letter

One of Jon Darga’s clients kindly permitted us to reprint their query letter. The title and author name have been redacted — and some of the formatting and wording has been altered from the original.

Dear Mr. Darga,

Here’s some free doctor’s advice: never get sick in July. At best, you’ll meet a doctor at the hospital on her very first day, and she won’t know the difference between a sleeping patient and a patient in a coma. Worst case scenario, you’ll meet a more seasoned physician who was high on drugs the night before, still a little drunk that morning, and has contemplated suicide twice since you arrived in the ER. How do I know this?

I am many things: a dreamer, a high achiever, an Ivy-Leaguer; I’m not White, mostly Black, and questionably Asian; I’m a saboteur, a heavy drinker, a trust abuser; I am someone’s lost son; I’m not sure if I like myself. I am fragile. I am haunted. I’m the last person you want to trust your life to. And I’m your doctor.

[TITLE] is an unflinching, uncensored examination of the often harrowing, sometimes shocking, and progressively dehumanizing twists and turns of medical residency training, and how it provided the perfect context for the culmination of, and ultimate triumph over this young doctor’s struggles with his vices, mental illness, and complex relationship with his father.

A memoir written in the irreverent spirit of the Samuel Shem’s medical classic House of God , while embracing the vulnerability of Paul Kalanithi’s When Breath Becomes Air , my work provides a candid account of the ways in which residency training shattered the mind of an empathetic and well-intentioned doctor, and the arduous task of piecing it back together again through painful and overdue self-discovery.

I am a certified Otolaryngologist (Ear, Nose, and Throat surgeon) with degrees from Harvard and Emory University School of Medicine but I also appear frequently at The Moth competitions, where I’ve won their Storyslam and came runner-up in the Detroit Grandslam. I’m also a writing consultant for [POPULAR TV DRAMA], distilling complex medical and social issues into palatable and understandable mainstream storylines.

[TITLE] offers a modern and fearless appraisal of what it means to be unsure of yourself every day, even as you hold another person's life in your hands. It's hope and love and a cry to keep moving forward, to live each day the very best that we can. I hope you enjoy the read.

This letter comes in at under 380 words, but checks all the boxes and demonstrates that the author can write well, which every query should aim to do. After all, if the agent or editor doesn’t think you can write a compelling letter, why would they think that your book's any better?

To learn more, enroll in Reedsy’s free courses on Writing a Query Letter and Submitting Non-Fiction to Agents and Editors .

FREE COURSE

How to Write a Query Letter

Learn to grab agents’ attention with 10 five-minute lessons.

Submit to your shortlist and always follow up

Now that you have compiled all the elements of your query letter, it’s time to get it out into the world. But where should you start? Here are a few pointers to help you with the actual communication side of querying.

Decide whether you want to query agents or publishers (or both)

When it comes to agents, the conventional wisdom is that you’ll need one if you want to publish fiction traditionally; for non-fiction, however, authors can often submit directly to publishers.

When asked to clarify which precise types of books would require an agent to publish, Jon Darga pushed back at the premise.

“The question, for me, should be less what types of non-fiction book and more what are the author's goals ?

“If the author is an academic who's happy doing a deal directly with a university press , or someone who just wants to see their memoir published by an indie press , then you probably don't need an agent. But if your goal is to be published traditionally and commercially by one of the Big Five , you'll need an agent to make those inroads.”

Don’t be afraid to query more than one agent or publisher

Some agencies will only let you query one of their agents at any given time, but that doesn’t mean you can’t put your feelers out to a few of their rivals.

Rachel Stout suggests querying anything from five-to-ten places at a time. “You can go to fewer, you can go to more, but remember it will be up to you to keep track of where your query is and who has had it for how long.”

Indeed, you will want to keep track of those queries so you can chase them up in good time — which leads to our next point.

Follow up at precisely the right time

It’s not unusual for your query to get buried under a mountain of slush, so you should always follow up. Again, read the submission guidelines — they will often tell you how long you should expect to wait for a reply (six weeks is not uncommon!). If you haven’t heard back by then, reply-all to your original query and just say that you’re following up and you’re looking forward to hearing from them.

Bonus tip: if you hear back from any of the agents you’ve queried, you should mention this in your follow-up to the ones who have yet to reply. Just frame it as a polite reminder to check out your submission and not to miss out on something valuable (your book!).

Don’t lose heart

Most published authors have had to deal with rejections at various points in their careers. If an agent rejects your query, it could just mean that the book is not right for them — but it might be perfect for another agent or editor. So keep at it.

As long as your non-fiction book is well-written and has a viable market, you can find a way to get it into the hands of readers. If it’s not with a Big 5 publisher, you might consider looking into a boutique press. And if not them, then perhaps it’s time to dive into the exciting world of self-publishing . Whichever route you take, good luck!

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How to Write A Query Letter That Hooks Agents and Publishers

Are you ready to cast your manuscript out into the publishing industry to see who will bite?

Your eagerness to publish your book is palpable…but more than that it’s overwhelming. You want so badly for your book to be out there. But where do you even start?

That’s where query letters come in.

It cuts out all the noise and streamlines information for literary agents and publishing houses to decide if your book idea is worth publishing.

A lot is riding on this one letter, so you need to know how to do it right. 

And that’s where we come in. 

Below you can find everything you need to know about writing a compelling query letter that will grab the attention of agents and publishers.

What is a Query Letter

A query letter is the first impression you make when trying to get your book traditionally published. Almost like you’re introducing your book.

Essentially, it’s a one-page document that aims to sell your book’s idea to a literary agent . It tells them everything they need to know before they decide to champion your book in front of publishers. 

Keep in mind, that some publishers don’t require you to have a literary agent. So, if you don’t plan on going to one of the big publishing houses, a query letter can be sent to smaller publishers to consider your manuscript.

If your query letter is successful, they’ll ask to read the book or a few sample chapters.

Note: If you’re self-publishing. You don’t need one at all!

Difference between Querying for Fiction and Non-Fiction

As a fiction author, your book should be edited to perfection (or as perfect as you can get it) before you send a query letter out to agents. 

Some may think querying early will save them waiting time for a response, but it could put you in a pickle.

Imagine sending it before your book is done and the literary agent requests to see the manuscript.

  Awkward . And unprofessional!

The reason they want to read the manuscript is to see if your story holds up and if you have something worth putting out into the world.

If you haven’t finished writing your novel, they won’t have the patience to see whether you can execute your idea.

On the other hand, non-fiction authors may send a query letter (accompanied by a book proposal ) before they even write the book.

For some, it may not be worth writing your non-fiction book if agents and publishers don’t think it will sell, so these authors gauge interest in their idea before committing to it.

A query letter for a fiction writer is all about the hook and the book’s plot, while for non-fiction it’s focused on detailing your author platform and the marketability of the book. 

How Long Should A Query Letter Be?

The word count varies, everyone says a slightly different number.

Some may say 200-500 words. Or they say it’s 300 words. But in reality, it depends on you and your book. 

The best advice we can give is to keep it to 1 page, or it should fit on the screen. The word count won’t matter too much. 

We’ve all read short passages that seemingly took forever to get through or read long text that zoomed by because of how immersive it was. The same applies to query letters. 

You could bore an agent to death with 100 words or excite them with 700.

As long as you make it easy to read and engaging (and it fits on a page), you should be in the clear.

Note: If your work is literary or non-fiction, you can extend it to 2 pages maximum. But don’t get too carried away!

Format of a Query Letter

Everything is digital nowadays, so no one would be asking you to snail mail your query letter to their offices.

And please don’t get out a pen and paper either. This isn’t a 3rd grade assessment.

This is a business type of letter at the end of the day, so keep it professional.

You’ll likely be filling in an online submission form or pasting your query letter into an email. Whichever writing software you use, be it Google Docs or Microsoft Word, follow the format below:

• Font: Arial or Times New Roman.
• Font size: 12 point.
• Line Spacing: 1.5 or 2.
• Margin: 1-inch.
• Paragraph space: 1 blank line in between paragraphs.
• Header: Date, your contact details, agent’s information
• Submission guidelines: Check what the agent has requested and follow suit.

Note: Use this formatting for your sample chapters or your manuscript when an agent requests to see it.

What Literary Agents Want

When the literary agent is skimming through your query letter they’ll be looking for certain information to pop out and intrigue them. If it doesn’t, your letter will be in the reject pile – which can be okay!

Sometimes the agent is not suited for your work, they may feel they’re not in a position to support you as you’d need. Which means someone else is probably better suited for you.

That’s why it’s important to make the information about your book as clear as possible so they know what you bring to the table.

This is what a literary agent will be looking for:

• Finished book (for fiction): If you don’t specify the word count, they’ll know it’s not done.
• Author Branding (for non-fiction): Do you have a following that you can leverage for book sales?
• Genre of the book: If you did your research, they’ve probably represented authors in the same genre as your book. 
• Interesting Story: Is it a plot that excites them? Agents have taste in books that dictates who they represent, it’s just personal preference – they have to feel eager to represent your book.
• Skimmable: Use short sentences and paragraphs where possible to make it easy to read.
• Author’s voice : Write in the same tone as your book so they get a feel for the book.
• Professionalism: Keeping to the format and being professional will show that you have what it takes to be in the traditional publishing industry .

How to Write a Query Letter 

Here are the main elements that go into a query letter:

• Personalized Intro

Book Overview

Book summary, proofreading.

As you’ll see from the examples we share below, these elements can be in any order so long as the flow makes sense.

A query letter works well when it supports the narrative you’re trying to sell.

Personalized Intro 

Personalization is key. If you do your research and add details that a specific agent will engage with, they’ll be more likely to give your query letter a chance.

An example of an error, and a lack of personalization, that could get your query letter dismissed is if you address the agent with ‘To whomever this may concern.’

It comes off as if you’ve copied and pasted your query letter from agent to agent, without a thought into who they are and if they fit your book.

Starting with ‘Dear Jane’ or ‘Dear Jane Doe’ is the most appropriate way. Exclude any courtesy titles like Mr. and Miss. because you don’t know for sure if they are Mr. or Miss. 

If you want to perk up their ears at the beginning of your query letter, you could use one of these personalized intros:

• Past meeting: If you met the agent at an event, mention it.
• What they’ve said: For example, if you were inspired by a speech they gave, show how that relates to the book you’re querying for.
• Referral: If an author or other industry professional refers you to this agent, make sure you highlight it.
• Their work: Use one of the books they’ve represented as a comp title ( comparative title ), for example.
• Wish list: If you’ve seen them post about being in the market for your type of book, let them know!

Note: If you don’t know them and don’t love their clients’ work, don’t say you do. Lying about your connection to this agent could stir up a weird encounter if they ask you about it later.

If there’s no link between you and this agent besides them possibly being interested in your book, then lead with the book. Some authors start the query letter with information on the book.

For example, “I’m seeking representation for [Book Title], a 94,000 Fantasy Supernatural…”

Or you can immediately go into the hook of your story as the opening. You’d rather cut to the chase than add fluff to your intro that will immediately lose the agent’s attention.

Query Letter Example 1

Here’s an example of how to add a personal link to the agent as seen in Between Earth and Sky by Amanda Skenandor e :

Dear Michael, It was a pleasure to meet you at the Las Vegas Writer’s Conference. Not only did I learn a lot, but left steadfast and inspired. Thank you for sitting down with me to hear the pitch for my historical novel ASPEN’S WAY. I’ve attached the first thirty-five pages as you requested and included the query below. I look forward to hearing from you. It’s 1906 and Askuwheteu, an Ojibwe Indian, stands trial for the murder of a white man. The shadows of Little Big Horn, Pine Ridge, and subsequent policy of forced assimilation loom over the courtroom. Alma Mitchell, a friend and former classmate of the defendant, travels hundreds of miles from her home to prove him innocent. Her fledgling investigation brings her face-to-face with the destructive legacy of the “savage-taming” boarding school run by her father that she once called home. To discover the truth behind her friend’s arrest, Alma must first reckon with the past; with love, racism, and betrayal; and with the seemingly impassable divide between their cultures. Told in an interwoven narrative, ASPEN’S WAY is a work of upmarket historical fiction complete at 99,000 words. The story was a finalist in the 2014 Pitch Wars competition. My short fiction appears in Writer’s Bloc IV (2012) and VI (2015) under the pen name A. R. Shenandoah. I am an officer in the Henderson Writers’ Group. My mother-in-law, a Lac Courte Oreille Ojibwe, sparked my interest in Native American history. Her struggles at an Indian boarding school in the 1950s and campaign to recognize the inherited trauma still haunting the Native American community are the genesis of my story. Thank you for your consideration. Sincerely, Amanda Skenandore

Why it’s successful

Amanda gives the agent context on their meeting and what transpired. She then leads into the rest of the query letter seamlessly. She includes the genre and name of the book, letting the agent get up to speed and ready to review the summary of the book and sample chapters.

Give the agent exactly what they need to know as quickly as possible. Add this information:

• Book Title: Don’t worry, sharing this doesn’t mean it’s set in stone.
• Genre: Add the genres your book fits into, and you can also include comp titles to give them an idea of where your book fits on the bookshelf.
• Word count: Round it off to the nearest thousand. Be sure to research the word count expectations for your genre. If your word count fits the standard, add it here. And if it’s too long, reserve that information for further down in the query letter after the agent has become intrigued by the story.

This information will be a taste test to see if the type of book you have on your hands will be of interest to the agent. 

Note: If you don’t know what genre your book fits into, you can take some time to explain your vision. Remember to keep the explanation of it to 2 sentences tops.

Query Letter Example 2

Check out this book over example for The Weight of Our Sky by Hanna Alkaf :

Dear [NAME OF AGENT], I am sending you my query for THE WEIGHT OF OUR SKY, a young adult novel complete at about 60,000 words and set against the backdrop of an actual black mark in Malaysian history. By the time school ends on Tuesday, Melati Ahmad’s mother has died 17 times. On the way to school, she is run over by a runaway lorry. During English, she is caught in a crossfire and hit by a stray bullet straight through the chest. At recess, she accidentally ingests some sort of dire poison. And as they peruse their geography textbooks, Melati’s mother is stabbed repeatedly by robbers. Melati knows she isn’t to blame. It’s the Djinn, scratching at her mind with his wicked, clawed fingers, squeezing the air out of her lungs and pounding urgent tattoos on her heart. It’s only through an intricate web of counting and tapping rituals that she’s able to tame the beast within her and keep her mother safe. That’s the sacrifice the Djinn demands, and one she’s happy to pay. But it’s 1969, and on May 13th, the already percolating melting pot that is Kuala Lumpur boils over. As the Chinese and Malays wage war, Mel and her mother find themselves separated by a city in flames. And with a 24-hour curfew in place and all lines of communication down, it will take all of the courage, grit and Beatles songs in Melati’s arsenal to overcome the violence on the streets, her own prejudices, and the Djinn’s surging power to make it back to the one person she can’t risk losing. Since graduating from Northwestern University in 2007, I’ve put my journalism degree to good use with stints in copywriting, magazines and non-profit communications. My first book, GILA (published locally), is narrative non-fiction that explores the landscape of mental illness in my country, Malaysia – a topic that’s still sadly fraught with stigma. It’s because of my experience in writing GILA that I was inspired to write Melati’s story. As I don’t live with mental illness myself, I was careful to have both neurotypical and neuroatypical beta readers go over this manuscript, and it has been edited to reflect their feedback. The first three chapters are pasted below, as per your submission guidelines. Thank you for your consideration. Hanna Alkaf

The author takes a quick 2 lines to share the overview, making sure she has enough space on the page for her book summary. She carefully chooses to share the setting and genre as the main key points that the agent will latch onto.  What helps is that her book is at 60,000 words, which is industry standard.

For novelists, this is the most important part, selling your story. 

This is your opportunity to reel the agent or publisher in with a good hook before leading into the book synopsis, or rather book blurb .

The hook needs to be short while highlighting your unique concept, the main character, the setting, and the inciting incident that creates a major conflict.

Once you have the opening, you can write out a summary. Some would advise you to give a mini book synopsis which will reveal the ending and major twists.

Some suggest a query letter’s book summary should be similar to the blurb on the back cover of a book . It all depends on the nature of your idea and what you feel is important to share. If the twists or ending is crucial to your originality, then you can share it.

But it’s best to keep to the most important plot points in your summary while leaving the agent wanting more. Your summary should include the following:

• The main character’s problem, the setting, and the inciting incident. This allows the agent to sympathize with the character and care for their situation.
• What occurs after the inciting incident that begins the main conflict of the book? You can include any turning points that lead your story to the next point.
• The high stakes and what must be done to succeed, or to accomplish the main character’s goal.

For nonfiction, you should highlight what makes your story different from others in this space, and what type of readers would buy it. You can also mention your unique experience that led to this book idea.

Query Letter Example 3

Here’s a 198-word example from Throne of Glass by Sarah J. Maas:

Dear Ms. Rydzinski: What if Cinderella went to the ball not to win the heart of the prince, but to kill him?  In THE EYE OF THE CHOSEN, the first book of my fantasy trilogy, QUEEN OF GLASS, Celaena Sardothien is not a damsel in distress—she’s an assassin. Serving a life sentence in the salt mines for her crimes, Celaena finds herself faced with a proposition she can’t turn down: her freedom in exchange for the deaths of the King of Adarlan’s enemies. Before she can complete her mission, she must first train within the glass castle in the capital of the empire. As training with the Captain of the Guard revives her muscles, encounters with the Crown Prince threaten to do the same to her heart. But Celaena soon learns that the King of Adarlan might have plans more sinister than assassinations. An ancient queen’s ghost charges Celaena with an enormous task: to discover and destroy the mysterious source of the evil king’s power. Torn between her desire to win her freedom and a mission much bigger than herself, Celaena thus begins an adventure she never wanted, which will uncover her forgotten, magical past—a past more dangerous than any tyrant… I am a 2008 graduate of Hamilton College with a degree in Creative Writing, and I have been published in Hamilton’s literary magazine, Red Weather. Because of your interest in fantasy, I thought you might be interested in my trilogy, which is centered on a retelling of the Cinderella legend through the eyes of an assassin. My completed manuscript is available at your request. Below, please find the first ten pages of my manuscript. I look forward to hearing from you soon. Thank you for your time and consideration, Sarah J. Maas

We love Sarah J. Maas’ hook. It asks a gripping question that describes a twist on a classic. Sarah then positions her character in her reality to let the agent understand her background for her to sympathize with. The summary is the bulk of the query letter and she uses it to describe the main character’s inner conflicts and the main conflict of the story.  She puts all her weight into painting a vivid picture of her story.

Comp Titles

To show how your book fits in the book market space, you can include comparable titles. If the agent also likes those books, they could like yours too. Or if they don’t, you two are probably better off not partnering up.

Consider the tone, subject matter, main characters, themes, style of writing, and plot of the comp titles before selecting the ones to add to your query letter.

Make sure the titles you pick are recent and relevant in today’s market.

Note: Don’t compare your book to classics, or mega-hits that sold millions and millions of copies. Be realistic in your comparison, so that the agent won’t think your head is in the clouds.

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An author bio briefly tells the agent everything they need to know about the author’s credentials, previously published works, and anything of note that will sell the book.

This part of your query letter will give the agent context to who you are, and your potential in publishing. You can include the following in an author bio:

• Your day job: Especially highlight this part if it contributes to your expertise in your book. However, you can still add this if you’re a first-time author.
• Your published works: If your work has made it into any magazines or journals, mention what is relevant to the agent. For example, if you’re querying for historical fiction, you may mention academic publications on historical subjects.
• Previously published books: If you’re seeking new representation for your next book, let them know why.
• Self-published: If you’ve published books on your own that have relatively good sales, add them in your bio.
• Qualifications: This would include any degrees or certificates related to writing, your book’s subject matter, and even writing workshops.
• Life experiences : If any experience has shaped the nature of this book, it would be worth adding to your query letter.
• Accolades: Winning prestigious awards for your writing will be a good way to show your talent. Only mention lesser-known awards if there was a large number of entries.
• Author Platform: This is most important for non-fiction writers as it shows you have something to help you sell your books. For fiction, you can add this information if you have fans for your web novel, etc.

Query Letter Example 4

Check out this example for a short bio from Numb by Sean Ferrell :

Dear Ms. Reid: I am seeking representation for my literary novel, Numb. I found your submission guidelines online and have included below a one-page synopsis. I live and work in New York City, I have had short stories published in Uber, WORDS and Bossa Nova Ink, and one of my recent short stories was a finalist in the Italo Calvino writing competition at the University of Louisville. I received my MFA in creative writing from Emerson College. Numb is approximately sixty-thousand words in length. In summary: Numb is a man who cannot feel physical pain. When he wanders into a dying circus, he doesn’t know who he is or how he got there. Despite feeling like an outcast the circus adopts him. When it is clear that his “talent” (if you can call being shot with nail guns and staplers a talent) will make him the star freak of the show, he becomes the circus’ best chance for survival. After nearly sacrificing himself for the circus’ sake, he decides to run away from the circus and make his way to New York City to discover himself and his past. Accompanied by his fire-eating best friend, Mal, Numb discovers a world outside the circus that is all too ready to reward and punish him for his self-destructive talents; and it’s a world that forces all his relationships to shatter. Numb finds women to comfort him, yet he won’t allow himself to trust them. He looks for love but won’t accept it, and he looks for safety in self-destruction. After undermining or losing friends and lovers, Numb is forced to figure out how to find a place for himself instead of just taking up space. This novel is in the spirit of Fight Club or Battle Royale; it is an antiheroic tale of finding a way to survive in a world so filled with noise that simple conversation and compassion are often drowned out. I look forward to your thoughts. Sincerely, Sean Ferrell

Curating an interesting bio as a fiction writer can be tricky, but Sean did extremely well with his. The recognition he’s received for his past work shows the author’s talent. Plus he shares where he’s been published previously but highlights the most important one where recently he was a finalist in a big competition. This shows the agent that the author is continually improving their craft.

Note: A first-time author may not have much to say in terms of published accomplishments, awards , etc., but you should still add something about yourself to tell the agent who you are. 

Whether it be your hobbies, where you live, or anything that can be charming or indicative of your personality. Keeping it short and sweet is perfectly fine.

However, if you’re writing non-fiction, you have to emphasize your bio more than your book. 

Query Letter Example 5

Here’s an example of a stellar bio from Buy Ketchup in May and Fly at Noon : 

Dear Ms. Wolfson, Have you ever wanted to know the best day of the week to buy groceries or go out to dinner? Have you ever wondered about the best time of day to send an email or ask for a raise? What about the best time of day to schedule a surgery or a haircut? What’s the best day of the week to avoid lines at the Louvre? What’s the best day of the month to make an offer on a house? What’s the best time of day to ask someone out on a date? My book, Timing is Everything: A Guide to the Best Time to Buy This, Do That and Go There, has the answers to these questions and hundreds more. As a long-time print journalist, I’ve been privy to readership surveys that show people can’t get enough of newspaper and magazine stories about the best time to buy or do things. This book puts several hundreds of questions and answers in one place — a succinct, large-print reference book that readers will feel like they need to own. Why? Because it will save them time and money, and it will give them valuable information about issues related to health, education, travel, the workplace and more. In short, it will make them smarter, so they can make better decisions. Best of all, the information in this book is relevant to anyone, whether they live in Virginia or the Virgin Islands, Portland, Oregon, or Portland, Maine. In fact, much of the book will find an audience in Europe, Australia and Latin America. I‘ve worked as a journalist since 1984 and have made a name for myself as someone who exposes wrongs, such as rampant abuses at mental hospitals and decades of neglect by government agencies that monitor the environment. I’ve won numerous awards, competing against reporters from The Washington Post, The Washington Times, the Associated Press, the Richmond-Times Dispatch and The (Norfolk) Virginian-Pilot. In 1999, the Virginia Press Association created an award for the best news writing portfolio in the state – the closest thing Virginia had to a reporter-of-the-year award. I won it that year and then again in 2000. The next year I beat out reporters from The Charlotte Observer and the Atlanta Journal-Constitution to win the Southern Environmental Law Center’s first-place journalism award. I then became metro editor at a 100,000-circulation newspaper in Newport News, Va. Over the years, I’ve honed my long-form writing skills by doing magazine cover stories and writing short stories. During the summer of 2007, I left newspapering to pursue book projects and long-form journalism. I saw your name on a list of top literary agents for self-help books, and I read on your Web site that you’re interested in books that offer practical advice. Timing Is Everything offers plenty of that. Please let me know if you’d like to read my proposal. Sincerely, Mark Di Vincenzo

As with non-fiction writers, the query letter will be mostly the bio. The author, Mark, explains why he’s certain there’s an audience for his book, and why he’s perfect to write it. He then extensively details his many credentials, accolades, and writing prowess, and the fact that he’s a reporter shows that he can provide people with information in an understandable way.

In closing your query letter, don’t go over 1 line. 

Warning! Being too personal or overzealous with the agent is tacky and won’t impress them.

You can end your query letter in one of these ways:

• Short and Sweet: For example, “Please let me know if you’re interested in reading the manuscript. I’d gladly send it through.”
• More books: You can end off by mentioning that you plan for it to be a trilogy, for example.
• Competition: If another agent has requested your manuscript, let them know. For agents, if one person thinks your story is good, they may give it more of a chance themselves.
• Show thanks: Briefly thank the agent for considering your query letter, but don’t go overboard. Keep it simple.

Cap it off with ‘Kind regards,’ or ‘Sincerely,’ followed by your name, and you’re good to go.

But whatever you do, be professional and you can’t go wrong.

Query Letter Example 6

Check out this simple last line from The Art of Racing in the Rain by Garth Stein : 

Dear Mr. Kleinman: Saturday night I was participating in a fundraiser for the King County Library System out here in the Pacific Northwest, and I met your client, Layne Maheu. He spoke very highly of you and suggested that I contact you… I am a Seattle writer with two published novels. I have recently completed my third novel, The Art of Racing in the Rain, and I find myself in a difficult situation: my new book is narrated by a dog, and my current agent told me that he cannot (or will not) sell it for that very reason. Thus, I am seeking new representation. The Art of Racing in the Rain is the story of Denny Swift, a race car driver who faces profound obstacles in his life, and ultimately overcomes them by applying the same techniques that have made him successful on the track. His story is narrated by his “philosopher dog,” Enzo, who, having a nearly human soul (and an obsession with opposable thumbs), believes he will return as a man in his next lifetime. My last novel, How Evan Broke His Head and Other Secrets, won a 2006 Pacific Northwest Booksellers Association Book Award, and since the award ceremony a year ago, I have given many readings, workshops, and lectures promoting the book When time has permitted, I’ve read the first chapter from The Art of Racing in the Rain. Audience members have been universally enthusiastic and vocal in their response, and the first question asked is always: “When can I buy the book about the dog?” Also very positive. I’m inserting, below, a short synopsis of The Art of Racing in the Rain, and my biography. Please let me know if the novel interests you; I would be happy to send you the manuscript. Sincerely, Garth Stein

If you’re feeling a bit lost as to how to end your query letter, Garth Stein’s should give you the confidence to end off on a short note that doesn’t overstay its welcome. He lets the agent know what is attached to the email and mentions that he’ll share his manuscript if the agent is interested. Simple, no fluff, and straight to the point.

Note: At the end of the page, include your phone number, email address, and author website if you have one.

If your query letter looks like a mess, the agent will assume your manuscript will be a mess too.

Check your grammar and formatting a few times and ensure you’ve hit the mark on each of the agent’s submission guidelines.

Anything less and you risk having your query letter dismissed without a second thought.

Sending them out and Following up

Don’t send your query letter to every agent on your list. Send it out in batches so that you can see how well your query letter does.

If you get no responses or too many negative responses, you probably need to edit your query letter for the next batch.

But if you don’t hear back you can follow up. Check on their submission guidelines page if they’ve specified a waiting time. If not you can follow up at the 3-month mark.

When following up, keep it brief, and be sure to mention the title of your book and any relevant information from your initial query letter.

Common Mistakes that Turn Literary Agents Away

Writing a query letter is a skill you’ll need to learn, and another step in the learning curve is finding out what to avoid doing.

Avoid these common mistakes that’ll give agents the ick, blowing your chances at getting representation:

• Detail overload: There isn’t exactly a word count limit, but if you add unnecessary details to your book summary or bio, you’ll lose the agent’s interest. 
• Being a Boastful Betty: It’s important to write your query letter with confidence, but if you cross the line and oversell, the agent will feel you are overcompensating.
• Being a Negative Nelly: This is no time to be modest or self-effacing toward your work. If you don’t believe you are good enough, the agent won’t either.
• Excessive typography: Using color or too much bold and italics will look unprofessional.
• Page-turner: Unless you’re writing non-fiction or literary work, exceeding 1 page, including doing front and back, is near criminal.
• Chain mail: CC’ing all your prospective agents in one email is certifiably criminal.
• Being a buddy: Adding too much familiarity in the email, even if you’ve met them before, is distasteful. Be cordial and professional.

This is Only the Beginning

Once you get a few query letters going, you’ll start feeling like you’re on the road to something great.

And you are! But…

It may take a while to gain momentum on this long road. You’ll likely be waiting a while before you find ‘the one’ literary agent or publishing house that wants to go the distance with your manuscript.

Once you start making bigger strides toward releasing your book, you’ll need to really consider your online platform. Nerve-wracking right?

Luckily, we specialize in creating author websites for authors to display their amazing books and other works on. We take all the fuss out of it for you. So, just fill in this inquiry form and we’ll see what we can do for you!

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How to Write a Cover Letter That Will Get You a Job

I ’ve read thousands, maybe tens of thousands, of cover letters in my career. If you’re thinking that sounds like really boring reading, you’re right. What I can tell you from enduring that experience is that most cover letters are terrible — and not only that, but squandered opportunities. When a cover letter is done well, it can significantly increase your chances of getting an interview, but the vast majority fail that test.

So let’s talk about how to do cover letters right.

First, understand the point of a cover letter.

The whole idea of a cover letter is that it can help the employer see you as more than just your résumé. Managers generally aren’t hiring based solely on your work history; your experience is crucial, yes, but they’re also looking for someone who will be easy to work with, shows good judgment, communicates well, possesses strong critical thinking skills and a drive to get things done, complements their current team, and all the other things you yourself probably want from your co-workers. It’s tough to learn much about those things from job history alone, and that’s where your cover letter comes in.

Because of that …

Whatever you do, don’t just summarize your résumé.

The No. 1 mistake people make with cover letters is that they simply use them to summarize their résumé. This makes no sense — hiring managers don’t need a summary of your résumé! It’s on the very next page! They’re about to see it as soon as they scroll down. And if you think about it, your entire application is only a few pages (in most cases, a one- or two-page résumé and a one-page cover letter) — why would you squander one of those pages by repeating the content of the others? And yet, probably 95 percent of the cover letters I see don’t add anything new beyond the résumé itself (and that’s a conservative estimate).

Instead, your cover letter should go beyond your work history to talk about things that make you especially well-suited for the job. For example, if you’re applying for an assistant job that requires being highly organized and you neurotically track your household finances in a detailed, color-coded spreadsheet, most hiring managers would love to know that because it says something about the kind of attention to detail you’d bring to the job. That’s not something you could put on your résumé, but it can go in your cover letter.

Or maybe your last boss told you that you were the most accurate data processor she’d ever seen, or came to rely on you as her go-to person whenever a lightning-fast rewrite was needed. Maybe your co-workers called you “the client whisperer” because of your skill in calming upset clients. Maybe you’re regularly sought out by more senior staff to help problem-solve, or you find immense satisfaction in bringing order to chaos. Those sorts of details illustrate what you bring to the job in a different way than your résumé does, and they belong in your cover letter.

If you’re still stumped, pretend you’re writing an email to a friend about why you’d be great at the job. You probably wouldn’t do that by stiffly reciting your work history, right? You’d talk about what you’re good at and how you’d approach the work. That’s what you want here.

You don’t need a creative opening line.

If you think you need to open the letter with something creative or catchy, I am here to tell you that you don’t. Just be simple and straightforward:

• “I’m writing to apply for your X position.”

• “I’d love to be considered for your X position.”

• “I’m interested in your X position because …”

• “I’m excited to apply for your X position.”

That’s it! Straightforward is fine — better, even, if the alternative is sounding like an aggressive salesperson.

Show, don’t tell.

A lot of cover letters assert that the person who wrote it would excel at the job or announce that the applicant is a skillful engineer or a great communicator or all sorts of other subjective superlatives. That’s wasted space — the hiring manager has no reason to believe it, and so many candidates claim those things about themselves that most managers ignore that sort of self-assessment entirely. So instead of simply declaring that you’re great at X (whatever X is), your letter should demonstrate that. And the way you do that is by describing accomplishments and experiences that illustrate it.

Here’s a concrete example taken from one extraordinarily effective cover-letter makeover that I saw. The candidate had originally written, “I offer exceptional attention to detail, highly developed communication skills, and a talent for managing complex projects with a demonstrated ability to prioritize and multitask.” That’s pretty boring and not especially convincing, right? (This is also exactly how most people’s cover letters read.)

In her revised version, she wrote this instead:

“In addition to being flexible and responsive, I’m also a fanatic for details — particularly when it comes to presentation. One of my recent projects involved coordinating a 200-page grant proposal: I proofed and edited the narratives provided by the division head, formatted spreadsheets, and generally made sure that every line was letter-perfect and that the entire finished product conformed to the specific guidelines of the RFP. (The result? A five-year, $1.5 million grant award.) I believe in applying this same level of attention to detail to tasks as visible as prepping the materials for a top-level meeting and as mundane as making sure the copier never runs out of paper.”

That second version is so much more compelling and interesting — and makes me believe that she really is great with details.

If there’s anything unusual or confusing about your candidacy, address it in the letter.

Your cover letter is your chance to provide context for things that otherwise might seem confusing or less than ideal to a hiring manager. For example, if you’re overqualified for the position but are excited about it anyway, or if you’re a bit underqualified but have reason to think you could excel at the job, address that up front. Or if your background is in a different field but you’re actively working to move into this one, say so, talk about why, and explain how your experience will translate. Or if you’re applying for a job across the country from where you live because you’re hoping to relocate to be closer to your family, let them know that.

If you don’t provide that kind of context, it’s too easy for a hiring manager to decide you’re the wrong fit or applying to everything you see or don’t understand the job description and put you in the “no” pile. A cover letter gives you a chance to say, “No, wait — here’s why this could be a good match.”

Keep the tone warm and conversational.

While there are some industries that prize formal-sounding cover letters — like law — in most fields, yours will stand out if it’s warm and conversational. Aim for the tone you’d use if you were writing to a co-worker whom you liked a lot but didn’t know especially well. It’s okay to show some personality or even use humor; as long as you don’t go overboard, your letter will be stronger for it.

Don’t use a form letter.

You don’t need to write every cover letter completely from scratch, but if you’re not customizing it to each job, you’re doing it wrong. Form letters tend to read like form letters, and they waste the chance to speak to the specifics of what this employer is looking for and what it will take to thrive in this particular job.

If you’re applying for a lot of similar jobs, of course you’ll end up reusing language from one letter to the next. But you shouldn’t have a single cover letter that you wrote once and then use every time you apply; whatever you send should sound like you wrote it with the nuances of this one job in mind.

A good litmus test is this: Could you imagine other applicants for this job sending in the same letter? If so, that’s a sign that you haven’t made it individualized enough to you and are probably leaning too heavily on reciting your work history.

No, you don’t need to hunt down the hiring manager’s name.

If you read much job-search advice, at some point you’ll come across the idea that you need to do Woodward and Bernstein–level research to hunt down the hiring manager’s name in order to open your letter with “Dear Matilda Jones.” You don’t need to do this; no reasonable hiring manager will care. If the name is easily available, by all means, feel free to use it, but otherwise “Dear Hiring Manager” is absolutely fine. Take the hour you just freed up and do something more enjoyable with it.

Keep it under one page.

If your cover letters are longer than a page, you’re writing too much, and you risk annoying hiring managers who are likely sifting through hundreds of applications and don’t have time to read lengthy tomes. On the other hand, if you only write one paragraph, it’s unlikely that you’re making a compelling case for yourself as a candidate — not impossible, but unlikely. For most people, something close to a page is about right.

Don’t agonize over the small details.

What matters most about your cover letter is its content. You should of course ensure that it’s well-written and thoroughly proofread, but many job seekers agonize over elements of the letter that really don’t matter. I get tons of  questions from job seekers  about whether they should attach their cover letter or put it in the body of the email (answer: No one cares, but attaching it makes it easier to share and will preserve your formatting), or what to name the file (again, no one really cares as long as it’s reasonably professional, but when people are dealing with hundreds of files named “resume,” it’s courteous to name it with your full name).

Approaching your cover letter like this can make a huge difference in your job search. It can be the thing that moves your application from the “maybe” pile (or even the “no” pile) to the “yes” pile. Of course, writing cover letters like this will take more time than sending out the same templated letter summarizing your résumé — but 10 personalized, compelling cover letters are likely to get you more  interview invitations  than 50 generic ones will.

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