If the requirements are not clear, follow these formats:

For nonfiction books, try to keep query letters to a single page, and don’t exceed two pages. Always include all your contact information and a self-addressed, stamped envelope.

Query letters for fictional works also should not exceed a single page. They should include an outline, a synopsis, or a summary of your book, and sample chapters or the completed manuscript. Agents and editors differ on how long the synopsis should run: some want only a page or two whereas others will accept as many as five or six pages.

Err on the side of brevity. Since the agents and editors will be judging the quality of your writing, show in your synopsis that you can clearly and concisely describe your book in two or three pages. Delete all extraneous details and hone your synopsis until it’s tight.
As for samples of your fiction, submit as much as you can to demonstrate the quality of your work.

Some agents and editors request the submission of only two or three sample chapters, but most want the entire manuscript. Show your belief in your work by submitting as much as you have completed. As with nonfiction, always enclose a self-addressed, stamped envelope with sufficient postage or you probably won’t get your submission back.

For all e-mail queries, fiction and nonfiction:

• Write no more than a single screen.
• Don’t send e-mail attachments unless they are specifically requested, because they probably won’t be opened otherwise, due to concerns about computer security.
• Use the same high standards for e-mail queries that you use for print submissions because the recipients will judge with equal severity.

In some agencies, e-mail queries face more challenges than postal submissions do because they’re reviewed by a number of screeners and must be outstanding to reach a decision maker. Conversely, postal mail queries that are addressed to the decision maker usually travel a shorter, less-arduous route before they get through.

Query letters stand a good chance of being read simply because they’re short. If they run long, they run the risk of being skimmed or even disregarded. So craft your query letters carefully and make them brief. If parties are interested, they will request more information.

Feel free to send query letters to more than one agent or publisher at a time; agents simultaneously send proposals to multiple publishers. If an agent shows interest and requests a proposal or manuscript, he or she may also ask for the exclusive right to read or sell your book.

If you agree to a reading exclusive, make it for a short term not longer than a month or six weeks. An exclusive agreement for an agent to sell your work should be in writing and should be cancelable by either party on thirty days’ written notice.

When you forward query letters to publishers or agents, direct them to specific individuals, not to companies, “Editors,” “Gentlemen,” “Dear Sirs or Madams,” and so on. Publishing houses and literary agencies are often large, and imprecisely addressed mailings can get lost. Busy, overworked employees may also seize upon any excuse not to open another envelope.

Address every submission to a specific recipient or it probably won’t be opened or receive sufficient attention. Also, triple-check the spelling of all names, individuals and firms, because misspelling an agent’s or editor’s name could fast-track your submission to oblivion.

Query letters or e-mails should be submitted to literary agents if you’re looking for an agent to represent you, or to editors if you want to go directly to a publisher. Queries should be submitted for all books: fiction, nonfiction, children’s books, art books, cookbooks, whatever.

When you compile a list of agents’ and editors’ names, send them query letters or e-mails. Even those who accept unsolicited telephone inquiries prefer a written query because it gives them a sense of how well you write. If recipients are interested in a project, they will initiate further contact.

How you initially query an agent or editor is critical. Your query is your chance to make a strong first impression and generate interest in you and your project. So, it’s vital to do it well. If you don’t, you may not get another shot.

Publishers and agents have different specialties and submission requirements, which can frequently change. Before you send a query letter, check your target’s website so you don’t send your how-to book to an agent who handles only fiction, or an editor who now works for a different publishing house. Most publishers and agents list their submission requirements on their website, so frame your queries precisely as they suggest.

As the name indicates, the main purpose of a query letter is to inquire if an agent or editor would be interested in learning more about your book. Your query has to arouse the agent’s or editor’s interest and make him or her want to see more.

To capture the agent’s or editor’s attention, your inquiry has to clearly demonstrate that you have a great idea for a book that will sell and that you’re professional and disciplined and write well.

Query letters show agents and editors that you:

• Have a good idea for a salable book that is compatible with their areas of interest or list
• Can express yourself clearly in writing
• Have the ability and qualifications to complete your book
• Are professional

The agent or the editor who receives your submission will make a quick assessment of your professionalism on the basis of that submission.

If your submission comes in a colorful package or is written on colorful stationery; has flowery stamps; contains cross-outs, typos, and misspellings; or is generally sloppy in appearance, recipients will label you unprofessional. If they don’t reject your submission, they will probably delay reading it or will assign it to an underling. To make a strong initial impression, submit a professional-looking query letter!

Rick Says
Never underestimate the importance of demonstrating your professionalism.

Agents and publishers want to work with writers who have their act together, who are focused, result oriented, and willing to do what it takes to write and support a successful book.

Working with professionals makes their lives easier; it cuts down on the possibilities that writers will not follow directions, that their submissions will be late, will be delivered in poor shape, and will require more in-house work. Agents and publishers prefer to deal with writers whom they can rely on to deliver a quality book.

For query letters, you should use:

• a business-type letterhead that gives your name and contact information
• basic white or off-white 8½ x 11-inch paper
• a standard typeface that can be read easily; avoid script or other typefaces that are difficult to read, even if you think they are eye-catching
• 10- or 12-point type
• black ink
• margins of 1½ inches at the top and bottom, and at least 1 inch on the sides
• an insert of a self-addressed, stamped envelope with the proper amount of postage

All enclosures sent with your query letter should be typed on good quality paper stock and in black ink. Don’t get fancy or, worse yet, cute. Avoid bold colors, gimmicky borders, or other features that could distract from your message.

Strive for brevity and clarity. Make your letters short, well-written, and to the point. Your main objective should be to get your foot in the door and to make the publisher curious enough to ask for more information about your book. The best way to do so is to clearly and professionally communicate the specialness of your book idea in plain, straightforward, easily understood English.

Make sure you’ve researched, so your letter isn’t headed for immediate rejection: “An immediate turnoff is when I receive an inquiry that shows that the writer hasn’t done enough research,” agent Edward Knappman, of New England Publishing Associates, explains. “If I get an inquiry regarding a novel, it’s obvious that they haven’t done enough research to learn that we don’t handle fiction. If they haven’t researched our agency, the first thing I ask is, ‘How can they do enough research for the book?’”

Another instant turnoff occurs when the agent’s name or the firm’s name is misspelled. Remarkably, agents have informed us, such misspellings are all too common.

A nonfiction query letter MUST include:

1. A tight lead sentence describing your book. The lead sentence should be a grabber that hooks the reader and makes him or her want to read further. So sculpt your lead artfully.

Give the title, length, and what the book is about. Questions/answers, statistics and anecdotes can also make effective opening sentences. Explain why you selected this agent or publisher to query. It could be that the agent or publisher was recommended to you by one of their authors, or that you loved a book that he or she handled, which you feel is similar to your title. Agents and editors may respond more favorably to writers who have done their homework and know something about them and their work.

Keep your lead to two or two and a half lines. In you need to round off your lead or to add other crucial information that didn’t fit in your lead, add another short sentence, no more than a line or two. If you have celebrity status, work it into the lead or second sentence.

2. A paragraph or two supporting and amplifying the lead.

a. Provide more details on:

i. the subject of the book

ii. why your book is special or how it differs from other books

iii. the market for the book

iv. how the book is organized or formatted

v. why it will interest editors

b. Point out problems that your book will solve and concrete ways that it will help readers.

c. Include facts or statistics that show the size of your book’s potential market.

d. State whether the manuscript has been written or when you expect to complete it.

3. Your biography. Don’t just use your standard resume or only stress your educational and business background, but show why you’re so uniquely qualified to write this book. Include your past writing credits, awards in your field, and your platform. Sell them, don’t just tell them!

4. A summary statement. Thank the recipient for his or her time and offer to send additional materials such as a proposal, sample chapters, or the manuscript.

Robyn Says

Write a sound bite for your book, which many call an “elevator speech” because it can be delivered in the time it takes to go from the first to the second floor. Your sound bite should give a brief description that you can reel off in ten to fifteen seconds. When you perfect your sound bite, you can use it when you query agents and editors, write book proposals, and tell others about your book.

When you write your sound bite, remember the observation of theater impresario David Belasco: “If you can’t write your idea on the back of my calling card, you don’t have a clear idea.”

The names of these executive committees differ for each publishing house and include Editorial, Acquisition, Purchase, and Publishing Committees or Boards. For our purposes, let’s just refer to them as Publishing Boards.

A Publishing Board usually meets at the same time each week. It consists of the publisher, editors, and marketing people. It also can include design and promotion personnel. These boards can range in size from ten to thirty people.

In some companies, the Chief Operating Officer makes the final purchasing decision. Usually, he or she wants everyone on the committee or board to agree, but he or she will often proceed without unanimous approval. Publishing Boards set the price that they will be willing to pay for the book, and then the publisher sends a contract to the author’s agent or directly to the author if he or she is not represented.

In publishing houses, financial thresholds exist that limit what editors or groups of editors can offer writers for books. To exceed that threshold, they usually have to get approval from the Chief Financial Officer or someone high on the corporate ladder. If you expect top money, your proposal will get a rigorous reading from the higher-ups, who function as investment managers.

You, your agent, and the publisher then negotiate the terms of the contract and sign the deal. If you sold the book on the basis of a proposal, you must now write the manuscript. An editor is assigned to your project, and you should contact the editor to map out the direction of the book and make sure that you’re both on the same page.

Upon completion of the manuscript and submission of it to the publisher, your editor edits the book. The editor then contacts you with his or her suggestions, to which you respond. In our experience, editors’ suggestions have been greatly beneficial and have enhanced our books. At times, certain editors’ opinions may be hard to swallow, but they’re usually on target. Most editors are extremely professional and will improve your book.

Occasionally, an editor’s suggestions will be off the wall or will move the manuscript in a direction unacceptable to the author. If this occurs and you can’t work it out with the editor, summon your agent to duke it out. It’s part of the service you are paying for.
When you finish making the agreed-upon revisions, your editor will accept your manuscript. At this point, a substantial portion of the advance against royalties is usually payable, frequently half.

If the book is produced in-house, the edited manuscript is sent to the production department. Frequently, production—which includes copyediting, design, and indexing—is outsourced. When these functions are subcontracted, someone in-house reviews them.

After the book is copyedited, the manuscript is sent back to you with the editor’s query marks. When copyeditors’ queries are transmitted via a computer file, they must be answered by using an electronic editing feature, which is available in most word-processing programs. Otherwise, copyedits are sent by hardcopy and must be attended to by hand. You must address each of the copyeditor’s queries and then send the manuscript back.

Agents and book publishers are inundated with requests from aspiring writers, and they usually can only afford to pursue those that they think will sell. According to estimates, agents accept only 2 percent of the submissions they receive, or one in fifty, so they must be able to read them quickly and immediately spot the answers to their qualifying questions.

From a book proposal, agents and publishers must get a quick, strong indication that:

• You have a viable book idea.
• Your book’s subject matter fits their list.
• You are qualified to write the book.
• You write clearly.
• You are well organized.
• You are committed to your book project.
• You have thoroughly thought through the book project.
• You will vigorously promote your book.

Unless you’re a superstar, a noted celebrity, or an established author who is a proven commodity, book proposals are the litmus tests for agents and publishers. They are the rite of passage that authors must pass in order to enter the hallowed literary halls. Book proposals are the ticket for your admission into the authors’ guild.

Author Tactics

The two most important keys to writing a successful book proposal are having a positive attitude and being disciplined.

Have a Positive Attitude.

If you want your book to reach the market, understand that the proposal is a necessary evil that you must complete. Adopt a positive attitude because your negativity could seep into or otherwise affect your writing and scare agents and publishers away.

Instead of resenting the fact that you have to write a formulaic proposal and fighting it, think of your proposal as an opportunity to demonstrate your talent and expertise. See it as the chance to strut your stuff, to wow agents and publishers and knock them off their feet, and to make them compete to publish your work.

Use your passion for your book and its concepts to sell them. Let your proposal showcase your talent and help you shine.

Practice Discipline.

Proposals are tests that you must pass in order to convince a publisher to buy your book.

Understand the purpose of the proposal and focus on demonstrating to agents and publishers that you have the ability and fortitude to write a successful book in the context they want.

Agents and publishers are wary of high-maintenance writers who don’t follow the rules and cause them additional work. They know that dealing with such writers is frequently not cost-effective, can be time consuming, and certainly isn’t fun. So have the discipline to give them what they want and shape your ideas and approaches to fit seamlessly with their demands.

Robyn Says

Fortunately, most agents and editors are open-minded; the vast majority love and seek new ideas, expressions, and talent. They also are devoted to writing and books.

However, as we have previously emphasized, publishing is a business and many voices will take part in the decision regarding whether to publish your book. Many of those voices will be from the business and marketing world, and they will be primarily concerned with sales, numbers and profits.

Help editors to serve as your advocates and champions. Give them disciplined proposals that they can use as ammunition to convince their more business-minded colleagues about the benefits of publishing your book.

Its appearance can cause editors to form an immediate opinion about you, your proposed manuscript, and your ability to deliver what you promise—and you know how important first impressions can be!

A clean, well-organized, and easy-to-read proposal can convince editors to place your proposal atop the heap. A sloppy submission can discourage them and indicate that you’re unprofessional.

Action Steps

1.  List five key items that agents and editors must see in your proposal.
2.  Determine how you could improve your attitude and determination with regard to your proposal.
3.  What specific material can you include in your proposal to make it a better planning document?
4.  What specific information should you provide in your proposal to make it an affective selling aid?
5.  Review the basic proposal sections in your mind. What additional items could strengthen your proposal?

Remember, a proposal should be structured to quickly and clearly give agents and acquisitions editors precise information. If it doesn’t, they may not read any further.

Agents and editors need to see that the author has touched all the bases and covered all of the major points that are essential for a successful book.

A winning book proposal must show that you have a viable book idea and that the book’s subject matter will fit into the publisher’s list. It also must demonstrate that you are qualified to write the book, can write clearly, are well organized, are committed to the book project, have thoroughly thought through the project, and will vigorously promote the book.

Focus on showing that you’re an accomplished, professional writer that the publisher or agent can trust.

Check each letter by:

• Letting it sit overnight after you complete it and then printing it out the following day when you can read it with refreshed eyes. If you make changes the next day, hold it to reread for one additional day.

• Having a reliable copyeditor read it.

• Checking that the pages are numbered correctly. Don’t rely on a printer; check all page numbers yourself. Pages can get mixed up when you make copies. Remember, every detail counts.

• Sending every e-mail query letter to yourself, printing it out the next day, and then reading it before you send it to agents or editors. Make your final read from a hard copy printout, not the computer screen. When you read from the screen, problems can easily be missed.

If an editor or agent requests that you submit a proposal, be in a position to quickly capitalize on his or her interest, while your query is still fresh in his or her mind. Since editors and agents receive so many inquiries, distinguish yourself and show your professionalism by getting a killer proposal back to them by return mail (or electronically if they so request).

When You Get a Response . . .

When they get query letters, most agents and editors don’t have time to comment on your project and give you constructive feedback, so don’t expect it. However, some may comment on your query and even give you suggestions. If they like something about you or your project, they may also tell you to contact them again.

Value whatever feedback you get. Savvy agents and editors know the market and the slants or directions they suggest can improve your book and the chances of its selling.

In addition, it’s usually easier to accept feedback at the query-letter stage than it is after you have written an extensive proposal, chapters, or even an entire manuscript.

If agents or publishers are interested in your query, they will probably respond to you within a few weeks. For sixty days, don’t call, write, or send e-mail asking whether they received your letter. After sixty days, write a brief inquiry note or e-mail. Also, don’t send stuff that you forgot to include or think might influence their decision.

Just wait.

And if you get no response within a month, move on.

Naturally, the publishing process differs from publishing house to publishing house, but most publishers follow a similar overall path.

Publishers may also vary in the manner in which they treat agented and unagented submissions. However, editors usually give agented submissions more and prompter attention than proposals submitted directly by writers. Editors give agented submissions priority because they have been screened by professionals and stand a better chance of being the types of projects they want.

The publishing process begins with a submission to the publishing house. Most of the time, the first submission is a query letter or e-mail, but it can also be a proposal or the author’s manuscript itself.

Initial Queries

Some agents and publishing companies do not accept unsolicited submissions. So check the submission requirements on their website before you send anything to them.

Address your initial submissions to specific editors. Those that are not addressed to specific individuals are routed to the appropriate editors via in-house channels, and thus they can be easily lost or misplaced.

Query letters are the preferred initial submissions, but e-mail inquiries are rapidly gaining popularity with many editors. Some editors have told us that they dislike e-mail inquiries because they interrupt their workflow and can mysteriously disappear in the blizzard of daily e-mails they receive.

Many editors shy away from unagented submissions. They tend to pawn them off on their assistants or don’t read them because experience has taught them that few will be of interest.

E-mail queries tend to be responded to more promptly. However, editors tell us that a surprisingly large number are sent to editors who do not handle books on the subject of the inquiry. If an e-mail query is sent to an inappropriate editor, the recipient usually will either give the sender the name of the proper editor or forward the e-mail to that editor.

When the query letter reaches the appropriate editor, the editor reads it and usually takes one of the following options:

1. Ask the writer to submit a proposal,
2. Inform the writer that he or she is not interested, or
3. Request more information from the writer. If, after receiving the requested information, the editor is still interested, he or she will usually ask the writer to submit a proposal.

Editors have standard rejection letters they send out. On occasion, however, they will give writers suggestions on how to strengthen the project.

When you want to finance a new business, you can’t just say, “I have this great idea” and expect the investors to fight for a place in line. You must first prepare a convincing plan that clearly explains, step-by-step, your idea, the need for your product or service, how it would work, and how it will make money. A business plan must hold up under the fierce scrutiny of financial experts who will question and measure every expense.

Book proposals operate similarly and serve as both planning documents and selling documents.

As regards to planning, a book proposal gives you the opportunity to lay out your strategy for writing and promoting a salable book and to run it by your agent and others, who are expert at evaluating such plans. It forces you to anticipate each stage in the entire book-writing process and to decide exactly how you plan to proceed. It clarifies your approach and the resources you will need and can expose weaknesses that you should address.

And in regard to selling, proposals enable you to present representative samples of your work that will sell your book idea to an agent or publisher. It’s the marketing case that contains examples of your wares and should be stocked to convince your targets to buy.

When a publisher decides to buy your book, it is basically agreeing to finance your book’s publication by paying the costs of its printing and distribution.

Format
Although the formats of proposals can differ, a number of basic elements should be included in every proposal.

Like most of us, agents and publishers are creatures of habit, and when they receive book proposals, they will be looking for specific information. Since a major purpose of your proposal is to sell them on your book, don’t force them to hunt for the answers they need. Instead, give them what they want in a format they like and can easily follow.

In a proposal, we like to include the basic sections that are listed below. After the overview, their order can be varied to give greater prominence to a particular strength.

For example, the fact that an author is a huge celebrity should be stressed in the overview and the about-the-author section should be placed directly after the overview.

Non-Fiction
The basic proposal sections we recommend for nonfiction are:

• Cover letter
• Title page
• Overview
• Spin-offs
• Markets for the book
• Translations
• Products
• About the author
• Promotion plan
• Table of contents
• Chapter summaries or outline
• Introduction
• Sample chapter(s)
• Additional submissions
• Endorsements
• Reviews or short excerpts of your prior writing
• Relevant articles, clippings, and press materials
• Postage-paid, self-addressed envelope. Large enough and with enough postage. Many agents won’t return material if the envelope is not large enough and it doesn’t contain sufficient postage.

Fiction
As we’ve stated, most fiction written by unpublished authors doesn’t reach the proposal stage. Agents and editors make acquisition decisions on the basis of queries and writing samples or manuscripts that accompany them. However, published authors may have to submit proposals to sell their subsequent books because approval by the publisher’s editorial board is generally required.

So before you submit a proposal for your novel or short story book, check the publisher’s Web site to learn exactly what it wants, because the requirements for various houses can differ. In addition, some publishers post helpful samples that you can follow.

If the publisher’s Web site does not state precisely what you should submit, send:

• Cover letter
• Title page
• A synopsis, summary, or description of the book
• The first three chapters or the entire manuscript
• A stamped, self-addressed envelope

The cover letter should not exceed one page. It must describe the book proposed in a sentence or two and list the items that are included in the submission package. Clarity and brevity are critical in a cover letter because it is often attached to the proposal and accompanies it through the entire acquisition process.

The outline does not need to go into great detail, but it should show that the book flows logically and has a beginning, middle, and end. When the entire manuscript is submitted, an outline is optional. However, it becomes more important when just a portion of the work is submitted, because agents and editors need to see to fill in the gaps. They need proof that the author has thought the book through, covered all the bases and organized it coherently.

Since some editors feel they can’t get the true sense of a work of fiction unless they read the entire manuscript, submit as much of the book as you can, preferably the completed manuscript. That’s what Robyn and Mark Johnston did for their children’s book, Secret Agent.

Here’s how Susan Burke, their editor at Simon & Schuster, reacted: “As soon I saw the proposal for Secret Agent, I knew that it was going to be a very special project. The story was fresh, touching, funny, and told in a truly unique voice. The plot was fast paced and I knew it would appeal to both boys and girls. Generally, we ask authors to submit the first three chapters of a novel with their proposal, but in this case, the agent sent the entire manuscript of Secret Agent.”

Rick Says
Expect editors to be skeptical. They’ve seen and heard it all: every promise; every approach; and wild, unrealistic representation. When they receive a proposal, it can be hard for them to tell fact from fiction, so they may tend to err on the side of caution. Look at it from their perspective: if they push for a proposal, their heads can be on the line if the books fail or, worse yet, if the authors fail to deliver.

So help acquisitions editors by giving them strong, well-reasoned, and thought-out proposals that look good and read even better. Give them something they can be excited about and willing to fight for.

If they do accept unsolicited materials, identify exactly what they want, the format they prefer, and the address where your submission should be sent.

Our publisher, Adams Media, accepts submissions directly from authors, including first-time authors, as well as from literary agents. Adams’ Web site, www.adamsmedia.com, lists where proposals should be sent and advises authors:

Your proposal should include the following:

1. A description of the intended market for the book
2. An explanation of why someone would want to buy the book
3. A summary of the author’s background
4. A table of contents, as detailed as possible
5. A sample chapter

Do not send in the whole manuscript.
We are not accepting electronic submissions at this time.
We will contact you only if we are interested in your proposal.
If you wish to have any material returned, include a self-addressed and stamped envelope. We accept no responsibility for proposals and manuscripts.
The volume of submissions does not allow us to accept phone calls or e-mail or other inquiries, or to provide comments or feedback on unsolicited manuscripts.[EEX]

Learning About Publishers

Every publisher has submission policies that may differ from those at other houses. So carefully check each company’s Web site and tailor your submissions to each publisher’s requirements. Individualize all submissions; one size does not fit all!

While you’re visiting a publisher’s Web site, browse around. Familiarize yourself with the company. Examine its online catalog; learn which books and writers it published, the topics in which it specializes, and any sales figures they disclose. Check out the company’s press releases and other reports about its news and developments.

Each publisher has a vision of the types of books it wants to publish and the direction in which it hopes to go. Companies’ visions are usually apparent from the books they have published and some state their vision on their Web site and in the guidebooks. Publishers primarily want books that fit with what they did in the past and what they want to do in the future.

Investigating each publisher will give you a feel for the house’s vision and how you should shape your proposal. Consider your investigation a fact-finding mission and remember that even the most trivial information could prove invaluable in your voyage through the publishing process.

About Agents

Although agents aren’t as difficult to hook up with as publishers are, they can be hard to reach and have stiff demands for authors’ submissions.

“I like to see that the author has done the necessary homework to know a little about us and what kind of properties we prefer to represent,” Ron Laitsch, (ron@authenticcreations.com) of the Authentic Creations Literary Agency, Inc., in Lawrenceville, Georgia, tells us. “Something original always catches my interest. If the format of the letter has been copied from some source, it reads like so many others we see. With over 200 queries a week, we need something that makes the letter stand out.

“Some are clever and make us laugh, while others get to the point with information about the book. The author should always include something about his or her qualifications to write the book, including background information about any previously published materials. Something about our agency always makes us feel that the author has at least looked at our background to see if we might be a good fit for the author’s work.”

Study each agency’s Web site before you contact it. Make a list of the agents who handle they type of book you want to pitch, and print out each agency’s submission requirements. Then, follow them!

Many agents will not accept unsolicited queries, proposals or manuscripts via postal mail and will discard them unopened. If your e-mail query stirs their interest, they may contact you to request a hard copy of your proposal or manuscript or to talk.

The principal way to reach an agent is via a query letter or e-mail. Some literary agents take unsolicited telephone calls, but it’s usually best to call an agent only when you have a strong personal introduction. Even then, you may not be able to get through.

Agents tightly screen their calls. Screeners are charged with protecting agents like royalty; it’s a critical part of their job. So make everyone’s life easier by knowing precisely what you want to say and practicing it until you can express it quickly and clearly. Screeners have to pass your messages on to others, so being able to convey a short, clear message can be crucial.

In most cases, screeners will instruct you to send them a query letter or e-mail, but occasionally, they will put you through.

If you reach an agent by phone, be quick, clear, and precise. Explain what your book is about in no more than fifteen to twenty seconds. Then be prepared to follow up by describing your qualifications in even less time. Remember, agents and editors are pressed for time, so be as brief as possible unless the agent makes it clear that he or she wants to talk.

To prepare for conversations with agents, make two lists, one that sets forth five or six strengths of your book, including the size of its potential market, and one that explains how your book differs from comparable books that have been published.

Don’t volunteer additional information unless it becomes clear that your contact wants to talk and learn more. Concentrate on giving information about your book and you. If the agent interrupts you during your speech, don’t adamantly press on. Stop speaking; listen; and if you are questioned, give a prompt, direct response. Don’t move back to your pitch until you feel that the agent is satisfied with your answer.

Whether you’re contacting publishers or agents, recognize that you are one of literally hundreds of aspiring authors that will make the same contact this week alone. Give them exactly what they ask for, and treat them with respect.