So my lovely agent shot me an email yesterday about some work-related stuff, but then also commented that she'd read the blog entry re: queries and that I'd, and the folks in the comment section, got it exactly right. She even noted how she STILL, even to this day, remembers my query letter, along with those of a few of her shining star clients, several of whom posted comments yesterday. (Rock on, gals!) So it really is a matter of writing just the right query letter that gets your foot in the door. Keep at it.
On that note, the always-awesome Larramie emailed me last night to say she'd dug out the query letter for The Department of Lost and Found from the archives here and was kind enough to email it to me. She was actually doing this at the request of a fan over at The Divining Wand, where Larramie helps grant people's wishes, but nevertheless, she beat me to it. And thus, here is my query letter from The Department. I think, even now, four years later, it really hits a lot of the elements I was discussing yesterday: it gives a taste of the plot, it really demonstrates my own voice, there is no passivity in it - only action and forward motion from the very get-go.
As I said yesterday, I got a LOT of positive feedback from this query, so I hope it proves helpful for a few of you guys!
Dear XX,
Natalie Miller had a plan. She had a goddamn plan. Top of her class at Dartmouth. Even better at Yale Law. Youngest aide ever to the powerful Senator Claire Dupris. Higher, faster, stronger. This? Was all part of the plan. True, she was so busy ascending the political ladder that she rarely had time to sniff around her mediocre relationship with Ned, who fit the three Bs to the max: basic, blond and boring, and she definitely didn't have time to mourn her mangled relationship with Jake, her budding rock star ex-boyfriend.
The lump in her right breast that Ned discovers during brain-numbingly bland morning sex? That? Was most definitely not part of the plan. And Stage IIIA breast cancer? Never once had Natalie jotted this down on her to-do list for conquering the world. When her (tiny-penised) boyfriend has the audacity to dump her on the day after her diagnosis, Natalie's entire world dissolves into a tornado of upheaval, and she's left with nothing but her diary to her ex-boyfriends, her mornings lingering over the Price is Right, her burnt out stubs of pot which carry her past the chemo pain, and finally, the weight of her life choices - the ones in which she might drown if she doesn't find a buoy.
The Department of Lost and Found is a story of hope, of resolve, of digging deeper than you thought possible until you find the strength not to crumble, and ultimately, of making your own luck, even when you've been dealt an unsteady hand.
I'm a freelance writer and have contributed to, among others, American Baby, American Way, Arthritis Today, Bride's, Cooking Light, Fitness, Glamour, InStyle Weddings, Lifetime Television, Men's Edge, Men's Fitness, Men's Health, Parenting, Parents, Prevention, Redbook, Self, Shape, Sly, Stuff, USA Weekend, Weight Watchers, Woman's Day, Women's Health, and ivillage.com, msn.com, and women.com. I also ghostwrote The Knot Book of Wedding Flowers.
If you are interested, I'd love to send you the completed manuscript.
Thanks so much! Looking forward to speaking with you soon.
Allison
Showing posts with label Queries. Show all posts
Showing posts with label Queries. Show all posts
Wednesday, February 18, 2009
Wednesday, January 16, 2008
Is Your Book the Next When Harry Met Sally?
Admin note: thanks for the suggestion that I start to tag my posts. I'm now doing so and also going back to retroactively tag everything. It will take a few days, but hopefully by next week, you'll be able to search old posts much more easily.
Question of the day: I am starting to sent out e-queries. Often agents request a synopsis or chapter pasted in the body of the e-mail. I am worried about the format - do you double space the text? Do I include the cover page with my contact info? Do I type anything to indicate the end of the section? Another question - my novel is inspired by a classic movie (i.e. I stole the plot and updated it!). Think of the way Bridget Jones's Diary used the plot from Pride & Prejudice. Should I mention the movie in my letter or does it hurt me & make me look unimaginative?
Good questions. I can only tell you what I've done in the past, and I'm hopeful others will chime in on what they've done as well.
As far as formatting, double-spacing in a classic font, such as Times or Arial, is best. I've never included a cover page: I always assumed that agents printed out my query/email along with the sample chapter and matched that accordingly, but I don't think you'd look like an idiot if you DID include a cover page. In fact, thinking about it, I don't think it's a bad idea at all - but obviously, in the grand scheme of things, i.e., will you get an offer or not, it really doesn't matter. Don't stress too much about details like this. Pull together a professional sample with no errors and you'll be fine.
As to your next question - should you use the movie comparison - I say go for it, though it might be off-putting for higher-brow agents. What I mean by that is that if yours is a really commercial book, agents will appreciate knowing how they can market it - what niche and demographic it will fall into. Your comparison will also help them really get an idea of your book, or at least your interpretation of your book. In fact, when my agent pitched Time of My Life to editors and publishing houses, she did indeed compare it to movies, calling it a cross between Sliding Doors and Family Man. We also considered throwing Desperate Housewives in there, but she liked the above two, and I agree that it does sum up the general feel of the book well.
But I've digressed. My overall point was that I think these comparisons do help paint an apt picture of what the agent can expect from the book, which is usually a good thing. The downside, I guess, is the risk that the agent then reads it with certain expectations and the book falls short of them. But I suppose that if this happens, the agent probably doesn't like the book for a variety of reasons, so really, you're not losing much.
I'm curious to hear what other people say, though. This is just my initial gut reaction. So, folks, what say you, both about formatting and making comparisons to the silver screen?
Question of the day: I am starting to sent out e-queries. Often agents request a synopsis or chapter pasted in the body of the e-mail. I am worried about the format - do you double space the text? Do I include the cover page with my contact info? Do I type anything to indicate the end of the section? Another question - my novel is inspired by a classic movie (i.e. I stole the plot and updated it!). Think of the way Bridget Jones's Diary used the plot from Pride & Prejudice. Should I mention the movie in my letter or does it hurt me & make me look unimaginative?
Good questions. I can only tell you what I've done in the past, and I'm hopeful others will chime in on what they've done as well.
As far as formatting, double-spacing in a classic font, such as Times or Arial, is best. I've never included a cover page: I always assumed that agents printed out my query/email along with the sample chapter and matched that accordingly, but I don't think you'd look like an idiot if you DID include a cover page. In fact, thinking about it, I don't think it's a bad idea at all - but obviously, in the grand scheme of things, i.e., will you get an offer or not, it really doesn't matter. Don't stress too much about details like this. Pull together a professional sample with no errors and you'll be fine.
As to your next question - should you use the movie comparison - I say go for it, though it might be off-putting for higher-brow agents. What I mean by that is that if yours is a really commercial book, agents will appreciate knowing how they can market it - what niche and demographic it will fall into. Your comparison will also help them really get an idea of your book, or at least your interpretation of your book. In fact, when my agent pitched Time of My Life to editors and publishing houses, she did indeed compare it to movies, calling it a cross between Sliding Doors and Family Man. We also considered throwing Desperate Housewives in there, but she liked the above two, and I agree that it does sum up the general feel of the book well.
But I've digressed. My overall point was that I think these comparisons do help paint an apt picture of what the agent can expect from the book, which is usually a good thing. The downside, I guess, is the risk that the agent then reads it with certain expectations and the book falls short of them. But I suppose that if this happens, the agent probably doesn't like the book for a variety of reasons, so really, you're not losing much.
I'm curious to hear what other people say, though. This is just my initial gut reaction. So, folks, what say you, both about formatting and making comparisons to the silver screen?
Friday, January 11, 2008
Do FOB Pitches Get Fancy Treatment?
Question of the day: I am a freelance writer with a few published clips (including the Christian Science Monitor). I'm working on a few FOB ideas for the glossies and wanted to know how to pitch these. Do you send a 'regular' query letter?
Congrats on your progress! Sounds like you are well on your way.
Wow, it's amazing how many questions I get on FOBs. I have a few in my file that I haven't gotten around to answering yet because I first wanted to note that folks can search the archives of the blog, and I think you'll find a slew of info on FOBs. If you search and still have questions, by all means, fire away!
But to answer this specific question, yes, I pitch FOBs in the same way that I pitch any other query: I send it via email to my editor. The difference with FOBs is that it's much more acceptable to pitch multiple ideas at once. Editors don't find that entirely annoying because they usually have a bunch of FOBs to assign, and in some ways, this allows them to pick and choose which, if any, of your ideas might work for their section.
So yes, just send a regular query, but in this case, you can just say, "I had some ideas that I thought might work for X section and have included them below." Then you can just pitch them in some sort of numerical column.
Does anyone else pitch FOBs differently?
Congrats on your progress! Sounds like you are well on your way.
Wow, it's amazing how many questions I get on FOBs. I have a few in my file that I haven't gotten around to answering yet because I first wanted to note that folks can search the archives of the blog, and I think you'll find a slew of info on FOBs. If you search and still have questions, by all means, fire away!
But to answer this specific question, yes, I pitch FOBs in the same way that I pitch any other query: I send it via email to my editor. The difference with FOBs is that it's much more acceptable to pitch multiple ideas at once. Editors don't find that entirely annoying because they usually have a bunch of FOBs to assign, and in some ways, this allows them to pick and choose which, if any, of your ideas might work for their section.
So yes, just send a regular query, but in this case, you can just say, "I had some ideas that I thought might work for X section and have included them below." Then you can just pitch them in some sort of numerical column.
Does anyone else pitch FOBs differently?
Wednesday, January 09, 2008
When a Pitch Takes FOREVER!
Question fo the day: As a procrastinator, I am always looking for ways to actually get stuff done. All the advice I read about researching markets makes me think it should take a week to put together a proper query, which means I don't do it at all. I know you've written about the importance of a great query, but from what you wrote about turning these queries around, though, it seems like you were not doing a ton of research on each market before sending them out. Is that right or did you condense a lot of effort into a little sentence?
Someone recently noted on one of my writer's boards that she thought that one of her strongest assets, in terms of making it as a freelancer, was her ability to work quickly. And I have to say that I agree with her - I do think that the ability to be efficient exponentially ups your odds of success in this industry.
Should you be taking a week to put together a query? Well, I can't speak to every individual. For some people, it might take a week to really craft a fine-tuned one. But part of freelancing is math: most of your queries, at least until you've developed relationships with editors, are going to be turned down. But the more that you have out there, the more likely it is that you'll get a hit. (Assuming, of course, that all of your queries aren't total crap, in which case, it doesn't matter how many you put out - you'll never get a "yes.") So, my instinct is to say, again, without making a blanket statement, that if it's taking you a full week to draft a query, that's just too long.
Part of being able to write a good query comes with time: after a few years of drafting 'em, I had them down to a science: a juicy opening hook, a few sentences jam-packed with research and facts that make the story timely and intriguing, a concluding sentence as to why the editor needs to assign this story now. That's primarily what a query should say. And then have your bio info as well, if this is a new-to-you editor.
As far as the research? Well, I do think it helps if you're not reinventing the wheel, and by that, I mean, I tend not to pitch ideas that I know nothing about. It takes too long for me to grasp what the hell I'm talking about and what the relevant points are for the piece. Ergo, I'm not about to pitch a highly-scientific article on, say, the latest on nanotechnology because I just don't know enough about the subject. But parenting ideas? Heck, sure! I can rattle off five of those, no problem. And because this is one of my areas of expertise, I can also tell you which experts I'll interview, why this is an important topic for our time, and the angle with which I'd approach it. Additionally, I subscribe to a slew of health websites and newsletters, and I scan them every morning, which takes me all of 5-10 minutes. So I have all of this new research streamed directly to me, and I can then pick and choose what might work for my editors or what might spark a pitch idea. From there, I might do a bit of surfing to find some back-up info, but I already have the crux of my idea, and that's half the battle.
Is this making sense? I'm not sure. Tell me if it's not, and I'll clarify. Really.
So how long do you guys spend honing your pitches? How have you become more efficient in doing so over the years?
Someone recently noted on one of my writer's boards that she thought that one of her strongest assets, in terms of making it as a freelancer, was her ability to work quickly. And I have to say that I agree with her - I do think that the ability to be efficient exponentially ups your odds of success in this industry.
Should you be taking a week to put together a query? Well, I can't speak to every individual. For some people, it might take a week to really craft a fine-tuned one. But part of freelancing is math: most of your queries, at least until you've developed relationships with editors, are going to be turned down. But the more that you have out there, the more likely it is that you'll get a hit. (Assuming, of course, that all of your queries aren't total crap, in which case, it doesn't matter how many you put out - you'll never get a "yes.") So, my instinct is to say, again, without making a blanket statement, that if it's taking you a full week to draft a query, that's just too long.
Part of being able to write a good query comes with time: after a few years of drafting 'em, I had them down to a science: a juicy opening hook, a few sentences jam-packed with research and facts that make the story timely and intriguing, a concluding sentence as to why the editor needs to assign this story now. That's primarily what a query should say. And then have your bio info as well, if this is a new-to-you editor.
As far as the research? Well, I do think it helps if you're not reinventing the wheel, and by that, I mean, I tend not to pitch ideas that I know nothing about. It takes too long for me to grasp what the hell I'm talking about and what the relevant points are for the piece. Ergo, I'm not about to pitch a highly-scientific article on, say, the latest on nanotechnology because I just don't know enough about the subject. But parenting ideas? Heck, sure! I can rattle off five of those, no problem. And because this is one of my areas of expertise, I can also tell you which experts I'll interview, why this is an important topic for our time, and the angle with which I'd approach it. Additionally, I subscribe to a slew of health websites and newsletters, and I scan them every morning, which takes me all of 5-10 minutes. So I have all of this new research streamed directly to me, and I can then pick and choose what might work for my editors or what might spark a pitch idea. From there, I might do a bit of surfing to find some back-up info, but I already have the crux of my idea, and that's half the battle.
Is this making sense? I'm not sure. Tell me if it's not, and I'll clarify. Really.
So how long do you guys spend honing your pitches? How have you become more efficient in doing so over the years?
Monday, January 07, 2008
Pre-taped vs. Live
As promised, we're doing an all-question week here at Ask Allison. I do have a backlog, but if you guys have lingering questions that I never answer or that you never sent in, now's your chance - send 'em in, and I'll add them to the queue.
I read your travel insurance piece in COOKING LIGHT's FOB. 1.Could you post the query you sent for it? 2.When you have experts such as Jeff Greenberg and Pauline Frommer of the Frommer travel books family, do you ever quote from their books or do you always call or email them for a fresh quote?
Unfortunately, I don't have the query for this because I didn't query it: the editor came to me and asked if I'd be interested. If I were to have queried it, it probably would have read something much along the lines of the actual piece:
A la: During the holiday season, travel increases by X percentage (I'd put the real percentage in, but am too busy to look it up for this blog post), so how does someone know if trip insurance is worth it? For a cheapo fare or only for lavish expenses? For airfare or for the whole she-bang? And if someone does opt for it, how does he go about finding reputable insurance? This FOB would provide the answers to the above questions, explained by top experts in the field, such as Jeff Greenberg and Peggy Frommer.
To answer the second part of your question, in my opinion, it's always better to get fresh quotes from an expert. Some experts are so busy that yes, they'll send you a book and suggest that you paraphrase from it, which, you know, in a jam, will do, but it's not, in my mind, the best journalism or reporting. When possible, try to get the expert on the phone, and if that fails, via email. I think culling quotes from a book should be your last resort. That said, I've had to do it in the past, and I suppose as long as the information is properly interpreted and your editor/audience/expert are happy, no one is really harmed too much in doing so.
But what do you guys think? Feel free to disagree. This is a nebulous area, and I'm all ears!
I read your travel insurance piece in COOKING LIGHT's FOB. 1.Could you post the query you sent for it? 2.When you have experts such as Jeff Greenberg and Pauline Frommer of the Frommer travel books family, do you ever quote from their books or do you always call or email them for a fresh quote?
Unfortunately, I don't have the query for this because I didn't query it: the editor came to me and asked if I'd be interested. If I were to have queried it, it probably would have read something much along the lines of the actual piece:
A la: During the holiday season, travel increases by X percentage (I'd put the real percentage in, but am too busy to look it up for this blog post), so how does someone know if trip insurance is worth it? For a cheapo fare or only for lavish expenses? For airfare or for the whole she-bang? And if someone does opt for it, how does he go about finding reputable insurance? This FOB would provide the answers to the above questions, explained by top experts in the field, such as Jeff Greenberg and Peggy Frommer.
To answer the second part of your question, in my opinion, it's always better to get fresh quotes from an expert. Some experts are so busy that yes, they'll send you a book and suggest that you paraphrase from it, which, you know, in a jam, will do, but it's not, in my mind, the best journalism or reporting. When possible, try to get the expert on the phone, and if that fails, via email. I think culling quotes from a book should be your last resort. That said, I've had to do it in the past, and I suppose as long as the information is properly interpreted and your editor/audience/expert are happy, no one is really harmed too much in doing so.
But what do you guys think? Feel free to disagree. This is a nebulous area, and I'm all ears!
Monday, November 19, 2007
Stuck in the Stone Age
Question of the week: Why do some agents insist sending queries by snail mail with a SASE? It seems so old fashioned not to mention wasteful in a few different ways. I recently sent a query letter, synopsis, 75 pages of my story, SASE etc. only to have it ultimately rejected. A trip to the post office, the cost of postage, not to mention printing out all those pages could easily have been avoided if I could simply send it all via email. So...what's up? In an age where we all are trying to conserve (gas, ink, paper, time, stamps) this practice seems archaic and old school.
Just a quick update to last week's post: I am officially in like with Facebook, much more so than MySpace. For promotional purposes, MySpace definitely wins - I'm "friends" with hundreds of people whom I really don't know, and I can blast out a note to all of them if need be. But on a more personal level, I'm really enjoying Facebook - I've found friends from high school and life whom I'm happy to be back in touch with, and what I like most about the site is how it alerts you to all of their updates - when they've added new pictures, when they've connected with someone new (and who that person is) - so I'm always kept in the loop about their pages and yes, their lives. I dunno. I think it's pretty cool. It doesn't serve a promotional purpose for me at all, but hey, so what?
Anyhoo, on to the above question. You know, I don't have the foggiest idea why agents still insist on the SASE or why, quite frankly, anyone would insist on receiving snail mail queries. Actually, that's not true: I'm sure that for some agents, it's much easier to read these queries while on the train or the bus or whatever, and why should they have to go through the trouble of sifting through their already clogged inbox and then printing any queries that grab their attention? I do, I suppose, understand the practicality of it.
But that said, yes, it seems completely archaic and outdated, and for me, at least, it was also a criteria with which I eliminated agents while in my agent hunt. I wanted someone efficient, on the cutting edge, and who used email just as often as I did (which, um, is always and for everything), so whether it seems reasonable or not, I didn't submit (with one exception) to any agents who refused email queries and required that dreaded SASE. (I do realize, of course, that just because someone requires snail mail queries doesn't mean that he or she isn't hyperly-efficient, but I think you get my idea. I'm just saying that I wanted someone who I felt would be most compatible with me and my working style...I hope that makes sense.) Before you jump up and down and say, "But everyone says that they don't accept email queries," let me interject that yes, I know that agents say this, but for the most part, they say this because they don't want to be inundated with queries, not because they won't accept them. Yes, it might annoy a few, but the vast majority of those who list "no email queries" on Agent Query or wherever will, indeed, take 'em.
Which means that you can kiss that pesky SASE goodbye.
(Btw, please do realize that everything I post on this blog is my opinion and mine alone. Well, okay, I do have some writer friends who usually agree with me, but what I mean to say is that you are welcome to disagree and discard my advice. I know that at times, I'd read Miss Snark and completely disagree with her, and hey, that's cool. It didn't take away from what she was trying to do and how she was trying to help people. I hope blog readers here understand this and feel the same.)
Anyway, so...did you guys query with SASEs? And why do you think that agents still insist on using snail mail?
Just a quick update to last week's post: I am officially in like with Facebook, much more so than MySpace. For promotional purposes, MySpace definitely wins - I'm "friends" with hundreds of people whom I really don't know, and I can blast out a note to all of them if need be. But on a more personal level, I'm really enjoying Facebook - I've found friends from high school and life whom I'm happy to be back in touch with, and what I like most about the site is how it alerts you to all of their updates - when they've added new pictures, when they've connected with someone new (and who that person is) - so I'm always kept in the loop about their pages and yes, their lives. I dunno. I think it's pretty cool. It doesn't serve a promotional purpose for me at all, but hey, so what?
Anyhoo, on to the above question. You know, I don't have the foggiest idea why agents still insist on the SASE or why, quite frankly, anyone would insist on receiving snail mail queries. Actually, that's not true: I'm sure that for some agents, it's much easier to read these queries while on the train or the bus or whatever, and why should they have to go through the trouble of sifting through their already clogged inbox and then printing any queries that grab their attention? I do, I suppose, understand the practicality of it.
But that said, yes, it seems completely archaic and outdated, and for me, at least, it was also a criteria with which I eliminated agents while in my agent hunt. I wanted someone efficient, on the cutting edge, and who used email just as often as I did (which, um, is always and for everything), so whether it seems reasonable or not, I didn't submit (with one exception) to any agents who refused email queries and required that dreaded SASE. (I do realize, of course, that just because someone requires snail mail queries doesn't mean that he or she isn't hyperly-efficient, but I think you get my idea. I'm just saying that I wanted someone who I felt would be most compatible with me and my working style...I hope that makes sense.) Before you jump up and down and say, "But everyone says that they don't accept email queries," let me interject that yes, I know that agents say this, but for the most part, they say this because they don't want to be inundated with queries, not because they won't accept them. Yes, it might annoy a few, but the vast majority of those who list "no email queries" on Agent Query or wherever will, indeed, take 'em.
Which means that you can kiss that pesky SASE goodbye.
(Btw, please do realize that everything I post on this blog is my opinion and mine alone. Well, okay, I do have some writer friends who usually agree with me, but what I mean to say is that you are welcome to disagree and discard my advice. I know that at times, I'd read Miss Snark and completely disagree with her, and hey, that's cool. It didn't take away from what she was trying to do and how she was trying to help people. I hope blog readers here understand this and feel the same.)
Anyway, so...did you guys query with SASEs? And why do you think that agents still insist on using snail mail?
Wednesday, November 14, 2007
Breaking In
Question of the week: I have some steady work from my former employer and other smaller titles, but I'd like to build relationships with some Conde Nast, Time Inc, etc. titles. What's the best way to begin building these relationships? How do I best make those introductions and let them know I'm available and would like to serve them? Do I need to spend much of my time working on solid queries and sending those out? Or do such editors even regard unsolicited queries? Your thoughts would be appreciated!
I get similar questions a lot, and the first thing I always say is to search the archives of the blog...I offered a lot of advice on breaking in last year when I answered questions daily.
But, because I don't mind repeating myself (just ask my husband!), I'll say this again: there really isn't a secret formula to breaking into the national markets. It sounds like you already have some clips, which should put you on your way, and now, I'd spend some serious time crafting very detailed, well-researched pitches. Those are the only way to break in. Yes, editors read unsolicited pitches all the time, but if you pitch them crap - poorly researched or poorly written - ideas, they'll likely ignore any follow ups or future pitches. I don't mean to imply that you get one shot and you're out because that's certainly not the case, but you know that phrase, "You never get a second chance to make a first impression?" Yeah, well, keep that in mind as you pitch.
I realize that this might make the process sound daunting and fray your already fraying nerves. And I don't mean to at all. But what I'm trying to impart is that good and targeted queries are the only and the best way to break in (barring having worked a magazine previously and/or having really strong connections), so it would be wise to take your time with them. Dig around for new studies or new trends and pack your queries with information that might make an editor take five extra seconds from her already harried day and think, "Oh, wow, this is a writer and an idea that I should give some consideration too."
If she writes you back and says, "Good idea but not for us," take that as now open lines of communication. Keep pitching her. Keep following up with her. The ONLY way that you're going to nudge your way in the door is with persistence. I think I've said this on the blog before, but I once had to follow up to a pitch three times before I heard anything from the editor, and when I finally did, I landed my first feature at SELF.
As far as letters of introduction to the big nationals? Well, unless you have competitive and/or national clips - i.e. unless you write for their competitors - I think this is a waste of time. Too many people are willing to do the upfront work and craft good query letters, and if you were an editor, who would you rather assign to - someone who took the time to put together a query that demonstrated their skills or someone who sent off a generic introduction letter. (I don't mean to say that intro letters never work. They do, and I use them these days, but I do think that you have to be established in the industry for them to garner any attention or weight.)
I've also said this before (search the archives), but FOBs are a fabulous place to break in. Editors are more willing to take a chance on a new writer when the assignment is only 250 words rather than 2000.
So, that's my breaking in advice. Anyone out there have other tips? Or disagree with me? (Hey, you can!)
I get similar questions a lot, and the first thing I always say is to search the archives of the blog...I offered a lot of advice on breaking in last year when I answered questions daily.
But, because I don't mind repeating myself (just ask my husband!), I'll say this again: there really isn't a secret formula to breaking into the national markets. It sounds like you already have some clips, which should put you on your way, and now, I'd spend some serious time crafting very detailed, well-researched pitches. Those are the only way to break in. Yes, editors read unsolicited pitches all the time, but if you pitch them crap - poorly researched or poorly written - ideas, they'll likely ignore any follow ups or future pitches. I don't mean to imply that you get one shot and you're out because that's certainly not the case, but you know that phrase, "You never get a second chance to make a first impression?" Yeah, well, keep that in mind as you pitch.
I realize that this might make the process sound daunting and fray your already fraying nerves. And I don't mean to at all. But what I'm trying to impart is that good and targeted queries are the only and the best way to break in (barring having worked a magazine previously and/or having really strong connections), so it would be wise to take your time with them. Dig around for new studies or new trends and pack your queries with information that might make an editor take five extra seconds from her already harried day and think, "Oh, wow, this is a writer and an idea that I should give some consideration too."
If she writes you back and says, "Good idea but not for us," take that as now open lines of communication. Keep pitching her. Keep following up with her. The ONLY way that you're going to nudge your way in the door is with persistence. I think I've said this on the blog before, but I once had to follow up to a pitch three times before I heard anything from the editor, and when I finally did, I landed my first feature at SELF.
As far as letters of introduction to the big nationals? Well, unless you have competitive and/or national clips - i.e. unless you write for their competitors - I think this is a waste of time. Too many people are willing to do the upfront work and craft good query letters, and if you were an editor, who would you rather assign to - someone who took the time to put together a query that demonstrated their skills or someone who sent off a generic introduction letter. (I don't mean to say that intro letters never work. They do, and I use them these days, but I do think that you have to be established in the industry for them to garner any attention or weight.)
I've also said this before (search the archives), but FOBs are a fabulous place to break in. Editors are more willing to take a chance on a new writer when the assignment is only 250 words rather than 2000.
So, that's my breaking in advice. Anyone out there have other tips? Or disagree with me? (Hey, you can!)
Monday, July 09, 2007
Query Letter Confusion
I am writing because I am a little confused about the whole query letter thing.
Let me start by saying, I did not write a book for anyone but my daughter. I wrote her a story of her own because she hated Harry Potter, not because she read it and did not like it but because her brothers loved it.
After I wrote, “Anna and Her Amazing What if Machine” something odd happened. My daughter started passing it around to her friends. Much to my surprise, they loved it. Then my daughters teacher read it and she loved it. Together they pushed me to get it edited and ready for publishing. I did, and now I am stuck. I have read every website, and I have seen so many different variations on the query letter, my head could spin. I have sent out a few letters and no takers so far.
I could use some good advice…..Can you help me?
Hmmm, well, I'll try. To begin with, I'm not sure what "a few letters" means, but most folks have to send far more than "a few" to land an agent. I've rarely heard of writers who have sent out fewer than, at least, a dozen, and most send out five times as many. If you're serious about getting an agent, then you have to keep pitching and pitching. I started with my top twelve or so, then kept sending out a new letter every time a rejection came in.
As far as query letter format, yes, there are some variations, but in general, there are also some rules.
1) Limit it to a page. If you can't sum up your book in that amount of space, you need to figure out how to hone your writing.
2) Imbue the letter with the same voice that you use in your book. Don't just make it an, "I wrote this book and I'm sure it will top the charts" letter. Agents get that all the time and honestly, there's nothing unique about that at all.
3) Toot your own horn but depersonalize it. What I mean by that is that I would emphasize your professional accomplishments, but I wouldn't let them know that your friends and family endorse your book. That screams amateur, and frankly, agents don't care if your mother thinks it's the greatest thing since sliced bread. That's part of a mother's job.
4) This isn't a rule, but I like to set up my letters in the following format: opening paragraph is a brief, snazzy, grabs-ya summary of the book and what makes it unique. Second paragraph is a real push for why readers will love it. Third paragraph is my bio. (See last week's posts for my query letter for TDLF)
Hope this helps. Anyone else have other query letter tips to help out this reader?
Tuesday, June 12, 2007
Jumping the Gun
Thanks for all the insightful comments on yesterday's post...at the very least, it's a good thing that people like us are concerned about this trend, and will raise our children (and spouses, hee!), differently.
Question of the day: Can I pitch a story without having the story written, or the subject on board? For example, if I would like to write a profile of someone (well-known or not) do I have to get their approval before pitching the article?
Well, this raises two questions. First of all, you should never write the complete article until the editor has given you the green-light. The exceptions are essays and travel pieces. As I've said before on this blog, sending in a complete story before an assignment is a huge newbie mistake and sends red flags to editors right away. (Search the archives of the blog for more info on this.)
But things do get tricky when you're pitching a celeb piece or a profile. It's a bit of a catch-22 situation because if you approach your subject first, then don't get the assignment, you've let that person down...and if you approach your editor first, then can't land the subject, you risk letting your editor down. BUT, if this is a well-known person (a celeb, for example), most editors understand that landing the interview isn't a slam-dunk. I do celeb pieces (have a cover story coming out on the 15th with Jaime Pressly), and when my editor and I chat about who he wants me to cover, it's always with the understanding that the publicist might say "no."
So...if you're uncertain that you can land your interview subject, I'd probably just be up front with the editor and say, "I'd love to cover this story for you, and while I *think* I can land Brad Pitt, I just wanted to see if you'd want to run the story if, indeed, I can land him." This covers all bases: you've pitched the story, but also given yourself an out. In my case, since I have a relationship with my editor, I'd rather give myself that flexibility than waste the time of Brad Pitt and his publicist, who might not take kindly to my wasting their time.
But there really aren't any easy solutions for this type of situation, at least not that I've found. Readers, do you have better suggestions? I'd welcome hearing them.
Question of the day: Can I pitch a story without having the story written, or the subject on board? For example, if I would like to write a profile of someone (well-known or not) do I have to get their approval before pitching the article?
Well, this raises two questions. First of all, you should never write the complete article until the editor has given you the green-light. The exceptions are essays and travel pieces. As I've said before on this blog, sending in a complete story before an assignment is a huge newbie mistake and sends red flags to editors right away. (Search the archives of the blog for more info on this.)
But things do get tricky when you're pitching a celeb piece or a profile. It's a bit of a catch-22 situation because if you approach your subject first, then don't get the assignment, you've let that person down...and if you approach your editor first, then can't land the subject, you risk letting your editor down. BUT, if this is a well-known person (a celeb, for example), most editors understand that landing the interview isn't a slam-dunk. I do celeb pieces (have a cover story coming out on the 15th with Jaime Pressly), and when my editor and I chat about who he wants me to cover, it's always with the understanding that the publicist might say "no."
So...if you're uncertain that you can land your interview subject, I'd probably just be up front with the editor and say, "I'd love to cover this story for you, and while I *think* I can land Brad Pitt, I just wanted to see if you'd want to run the story if, indeed, I can land him." This covers all bases: you've pitched the story, but also given yourself an out. In my case, since I have a relationship with my editor, I'd rather give myself that flexibility than waste the time of Brad Pitt and his publicist, who might not take kindly to my wasting their time.
But there really aren't any easy solutions for this type of situation, at least not that I've found. Readers, do you have better suggestions? I'd welcome hearing them.
Thursday, May 31, 2007
Crafting a Query
I saw your "Just Do It" article in WOMAN'S DAY yesterday. I've never seen that format, why you resist/why we insist in a self help article. Have I just overlooked it or did you or the WD editor come up with it? Since this magazine is so readily available, I think it would help your blog readers to read the article and also read the query you sent for it. (You've posted queries before, but we didn't have the matching article). Would that be possible?
Unfortunately, I searched my old email files and can't find this exact pitch, but I can give you an idea of what it looked like and how it came to fruition.
To answer your initial question, no, this isn't a standard format, this is how you land a story...but taking a generic topic, in this case, things that we all put off (which women's magazines cover endlessly), and spinning it into a clever package. For those who haven't seen the article, each thing that we might procrastinate (i.e, eating more fiber), is broken down like this:
Why You Resist Doing It: blah blah blah
Why We Insist On Doing it: blah blah health advice blah blah
Here's how I came up with it: I know that my editor at Woman's Day likes "fresh" spins on ideas. The magazine isn't going to cover crazy, outlandish topics. Rather, their audience likes good, smart advice on day-to-day, evergreen subjects, but they like it given to them with an interesting tweak. So...to that end, I thought of the idea of "things that we all put off." But if I'd written my editor an email saying, "let's cover a story about things that we all put off," she'd have said, "snoozefest." Because there's nothing snappy or interesting about that subject, at least when you look at it superficially. So what I did instead was come up with crafty packaging: i.e, the resist/insist angle. See how I pitch the exact same subject matter but make it 100x more interesting by adding in the resist/insist suggestion?
For the actual pitch, I simply put together two or three topics that we later went on to include in the article - I can't remember what they were, but probably something like having more sex, making time for workouts, etc. I showed my editor how the article would break down, and then offered a list of other topics we could include and voila...story assigned.
Readers, how do you come up with unique pitches that you go on to land?
FYI: tomorrow, I'll be at BEA (Book Expo America), signing books and meeting and greeting. Will be back on Monday to report the scoop!
Monday, May 21, 2007
Approaching Essays
***Listen to me on the radio today from 10AM - 10:40 EST on KTLR 890AM. You can listen to it on the web here.***
I had a weekend that sort of reminded me of aspects of TDLF. With two small kids, a career, an in-the-works new apartment, a marriage, a dog, etc (you get the point), I've realized that the first thing to go is often my social life. I know that any parent of young kids out there can relate. But this weekend, I had lunch with a fabulous friend on Friday, we had brunch with our awesome next-door neighbors (Broadway actors! Love them!) on Saturday, we went out with another couple on Sat night, and then I spent some time with Lizzie's parents, who were in town and wanted to meet my kids, on Sunday. All the while keeping our apt in tip-top shape for the open houses. Anyway, even though I was totally beat, I also felt so rejuvenated, not unlike how Natalie comes to feel. It's important to take time out and just have some fun, even if it's at the expense of the massive deadline that I have today (don't worry, I'm getting it done!) or playing catch-up with the blog. It was a good weekend, and not one I'll forget for a while.
Question of the day: I would like to know the best strategy for approaching editors when you have an essay to sell.
I've touched on this in the past on the blog (so search the archives), but the general rule of thumb is to have the entire essay piece written before you query the editor. From there, I like to write a very juicy paragraph or so, perhaps using my opening sentence from the actual essay, then providing a fabu summary of the piece. Don't send the piece as an attachment prior to getting the okay from the editor: that nearly guarantees deletion. Just write a very concise, catchy opener, list your credits and ask if you can send them the full essay.
At least that's what I'd do. But there are others out there who are wiser in the ways of essays than I am.
So, essay-sages, what say you?
I had a weekend that sort of reminded me of aspects of TDLF. With two small kids, a career, an in-the-works new apartment, a marriage, a dog, etc (you get the point), I've realized that the first thing to go is often my social life. I know that any parent of young kids out there can relate. But this weekend, I had lunch with a fabulous friend on Friday, we had brunch with our awesome next-door neighbors (Broadway actors! Love them!) on Saturday, we went out with another couple on Sat night, and then I spent some time with Lizzie's parents, who were in town and wanted to meet my kids, on Sunday. All the while keeping our apt in tip-top shape for the open houses. Anyway, even though I was totally beat, I also felt so rejuvenated, not unlike how Natalie comes to feel. It's important to take time out and just have some fun, even if it's at the expense of the massive deadline that I have today (don't worry, I'm getting it done!) or playing catch-up with the blog. It was a good weekend, and not one I'll forget for a while.
Question of the day: I would like to know the best strategy for approaching editors when you have an essay to sell.
I've touched on this in the past on the blog (so search the archives), but the general rule of thumb is to have the entire essay piece written before you query the editor. From there, I like to write a very juicy paragraph or so, perhaps using my opening sentence from the actual essay, then providing a fabu summary of the piece. Don't send the piece as an attachment prior to getting the okay from the editor: that nearly guarantees deletion. Just write a very concise, catchy opener, list your credits and ask if you can send them the full essay.
At least that's what I'd do. But there are others out there who are wiser in the ways of essays than I am.
So, essay-sages, what say you?
Tuesday, April 24, 2007
Going National
If I'm pitching a big national women's magazine with a trend story, should I mention that I covered the general topic this year already. I did a local feature on an example of this trend for a local city magazine. So I have contacts and a general passion for the topic. Should I include this local story in my clips with the pitch or will this turn off national NYC editors...who I assume want something fresh and new? My pitch for the national magazine is broader but it touches on the same general trend I featured in the local story.
Ooh, this is a toughie, and I'm guessing that there are folks out there who have done this, so I'm hoping they'll weigh in, since I've never been in this position.
My instinct is to say that it's fine to mention the previous story IF it's not dated (i.e. older than six months) and IF you can make it "fresh" for the nationals. In fact, if you're going to take it from a local story to a national story, you'll have to put a different spin on it because editors at Vogue aren't going to care what's happening in Ohio unless it's part of a nationwide-trend. So you'll have to answer the question as to a) why is this still relevant six months later and b) what makes this trend applicable to country-wide readers, not just those in Ohio. If you can do this, then I'll argue that you're previous experience is your trump card. I've mentioned before that in your query, you need to convince the editor that you are the sole person who should write this story, and thus, in this pitch letter, I'd list the contacts and experts you'd use and mention that you already have established relationships with them. This gives you a leg up.
That said, I'm open to being swayed as to why you shouldn't mention the previous clip. Thoughts?
Ooh, this is a toughie, and I'm guessing that there are folks out there who have done this, so I'm hoping they'll weigh in, since I've never been in this position.
My instinct is to say that it's fine to mention the previous story IF it's not dated (i.e. older than six months) and IF you can make it "fresh" for the nationals. In fact, if you're going to take it from a local story to a national story, you'll have to put a different spin on it because editors at Vogue aren't going to care what's happening in Ohio unless it's part of a nationwide-trend. So you'll have to answer the question as to a) why is this still relevant six months later and b) what makes this trend applicable to country-wide readers, not just those in Ohio. If you can do this, then I'll argue that you're previous experience is your trump card. I've mentioned before that in your query, you need to convince the editor that you are the sole person who should write this story, and thus, in this pitch letter, I'd list the contacts and experts you'd use and mention that you already have established relationships with them. This gives you a leg up.
That said, I'm open to being swayed as to why you shouldn't mention the previous clip. Thoughts?
Tuesday, April 10, 2007
Travel Writing and Reprints
Today, I sold a feature travel article to a regional magazine. I'm thrilled, but of course, now I want to do more. The magazine is buying first rights for their region, so I can sell this story to other magazines in other regions. My question is regarding how to approach those other magazines. Do I send them the query letter and say that I am selling the first print rights for their region (let's say 'Austin' or 'Rhode Island', for example). Are editors put off by writers trying to sell an as yet unwritten story to multiple markets (this seems like a delicate issue)? Would it be better to wait until the article is published and sell it as a reprint (which I would guess earns less money)? If I somehow sell the article to another regional market, do I have to tell the first market about it? I just want to get the appropriate mileage out of this article without committing any faux pas or causing bad blood with editors, especially the one who is already buying my article.
Ooh, this is tough, and I'm really not sure what the answer is because I don't do any travel writing, and I also am too lazy to resell my reprints. (Which is dumb, I know, but these days, I just don't have the energy.)
I really don't have any insider tips, so I wanted to throw this out to readers because I'm certain that someone out there will give you good advice.
Geez, I'm sorry that I don't have more insight! But this is what I love about this blog...I learn things here too!
So readers, what say you?
Ooh, this is tough, and I'm really not sure what the answer is because I don't do any travel writing, and I also am too lazy to resell my reprints. (Which is dumb, I know, but these days, I just don't have the energy.)
I really don't have any insider tips, so I wanted to throw this out to readers because I'm certain that someone out there will give you good advice.
Geez, I'm sorry that I don't have more insight! But this is what I love about this blog...I learn things here too!
So readers, what say you?
Monday, April 09, 2007
Does Timing Matter?
Do you think the timing of pitches matters? I often find myself drafting pitches Friday afternoon (a quieter time when e-mail and phone have died down, etc.). But then I wonder if it’s a bad idea to e-mail a pitch on a Friday afternoon because the editor likely won’t get it until Monday morning when it will be buried underneath all the spam and other stuff that comes in her in-box over the weekend. Also, I overheard a former editor talking the other day and she said she hated it when freelance writers pitched her during certain time of the month (I’m pretty sure she wasn’t talking menstrual cycle, but rather the week that she was under deadline). So are there certain days and/or weeks that are better to pitch than others? Or am I totally over-thinking this?
LOL: the certain time of month! I'm guessing that she meant "closing" - when they put an issue to bed and things get really harried - but honestly, I don't keep track of which magazines close when, so not pitching during "that time of month" might be tough. But you could certainly ask your editor - if you have a relationship with her that is - when the mag closes, and then pitch accordingly.
When I was in my pitching hey-day, I liked to send off emails late at night before I went to bed. My thinking was that universally, people tend to open their email account first thing in the morning before their days got crazy, and by sending it later in the evening, mine would be closer to the top. Now. I have no idea if this tactic worked or if it was just some crazy scheme that I invented, but I did seem to land a decent amount of pitches or, at the very least, got responses.
I actually don't like to pitch on Fridays or over the weekend for the exact reason you mention: I worry that my email will get lost in the fray. But I do have some friends who say that pitching on Fridays works really well for them because it tends to be a quieter day for editors, so they have time to read the emails, and they also might want to clear out their inboxes before the weekend.
So...gee...I'm not being particularly helpful, am I? I think the bottom line is that every writer will tell you something different, so it's difficult to pinpoint the best time to pitch. What really matters, of course, is that your pitch is a good one, not when you send it.
But that said, I'd love to hear from readers: when do you pitch and why? What works for you? If there are any editors out there, when do you prefer to receive pitches?
LOL: the certain time of month! I'm guessing that she meant "closing" - when they put an issue to bed and things get really harried - but honestly, I don't keep track of which magazines close when, so not pitching during "that time of month" might be tough. But you could certainly ask your editor - if you have a relationship with her that is - when the mag closes, and then pitch accordingly.
When I was in my pitching hey-day, I liked to send off emails late at night before I went to bed. My thinking was that universally, people tend to open their email account first thing in the morning before their days got crazy, and by sending it later in the evening, mine would be closer to the top. Now. I have no idea if this tactic worked or if it was just some crazy scheme that I invented, but I did seem to land a decent amount of pitches or, at the very least, got responses.
I actually don't like to pitch on Fridays or over the weekend for the exact reason you mention: I worry that my email will get lost in the fray. But I do have some friends who say that pitching on Fridays works really well for them because it tends to be a quieter day for editors, so they have time to read the emails, and they also might want to clear out their inboxes before the weekend.
So...gee...I'm not being particularly helpful, am I? I think the bottom line is that every writer will tell you something different, so it's difficult to pinpoint the best time to pitch. What really matters, of course, is that your pitch is a good one, not when you send it.
But that said, I'd love to hear from readers: when do you pitch and why? What works for you? If there are any editors out there, when do you prefer to receive pitches?
Wednesday, April 04, 2007
The Numbers Game for Queries
I'm starting to get more clips (it seems like a snowball effect) and I am landing a couple of magazine assignments each month, which inspires me to pitch more, etc. At some point of course I'd love to quit my 9-5 and be able to pay for my own health insurance. My question is, how did you transition to freelancing full-time and do you set a weekly goal for pitching magazine pieces - i.e. this week I'll pitch five stories - or any other tips you have on how to keep the snowball rolling, and growing.
I was in a very fortunate position in that I didn't really have a "full-time job" when I started freelancing. Rather, I'd co-launched an internet company that was eventually sold (sadly, after the internet bubble popped), and I retained a lot of our clients as freelance clients. So...I never really faced the "can I leave my current job" situation because I poached from my current well of work and kept working for them.
But, more to your point, I think a weekly goal is a must. In fact, one of my writer's groups frequently has Pitch Challenges, in which teams try to pitch as many places/editors as they can, and then score points for each story landed. If five a week works for you, and is bringing in steady work, then by all means, keep it up.
I think the hardest thing, in terms of volume, is coming up with new ideas. So don't forget that each idea doesn't have to be "new." It might be a spin on an idea that you're already pitching...or a spin on a story that you've already written. Whenever I'm interviewing an expert for a piece, I try to weed out some tangents or nuggets that might be used elsewhere - I often end up using only a small percentage of the actual interview for the first story, and why let all of that good info go to waste? Of course, it also helps to scour the web (and newspapers, etc) to stay on top of all the breaking research and trends. I've found that often times, even when I'm totally creatively-zapped, digging around some breaking news might help me muster up a gem of an idea.
So readers, how many pitches do you aim to shoot off each week? Is there a method to your madness?
I was in a very fortunate position in that I didn't really have a "full-time job" when I started freelancing. Rather, I'd co-launched an internet company that was eventually sold (sadly, after the internet bubble popped), and I retained a lot of our clients as freelance clients. So...I never really faced the "can I leave my current job" situation because I poached from my current well of work and kept working for them.
But, more to your point, I think a weekly goal is a must. In fact, one of my writer's groups frequently has Pitch Challenges, in which teams try to pitch as many places/editors as they can, and then score points for each story landed. If five a week works for you, and is bringing in steady work, then by all means, keep it up.
I think the hardest thing, in terms of volume, is coming up with new ideas. So don't forget that each idea doesn't have to be "new." It might be a spin on an idea that you're already pitching...or a spin on a story that you've already written. Whenever I'm interviewing an expert for a piece, I try to weed out some tangents or nuggets that might be used elsewhere - I often end up using only a small percentage of the actual interview for the first story, and why let all of that good info go to waste? Of course, it also helps to scour the web (and newspapers, etc) to stay on top of all the breaking research and trends. I've found that often times, even when I'm totally creatively-zapped, digging around some breaking news might help me muster up a gem of an idea.
So readers, how many pitches do you aim to shoot off each week? Is there a method to your madness?
Wednesday, March 14, 2007
Aiming for the Stars
I was encouraged by an editor who liked my writing style to pitch a department piece to break into the mag (I don't have many clips beyond the small pubs for which I'm on staff as an editor). Assuming all goes well and I dazzle her (which I plan to!), I will definitely follow up with additional story ideas. My question is should I prepare 3-5 more FOB pitches, or go for the big one and pitch a feature or two (she handles both)? In other words, is nailing one short assignment enough to prove myself worthy of feature consideration? And if I decide to pitch another section of the mag, will it help to name-drop that I recently worked with this editor even if the piece hasn't run yet?
Two good questions here. For the first, I'm inclined to say that it doesn't matter: you should pitch the ideas that you think are strongest, or hell, why not pitch them all? If you're dying to break into features asap and have a great story idea, go for it; once she knows your name, you'll at least get a more attentive answer. Will she assign it? I'd say that if it's a good fit for her, she probably would. That said, there's really no way to know, so I wouldn't consider this an either/or thing: pitch everything because proving yourself to an editor is an on-going process, and just because you'd rather write features doesn't mean that you shouldn't (or can't) be writing FOBs along the way. Does that make sense?
As far as writing for another section of the mag, this is how I handle things. I usually ask the editor I'm working with if she is the appropriate editor to pitch X to. If she's not, she almost always gives me the name of the editor who is, and I can then say to this editor, "So-and-so suggested that I contact you about TK story idea." It gives me an in without being presumptuous. Of course, if your experience with your current editor is positive, I don't think it will harm you to name-drop, but it's always nice to have said editor's permission to do so. (But again, I really don't think it's that big of a deal.) Besides, your current editor might just put in a good word for you with the new editor, which is always a good thing.
So, how do you guys handle moving from FOBs to features? Is one story enough to make the transition?
Two good questions here. For the first, I'm inclined to say that it doesn't matter: you should pitch the ideas that you think are strongest, or hell, why not pitch them all? If you're dying to break into features asap and have a great story idea, go for it; once she knows your name, you'll at least get a more attentive answer. Will she assign it? I'd say that if it's a good fit for her, she probably would. That said, there's really no way to know, so I wouldn't consider this an either/or thing: pitch everything because proving yourself to an editor is an on-going process, and just because you'd rather write features doesn't mean that you shouldn't (or can't) be writing FOBs along the way. Does that make sense?
As far as writing for another section of the mag, this is how I handle things. I usually ask the editor I'm working with if she is the appropriate editor to pitch X to. If she's not, she almost always gives me the name of the editor who is, and I can then say to this editor, "So-and-so suggested that I contact you about TK story idea." It gives me an in without being presumptuous. Of course, if your experience with your current editor is positive, I don't think it will harm you to name-drop, but it's always nice to have said editor's permission to do so. (But again, I really don't think it's that big of a deal.) Besides, your current editor might just put in a good word for you with the new editor, which is always a good thing.
So, how do you guys handle moving from FOBs to features? Is one story enough to make the transition?
Monday, March 12, 2007
Hey Editor - Where the Hell Are You??
WIP update: I'm thrilled to report that I hit page 150 on Friday. Not just thrilled to hit that page, but because I've really pulled together the first half of the book and think it's all really clicking now. This week, I'm going to revise these pages again - I have a few sections that I still want to strengthen - and get it in shape to pass to my agent when she's back in town on Friday. How goes your work?
Question of the day: What do you make of editors who express interest in an essay or query and then go MIA? I had an editor commission a piece last fall with a fairly short turn-around time. I beat the deadline, then never heard from her. I keep following up every month or so asking about getting a kill fee or getting it published, but she always says she'll check with the other editors and that she'd love to get more queries from me, but I never get a definitive answer when I query with other projects or ask about the status on my old article. When is it time to write her off and submit the article elsewhere?
Ugh, isn't this the worst?? Okay, here's what I'd do.
First of all, it's important to remember that editors do not hold all the power. It's easy to be intimidated by them because yes, they are the gate-keepers and do ultimately determine whether or not you're published, but at the end of the day, they're people, just like us. Really. When I first started out, I, too, was cowed by their presence, but now that many of these editors have become friends, I really can state with authority that while I love 'em, they're certainly not on a higher plane than we are.
So remember that.
With that in mind, I'd send this editor an email saying, "I'm so glad that you expressed interested in my story, however, since I haven't yet been paid and since you haven't yet confirmed that you'll be running it, please let me know if you intend to use said story, as it's a timely piece, and I'd like to place it elsewhere if not. Please let me know by X date." This gives both of you a deadline - her, to make a decision, and you, to move on.
Now, if she had already paid you, it would be a different situation. Once you've been paid, they've fulfilled their end of the contract...they're not under any obligation to actually publish the piece. I can recall several time when I've actually been paid in full and never had the article run. That's just what happens in the magazine world when hot topics suddenly become cold and vice versa.
Good luck. I hope you get both paid and a published story!
So readers, what would you do in this position? And what have you done when you've found yourself in this position?
Question of the day: What do you make of editors who express interest in an essay or query and then go MIA? I had an editor commission a piece last fall with a fairly short turn-around time. I beat the deadline, then never heard from her. I keep following up every month or so asking about getting a kill fee or getting it published, but she always says she'll check with the other editors and that she'd love to get more queries from me, but I never get a definitive answer when I query with other projects or ask about the status on my old article. When is it time to write her off and submit the article elsewhere?
Ugh, isn't this the worst?? Okay, here's what I'd do.
First of all, it's important to remember that editors do not hold all the power. It's easy to be intimidated by them because yes, they are the gate-keepers and do ultimately determine whether or not you're published, but at the end of the day, they're people, just like us. Really. When I first started out, I, too, was cowed by their presence, but now that many of these editors have become friends, I really can state with authority that while I love 'em, they're certainly not on a higher plane than we are.
So remember that.
With that in mind, I'd send this editor an email saying, "I'm so glad that you expressed interested in my story, however, since I haven't yet been paid and since you haven't yet confirmed that you'll be running it, please let me know if you intend to use said story, as it's a timely piece, and I'd like to place it elsewhere if not. Please let me know by X date." This gives both of you a deadline - her, to make a decision, and you, to move on.
Now, if she had already paid you, it would be a different situation. Once you've been paid, they've fulfilled their end of the contract...they're not under any obligation to actually publish the piece. I can recall several time when I've actually been paid in full and never had the article run. That's just what happens in the magazine world when hot topics suddenly become cold and vice versa.
Good luck. I hope you get both paid and a published story!
So readers, what would you do in this position? And what have you done when you've found yourself in this position?
Tuesday, February 06, 2007
Breaking into Mags - A New Question
How do you begin writing for magazines? Do they ask you, or do you submit material? Do you need to be an expert at a particular topic? How does that work?
There are some good posts in the archives of the blog on smart strategies for getting started, but generally, unless you're an established book author or something similar, you're going to have to submit. And by submit, I mean you're going to have to come up with some unique ideas - editors are always looking for "fresh" angles on the same-old, same-old subjects - and email them to the correct editor. You'll probably have to do this at least several dozen times before you crack anything. Sorry! That's just the truth. How do you craft an idea? Again, there's more detail in the archives, but basically, think of something that would make an interesting story, then come up with an angle that hasn't been covered to death, then toss in some interesting research. Or maybe go at it the reverse way: find a cool new study, then fashion a pitch around it.
You don't have to be an expert in the field, but it's certainly easier if you have some level of familiarity with your subject. For example, of late, I've been doing A TON of parenting stories. Why? I have two kids. But I didn't start writing for parenting magazines until I got pregnant because I simply had no knowledge about what would or wouldn't be interesting to editors/readers, and furthermore, I had no knowledge about any of those potentially interesting subjects. In other words, even if I knew that a story on vaccinations might be interesting, I didn't know anything about the vaccinations themselves, so the learning curve and level of research required would have been huge and too time-consuming to be worth my while. To that end, I do a lot of health and fitness writing because, well, I'm a pretty fit and health-focused gal, so it doesn't take a lot for me to develop story ideas OR to research said articles. Make sense? It's not that I have to have a Ph.D or M.D to write these stories, but I should have a good working base of knowledge. Besides, I'll interview those Ph.Ds and M.D.s for my story.
Does that help? What about you guys? How "expert" are you when it comes to the stories you write?
Wednesday, January 10, 2007
Messing with Multiple Queries
(Yo- my spellchecker isn't working, and I'm running the baby to the doctor, so please ignore any mistakes in this entry!)
As someone who is new to the magazine publishing world, I am soaking up as much information as possible, particularly on querying and marketing myself. Everything I've read so far says it's a no-no to pitch more than one editor the same query at a time. But, my marketing common sense says that the more bait I put out, the more fishies I will catch-- or, the more articles I will ultimately write. Then, last night, I read a book by a freelancer who says it is ok to send your query to several editors at once and take the offer that best suits you. What gives? As someone new, the last thing I want to do is create a bad reputation for myself. But also, as someone new, the first thing I want to do is get as much work as possible. What is your advice?
I've blogged on this before, so definitely search the archives, but I think it's such a valid question that I thought I'd revisit it.
Ask most new freelancers if they multiple-query, and most will tell you "no." They fear the wrath of editors, and they suspect that their idea will be coveted by more than one magazine.
Ask most seasoned freelancers if they multiple-query, and they'll smile slyly and say, "If it serves my purposes, then, sure."
What's the difference? A couple of things.
1) The chances that your query will be snapped up by more than one market are extremely unlikely. Hell, the chances that your query will be snapped up by ONE market aren't that high either. This isn't a cut on your query or writing skills: it's simple odds. For the average freelancer, the ratio of rejected queries to accepted queries is probably at least 25 to 1, and only sky-rockets from there.
2) It makes good business sense. In just about no other industry would you pitch your wares to solely one person...then wait...then wait...then wait some more to see if he or she is interested. I mean, could you imagine if this is how electricians or doctors or whomever earned their livings? (I realize that this isn't entirely analogous b/c a story idea is a unique item, but the general principle applies.)
3) We know to whom we're loyal. Look, I have a crew of editors who get first dibs on story ideas. I'd never dream of sending them an idea and then sending it elsewhere without hearing back. BUT, if you have a new-to-you editor who might take eons to respond and most likely won't respond with a "yes," you owe this editor nothing. Zilch. Nada. If the idea is a good one, then the editor should snap it up asap. And if she lollygags and loiters, her loss - you've sent it elsewhere. In other words, she snoozes, she loses. In this sense, it might serve you well to pitch the idea to one place, wait a week or two, then send it to another. You've given your top choice the chance to respond, and after that, all bets are off. If she later comes back to you with a "yes," and you've sold it to a different magazine, you certainly have a valid excuse that she didn't get back to you in a timely manner.
Here's the thing about multiple-querying. I don't recommend it for every pitch, and it's not a practice that I employ very often, really because as I mentioned above, I primarily work with a specific set of editors whom I'd never want to piss off. But if you're breaking in or if you're trying to boost your clips or if you have a really timely idea or if or if or if...there are countless reasons why sending the same query to a few outlets might serve your purposes. You have to assess what these reasons are and if they're valid. Of course, don't forget, you can always slightly tweak a pitch and send it out to non-competing magazines: this is entirely kosher and will never land you in editorial hot water.
So...do you multiple-query? Yes, no, why not?
As someone who is new to the magazine publishing world, I am soaking up as much information as possible, particularly on querying and marketing myself. Everything I've read so far says it's a no-no to pitch more than one editor the same query at a time. But, my marketing common sense says that the more bait I put out, the more fishies I will catch-- or, the more articles I will ultimately write. Then, last night, I read a book by a freelancer who says it is ok to send your query to several editors at once and take the offer that best suits you. What gives? As someone new, the last thing I want to do is create a bad reputation for myself. But also, as someone new, the first thing I want to do is get as much work as possible. What is your advice?
I've blogged on this before, so definitely search the archives, but I think it's such a valid question that I thought I'd revisit it.
Ask most new freelancers if they multiple-query, and most will tell you "no." They fear the wrath of editors, and they suspect that their idea will be coveted by more than one magazine.
Ask most seasoned freelancers if they multiple-query, and they'll smile slyly and say, "If it serves my purposes, then, sure."
What's the difference? A couple of things.
1) The chances that your query will be snapped up by more than one market are extremely unlikely. Hell, the chances that your query will be snapped up by ONE market aren't that high either. This isn't a cut on your query or writing skills: it's simple odds. For the average freelancer, the ratio of rejected queries to accepted queries is probably at least 25 to 1, and only sky-rockets from there.
2) It makes good business sense. In just about no other industry would you pitch your wares to solely one person...then wait...then wait...then wait some more to see if he or she is interested. I mean, could you imagine if this is how electricians or doctors or whomever earned their livings? (I realize that this isn't entirely analogous b/c a story idea is a unique item, but the general principle applies.)
3) We know to whom we're loyal. Look, I have a crew of editors who get first dibs on story ideas. I'd never dream of sending them an idea and then sending it elsewhere without hearing back. BUT, if you have a new-to-you editor who might take eons to respond and most likely won't respond with a "yes," you owe this editor nothing. Zilch. Nada. If the idea is a good one, then the editor should snap it up asap. And if she lollygags and loiters, her loss - you've sent it elsewhere. In other words, she snoozes, she loses. In this sense, it might serve you well to pitch the idea to one place, wait a week or two, then send it to another. You've given your top choice the chance to respond, and after that, all bets are off. If she later comes back to you with a "yes," and you've sold it to a different magazine, you certainly have a valid excuse that she didn't get back to you in a timely manner.
Here's the thing about multiple-querying. I don't recommend it for every pitch, and it's not a practice that I employ very often, really because as I mentioned above, I primarily work with a specific set of editors whom I'd never want to piss off. But if you're breaking in or if you're trying to boost your clips or if you have a really timely idea or if or if or if...there are countless reasons why sending the same query to a few outlets might serve your purposes. You have to assess what these reasons are and if they're valid. Of course, don't forget, you can always slightly tweak a pitch and send it out to non-competing magazines: this is entirely kosher and will never land you in editorial hot water.
So...do you multiple-query? Yes, no, why not?
Wednesday, November 01, 2006
Kick-Ass Queries
So...are any of you guys as close to vomiting as I am? If I see one more Kit Kat around my house, I'm going to lose it. Unfortunately, my husband insisted that we didn't have nearly enough candy (most likely because he'd eaten half of it), and now I'm saddled with a two-month supply of mini-candy bars. Which normally, wouldn't be such an issue, but this present moment, after eating 50 of them in the past 12 hours, means that I might barf.
Anyhoo, following up to yesterday's "how to break in" question, we're rolling on to query letters, which many of the freelancers suggested are the key to knocking down new doors. So, along those lines:
Today's question: How do I write a kick-ass query letter?
-Know the magazine and know the section that you're pitching. If possible, know something about the editor--for example, I've found that some editors want long queries, but some, even if they're new-to-you, only want a couple of paragraphs. Make sure it's engaging. The query should grab the reader by the scruff of the neck in the first paragraph and make the person want to keep reading to see what happens. - Michele Wojciechowski, Maryland-based freelance writer and humorist. To receive her weekly humor column, Wojo's World (tm), via e-mail, contact her at MWojoWrites@aol.com
- The key to writing a kick-ass query letter is to leave the editor saying, "Wow -- this writer not only knows my magazine but she cares enough to send a query that will leave me with no unanswered questions." The editor should be able to visialize the layout of the article by the time he/she has finished reading the query. One thing, though, that comes with experience, is to know the questions that editors will ask. For instance, if I am pitching a medical topic, the first thing I will be asked is if there are any new studies or findings on the topic or if there is a new book coming out. Also, a query should be written in the voice of the magazine. For instance, a query I send to Women's Health is going to have a tone different than a pitch for the health section of Woman's Day. - Sharon Anne Waldrop, contributor to Parents, Parenting, Health, Women's Health, Glamour, Alternative Medicine, For Me, and All You
- Model it on the stories you see printed. Think of a great cover line; that's your title. Even if that title doesn't get used, at least you're thinking about it, and that will be noticed. - Sandra B. Hume
-Making sure you read it out loud before hitting the “send” button. (Yes, I query by email pretty much 99% of the time.) Also, remembering those old tents of journalism—the five Ws and the H—and ensuring that your query includes them all. Finally, being clear about why this query is right for X magazine and why now. - Leah Ingram, http://www.giftsandetiquette.com
- A great intro gets the editor to keep reading. For me, that means writing in the voice of the magazine, and doing something that hasn't been done a zillion times before. Also, I always include any relevant research, so the editor knows I've done my homework on the topic, and I outline who my experts will be so the editor knows I know what I'm doing. - Camille Noe Pagan, camillenoepagan, contributor to Glamour, Health and Prevention, among others
- I think a query letter will give your editor a sense of your style.. so make it look good. I dont write long letters - just quick and to-the-point letters with relevant information. In some cases, it makes sense to interview a few sources before hand to get some good quotes. - Monica Bhide, monicabhide.com, contributor to AARP-The Magazine, Health, Food & Wine, Cooking Light, Town& Country Travel, Departures, Washington Post and the New York Times
- I say this from an editor's perspective: a kick-ass story idea would have a hook that would only fit in that magazine. It would have a title and a deck, and maybe even a coverline. It would be written in a style that matches the magazine. - Denise Schipani, author of the Mommy Confidential column in American Baby, and contributor to Parents, Parenting, Parent & Child, Women's Health, Woman's Day, and Redbook, among others.
- Know your audience, know your query (e.g. don't be wishy washy), and include concrete examples. This might mean doing research before you pitch, but it'll pay off. - Jen A. Miller, jenamiller.com
- Show the editor how you’d approach the piece. Find new information, research or trends. Tell her something that she doesn’t know, or that her readers need to know. Write a killer lede. (If it’s good enough, you might have just saved yourself some work on the piece.) The more work you put into the query letter, the easier you make it for the editor to decide whether this is a good piece for her – and whether you’re the writer to take it on. - Gwen Moran, gwenmoran.com, contributor to Woman's Day, Family Circle and Entrepreneur, among others
Anyhoo, following up to yesterday's "how to break in" question, we're rolling on to query letters, which many of the freelancers suggested are the key to knocking down new doors. So, along those lines:
Today's question: How do I write a kick-ass query letter?
-Know the magazine and know the section that you're pitching. If possible, know something about the editor--for example, I've found that some editors want long queries, but some, even if they're new-to-you, only want a couple of paragraphs. Make sure it's engaging. The query should grab the reader by the scruff of the neck in the first paragraph and make the person want to keep reading to see what happens. - Michele Wojciechowski, Maryland-based freelance writer and humorist. To receive her weekly humor column, Wojo's World (tm), via e-mail, contact her at MWojoWrites@aol.com
- The key to writing a kick-ass query letter is to leave the editor saying, "Wow -- this writer not only knows my magazine but she cares enough to send a query that will leave me with no unanswered questions." The editor should be able to visialize the layout of the article by the time he/she has finished reading the query. One thing, though, that comes with experience, is to know the questions that editors will ask. For instance, if I am pitching a medical topic, the first thing I will be asked is if there are any new studies or findings on the topic or if there is a new book coming out. Also, a query should be written in the voice of the magazine. For instance, a query I send to Women's Health is going to have a tone different than a pitch for the health section of Woman's Day. - Sharon Anne Waldrop, contributor to Parents, Parenting, Health, Women's Health, Glamour, Alternative Medicine, For Me, and All You
- Model it on the stories you see printed. Think of a great cover line; that's your title. Even if that title doesn't get used, at least you're thinking about it, and that will be noticed. - Sandra B. Hume
-Making sure you read it out loud before hitting the “send” button. (Yes, I query by email pretty much 99% of the time.) Also, remembering those old tents of journalism—the five Ws and the H—and ensuring that your query includes them all. Finally, being clear about why this query is right for X magazine and why now. - Leah Ingram, http://www.giftsandetiquette.com
- A great intro gets the editor to keep reading. For me, that means writing in the voice of the magazine, and doing something that hasn't been done a zillion times before. Also, I always include any relevant research, so the editor knows I've done my homework on the topic, and I outline who my experts will be so the editor knows I know what I'm doing. - Camille Noe Pagan, camillenoepagan, contributor to Glamour, Health and Prevention, among others
- I think a query letter will give your editor a sense of your style.. so make it look good. I dont write long letters - just quick and to-the-point letters with relevant information. In some cases, it makes sense to interview a few sources before hand to get some good quotes. - Monica Bhide, monicabhide.com, contributor to AARP-The Magazine, Health, Food & Wine, Cooking Light, Town& Country Travel, Departures, Washington Post and the New York Times
- I say this from an editor's perspective: a kick-ass story idea would have a hook that would only fit in that magazine. It would have a title and a deck, and maybe even a coverline. It would be written in a style that matches the magazine. - Denise Schipani, author of the Mommy Confidential column in American Baby, and contributor to Parents, Parenting, Parent & Child, Women's Health, Woman's Day, and Redbook, among others.
- Know your audience, know your query (e.g. don't be wishy washy), and include concrete examples. This might mean doing research before you pitch, but it'll pay off. - Jen A. Miller, jenamiller.com
- Show the editor how you’d approach the piece. Find new information, research or trends. Tell her something that she doesn’t know, or that her readers need to know. Write a killer lede. (If it’s good enough, you might have just saved yourself some work on the piece.) The more work you put into the query letter, the easier you make it for the editor to decide whether this is a good piece for her – and whether you’re the writer to take it on. - Gwen Moran, gwenmoran.com, contributor to Woman's Day, Family Circle and Entrepreneur, among others
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