Michelle Hauck's Blog, page 5

Query Questions with Ali Herring

Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.
Here to relieve some of that endless worrying is a series called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and other writing sites. They are the type of questions that you need answers from the real expert--agents!
Today we hear from Ali Herring of Spencerhill Associates.
Is there a better or worse time of year to query?
I slow down a bit during the summer, so the calendar school year is the absolute best time to query me from the perspective of a faster response time. That being said, you can and should query me any time of the year since I read queries in order of those received first, so it’s best to get in line!
Also, just a note here: Please DO NOT query me via the submission@spencerhill... email address. Only query via Query Manager here: https://querymanager.com/query/1032/. If you’ve queried via the email, go back and submit on the query manager site! Thanks!

Do you look at sample pages without fail or only if the query is strong?
I almost always read a portion of the sample, even if the query isn’t strong so I don’t punish someone who isn’t good at pitching themselves. And a lot of times, I’ll read the sample first. I will not read the sample, however, if the word count is incredibly high for the genre or the query doesn’t have a strong hook or stakes.


How open are you to writers who have never been published?
Very open! I love working with and discovering new talent! In fact, my fantastic client Kurt Kirchmeier is a debut author who came to me in my query inbox. He had responded to a #MSWL of mine, and not long after that we had a deal with Little, Brown Books for Young Readers for his middle grade novel, THE ABSENCE OF SPARROWS. It’s out May 7, 2019 and we just did the cover reveal.Check it out, pretty huh?


Kurt’s posted links on his website to pre-order at www.kurtkirchmeier.net. So run check it out for me ok! This will give you an idea of what I’m after with Middle Grade too.


The dreaded rhetorical question in a query. Are they as taboo as the rumors say?
Good question. For me, no. Hook me anyway you can. However, if you give me a “high-concept” two- or three-sentence pitch right after “Dear Ali…” with the stakes right there front and center instead, you’re doing yourself a favor.


How important are comp titles? Is it something you want to see in a query? Are movie/tv reference okay as comp titles?
Yes, I want to see comp titles in the query. They are incredibly important, because they tell me you know where your book should be shelved and that there’s an audience for your work. I’ve been confused by a plot summary before in a query, but chose to read the sample just because the querying author gave stellar comps that made me curious. Movie/TV comps are great too. However, I would prefer XXX movie/tv show meets XXX book, so you can show me a book comp that’s already on the shelf too.


Do you prefer a little personalized chit-chat in a query letter or would you rather hear about the manuscript?
Yes, if it’s authentic. If you came to me via a #MSWL or we chat on Twitter a lot (yes, I’m chatty), or you have something in common we share, etc, then by all means, yes. Otherwise, just tell me about the manuscript.


How many queries do you receive in a week? How many requests might you make out of those?
This fluctuates but about 50-75 a week in general.
Considering Spencerhill asks for three chapters up front and the synopsis, I probably tend to make less requests than an agent whose firm asks for a 10-page sample only. So out of those 100 queries, I’ll probably only make one request. Sometimes two, but it’s rare.


How do you feel about writers nudging on full/partial requests? At what point is it appropriate?
I don’t mind a nudge after 2 months.


When a writer nudges with an offer, what length of time is helpful to give you enough time to consider? A week? Two weeks?
Two weeks would be awesome, but I find writers tend to give only one. It’s hard for them to wait that long—I totally get it. But it could be to an author’s advantage to do so. For instance, I’ve had two authors this week let me know they have offers of rep but asked me to still consider their work. I’m going to a conference Thursday so that makes things incredibly tight for me to read and make decisions on two books by Friday! If I had two weeks, I’d be golden.


Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one?
A lack of social media presence will never not stop me from offering rep. That being said, it certainly doesn’t hurt. And I love when I can look at an author’s Twitter feed and get to know them a little bit first. I don’t require writers to join social media when I sign them, but it’s my advice they should. Building community and growing a potential marketing platform for when books sell is just good planning.


If a writer makes changes to their manuscript due to feedback should they resend the query or only if material was requested? Does it make a difference if the changes are from an R&R with another agent? What themes are you sick of seeing?
Only if it’s requested should they resubmit it. But you can and should always query with NEW work. I’ve signed writers whose second project I connected with, but not their first.  
If the changes came from an R&R with another agent, it’s probably best to only send new work to me at that point still.
In romantic suspense, I’d like to see stories that aren’t all centered on law enforcement officers, etc. Give me a new angle there.


Do you look at trends or editor wishlists when deciding to sign a manuscript?
No, but if I know an editor is looking for something and I connect with a piece that fits it, that’s a good sign.


Do you consider yourself a hands-on, editorial type of agent?
Yes! Very much so.


Does a manuscript have to be sub-ready or will you sign stories that need work?
I will sign authors who need a little work, but it needs to be almost there or easily fixable. Sometimes in this case, I’ll do an R&R if it’s not-quite “almost there.”


What is your biggest query pet peeve?
My biggest pet peeve is people lying on queries, saying some editor I’ve never met before told them at so-and-so conference I didn’t attend that they should query me. I’m also not a fan of people pitching more than one book. I delete those queries.


Is there anything that automatically sinks a query for you?
If you don’t give me the stakes of the novel, I won’t request.


What three things are at the top of your submission wish list?Upper Middle grade fiction that is high-concept but with literary writing – especially dark or scary fantasy right now, or something with incredible world building.Category romance – both inspirational and secular. Would really love some romantic suspense.I’d like a utopian YA novel with a dark, dangerous undertone.
What are some of your favorite movies or books to give us an idea of your tastes?
BOOKS: Across the Universe by Beth Revis, The Age of Miracles by Karen Thompson Walker, Tau Zero by Poul Anderson, Consider (The Holo Series) by Kristy Acevedo, The Box Car Children, The City of Ember by Jeanne Duprau, Percy Jackson by Rick Riordan, Wonder by R. J. Palacio, The Girl Who Drank the Moon by Kelly Barnhill. TV: Netflix's Travelers Series, Big Bang Theory, Castle 



Ali joined Spencerhill in 2017 after moving back to Georgia from Connecticut, where she interned for a literary agency in the greater NYC metro area. A former magazine associate editor, Ali has a diverse background in communications and editing. She graduated valedictorian of her class at Berry College in 2001, where she obtained her bachelor’s degree in Journalism. She is seeking middle grade and young adult fiction in all genres, science fiction and fantasy, romance, southern women’s fiction, and inspirational fiction, especially romance. She particularly likes high-concept commercial fiction with a literary flair. If you'd like a better idea of her interests, you can find her on Twitter, @HerringAli, where she regularly posts #MSWL's.

Query Questions with Jessica Errera

Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.
Here to relieve some of that endless worrying is a series called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and other writing sites. They are the type of questions that you need answers from the real expert--agents!
I'm thrilled to be back with another Query Questions interview from Jess Errera of The Jane Rotrosen Agency. Let's get to know more about her. 
1.      Is there a better or worse time of year to query? Any time of year is fine by me. I read queries all year round.
2.      Do you look at sample pages without fail or only if the query is strong? If the pitch is lacking but I like the concept, I will always review the pages—after all, not every author is great at pitching. However, if it’s something truly outside my wheelhouse, then I’m less likely to read on.
3.      How open are you to writers who have never been published? Entirely open. Welcoming, in fact!
4.      The dreaded rhetorical question in a query. Are they as taboo as the rumors say? This doesn’t bother me at all. I’m a fan of a tagline if it’s strong and suits the work, but a bad one isn’t a deterrent.
5.      How important are comp titles? Is it something you want to see in a query? Are movie/tv reference okay as comp titles? I love to see comp titles, including tv/movies. The caveat being that they should be realistic—there are some books and movies that are so big that they aren’t as useful as comps, so authors should select carefully. They should also be recent titles or, if they’re older, ones we still reference regularly.
6.      Do you prefer a little personalized chit-chat in a query letter or would you rather hear about the manuscript? I don’t mind chit-chat, but it’s the quality of your work that’s going to get me hooked. I’d focus on being polite, informed, and crafting a strong pitch.
7.      How many queries do you receive in a week? How many requests might you make out of those? This is hard to pinpoint as it really fluctuates from week-to-week. 
8.      How do you feel about writers nudging on full/partial requests? At what point is it appropriate? I think after 4-6 weeks it’s ok to check in on a request.
9.      When a writer nudges with an offer, what length of time is helpful to give you enough time to consider? A week? Two weeks? If you have solicited reads from a number of agents it is courteous to contact those agents and give them an opportunity to respond before you make a decision. I don’t think that there is any prescribed length of time for this, but rather something I would decide on a case-by-case basis.
10.  Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one? Having a platform is certainly attractive to a potential publishing partner and, as such, a large one can be an asset. However, the writing must be strong above all else. And I do think every author should be using at least one social media channel to engage with readers and build a community.
11.  If a writer makes changes to their manuscript due to feedback should they resend the query or only if material was requested? Does it make a difference if the changes are from an R&R with another agent? I’m always happy to see revised material if it means you’re putting your best foot forward, but best to send it as early as possible in case I’ve already dipped in.
12.  Do you look at trends or editor wishlists when deciding to sign a manuscript? I do consider trends and I wouldn’t be a good advocate for you if I didn’t. I have to feel confident that I know multiple editors looking for the kind of story you’ve written before I can (or should) agree to represent an author.
13.  Do you consider yourself a hands-on, editorial type of agent? Does a manuscript have to be sub-ready or will you sign stories that need work? Every project is unique and so this decision is made on a case-by-case basis. If I feel editorial work will enhance the marketability of a project, that’s an option I am happy to present to the author. But of course, it’s always the author’s call depending on whether or not the feedback resonates with them. 
14.  What is your biggest query pet peeve? Is there anything that automatically sinks a query for you?Misspelling my name (or not using it at all) and not following the JRA guidelines are two things that stand out, but not such that I would automatically decline a query. That said, proofreading is your friend!
15.  What three things are at the top of your submission wish list? These can and will change over time, but as of summer 2018 I’d love: an original standalone YA fantasy, more diverse YA, and a compelling yet commercial women’s fiction novel with a thread of romance.
16.  What are some of your favorite movies or books to give us an idea of your tastes? In adult I love: ELEANOR OLIPHANT IS COMPLETELY FINE by Gail Honeyman, THE NIGHT CIRCUS by Erin Morgenstern, THE ART OF RACING IN THE RAIN by Garth Stein, and THE GIRLS AT 17 SWANN STREET by Yara Zgheib. On the YA side I love: I’LL GIVE YOU THE SUN by Jandy Nelson, THE WRATH AND THE DAWN by Renee Ahdieh, and RED WHITE AND ROYAL BLUE by Casey McQuinston.
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           Jessica Errera was born and raised on Long Island and credits her love of reading to the built-in book club that is her large family. Jess attended the University of North Carolina at Chapel Hill where she earned a BA in English and Dramatic Arts before returning home to New York in search of the elusive “real world job.” Luckily, JRA was in need of interns and, in the tradition of good romance novels, it was love at first sight. Jessica now works full-time as an assistant to Meg, reading to her heart’s content while also tracking book sales and PR. A self-proclaimed book nerd, Jess can often be found curled up on the couch with the latest bestseller. Her favorite genres include young and new adult, contemporary fiction, fantasy, and anything that can be read in a day on the beach.

My Successful Query

Here's the query for my fourth manuscript that got me my first agent. It was for an MG fantasy with talking hamsters. I think the specific details and voice helped attract agents. I only wrote five versions of this one, while my other queries got dozens of versions. I received two offers from cold queries. 


Tom, the classroom hamster, wants to escape from the h-e-double-hockey-sticks otherwise known as school. His military training at the pet shop didn't include playing house or being sentenced to a boot camp of never-ending Show ‘n Tell, math facts rap, and story time. But he’s learned a lot behind the bars of his cage. For example, if you want to keep breathing, never trust a pygmy who has earned the nickname Squeezer. Somehow he has to get away before the pygmies dress him as Strawberry Shortcake again—or worse.
When a “subspatoot” teacher fills in, Tom sees his chance to put Operation Escape the Pygmies into action. He makes a run for the border, hamster style. Bad news. The principal says a rodent on the loose is a distraction to learning and better off erased. The way out is turned into a battlefield of snapping mousetraps, sticky snares, and poisoned pellets.
Tom seems doomed until the friendless Squeezer lends an over-excited hand. She quickly goes from supervillain to super sidekick. Now, the greatest obstacle to his freedom may be Tom’s soft spot for this lonely pygmy.



This story didn't sell, but my next did. My Birth of Saints series was published with Harper Voyager. Somewhere in the middle of my trilogy my first agent stopped responding and eventually quit the business. I ended up getting picked up by her boss, but sometimes things just don't work out. I'm on my own now, writing a fresh story and querying an epic fantasy. I share this just to let you know that the journey goes on and everyone's writing story will be different. 

Getting the Call with Doug Engstrom

There's nothing more inspiring to me than a Call Story from one of my contests. Doug was part of Sun versus Snow 2017. I remember his entry was very unique. A corporate gunslinger trying to pay off her student debt. He just recently announced his book deal. Congrats, Doug! But here is his story in his own words.




Many years ago I rode a non-competitive bicycling event where the objective was to complete a 600 kilometer course in 40 hours or less. That ride and related distance events, called brevets, turned out to be surprisingly good preparation to write a novel, secure representation for it, and sell it to a publisher.

The first carryover lesson is the obvious one: persistence. The successful brevet rider keeps the pedals turning, no matter what. You keep going through the stuff you were ready for, like cold mist, and the stuff you weren't, like going over the handlebars into a poorly-marked construction site in the dark.

As a writer, same deal. Keep turning out the words, keep turning out the queries, no matter what. Keep going through the inevitable barrage of rejection. In my case, it was 59 carefully-personalized queries rejected before connecting with my agent via the Sun vs Snow contest, followed by a dozen publisher rejections before securing a contract.

The related lesson is that there is no real end. Finish the 200K brevet course? Two weeks later, the 300K beckons. Then the 400K and the 600K. Complete that series, and you're eligible for one of the 1,200K events. After that? Next season.

In writing, the struggle to write the book isn't the end; more like "the end of the beginning." It's followed by rounds of editing, work on the query letter and queries, also edited many times over, and then the search for an agent or editor.

It's tempting to view securing representation as an end, because it's such a daunting task. But of course, it isn't.

In my case, I knew I had some serious work to do when I signed with my agent. Despite nearly four years of effort that included terrific support from my wife and excellent feedback from workshop partners and beta readers, I knew the book could be better. I also knew I needed focused professional input to get there.

When I signed, I anticipated my agent would provide that input, and she came through in the best possible way.

I did not anticipate it would take two major rewrites and ten months.

I also failed to anticipate that the extensively sweated over, massively-revised manuscript would be accepted by Harper Voyager contingent on another substantial rewrite, but that's what happened.

So, I'm working on that, heading for a due date in 2019 and publication the following year.

Which brings me to the final carryover lesson: you're in this alone, except of course you're not.

During a brevet, the rules stress that a rider must be "self sufficient" between checkpoints.

Like most claims to self sufficiency, this is somewhere between a gross exaggeration and an outright lie. On the road, riders share everything from Gatorade to air pumps, and at the check points, friends and family members furnish what's needed: encouragement, shoulder massages, even turkey sandwiches. 

As a writer, it's true that only you can put your hands on the keyboard and face the empty page. However, I don't think you'll keep it up very long without a contingent of cheerleaders, critique partners, beta readers, and fellow writers to share the journey.

In my case, I know I couldn't have produced my initial drafts without the help of my wife, Catherine, who read everything and offered amazing feedback. The relationships formed in the  Paradise ICON Writer's Group and the Dire Turtles Online Crit Group have been vital. I definitely could not have created a credible query without the help of my Sun vs Snow mentor, Michael Mammay, and I wouldn't have met him without the generosity of Michelle and Amy in putting the contest together in the first place.

On top of everything else, there's the contribution of my agent, Danielle Burby of the Nelson Literary Agency, who pushed me to the next level and sold the resulting manuscript.

As I write this, I'm taking the first steps in starting a new working partnership with David Pomerico and Harper Voyager.

This is a pretty big crowd for a solitary occupation, and both an inspiration and a reminder to do my bit when I'm part of somebody else's crowd.

So, stick with it, stick it out, and stick together--lessons for both long distance cycling and longform writing. I hope to see you around.

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Doug Engstrom has been a farmer's son, a US Air Force officer, a technical writer, a computer support specialist and a business analyst, as well as being a writer of speculative fiction. His novel, Corporate Gunslinger, will be published by Harper Voyager in 2020. He lives near Des Moines, Iowa with his wife, Catherine Engstrom.  
Twitter

Query Questions with Ann Rose

Two Query Questions in one week! I'm feeling lucky!
I hope to bring you many fresh interviews with agents from fresh agencies. Feel free to throw agent suggestions at me on twitter. 
Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.
Here to relieve some of that endless worrying is a series called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and other writing sites. They are the type of questions that you need answers from the real expert--agents!
Today we hear from an agent at an agency I've never interviewed before. We boldly go where I've never gone before. :-)  Ann Rose of the Prospect Agency answers to your questions about querying and shares information about her wishlist.

Do you look at sample pages without fail or only if the query is strong?
So, the answer is yes and no. Yes, I always look at sample pages no matter how strong the query is. Query letters are hard and not everyone is a master at them. In the end its about the book, so good query or not I’m going to check out the writing. However, if the query states it is something I don’t represent I won’t look at the pages.

How open are you to writers who have never been published?
I am completely open to new writers. I love finding fresh voices and new perspectives. Everyone has to start somewhere, right?

The dreaded rhetorical question in a query. Are they as taboo as the rumors say?
For me the answer is, yes. I hate them. Any question can be turned into a statement that doesn’t make the reader want to stop and think about the answer.

How important are comp titles? Is it something you want to see in a query? Are movie/tv reference okay as comp titles?
Comp titles won’t make or break a query. A good comp will intrigue me into reading, but a bad one (like a book I don’t particularly love) won’t stop me from looking at pages either. I think it’s fine to reference movies/TV/video games. Anything that helps set the tone for the story you are tying to tell.

Do you prefer a little personalized chit-chat in a query letter or would you rather hear about the manuscript?
I don’t need chit-chat that is just telling me what is on my own website. If the personalization is; “I’m sending you my YA book because you rep YA.” I say, skip it. I love personalization that feels personal, without being creepy stalker stuff.

How many queries do you receive in a week? How many requests might you make out of those?
I receive about a hundred letters a week give or take, and of those I ask for approximately one out of every ten.

How do you feel about writers nudging on full/partial requests? At what point is it appropriate? 
I don’t mind writers checking in but give me at least three months before you nudge.
If the writer gets an offer or has a question I’m always open to those.

When a writer nudges with an offer, what length of time is helpful to give you enough time to consider? A week? Two weeks?
Two weeks is perfect, in my opinion.

Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one?
If an author includes their Twitter handle in a query 9x out of 10 I will look them up. If I’ve been on the fence about the project and see things that I like or find interesting on their feed I might be more likely to ask for the project.
I am no social media expert by any means, so I think that you have to do what feels right for you. If the idea of tweeting makes you sick, don’t do it. If you love to take pictures maybe Instagram would be better. I think having a social media presence can help, but if the idea of keeping one up makes you want to rip your eyelashes off – hard pass. I’d never require my clients to do anything they weren’t comfortable with, that includes being active on social media.

If a writer makes changes to their manuscript due to feedback should they resend the query or only if material was requested? Does it make a difference if the changes are from an R&R with another agent?
I’m not sure if I’m understanding this question correctly. Did I already ask for the materials? If yes, then yes, send an updated file.
If this is a project I didn’t request, and it’s been a long time since I’ve seen it and drastic changes have been made I’m open to seeing it in my query box again. Just don’t send the same project a few months later with the exact same submission. Our system lets us see all the submission history of querying writers.  

What themes are you sick of seeing?
Do not send me your character waking up in the first pages. I think after seeing this over and over and over I just can’t handle it anymore. If the first words are “And she opened her eyes” I’ve already checked out and stopped reading.

Do you look at trends or editor wishlists when deciding to sign a manuscript?
No. It’s in my opinion that good books will sell no matter the trend. So, if you have a super kick ass vampire novel, send it my way.

Do you consider yourself a hands-on, editorial type of agent? Does a manuscript have to be sub-ready or will you sign stories that need work?
I am super editorial, and I’m not afraid of a manuscript that needs some work. But that doesn’t mean send me a first draft.
My clients all have my cell phone number and know it’s fine to text or call whenever. If they are stuck on a plot point and need to chat, pick up the phone. If they need some general encouragement because they are working on edits, shoot a text. I think the worst thing I could do for my clients is to make them feel like they can’t talk to me. They all know if they email me they will get an answer within 24 hours but most likely sooner. We are a team and I am here to support them.

What is your biggest query pet peeve? Is there anything that automatically sinks a query for you?
Let me see…
Sending me a book that is already published. This seems like a no brainier, but I get at least once a week - “I don’t want to market this book that I put up on Amazon two years ago and haven’t sold any copies of, I just want to write so I’m looking for an agent.” – Don’t do this.
Sending me a book that is way outside the standard word count for that genre.
Sending me a query that talks for paragraphs and paragraphs about marketing and how it’s the next best seller, but never once tells me about the book.
Not following submission guidelines. So, make sure you include a query, synopsis and 30 pages.
I think those are my biggest pet peeves.  

What three things are at the top of your submission wish list?
Diverse voices! A YA version of Clue with the snark/humor of the movie and complete with three different endings. (I need this book like yesterday.)
MG that isn’t afraid to explore tough topics

What are some of your favorite movies or books to give us an idea of your tastes? 
This is tough…
Favorite books:
The Awesome by Eva DarrowsLove Simon by Becky AlbertalliThe Wishing Heart by JC Welker500 Words or Less by Juleah del RosarioThe Fault in our Stars by John Green Hush Hush series by Becca Fitzpatrick The Mortal Instruments series by Cassandra ClareThe Lunar Chronicles by Marissa Meyer

Anything by Jennifer Armentrout, Elizabeth Briggs, Courtney Summers or E. Lockhart.
Movies:Notting HillMy Big Fat Greek WeddingMiss PotterElfThe Blindside Meet the Robinsons CluePitch Perfect
JumanjiThe Princess Bride


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I'm a California native who now resides in Texas after a stint in Florida. Each place has its pros and cons, but I can say that I left my heart in San Diego and dream of going back one day (although that will probably never happen). My degree is in Communication from San Diego State University, and my resume holds a gamut of jobs from Life Guard to Business Systems Analyst/Portfolio Manager, but books have always been my passion. I'm excited to finally merge my love of literature with my past professional experiences as a literary agent with Prospect. It is my honor to help authors build successful, sustainable careers.I fell in love with young adult books when my niece asked me to read with her and I remain devoted to YA of all genres. I am looking for characters who aren't afraid to stand up for their convictions and beliefs — whether they fight with their fists or their words. I'm also open to all genres of middle grade, and especially love stories that push the MG boundary by exploring topics that affect middle graders but aren't always broached in stories written for them. In the adult arena, I adore swoony romances, light sci-fi or fantasy, commercial fiction, and heartwarming — or heart wrenching — contemporaries. I'm always looking for unique voices, diverse perspectives, vivid settings, and stories that explore tough topics. Dark and edgy is totally okay too. Above all I'm looking for compelling characters who make me think in new ways, and laugh and cry, hopefully in the same story!My clients know I'm ready to roll up my sleeves to help create the best books possible, from brainstorming at the idea stage all the way through submissions and beyond. I love attending conferences, and sharing my knowledge of the publishing industry. I am a member of the SCBWI, YARWA and RWA.  Twitter

Pitchwars Mentor 2018

I'm a Pitchwars mentor for the fifth year! I'll be looking at submissions in the adult age category and that's all I can tell you. You can find my Pitchwars bio here. It does list my favorite books as a hint. But surprise, I have a giveaway!

A couple of like-minded mentors have joined me in giving away their books to celebrate our inclusion as mentors. All you have to do is leave a comment on what Pitchwars means to you below and use the rafflecopter to enter. Make sure you use the rafflecopter as the rafflecopter will choose the random winner.

One winner will take home all the books. US resident only. Enter between now and July 19, 2018.

There is one free option to enter, but follow us on twitter for additional bonus options. Thanks and we can't wait to see your submission in August!

Now onto the books we are giving away:



Grudging by Michelle Hauck


A lyrical tale of honor and magic, Grudging is the opening salvo of Michelle Hauck's the Book of Saints trilogy that combines the grace of Ellen Kushner's Swordpoint with the esprit de corps of Django Wexler's Shadow Campaign series.A world of chivalry and witchcraft…and the invaders who would destroy everythingThe north has invaded, bringing a cruel religion and no mercy. The ciudades-estados who have stood in their way have been razed to nothing, and now the horde is before the gates of Colina Hermosa…demanding blood.On a mission of desperation, a small group escapes the besieged city in search of the one thing that might stem the tide of Northerners: the witches of the southern swamps.The Women of the Song.But when tragedy strikes their negotiations, all that is left is a single untried knight and a witch who has never given voice to her power. And time is running out.
Amazon


Planetside by Michael Mammy

A seasoned military officer uncovers a deadly conspiracy on a distant, war-torn planet…War heroes aren't usually called out of semi-retirement and sent to the far reaches of the galaxy for a routine investigation. So when Colonel Carl Butler answers the call from an old and powerful friend, he knows it's something big—and he's not being told the whole story. A high councilor's son has gone MIA out of Cappa Base, the space station orbiting a battle-ravaged planet. The young lieutenant had been wounded and evacuated—but there's no record of him having ever arrived at hospital command.The colonel quickly finds Cappa Base to be a labyrinth of dead ends and sabotage: the hospital commander stonewalls him, the Special Ops leader won't come off the planet, witnesses go missing, radar data disappears, and that’s before he encounters the alien enemy. Butler has no choice but to drop down onto a hostile planet—because someone is using the war zone as a cover. The answers are there—Butler just has to make it back alive…Amazon (Giveaway is a Pre-order)
Los Nefilim by Teresa Frohock
Collected together for the first time, T. Frohock’s three novellas--In Midnight’s Silence, Without Light or Guide, and The Second Death--brings to life the world of Los Nefilim, Spanish Nephilim that possess the power to harness music and light in the supernatural war between the angels and daimons. In 1931, Los Nefilim’s existence is shaken by the preternatural forces commanding them … and a half-breed caught in-between.Diago Alvarez, a singular being of daimonic and angelic descent, is pulled into the ranks of Los Nefilim in order to protect his newly-found son. As an angelic war brews in the numinous realms, and Spain marches closer to civil war, the destiny of two worlds hangs on Diago’s actions. Yet it is the combined fates of his lover, Miquel, and his young son, Rafael, that weighs most heavily on his soul.Lyrical and magical, Los Nefilim explores whether moving towards the light is necessarily the right move, and what it means to live amongst the shadows.

Amazon




The Perfect Assassin by K. A. Doore

A novice assassin is on the hunt for someone killing their own in K. A. Doore's The Perfect Assassin, a breakout high fantasy for fans of Robin Hobb, Sarah J. Maas, and Brent WeeksThe assassins of Ghadid serve a higher power, dispensing justice in the shadows. Or so Amastan has been taught.Until, unexpectedly, Amastan finds the body of a very important drum chief. Until, impossibly, fellow assassins are being killed off. Until, inevitably, Amastan is ordered to solve these murders. Even worse, the jaan of the murdered start roaming the dusty streets of Ghadid, restless spirits seeking any body to possess.Time is running short, and Amastan must find this perfect assassin or become their next target.Amazon (Giveaway is an ARC)





The Exiled King by Sarah Remy

Avani and Mal’s journey comes to its gripping conclusion in this final installment of the Bone Magic series by Sarah RemyThe desert has outgrown its boundaries…The warriors of the sands have united for the first time. They are newly privy to the secret sidhe roads beneath mountains, the ones that used to keep the flatlands safe. And they are marching toward Wilhaiim with weapons of steel.Wilhaiim is out of options…King Renault’s choice is untenable: watch the flatlands fall, or work with Malachi Doyle in a secret gambit to revive Wilhaiim’s ancient mechanized guardians, the Automata. The Automata have a terrible, bloodied history, but Mal believes they are his kingdom’s only hope of survival.Mal wavers on the edge of insanity…Avani lives with Mal in her head, an unwilling witness to his increasing madness. Her nights are filled with dreams of darkness and despair, her days troubled by guilt and uncertainty. Her beloved Goddess draws distant as Mal’s influence takes its toll. And as the bloodshed, brutality, and loss multiples, she and Mal will learn that determination is sometimes more potent than sorcery…and that the greatest sacrifices are often inescapable.
Amazon

The Rogue Retrieval by Dan Koboldt

Sleight of hand... in another land.
Stage magician Quinn Bradley has one dream: to headline his own show on the Vegas Strip. And with talent scouts in the audience wowed by his latest performance, he knows he's about to make the big-time. What he doesn't expect is an offer to go on a quest to a place where magic is all too real.That's how he finds himself in Alissia, a world connected to ours by a secret portal owned by a powerful corporation. He's after an employee who has gone rogue, and that's the least of his problems. Alissia has true magicians...and the penalty for impersonating one is death. In a world where even a twelve-year-old could beat Quinn in a swordfight, it's only a matter of time until the tricks up his sleeves run out.Scientist and blogger Dan Koboldt weaves wonder, humor, and heart into his debut novel, The Rogue Retrieval. Fans of Terry Brooks and Terry Pratchett will find this a thrilling read.
Amazon


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Query Questions with Naomi Davis of Bookends

After a short break to give me time away from my blog, Query Questions is back!
I hope to bring you many fresh interviews with agents from fresh agencies. Feel free to throw agent suggestions at me on twitter. 

Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.

Here to relieve some of that endless worrying is a series called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and other writing sites. They are the type of questions that you need answers from the real expert--agents!
Today we hear from an agent who has recently moved to Bookends, Naomi Davis with her answers to your questions about querying and information about her wishlist.

Is there a better or worse time of year to query?
Lots of writers think that conference season is not a good time to query. I find this to not matter, personally. Everything goes into the pile and we work through our submissions when we have time. This can be on a plane, in a hotel, in front of the TV at home, or during work hours – it all depends on the agent and the schedule she sets for herself. While there may be times of year when an agent is quicker to respond, it would be a pretty rare and unwise thing for an agent to be like “This is book sounds excellent but it came in during July so NOPE!” If we’re particularly busy, it may take longer for us to get to it. My best advice is to follow agents on social media and watch for MSWL posts that indicate the agent is hungry for a new project.


Do you look at sample pages without fail or only if the query is strong?
There are many queries I see that clearly do not fit my wishlist. These I will reject based on the query itself. But when a project is within the genres I’m seeking, I base my decision on the writing sample probably 95% of the time.


How open are you to writers who have never been published?
Completely open. While I love to see queries from established authors and writers who are pursuing their careers independently through writing groups, social media presence, and shorter publications, I’m always hopeful that a debut author will be an undiscovered wonder I get to work with from the start!


The dreaded rhetorical question in a query. Are they as taboo as the rumors say?
You’ll find some agents vehemently opposed to these. I recognize that constructing a query is an art in itself, and I try to look for the story within the query, not just the way this is executed. Personally: I don’t immediately reject a project for any petty reason like this, but as a general rule, the fewer reasons you give agents to reject your book, the more manuscript requests you might receive.


How important are comp titles? Is it something you want to see in a query? Are movie/tv reference okay as comp titles?
They are important because they help us envision positioning on bookshelves and the target audience, which helps us strategize our own submission lists. While I do like to see them, I’d rather see an accurate comp title than see an author trying to force a label on their project when it doesn’t really fit. Yes, I like to see movie/tv comps – in fact I encourage creative comping, too, such as inserting familiar characters into other settings for a comp. “If Harry Potter was forced to navigate the world of Ender’s Game…” sort of comps tell me a LOT more than “Fans of Divergent will love this story” comps. A comp should tell the agent as concisely as possible what familiar notes to expect from your novel.


Do you prefer a little personalized chit-chat in a query letter or would you rather hear about the manuscript?
I love when authors give me a personal note like “I loved your thread about worldbuilding on Twitter” – it tells me they probably have a clear grasp on what I do and do not want to see in a query. But it’s not required. Some of the strongest submissions I’ve read came from quick, to-the-point queries. I will caution that the more word space you spend talking about what you love about the story, the more reason you give us to skim. A personalized intro is fine but then do get to the point so we can form our own opinions.


How many queries do you receive in a week? How many requests might you make out of those?
I receive no fewer than 200 queries a month – usually closer to 300 or more. Of these, I typically request 20-40 manuscripts. It’s hard to break it down by week because when I post a #MSWL Tweet or two, I tend to get bombarded with queries. So to tie back in to your earlier question about when is a good time to query: I don’t post those Tweets unless I want my inbox SLAMMED. 

2018 Query Kombat Grand Champion!

Dionna Mann

Dionna is a longtime member of SCBWI who has placed nonfiction kidlit work with Highlights for Children and Cricket magazine. As a work-for-hire author with Spooky Cheetah Press, she’ll soon have two non-fiction books for the youngest of readers published—one about killer whales coming out from Scholastic Press. (WOOT!) While attempting to master the kidlit craft, Dionna has penned a slew of children’s book manuscripts—from picture book biographies to middle-grade novels, from those that are sheer fun and silly to those that tackle serious themes. Her favorite pastime is front-porch sitting while squirrels frolic in her front yard and mourning doves seize the day through song. You can find her at dionnalmann.com and on her blog, where she celebrates kidlit writers, illustrators, editors, agents, and their lovely books.







Query:

Ten-year-old Allie’s anger can be a hot-comb sitting on the flame of a stove. Sometimes that copper pressing comb of emotion turns red hot and she does things she later regrets. She wants to stay calm. But emotions are hard to handle, especially when people think your mama’s an improper woman. Allie knows—it’s not Mama’s fault she isn’t married yet has a child. The only reason Allie’s breathing is because of that no-good man who forced himself on Mama. Why Mama didn’t leave her on the steps of the A & P when she born, Allie isn’t sure. But one thing’s certain. Allie’s full-up with empty inside because of it, and she’s going to fill it by finding Mama a decent husband.

That’s why she and her cousin Julius Caesar create a daddy map and hunt for potential suitors for Mama. When they find good prospects—men who like to sing, have a kind smile, and most importantly love Mama's chicken and dumplings—Allie draws a red crayon heart above their names. Before long, Allie and Caesar fix their mind on Mr. Rawls, their band teacher. He must be the one! But when Allie discovers that Mr. Rawls is related to Gwen—that thumb-sucking bully—she covers over his red heart with black crayon and throws out his jar of chicken and dumplings. Now, with her plans ruined, Allie wonders if she'll ever have that perfectly drawn family that others have.

Mama’s Chicken & Dumplings is a 38,000-word, middle-grade novel with a colorful backdrop of Chicago's South Side’s better days of the early 1940s.

First 250:

I’m sitting on the stoop of our brownstone, brushing my old doll’s hair when the fat man comes, smiling his fat smile. He’s come to collect the rent. But I ain’t worried. Whenever Mama comes home from cleaning, she goes straight to her coffee tin and in goes her money. Clink. Clink. She ain’t spared not even a penny, not even to me, though I shed me some tears.

“Please, please,” I’d say. “Let me run down to Mr. Malone’s store and get me a Mary Jane.” Mama’s real tight with pennies, so I’m sure she’s got enough. Least, I hope.

The fat man rings the bell. Ring. Mama will know that’s for her. If he’d rung it two times together—ring, ring, like that—loud-mouth Miss Zelda in her housedress with shout-out colors and a scarf round her head would’ve come from the second floor. Had it been three times, old Mr. Potterfield, who’s up on the third floor, would’ve opened his window and hollered “Who!” And if it wasn’t anybody he knew, he’d grumble like the back of a garbage packer squeezing down trash and slam the window.

One ring is all, and Mama will be at the door, letting the fat man in.

Course, I could let him in, but since he’s acting like he can’t see me sitting here, right up under his feet, I decide I ain’t paying him no mind at all. And I ain’t letting him in. He’ll have to wait for Mama.

2018 Query Kombat Adult Champion and Runner Up

Tessa Pacelli

Tessa is a recovering finance nerd and the professional wrangler of one short, human-like creature known as "the child". She has a couple of fancy degrees (Harvard, Stanford) which really just translates to "I am smaaahhht" and "I can handle things!!!" As you may guess from this quote, Godfather II is her favorite movie. In books and art, she's drawn to the tragic, the sad, the honest and the heartbreaking, because she believes that Crying Feels Good (TM). She writes woman-centric thrillers that feature strong, smart female protagonists who have their feet on the ground and their eyes on the prize.

Currently, Tessa can be found online at @tessa_pacelli






Query:

To her family and friends, Marybeth Delay is the embodiment of the word "wholesome": she's a teacher, wife, and loving mother of two young children living in small-town Minnesota. But they don’t know that she was once, in a different lifetime, Valentina “Babyface” Nacosto, the New Jersey mob’s most prolific and mysterious killer. They don’t know that she had a child seventeen years ago, who died in a hit meant for her. They don’t know that the serenity of her new life is repressed denial of her old one.

Marybeth thinks the past is forever behind her until the morning she turns on the news — and discovers that her son is alive. Alive, and the focus of a furious FBI manhunt, along with Valentina’s ex-husband, fugitive mob boss Vincent "Nine Lives" Nacosto.

Valentina couldn't save her son from violence seventeen years ago. But she can now. And she will. She’ll get to him before the FBI does. She’ll be his way out—and she will risk her new family, her new life, her new peace to do it.

BABYFACE is told in both past and present timelines as Marybeth/Valentina comes to terms with who she was, who she is, and who she needs to be for both her families. Complete at 89,000 words, BABYFACE evokes a female John Wick crossed with the emotional conflict of A History of Violence. It will appeal to fans of Alafair Burke’s The Wife, Riley Sager’s Final Girls, and Jessica Knoll’s Luckiest Girl Alive.

First 250:

I have the Minnesota winter to blame for what I did today, and for everything I know I will do tomorrow.

The kids and I got home at 3:30 from pickup. My fingers were numb. The heater in the minivan doesn’t work well, not in this kind of cold, and I forgot my gloves. It’s month two of my maternity leave and I guess I don’t have it together yet. Caroline was nagging me for Doc McStuffins the entire ride and Jacob was screaming his little head off. I knew he was hungry. I knew because my breasts felt like overfilled water balloons about to burst. But Jacob doesn’t latch; I have to pump. My stomach sank when I realized he was twenty minutes away from his meal.

Five tortured miles later, we made it home. I dragged the car seat into the living room. “Give mommy a second," I begged. No luck. He screamed louder as Caroline tugged on my hand. Doc McStuffins. Right. Maybe it would entertain Jacob, too. I jabbed at the remote, my fingers blue and slow from cold. The TV jumped to life and I pressed the numbers. 3-1-3, Disney Junior. Jacob was still screaming when I headed to the foyer to retrieve the pacifier and pump, wincing as my fingers came back to life in potent little stabs. If he hadn’t been crying, if I hadn’t been in pain, I would have noticed. I would have seen. I would have understood that I had the wrong channel.

I would have changed it.

2018 Query Kombat Young Adult Champion

Jessica Olson

Jessica currently lives in northern Texas, where she spends the vast majority of her time huddling next to AC vents. Whenever her two deliciously squishy children are sleeping, she can be found typing away at YA fantasy stories or voraciously tearing through the latest bestsellers. She eats way too much peanut butter (Skippy on a spoon, thankyouverymuch), is obsessed with Insanity workouts, sings her guts out at every opportunity, and doesn't think there's anything more satisfying in the world than a well-placed comma. Having earned her Bachelor's degree in English with minors in French and editing, it's safe to say she's a lover of words and doesn't see that stopping anytime
soon.

Twitter: http://twitter.com/JessOlson123
Instagram: https://www.instagram.com/jessicaolson123/







Query:

Eighteen-year-old Alora Delattre should have been burned at the stake. Her power to possess others’ bodies is an ability condemned by scripture as the deepest form of corruption. Her father, the head of the church that would execute her, should have been the one to set her aflame. Instead, he hid her.

Then her mother is murdered by a heretic rebellion, and suddenly death by fire seems like a small price to pay for revenge. She takes over the body of one of the rebels, determined to hunt the killer down and make him bleed. But what she finds in their camp changes everything. For the first time, she sees her benevolent father through the eyes of the people whose blood he has spilled and whose families he has torn apart in the name of righteousness. And then there’s Chet, the quiet, passionate, maddening leader of the rebellion who she swears can see right through her even though he’s blind. She’s risking everything letting him get close—especially while she’s wearing another girl’s skin.

But Scythe, her father’s young, magical tracker, is on her trail and closing in fast. Alora must choose: get the revenge she craves by hauling Chet and his crew to the execution stage, or lead the crusade against the most terrible dictator her world has ever known—her own father.

SONG OF THE VULTURE is a YA fantasy complete at 96,000 words. It is a multi-POV novel with chapters from Alora’s, Chet’s, and Scythe’s points of view. The possession aspect hearkens back to Stephenie Meyer’s The Host, while the father-daughter relationship and the romance will appeal to readers of Marie Rutkoski’s The Winner’s Curse.

First 250:

You will burn, little vulture. Your secret will be discovered, and your body will crumble to ash.

Alora knew the pyre couldn’t speak, knew the words were in her own mind, and yet the threat still raised the hairs on her arms.

The pyre’s great pole shone white as a bone over the housetops behind her. Every time she and Kirsi snuck out of the temple like this, that pole watched her dart from shadow to shadow, followed her around every corner, waited for her to slip up so she could finally meet fiery death at its feet.

Alora glared over her shoulder, aimed an obscene gesture in its direction, and continued on her way.

Hooves clattered on the cobblestones behind them, and Kirsi shoved her into the nearest alley, cursing. They ducked out of sight an instant before the guards rode past. Alora’s heart thundered in her ears.

Kirsi’s dark eyes flashed as she tugged her hood to shroud her pointed nose and deep olive skin. “How in ash do you manage to talk me into this every stupid time?” she hissed once the hoofbeats faded.

“Come on,” Alora replied, breathless. “Dodging them is half the fun.” She pulled Kirsi back down the road. Faster now. The sooner they got to the Frosted Vulture, the better.

Keeping to the darkest parts of the city, they reached the slouching remains of an abandoned shoemaker’s shop a few hours after midnight.