Adventures in Querying

It’s official, I’m querying!

That’s right, I’ve been reaching out to complete strangers based solely on whatever they’ve chosen to post on the internet and their apparent industry track record, asking them to check out my book. I’ve had Nikka Costa on repeat in my brain all week…

With Larry Rone of Poor Man’s Fortune

I’m the first to admit I don’t know what I don’t know. Which is not always a bad thing. When I first came to Celtic music, there was a LOT I didn’t know. In fact, I was so green that I approached my first audition as an informational meeting. When the guys in the band whose ad I’d replied to asked me to sing (after they’d played several tunes for me), it sank in that it was a legit audition. And I wasn’t prepared. I hadn’t prepped anything that would remotely showcase my vocal abilities, I’d literally just shown up at the time and location we’d agreed on to learn more about their project and see if I liked their vibe. So, instead of a carefully prepared audition piece, I sang the first song that popped into my mind (Amazing Grace). Fortunately, they liked it. When they said they loved how I ornamented, I had no idea what they were talking about in the context of vocalization. Sometimes, you really don’t know what you don’t know. I’ve since learned, and mastered, vocal ornamentation along with a slew of other things about using my instrument consciously, and working in the music industry. And I’m still learning! I actually love that. I’m a HUGE believer in continuing ed (and not just because I worked as a teacher for years), and even though it’s not always the most fun ever, I love the iterative process. There is always room for improvement, for learning, for growth.

So, back to the querying.

I’m actually taking delight in this process. Sure, it’s some work, but I’m not opposed to work and am all about making the most of things so, I’m seeing all kinds of wonderful in the process. It’s honestly awesome getting to vet people, being selective about who may be a good fit for me and this project. I’m not just randomly blanketing anyone who reps my genre and is open to submissions, I’m actively seeking alignment with people who resonate with me because after all, we may be working together. I believe whole-heartedly in following your joy and having fun with the work. Why wouldn’t I pick the most kick-ass, coolest colleagues if I get a say in who I work with? Agents are looking for the next great book they can sell. I’m looking for A-players who are excellent at their jobs but are fabulous humans too. Sometimes that’s tough to tell from an agency bio, or a MSWL listing, but it’s a starting point. And everyone starts somewhere. For my part, I’m purposely submitting to agents who I can imagine working with one day.

Querying literary agents is not unlike the process of booking in the music industry. If you want to play a venue or festival, there’s an application process and it involves imagining working together and finding a good match for both the venue/festival and the artist/art. For example, I wouldn’t in a million years have sent my Celtic press kit to Ripplefest – as a complete non-match for that (incredible metal) festival, not only would I have been declined, it wouldn’t have been the best use of time and energy for all parties involved (and my band and I would probably have been made into some sort of meme).

It’s all about finding alignment. There was a venue I’d turned down repeatedly because they allowed smoking inside (this was back in the days when that was a thing and let me tell you, second-hand smoke doesn’t play well with clear, ethereal vocals). Eventually, after some negotiation, I did end up playing that venue. They made my show a non-smoking, bouncers-will-throw-your-ass-out-if-you-light-up event, and even changed air filters and aired out the venue before my band and I arrived. It was a great night, and a win all around. Magic can happen when there’s a right alignment so it’s imperative to do the work of seeking out, applying, and accepting invitations to venues and festivals that projects are good match for, and that are also a good match for the artist. This is the same for both the music industry and the literary world.

I’ve been finding the whole process incredibly interesting. Just like submissions in the music industry, the query process is equal parts job interview and sales conversation. But unlike in the music world, where submission details are pretty standard, the literary world seems like a bunch of snowflakes. Same crystalline structure, but differing formats. Venues and festivals pretty much want the same information, photo and brief bio (some don’t even want that), band line-up (sometimes your stage specs and backline), and of course, sound samples. Literary agents seem to generally want the same thing, stats on your book (title, genre, word count), brief bios for both the book and the author, and a writing sample. This is where things get varied.

Some people want 5 pages, others 10, another wants the first three chapters, someone else only wants a synopsis, another doesn’t want anything but a short query letter – and some will tell you exactly what they want you to put into each paragraph of said letter. As I took however long it took with each submission, I found myself wondering if the literary industry could standardize itself by allowing electronic press kits like they do in the music industry?

But I get it. I’ve had the privilege of participating in some writer’s events, hearing from several industry professionals, and from what pretty much every single agent who’s presented has shared, there seem to be a lot of people who can’t follow directions or be bothered to spell someone’s name correctly. So, I think part of the point of the non-standardization of the querying thing probably has everything to do with agents having ways to weed out people who aren’t a good fit for them (regardless of the writing). If you can’t follow directions or spell names right, I imagine the collaborative editorial process may be a nightmare. Which, of course, no one wants. So, even though I’d personally love to see some kind of literary equivalent of an electronic press kit for querying, I’ll give the agents a pass on this one. And if you’re in the query process like I am, please be sure to spell the agent’s name right. Oh, and give them what they’re asking for.  

And then wait.

The waiting part is kind of fun actually. Wondering who will get back to you when. Imagining that things are taking so long because the agent is being thoughtful about the possibility of working with you. Or maybe that’s just me. Lesson from the music industry – don’t wait. I mean sure, technically we’re waiting (also, we have zero control over this part of the process so may as well make it fun). Time is actively passing between the hitting send and the getting a reply, but we aren’t just sitting around twiddling our thumbs as Sabrina Carpenter would say. That in-between time is excellent for being productive. Focusing on things you maybe let slide while editing or prepping for submission, writing or researching new things, exploring something fun. In my case, working on music stuff, or writing new short fiction and poetry, and submitting said writing for possible inclusion in some journals or magazines (again, same as with the agents and venues thing, finding what aligns). I’m also spending time in nature (per usual), and gearing up to draft another novel. I think creativity is rather like surfing. You’re always riding some wave, or prepping for the next. Here’s to avoiding reef rash. And to getting published.