examples of cover letters to literary agents

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Read a sample literary agent query letter, with hints & tips.

By Harry Bingham

Sample Query Letter & Template Included

You want to know what a great query letter to literary agents should look like? We’re going to show you a perfect sample letter in a moment.

But we’re also going to figure out what your query letter needs to do – and how you’re going to write it.

This blog post will give you everything you need – and I promise that if you are talented enough to write a book, you are EASILY capable of writing a strong, confident query letter.

OK. We’ll get stuck in in one second.

But I should probably tell you that I am a real author describing a real book. The query letter below pretends that this book is a first novel and I have no track record in the industry. That’s obviously the case for most people reading this, but if you DO have a track record of note, then for heaven’s sake tell agents about it. Boasting is good!

What A Query Letter Should Accomplish

Your query letter needs to accomplish the following goals:

• Introduce the purpose of your letter (ie: to secure representation).
• To define in a very concise way the manuscript that you’ve written (ie: title, genre, word count).
• To introduce your work at slightly more length – so you say what it is (setting / setup / premise / main character).
• To give a sense of the emotional mood of your work – what is the emotional payoff for the reader?
• To give a hint of your book’s USP or angle.
• To help the agent understand where your book would fit in the market by including comparable titles and agent personalisation.
• To say something – not much – about you.

The Structure of your Query Letter

Here’s the structure that most query letters should take. There are some exceptions (notably non-fiction and literary fiction), but for most purposes your query letter should comprise the following:

• Introductory sentence – include your purpose for writing (you’re seeking representation!) book title, wordcount, genre.
• 1-2 paragraphs about your book – what your book’s about and why a reader will love it.
• A brief note about you – who you are and why you wrote the book.

We’ll expand on these things shortly.

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A sample query letter

First up, however, here’s a query letter of a sort that would make any sane agent want to start reading the manuscript in question:

Dear Agent Name I’m writing to seek representation for my first novel, TALKING TO THE DEAD, a police procedural of 115,000 words. The book opens with news of a murder: a young woman and her daughter have been found dead in a rough area of Cardiff, Wales. The house where they’re found is in poor condition, but in the corner of the room is a platinum bank card belonging to a local millionaire. A millionaire who died in a plane crash some nine months previously. New recruit, Detective Constable Fiona Griffiths is assigned to the investigation. Puzzling as this crime looks, it’s not the heart of the book’s mystery. It becomes rapidly clear that Fiona Griffiths herself is a very peculiar woman, who is withholding crucial secrets from the reader. Who exactly is her father? What was her childhood illness? And what is it with her and corpses? I currently run my own small consultancy business, and  this is my first novel. I look forward to writing further novels in the series. I enclose the first three chapters and a synopsis. I hope you like what you see and look forward to hearing from you. Yours, Harry Bingham

Simple right? And you can do it, no?

Here’s that query letter again with my comments highlighted in bold:

Dear Agent Name [ probably Jenny Smith, for example, rather than Ms Smith or just Jenny. But do check spellings, please! Someone called Jon may be annoyed to be addressed as John. ] I’m writing to seek representation  [the purpose of you getting in touch]  for my first novel, TALKING TO THE DEAD, a police procedural of 115,000 words.  [title, genre, word count – all defined fast and clearly.] The book opens with news of a murder: a young woman and her daughter have been found dead in a rough area of Cardiff. The house where they’re found is in poor condition, but in the corner of the room is a platinum bank card belonging to a local millionaire. A millionaire who died in a plane crash some nine months previously.  [This sets up the basic premise of the crime story. Already, the agent has the basic co-ordinates she needs to navigate, including location. I haven’t explicitly mentioned that this is a contemporary novel, but if it’s historical or speculative you certainly need to spell that out.]  New recruit, Detective Constable Fiona Griffiths is assigned to the investigation.  [Introduce main character – clearly and succinctly.] Puzzling as this crime looks, it’s not the heart of the book’s mystery. It becomes rapidly clear that Fiona Griffiths herself is a very peculiar woman, who is withholding crucial secrets from the reader. Who exactly is her father? What was her childhood illness? And what is it with her and corpses?  [This hints nicely at the book’s mood and USP. It starts to suggest the emotional payoff – a mystery to do with the book’s central character. In effect, this is where you deliver something like the book’s elevator pitch – the reason why the agent has to know more.] I currently run my own small consultancy business, and this is my first novel. I look forward to writing further novels in the series.  [A line or two about me. Confirmation that I understand I’m writing a series – an important touch for this kind of fiction. If you are writing in any genre that expects a series (eg: plenty of children’s genres) make it clear that you understand that expectation.] I enclose the first three chapters and a synopsis. I hope you like what you see and look forward to hearing from you.  [Wrap it up. The whole letter easily fits onto one page. And yes, I know you’ll be sending an email, but you know what I mean.]

Now you know what you’re doing, we’ll get into a slightly more specific analysis.

The Components of Your Query Letter

The 1 sentence summary.

• You need to say why you’re writing. (You’re seeking representation, right? So say so.)
• You need to give the title of your book, either underlined or (better) in italics, please.
• You need to give the word count of your book, rounded to the nearest 5,000 words. (And one word of advice: just be sure your word count is approximately right for the market.  Advice here .)
• You need to give the approximate genre or territory of your book.

If you do those things, the agent can instantly understand what you want and what you’re offering. You will also, by the way, prove yourself to be a swift, professional writer.

It’s absolutely fine to model your sentence after the one I’ve given you above. It’s my copyright, but I don’t mind a bit of plagiarism.

What’s your genre?

It’s all very well for me to tell you to define your book’s genre: my books have a really clear, easily named genre. But that’s just not true of lots of books. If you’re writing a historical novel involving a cross-cultural romance amidst the wars of the 18th century Ottoman empire – what is that book? A romance? A war story? Historical fiction?

The simple truth is that it’s all of those things and agents aren’t that fussed about putting things into neat boxes, because fiction has never come in neat boxes.

So just describe the book, in 1-2 sentences. “The novel follows Ali, a caliph in the 18th century Ottoman empire and his romance with Anya, a Balkan servant girl. The novel centres on the XYZ war and has its climax during the 17xx siege of Dubrovnik.” Now, I’ve just made that up – I don’t know if there was a siege of Dubrovnik, but you can see that I’ve explained what kind of book this is without needing to reference a genre. If your book doesn’t fit any neat category, then just do the same.

The 1-2 Paragraph Introduction To The Book

First, it’s important to say what this is not.

You are not writing a back-of-book blurb. But nor are you writing a detailed outline of your story. (That’ll come in the form of your synopsis – get more synopsis help  right here .)

What you  are  doing is explaining  what  your book is and  why  a reader will feel compelled to read it.

That ‘what’ element will typically be a matter of presenting some facts. You need to give some more information about your settings, your premise, your characters and so on. You don’t need to be as salesy as a cover blurb, and you don’t need to be as dry as a synopsis. It’s almost as though you were chatting to your best friend and telling her about the book you’ve just been reading.

The ‘why’ element is equally crucial. Here, you are conveying something about  emotions . What is a reader going to feel as they read the book? What kind of atmosphere will they inhabit? What kind of emotional payoff or challenge is likely?

Comparable Titles

Including comparable titles is a clear and simple way to help authors understand where your book fits in the market. It’s important to query agents who specialise in your genre, and comparable titles help them get a sense of where your book would fit in with their list. Some people choose to include this in the introduction of their query letter, while others add it in later on; you can place it anywhere that suits you.

The standard advice is that you should try to include two or three comparable titles. You could reference them by saying ‘readers of x, y, and z would love (your book)’ or ‘x meets y in (your book)’. Make sure that you also describe why your book is unique and detail the extra elements it adds to the books you reference.

Personally, I’m a little sceptical that agents always need this kind of triangulation. Done badly, and it can seem a bit crass – a bit unsophisticated.

For this reason, and if you do choose to go the comparable title route, it’s important that the titles you use are genuinely similar to your book. Though it can be tempting to reference books you admire, it’s helpful to show an understanding of the market you’re writing in and give the agent a sense of the overall tone/style of your book. The titles should be commercially successful and contemporary (ideally from the last two years or so) to show your agent why you think your book will sell in the current market.

Oh yes, and don’t just pick the current genre bestsellers as your comps. That’s a bad idea for two reasons: first, everyone else will do it, and second, it’s actually important you pick the books and authors that really do give the agent a real clue as to what you’re all about. That could be the book currently at the top of the NYT bestseller list … but it probably isn’t.

Agent Personalisation

Agent personalisation is a very brief part of your query letter, but it’s an important one. Lots of writers eagerly send query letters to lots of different agents, and agents want to know that you put some thought into deciding to contact them specifically. As with comparable titles, this is a section which can go anywhere in your query letter.

Providing an agent with a specific reason why you chose to query them will help make your query letter stand out, and it also shows that you’ve done your research.

Maybe they represent an author in your genre who you’re a big fan of, and that’s how you found out about them. Or perhaps you discovered them on Twitter, or went to an event they took part it where something they said really resonated with you. Let them know! Including this element of personalisation will make your letter more memorable.

Again, don’t do this on auto-pilot. If you genuinely have a particular reason for writing to this particular agent, say so. If not, keep silent. Most agents have 2-3 big name authors and a horribly huge proportion of the query letters coming to those agents say, “I am writing to you because you represent Famous Author X and I think that my book …”

Yeah, right.

If in doubt, just keep quiet.

A Brief Introduction To You, The Author

Luckily, agents don’t care too much about you. Nor should they. They should care about the book, and only the book. That’s a fine, honest, meritocratic approach. May the best book win!

That said, agents are obviously curious about the person behind the manuscript. So tell them something about yourself. It’s fine to be human here, rather than resume-style formal. It’s also OK to be quite brief. For example:

“I am a 41-year-old mother, with three children, two dogs, one husband, and the finest vegetable garden in the southwest.” That’s much better than “I spent twelve years as an ACPO-registered bookkeeper with a variety of small and medium enterprises by way of clients. I was nominated for the New Mexico Young Bookkeeper Award three times, and was successful on one occasion (2003).” Believe me, agents don’t care – and nor should they. Your manuscript matters. You don’t … much.

Why you wrote the book

If there is a real connection between who you are (a shrimp fisher, let’s say) and the book you’ve written (something to do with the sea and fishing) then it’s worth another sentence or two to tease that out a bit.

But don’t feel compelled to do that. In my case, I wrote a crime novel, just because I wanted to write one. I’m not a cop or ex-cop. I have no forensics expertise. I have no legal expertise. Or anything else relevant. And that doesn’t matter, of course – what matters is the quality of the book.

So if you have something good to say, say it. If you have nothing to say, then say nothing and don’t worry about it.

Your previous writing history

If you have some real background as a writer, then do say so. For example, you might have written a textbook or similar on a topic relevant to your own professional area. Or you might have won or been shortlisted for a major short story prize. Or perhaps you work as a journalist or copywriter. Or something similar.

If anything like that is the case, then do say so.

But if it’s not – don’t worry! We’ve seen a lot of agent query letters that say things like “I haven’t had much writing experience, but my English teacher always used to say that I would be a writer one day . . .” And, you know what? It just sounds feeble. So don’t say it.

Agents know that most slushpile submissions will be by complete newbie authors. And that’s fine. JK Rowling was a newbie once . . .

Writing a series?

If you are writing a series, then you should say so, much as I did in that sample letter above. Agents will like the fact that you recognise the series potential of your work and that you are committed to taking the steps needed to develop it.

What you don’t want to do, is sound overly rigid or arrogant. (“I have completed the first four novels in my  Lords of the Silver Sword  series, and have got complete chapter outlines for the next 11 titles. I am looking for a publisher who will commit fully to the series.” — if you write something like that, agents are likely to reject you out of hand.)

How Long Should Your Query Letter Be?

Your overall letter should not run to more than one page. (Except that non-fiction and literary authors can give themselves maybe a page and a half, maybe two). And that’s it.

If you’ve written your query letter, and would like some feedback before querying agents, why not purchase an agent submission pack review from us.

We can help YOU get published. Did you know, we have a complete course on getting published? The course covers absolutely everything you need to know: how to prepare your manuscript, how to find agents, how to compile your shortlist, how to write your query letter and synopsis – and much, much more besides. That  course is quite expensive to buy . . . so don’t buy it. The course is available completely free to premium members of Jericho Writers. Not just that course. You get our Agent Match tool for finding literary agents. You get our awesome How To Write course. Plus our members get regular opportunities to pitch their work live online to a panel of literary agents. Sounds good, doesn’t it?  So hop over here and find out more about joining us .

Query Letters: The Exceptions

OK, there are a few exceptions to the above rules. Of those, the two most important ones you need to know about are:

You Are Writing Literary Fiction

If you are writing genuinely high end literary fiction, agents will want you to strut a little, even in your query letter. So if you were writing about (Oh, I dunno) a fictional nun in 14th century Florence, you might talk a bit about the themes of your work and what inspired you to pick up this story.

This kind of thing:

“ I got the idea for this story, while working as a game warden one winter on the Hebridean island of Macvity. I was all alone and with a deeply unreliable internet connection. It occurred to me that my solitary life had its religious aspect and I became very interested in female monasticism. Blah, yadda, yadda, blah. ”

(Sorry for the blahs, but personally I like books that have corpses in them.)

The idea of this kind of approach is that you are selling the book (its themes, its resonances), but also you’re selling yourself – you’re showing that you can walk the talk as a literary writer.

You Are Writing Non-fiction And You Have A Remarkable Platform

Let’s say you are writing a cookbook and you have a couple of million people who subscribe to your YouTube channel. Or you are writing a book about motorcycle repair and you have a motorbike-themed blog with 250,000 monthly readers. In those cases, you have to delineate your platform in enough detail to convince an agent (and ultimately a publisher) that you are the right person to write this manuscript.

In those cases, then your query letter does need to outline your platform in sufficient detail. You may even want to kick that outline over into a separate document. However you handle it, the “one page query letter” rule can safely be binned. Your prospective agent wants to know what kind of platform you can supply – so tell her.

Oh yes: and having a website is not a platform. Having 10,000 followers on Twitter is impressive, but means nothing in the context of national or international marketing. In short: if you are going to make a big deal of your platform, your platform itself needs to be a big deal. That means having six- or seven-figure numbers to boast about. Nothing else will really cut it.

You Are Writing Non-fiction And You Have Extraordinary Authority

Much the same goes if you are (let’s say) writing a book of popular psychology and (like Daniel Kahnemann) just happen to have a Nobel Prize to wave around.

If you bring amazing authority to a topic, then you need to cover that, either in your query letter or a separate bio. Again, the one page rule just doesn’t apply.

Literary Agent Etiquette

So. Let’s say you’ve got a shortlist of agents. You’ve checked those agents’ websites for their specific submission requirements – probably opening chapters + query letter + synopsis.

You use our query letter sample and write your own perfect query letter. You avoid any weak language, misspellings or grammatical howlers, of course.

You use our advice to put together your synopsis ( advice right here ). You don’t spend too long on writing the synopsis either, because if you use our techniques, that process is simplicity itself.

You read the opening chunk of your manuscript one last time – and follow our simple rules on  manuscript formatting .

And then – well, you send your stuff off.

You light some candles, pray to your favourite saints, tie a black cat into a knot and throw a mirror over a ladder. (Or under it? Or something to do with a wishing well? I’m not sure. Superstition isn’t my strong suit.)

Anyway. You get your stuff out to at least 6 agents and preferably more like 10-12. You wait an unfeasibly long amount of time – but let’s say 6-8 weeks as a rough guide.

What happens next? Well.

Rejections do happen, and are likely to happen even if you’ve written a great book. (Because agents have their hands full. Or just like a different sort of thing. Or have an author who is too directly competitive. Or anything else. It’s not always about you or your book.)

But if you send your material out to 10-12 agents, and find yourself being rejected, then you have to ask yourself:

• Am I being rejected because I’ve chosen the wrong agents?
• Am I being rejected because my query letter / synopsis are poor?
• Am I being rejected because my book isn’t up to scratch?

Truthfully? The third of these issues is by far the most common.

If you’ve written a great book, and a rubbish query letter, you can still find an agent. The other way around? Never.

If you are confident that you’ve gone to the right agents, and have been rejected by 10+ people (or heard nothing after 8 weeks, which amonts to the exact same thing), then the probable truth is that your book is not yet strong enough for commercial publication.

And, you know what?

That’s not a big deal.

All books start out bad. Then they get better. So getting rejected is really just a signal that you still have further to travel down that road. ( Find out about the type of rejection letters to look out for here. )

Remember that getting third party editorial advice is the standard way of improving your work. We offer outstanding editorial help and  you can read all about it here .

Alternatively, join the Jericho Writers family, and you can get a ton of help absolutely free within your membership. Free courses on How To Write. Free courses on Getting Published. Free access to AgentMatch. And so much more.  Find out more here .

Happy writing, and good luck!

About the author

Harry has written a variety of books over the years, notching up multiple six-figure deals and relationships with each of the world’s three largest trade publishers. His work has been critically acclaimed across the globe, has been adapted for TV, and is currently the subject of a major new screen deal. He’s also written non-fiction, short stories, and has worked as ghost/editor on a number of exciting projects. Harry also self-publishes some of his work, and loves doing so. His Fiona Griffiths series in particular has done really well in the US, where it’s been self-published since 2015. View his website , his Amazon profile , his Twitter . He's been reviewed in Kirkus, the Boston Globe , USA Today , The Seattle Times , The Washington Post , Library Journal , Publishers Weekly , CulturMag (Germany), Frankfurter Allgemeine , The Daily Mail , The Sunday Times , The Daily Telegraph , The Guardian , and many other places besides. His work has appeared on TV, via Bonafide . And go take a look at what he thinks about Blick Rothenberg . You might also want to watch our " Blick Rothenberg - The Truth " video, if you want to know how badly an accountancy firm can behave.

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

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

Written by: Adam

Published on: November 20, 2023

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

Understanding the purpose of a cover letter for manuscript submission

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

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

Essential elements of a cover letter for manuscript submission

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

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

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

Tips for writing an attention-grabbing opening paragraph

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

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

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

How to showcase your writing credentials and experience

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

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

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

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

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

Crafting a compelling summary of your manuscript

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

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

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

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

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

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

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

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

Don’t:

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

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

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How to write the perfect pitch letter to an agent

Related courses, edit & pitch your novel, the literary agent – with jonny geller, by anna davis, 7th jan 2019.

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

1. Write to a specific agent and do your research

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

2. Address the agent by their first name

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

3. Keep the pitch-letter short

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

4. Kick off your letter by pitching your novel

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

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

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

6. Include mention of one or two comparison novels

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

7. Tell the agent a little about yourself

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

8. Avoid bragging

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

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

The agent doesn’t care about any of that!

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

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

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

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

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

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

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

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

14. Don’t crack corny jokes

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

15. Don’t be obsequious

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

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

Courses to help you pitch with confidence

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

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

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How to Write a Cover Letter for a Book Submission

If you’re wondering how to write a book submission cover letter, first of all: congratulations! You’ve written a whole novel , and edited the completed manuscript so it’s ready to submit to literary agents . That’s a huge achievement!

While the world of publishing and the manuscript submission process might seem opaque, we’re very lucky here at The Novelry. We have a whole team of experienced authors and editors who have been on both sides of the process – so we know how to write query letters that really grab literary professionals’ attention.

Read on for our top tips on crafting the perfect cover letter. Remember, the cover letter is one of the most important ways to ensure the package you submit stands out from the crowd.

While you’re here, be sure to look over other articles in our creative writing blog – they’re full of tips and tricks for navigating the publishing industry. For example, you can find advice on how a writer can create the perfect hook for a novel , and how to write a synopsis to go with it. You might also want to cast your eyes over our tips on how to start a story and write a great first paragraph.

Plus, you can read this article with a literary agent’s advice on novel openings so that your first three chapters are as strong as they can be.

And if you really want a tip-top submissions package, sign up to one of our creative writing courses. Our structured programmes will take you step by step through the novel-writing journey, ensuring your book aligns with the publishing market at every stage: from a cracking idea to a beautifully formatted manuscript. You get one-to-one coaching from a bestselling author in your genre, and access to a roster of professional editors who can whip your manuscript into shape. Plus, we work with the leading literary agencies in the UK and the USA, and we know exactly what they’re looking for!

And always, always remember to read the instructions on each agent’s and publisher’s website before you even think about putting together a submissions package.

But above all, do away with any fear or nerves: manuscript submission really isn’t scary stuff! It’s all very straightforward, and agents are on your side ! They want to share great stories with the world. Think of this as another stepping-stone to seeing your book on the shelves, not an obstacle.

The basics of writing a book submission cover letter: tone

The first thing to establish before you start writing the cover letter for your book is the tone.

It can be a difficult balance, and – understandably – a significant choice for a writer. After all, this isn’t a cover letter to apply for any old job where your writing prowess might not be a huge factor. This is your chance to prove your prose is worthy of agents’ extremely limited time.

The temptation to show off your skills and your writing style might be strong. But remember: that’s why you submit sample chapters. Think of this more as a business letter. Keep it professional, to the point and easy to read. Keep your word length and sentence length in check; this is no place for purple prose.

Some writers also hope their query letters will convey their personality – and so they should! If it feels right, feel free to add a splash of dry humour, and give the agent an idea of who you are (without recounting your entire life). But again, maintain a balance and stay on the professional end of the spectrum rather than going all-out wacky.

A brief note on conveying your personality: be sure to write in the first person, as yourself. Some people think it’s kooky or endearing to write their letter as their protagonist. It might feel original, but unfortunately agents have seen it before, and few will be amused.

Above all, proofread, then proofread again, and then proofread a final time. You might even ask a friend from your writing group , or a savvy editor, to give it one more proofread for good measure. What you really don’t want in your cover letter is a grammatical or spelling mistake. You’re selling the agent on your writing – keeping it error-free is the bare minimum!

Key elements of cover letters in publishing

Once you’ve thought about tone, consider the topics your cover letter should address.

There are five key elements in the query letter that writers send with their book submissions:

Generally, you’ll write a cover letter that hits those topics, probably in that order.

The word count

Before we think about how you’ll address these elements, and how much of your cover letter each will take up, it’s worth thinking about the overall word count.

Again, you might find yourself wrestling your writerly instincts (even if you’re fond of writing short fiction…). You need to keep your covering letter short and snappy. After all, you don’t want the agent to spend all their time reading just your letter. You want them to turn to your manuscript as soon as possible, and get right into those three sample chapters (or however many their guidelines request).

At most , your pitch letter should take up one page (in a legible font size, please. We know your tricks!)

1. Writing the hook for your book submission

The very first thing in your letter will likely be your hook. It’s right there in the name; its job is to hook the reader into your fiction.

As we mentioned, you can get in-depth advice on how to write a great hook for a novel in a dedicated article, but we’ll give you some brief pointers here.

It should be a very short paragraph, which includes the title and genre of your novel, along with the pitch or hook. Put simply, it will go: ‘[TITLE] is a [GENRE] in which [PITCH]’ .

The hook should be (ideally) a single sentence, and sum up the premise of your book. To nail it, you’ll want to consider these factors:

• What your novel is about
• Who it’s about
• What’s at stake for your protagonist
• What stands in their way
• What they must do to achieve their goal

Some writers find it helpful to use titles of works they’re comparing their novel to, often in the ‘X meets Y’ format, or ‘X but in Z setting’. For example:

• Alien was pitched as ‘ Jaws but in space’
• George R.R. Martin’s pitch for A Game of Thrones was ‘ Lord of the Rings meets the War of the Roses’
• Our writing coach Katie Khan’s debut novel, Hold Back the Stars , was pitched as ‘ Gravity meets One Day ’

If there are titles or concepts that fit, this can give agents an immediate idea of what to expect in your manuscript.

Plus, you’re offering proof of concept. That’s integral to any compelling business proposition, but it’s especially important in the world of publishing. While the industry has risk-taking pretty much baked in (given only around a third of published books are profitable), there’s still hesitancy around signing books with a premise that’s completely untested.

Which brings up another important point: don’t make the mistake of comparing yourself to an outlier or phenomenon (like Harry Potter , The Da Vinci Code or Fifty Shades of Grey ). Not only could you come across as a little self-aggrandising, but not all agents want to bet on outliers. They might prefer the security of a surer thing.

2. The story paragraph

Once you’ve given the basic hook, you’ll be relieved to know that you have another, longer paragraph to summarise your story.

This is one of the most essential parts of your cover letter. Importantly, it sits apart from your hook, synopsis, chapter outlines and/or sample chapters.

To give you an idea of what you’re aiming to write, it’s akin to the blurb written on the back of book covers. It should be stirring and pithy. It should also make it clear what question will drive readers to the novel’s end from its very beginning.

Make it as intriguing as you can and feel free to end on a cliffhanger. The agent needn’t know the entire story at the point of submitting. Plus, they’ll usually have requested a more detailed synopsis as part of the submissions package, so they’ll turn to that if they want more detail. Or they might even ask to see the full manuscript! But this letter is your chance to grab their attention and stick in their memory.

While you want to distil the essence of your whole novel into this section, do try to keep the focus on its beginning, the part that makes us keep going. That’ll make the literary agent want to read the rest of your materials!

One fact you should always include is the total number of words in your full manuscript.

Examples of story paragraphs

To give you an idea, here are a couple of examples from popular books. We’ll put the novel after the paragraph, so you can see how easily identifiable the work should be from its brief description. Hopefully it will give you an idea of the amount of detail to go into.

Mrs Bennet wants nothing more than to secure good marriages for her five daughters and is thrilled when a wealthy young gentleman rents a nearby manor. When middle daughter, Elizabeth, is first introduced to eligible bachelor Fitzwilliam Darcy, she finds him cold and arrogant – and he seems unimpressed by her quick-witted charm. However, as the weeks pass, both Darcy and Elizabeth find themselves reconsidering their first impressions. — Summary for Pride and Prejudice by Jane Austen

Summers span decades, winter can last a lifetime and the struggle for the Iron Throne has begun. It will stretch from the south – where heat breeds plots, lusts and intrigues – to the vast and savage eastern lands, all the way to the frozen north where an 800-foot wall of ice protects the kingdom from the dark forces that lie beyond. Kings and queens, knights and renegades, liars, lords and honest men... All will play the Game of Thrones. — Summary for A Game of Thrones by George R.R. Martin

As you can see, neither is especially literary or complex in its language, but each gives the reader a sense of the tone of its corresponding novel. Likewise, without giving away the whole plot or spoiling the ending, we have a very good idea of where the stories will take us.

3. Addressing the market in your cover letter

We touched on the notion of staking your novel’s place in the market in your ‘hook’ paragraph. If you didn’t do it in your hook, this paragraph is your chance. If you did, now you can dig a bit deeper.

In any pitch letter, you should align your work with other things that have been successful.

It doesn’t have to take the form of ‘X meets Y’. You could just write something simple, like ‘people who enjoyed Example Book will also enjoy my novel’, or ‘This novel would sit comfortably in a bookshop alongside Example Book and Another Great Book ’.

Of course, this requires a deep and very up-to-date awareness of your genre. While it’s good to have an appreciation of the classics, it’s often best to draw parallels with recent successes and show you understand current trends in your cover letter.

Some good avenues include:

• Reading bestseller lists (like the Sunday Times or the New York Times)
• Browsing bestselling titles of online retailers like Amazon
• Checking which books are stocked on supermarket shelves (and particularly those that stick around for months)
• Seeing what bookshops have in the windows and on the front tables

Bonus points if you mention authors represented by the agent you’re querying! (And a stern reminder to be very mindful of copying and pasting cover letters from one agent to the next; they should be carefully personalised each time.)

This section should make it easy for a literary agent to identify your target audience. It will give them clues as to which editors and publishers they can pitch your novel to, and how it can be marketed after publication.

4. Mention the agent in every cover letter

We just touched on the importance of personalising your cover letter, but it’s not just in the published authors you mention.

You should write about the agent and any relevant details about why you’ve chosen them. Most agents receive hundreds of query letters a week, so if you want them to give you their time and attention, show that you’ve given them yours.

Of course, you don’t want to give the impression you know every detail of their life. Not only could that be creepy, but you’re adhering to a tight word limit – don’t let yourself go over one page!

You can – and should – use a couple of your precious sentences to show you know their professional background. While researching individual agents might seem time-consuming – especially on top of all the work you’ve already done – it’s vital.

And it’s not just manners; it’s important for your long-term success, well after you sign with a literary agency. After all, this is ultimately a business deal and a professional partnership. You need to be sure that it’s the right fit for you and your novel.

So use agents’ online presence on their agency website or professional profile to see the kinds of authors they work with, and the ones they admire. If they align with your style – great! You can feel good about submitting to them, with the promise of a fruitful partnership on the horizon.

5. Writing about yourself in your query letter

Finally, we come to the topic many novelists least like to write about: themselves.

You’re in luck, because most agents want this section to be very brief. Remember, the focus is on your fiction and its viability. Your life story isn’t relevant. While your passion and commitment to writing are indispensable, the fact you’re trying to publish a novel you’ve written speaks for itself. Don’t wax too lyrical.

In fact, there’s pretty much only one concrete thing that every agent wants to know about you, and that’s whether you have any publishing history.

Don’t panic if this is your first book! Unless it says otherwise in their submission guidelines, the vast majority of agents are open to debut authors (and many are actively looking for them).

If you haven’t yet published any books but would like to include something about your writing experience, you can mention other publications or practice you’ve had. It could include:

• Experience in a professional realm (maybe you’ve worked as a journalist or a copywriter)
• Online creative writing courses you’ve taken (especially if you’ve done any with The Novelry, which literary agencies love!)
• Short fiction you’ve published
• Writing awards you’ve won

Some people include a brief line about their day job or other details of their life – particularly if it’s relevant to the genesis of their fiction. For example, Harriet Tyce was a criminal barrister, and wrote two novels centred around criminal barristers. It was clear where she found story ideas for her thrillers – or at least their protagonists.

This type of connection can give agents confidence in the accuracy of your writing, suggesting your editor will have a lighter workload when it comes to factual discrepancies. Plus, it can be helpful when it comes to marketing (if you’re happy to divulge your background).

If your job is uninteresting, unrelated or you’re trying to keep it under a page, feel free to omit details beyond your fiction writing. Agents are more interested in you as a writer than as a person.

And that’s pretty much it! All that’s left to do is to thank the agent for their time and consideration, and sign off. Done and dusted.

What happens next?

So what happens next? Agents will usually give an expected window for responses on their website, and this can be anywhere from a few days up to six weeks, or even longer. It’s important that you respect this timeframe! Follow their guidelines about when and how to check on the status of your submission.

Similarly, if an agent passes on your submission, please do not badger them for an explanation or ask them to reconsider. Agents can only take on authors and stories that they genuinely feel they can champion, and they know their own tastes – be gracious about rejection and try not to take it personally. Remember, publishing is a small business and agents have long memories!

And the fact is, dealing with criticism and rejection is part and parcel of a writer’s life; that’s why it’s so important for us to develop resilience .

Tips from The Novelry’s partner literary agencies

At The Novelry, we’re fortunate enough to partner with some of the world’s leading literary agencies.

They’ve kindly written articles for us in which they share their experiences and advice on querying agents, as well as on a whole range of other fascinating topics which you can read on our blog.

Here are some of the gems they’ve shared:

• Keep the body of the email as short as possible; send materials as attachments, unless otherwise directed.
• Include your attachments (i.e. the sample chapters, synopsis/outline and anything else that’s requested) as a Word document if possible. Most e-readers don’t deal well with PDFs.
• Proofread very carefully; a single mistake could make an agent give up on your submission.
• Be respectful and humble.
• Address agents by name. Some may prefer a title and last name, others are happy to be addressed by their first name. If in doubt, go for the more formal option. But never address them as ‘Sir/Madam’ or anything similarly anonymous. Triple check you have spelt their name correctly!
• Always send exactly what they ask for on the website. If they request the first three chapters, send them. If they only ask for ten pages, send that. Some might not want any sample material in the first instance, so don’t send any! You need to make it clear that you’ll be able to follow directions from your agent, your editor and your publisher down the line.
• Tell agents who you hope your audience will be. Think of the common marketing technique across media, ‘ for fans of ’ or ‘ if you liked X you’ll love this ’. Imagine your book on an online retailer – what titles would it appear with under ‘Customers who bought this also bought…’ or similar features?
• If you’ve been rejected by an agent who’s offered some reason for their rejection, don’t resubmit your edited manuscript requesting new comments. They aren’t your editor. If they want to see a revised version, they’ll tell you.
• Don’t pester agents for a response. If they’re going to reply, they will when they have time. Hopefully their auto-response or guidelines will let you know what to expect (i.e. whether they respond to unsuccessful submissions, and what the window usually is for responses).
• Use a professional-sounding email address. Not the silly address you created in high school, and no joint accounts with your partner. Remember, agents are considering not only whether they can publish your book, but whether to sign a professional contract with you. Act accordingly!

Sample cover letter

Finally, you might want to look at examples of successful pitch letters for books.

We look at sample cover letters in depth in our courses, analysing what works well and why.  

In the meantime, you can also look at other cover letters online. For example, author and editor Phoebe Morgan shared her sample cover letter here , and agent Juliet Mushens has published one here .

Of course, making it all the way through to bagging your dream literary agent and getting a publishing contract means your manuscript will need to live up to the promise of your perfect pitch letter. The best way to make sure it does is to join us for The Finished Novel Course . We’ll get your novel ready for publication and connect you with your perfect partner agent who knows the publishers that will love your story. Sign up and start today to become one of our sparkling success stories!

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Last updated on Mar 09, 2022

5 Agent-Approved Query Letter Examples

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Martin Cavannagh

Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.

A great query letter — one that gets an agent to request your manuscript — is one that both checks all the boxes and is unique to you, your book, and the agent in question. To give you an idea of what this might look like, we’re sharing some query letter examples, which we polished up with the expert help of a handful of editors on the Reedsy marketplace.

Science-Fiction query letter

This sci-fi query letter checks a lot of the boxes you want in a query letter: it includes current and contemporary comp titles, to help the agent place the novel within the market , while also indicating a familiarity with the agent’s catalogue by including mention of one of their previous projects. It also makes good use of the author’s bookish bona fides .

I am writing to seek representation for my 120,000-word science fiction novel, ELYSIUM DYING. It concerns a not-so-distant future that has been ravaged not only by mass infertility but also by an alien invasion that threatens to wipe out all existing life. The novel’s first contact arc is similar to your client Russell Fleming’s approach in THE BLUE ABYSS, which has been of particular inspiration to me, with moments reminiscent of Jeff VanderMeer’s horror-infused ANNIHILATION. 

Sixteen-year-old Hazel Windrow is one of the youngest people alive since the Peruvian flu struck fifteen years ago, killing 50% of Earth’s population and leaving the rest infertile. Extinction appears inevitable, and humanity now faces the fresh blow of it happening much sooner than anticipated — with the arrival of an alien colony seemingly determined to tear whatever’s left of the planet’s crumbling cities apart.

As her entire neighborhood scrambles to put as much space between themselves and the creatures as possible, only Hazel (herself a devotee of classic science fiction) sees the connection between the disease and the invasion, and suspects that the aliens are not as malevolent as they seem. Since the city’s electrical grid was wiped out by the aliens’ arrival, she has no way of communicating her theory to the higher-ups. So she sets off from her native Boston, headed for Washington, D.C. — but when she arrives, she’s confronted not by the remains of the government, but the aliens themselves, who have taken over the Pentagon and the White House. 

While Hazel’s theory proves correct and she tries to spread the vital truth about the flu, she’s accused of being a traitor to her species and a mouthpiece for the aliens. Now she must convince the skeptics to cooperate before the aliens’ patience runs out, or else these new arrivals will attempt a far more drastic plan to force humanity’s hand. 

I have an MFA from Temple University, where I studied under Nebula Award-winner Samuel R. Delany. I have also won several short fiction contests hosted by the SFWA, and recently compiled those works into an anthology entitled THE FALL OF DAWN, which I self-published under the pseudonym Jocelyn Rice.

Thank you for your time and consideration.

Samantha Jackson

Following Lindsay Ribar’s advice, the query gives a strong sense of the novel’s story and stakes, which is especially important in genre fiction: agents receive a lot of queries, and don’t have time to follow up every vaguely intriguing synopsis! You’re much better off being explicit when describing the plot.

Agents and editors are on Reedsy

Meet experts who know what makes a query stand out.

Learn how Reedsy can help you craft a beautiful book.

Nonfiction query letter

This nonfiction query is an example of the use of a “hook” to open a query: according to editor Jon Michael Darga during feedback, “it's intriguing, carries significance, and we want to know more. I've no idea what priming is, but now I want to know!” 

Dear Ms Brown,

As a university undergraduate, I sat down in a crowded lecture theatre one afternoon, and received my first ever introduction to a concept that would transform my career, my relationships, and my entire way of living: priming. 

This psychological phenomenon is as powerful as it is simple. In short, exposure to a certain stimulus can influence the way a person reacts to a subsequent stimulus. At a simple level, this can be extremely innocuous: if I’ve just spoken about my pet Labrador, and then present you with the letters O, D, and G, you’re more likely to spell “dog” with them than “god”. But this principle can have incredibly profound implications on your mindset, your decision-making, and your overall happiness.

In PRIMED FOR ERROR, my 70,000-word scientific self-help book, I lead my readers through the story of how I used priming as a tool to access memories and alter my “impostor” mindset, rocket-boosting my academic career. I’ll also show them how priming myself for healthy, positive communication saved my struggling marriage, as well as teaching them how they can apply the principles of priming in their own lives. Weaving together 200 years of psychological research with my own experiences (and those of famous proponents of the method, including Nobel prize-winners and Hollywood A-Listers), I cover broad ground with enough specificity and hard scientific evidence to reassure readers they’re in safe hands.

I actually listened to your excellent panel at the 2020 UK Nonfic Pick conference, where you discussed the porousness of the self-help and popular science genres and how you’re looking for more books that straddle that line, and I believe PRIMED FOR ERROR strikes that balance in an innovative way, through the incorporation of elements of memoir and personal anecdote within a wider scientific framework. 

Beyond my personal experience using the principles of priming, I have a PhD in behavioral psychology from Marlowe University, where I have experience lecturing undergraduate and postgraduate students in areas related to this topic. My hope is to bring my academic and teaching backgrounds together to present robust science in an accessible way, similar to Daniel Kahneman’s THINKING, FAST AND SLOW. I’m also a great admirer of your client Marcus Hardy’s latest release BALANCING THE DECK, as his approach to popular science is informed by both highly personal and rigorous historical lenses, a holistic methodology I adopt in my own teaching and writing.

PRIMED FOR ERROR has been a years-long passion project, and I am excited to finally be bringing it out into the world. I’ve attached the complete manuscript for your consideration, and I thank you for your time. 

All the best,

Hannah Gardener

The query also clarifies to the agent what materials the author has available (here, the complete manuscript), which is especially important when querying with a nonfiction title, where you could be submitting either a book proposal or a full manuscript. This helps the agent know where you’re at in your writing journey straight away.

Memoir query letter

This letter also makes use of a brief hook, before moving swiftly into the meat and potatoes of the query - the necessary details about the book that the agent really wants to know, including word count, genre, title.

Dear Kevin,

In my thirty years as a foster mother, I had one rule: no teenagers. I was certain that I couldn’t meet the unique challenges of caring for older children. Then, one November night, along came an emergency placement—fifteen-year-old Kay.

In my 100,000-word memoir HIDDEN PARENT, I discuss the shift in my relationship with parenthood, love, and family which Kay precipitated. Upon her arrival, we argued constantly, with neither of us knowing how to navigate this strange new family dynamic. It began to seem that our situation was untenable — but we were stuck with one another. Our struggles were only exacerbated by the bemused scepticism of my own family and friends who, aware of my longstanding no-teens rule, were certain our little unit wouldn’t last.  

But as we became comfortable with one another, the growing bond between us opened my eyes to an entirely new type of foster family. I realized that what made me a parent wasn’t a child being reliant on me, but a child trusting me enough to let me into their life. It’s this realization, and the bumpy road that led me there, which I explore with equal parts humor and sensitivity in HIDDEN PARENT, my first book. 

Alongside the hundreds of thousands of families adopting or fostering within the US every year, I feel my story will resonate with a broad audience of parents, both biological and non-biological, who at times doubt whether they can handle a child’s emotional needs. As a blogger who writes regularly about my experiences parenting, I have already built up a community of 3,000 regular readers who are attached to my story, and seeking guidance for their own journeys. Wanting to connect even further with this audience is another reason why I wrote this book, an accessible resource for those struggling with the “big questions” of parenthood. 

My book is thematically complementary to several works in your catalogue, such as David Lower’s FOUND FAMILY, touching on similar ideas of family as an ever-evolving and flexible entity, which you can nurture even without biological relation. I also know that you count Evie Gray among your roster of clients, whose newest title MIDDLE YEARS resonated deeply with my experiences, and while my book takes a more personal approach to the topic as a narrative memoir, I would be honored to find myself in such company. 

I thank you for your consideration.

Tanya Hartman

Following Kimberley Lim’s advice, the query includes an indication of the book’s tone when it points out that it’s a good-humored reflection on the topic. This helps the agent get a real feel for the work and the reading experience, beyond the general subject matter.  

Mentioning a particular target audience is also good: agents already know that readers outside the target market could enjoy a book, so this goes without saying. But by being specific, and focusing only on those they are actually writing for (here, parents), the author gives the agent insight into the commercial potential and a possible marketing angle for the book.

Thriller query letter

This query is a great example of efficiency, according to agent Andy Ross . The synopsis brings out the concept quickly, leaving space in the letter for other important information, such as background on the writer and their author platform. 

Dear Ms. Brooks, 

I am seeking representation for my 100,000 word psychological thriller, THE WOMAN IN THE BLACK SALOON, my debut novel.

THE WOMAN IN THE BLACK SALOON begins with a terrible death: a cattle rancher strangled by his own lasso. But when the forensics come back clean, the police have no leads whatsoever. Flash forward to one year later, and the strange murder not only remains unsolved, but the bad publicity surrounding it has destroyed the town’s tourist economy.

Enter Jesse Foster, proprietor and sole remaining bartender at the Lone Star Saloon. Once a thriving local business and tourist attraction, Lone Star has dried up with the rest of the town — and Jesse is sick and tired of waiting for things to get better. Taking matters into his own hands, he soon discovers what the police have been hiding from the public, and realizes that he himself may hold the key to this terrifying case: a faint memory of a mysterious woman in his bar, just hours before that rancher was brutally throttled.

This story has all the dark small-town secrets of a Gillian Flynn novel with a distinctive southwestern spin — it's about a small town in Texas that’s turned upside down by a twisted, Western-inspired murder. It should appeal widely to fans of all kinds of suspense, from classic murder mystery to contemporary thriller.

I’ve also already started promoting it to my own fans — I’ve had several crime fiction short stories published, and run a true-crime blog called “Crime Time with Detective Jay” that gets about 500 unique viewers a month. This novel was actually inspired by a case I wrote about on the blog (though I won’t say which one).

My very best,

Jeremy Baker 

The inclusion of metrics in the form of blog hits is helpful for an agent, and definitely adds value to an otherwise unknown author’s query. Knowing that an author has a pre-existing platform can be a helpful tool for agents when trying to figure out the potential reach of a project, so include any social media or blog following you might have.

Romance query letter

Following feedback from Marsha Zinberg , this letter was edited to make sure its tone was suitable for a query, selling the story without veering into pulpy back cover copy. It also gives insight into the other works in the authors’ catalogue and their authorial credentials. 

Dear Joyce,

I’m seeking representation for my 80,000-word historical romance novel, FIRE AND SILK: a forbidden romance that unfolds against the backdrop of the American Revolution. This book is a sequel to my previous novel, Midnight Rose, which was shortlisted for the RWA Katie Fforde Debut Romantic Novel Award last year.

The fiery half of FIRE AND SILK, blacksmith Joseph Ramsey, has never been interested in ladyfolk — nor does he have time to pursue them, working from dusk till dawn to fulfill his commissions and covertly supply the Continental Army with weapons. Elizabeth Davis is a high-born woman who approaches Joe with a strange request: a gun with which to kill her fiancé, a charismatic and influential general in the Continental Army who commands a garrison key to the region’s defence.

If he fulfils the mysterious young woman’s request, it would mortally wound the revolutionary effort. But her beauty, sparkling wit, and tragic air prove difficult to resist, and so Joe is torn between his until-now unwavering duty to the cause, and his passion for Elizabeth. As the connection between the blacksmith and the lady heats up, Joe finds himself caught in the crossfire... 

Early readers have noted echoes of Alyssa Cole and HAMILTON while bestselling author Tamara Jones has described my current draft as “unexpectedly gripping and achingly sensual”. I have spent the past year researching the Revolutionary War while completing an MA in American History from Ashland University, so readers will not be disappointed by the historical rigor.

In addition to being a finalist for the RWA award, I have published several short stories with HarperCollins’ Escape Publishing, which received several strong editorial reviews. I am also currently working on the next standalone installment in my “Revolutionary Lovers'' series, entitled A TOUCH OF FANCY, with completion expected within the next six months. This one, set in eighteenth-century France, bears some thematic resemblance to the writings of your client Claudette Sauvageot, whose work I admire.

Thank you very much for your consideration, Ms. Montgomery. I look forward to hearing from you.

Warm regards,

While it shares information about other titles in the series, this query wisely doesn’t try to query an entire series at once: this tactic is unlikely to get authors very far, and is against standard query letter protocol. Instead, writers should focus on querying for one title, while mentioning any other works that would be relevant to the agent, as the author has done here.

Don't forget to keep track of all of the agents you query! You can develop your own system for this, but a simple spreadsheet will do the job at the end of the day. 

Your query letter will be just as unique as your book, but we hope that getting a sneak peek into the query review process and looking over our examples has provided you with some insight into the best practices and pitfalls of writing a query. Be sure to check out the rest of this series for more tips on writing a fiction query letter and choosing those all-important comp titles!

Finally, we created three more query letter examples for you to save as images or share with your fellow author friends. 

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Hints for a Great Cover Letter

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

_________________________

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

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

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

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

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

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

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

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

____________

The 4-part Cover letter:

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

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

The fiction sound bite could include:

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

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

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

Another word for sound bite is “hook.”

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

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

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

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

Keep the letter to one page!!

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

About Steve Laube

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

Reader Interactions

January 17, 2011 at 5:45 pm

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

January 17, 2011 at 8:40 pm

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

January 19, 2011 at 2:52 pm

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

January 19, 2011 at 11:09 pm

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

January 20, 2011 at 8:24 am

Let me clarify so as there is no confusion.

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

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

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

Hope that helps!

March 8, 2012 at 11:53 am

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

February 4, 2016 at 11:54 am

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

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

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

September 21, 2017 at 8:20 am

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

May 21, 2021 at 4:29 am

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

January 20, 2011 at 10:33 am

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

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

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

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

January 20, 2011 at 11:06 am

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

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

January 20, 2011 at 1:37 pm

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

January 20, 2011 at 1:44 pm

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

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

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

March 20, 2017 at 10:23 am

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

January 20, 2011 at 7:17 pm

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

January 21, 2011 at 1:43 pm

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

January 21, 2011 at 1:47 pm

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

March 16, 2013 at 4:14 am

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

Thanks very much for your help.

January 21, 2011 at 9:38 pm

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

February 15, 2011 at 4:58 pm

This is a great post. Thank you.

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

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

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

I appreciate your time and attention.

February 19, 2011 at 11:05 pm

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

May 17, 2011 at 6:58 am

Dear Steve,

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

Faithfully, Christopher Holms

August 19, 2011 at 8:33 pm

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

August 20, 2011 at 11:13 am

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

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

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

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

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

October 2, 2011 at 7:35 pm

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

October 8, 2011 at 8:58 pm

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

October 20, 2011 at 11:46 am

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

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

Thank you for taking the time to clarify this matter.

November 5, 2011 at 10:55 am

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

November 25, 2011 at 4:21 am

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

Thanks so much,

November 26, 2011 at 8:43 am

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

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

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

May 9, 2014 at 5:50 am

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

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

Many thanks Steve

May 9, 2014 at 9:09 am

Steve Long,

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

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

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

December 5, 2011 at 7:03 am

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

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

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

January 24, 2012 at 12:59 pm

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

February 9, 2012 at 12:11 pm

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

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

January 25, 2012 at 3:19 pm

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

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

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

February 9, 2012 at 12:14 pm

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

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

March 2, 2012 at 10:40 pm

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

April 30, 2012 at 2:41 pm

Thanks for the how-to on the cover letter.

May 7, 2012 at 2:46 pm

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

June 19, 2012 at 1:08 pm

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

Blessings, Jackie King-Scott

July 7, 2012 at 11:58 am

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

Thank you for any advise.

Respectfully, Deborah

January 18, 2014 at 11:03 am

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

July 23, 2012 at 7:03 pm

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

Sincerely, Jackie

August 8, 2012 at 7:49 pm

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

In Christ, Fletch

January 18, 2014 at 5:56 pm

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

August 23, 2012 at 10:04 am

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

January 18, 2014 at 11:01 am

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

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

August 23, 2012 at 6:46 pm

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

January 18, 2014 at 11:00 am

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

January 13, 2014 at 11:08 am

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

January 18, 2014 at 10:59 am

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

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

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

January 18, 2014 at 10:39 am

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

January 18, 2014 at 10:56 am

Single spaced. Just like a regular letter.

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

January 18, 2014 at 11:57 am

Thank you, sir, for the fast reply.

April 29, 2014 at 9:03 am

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

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

July 22, 2014 at 11:23 am

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

July 23, 2014 at 6:42 am

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

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

I do recommend leaning toward shorter…

March 7, 2015 at 8:30 pm

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

March 7, 2015 at 10:31 pm

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

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

Hope that helps clarify.

May 18, 2015 at 2:49 pm

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

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

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

June 5, 2015 at 11:48 am

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

October 27, 2015 at 5:50 pm

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

November 8, 2015 at 8:00 am

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

February 3, 2016 at 8:43 pm

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

February 10, 2016 at 11:35 am

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

June 13, 2016 at 3:33 pm

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

Always learn from you.

August 22, 2016 at 2:29 am

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

September 19, 2016 at 9:50 am

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

July 4, 2017 at 7:55 am

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

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

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

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

November 2, 2016 at 7:32 pm

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

April 6, 2017 at 9:09 am

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

July 4, 2017 at 7:52 am

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

July 3, 2017 at 11:18 pm

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

July 4, 2017 at 7:50 am

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

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

July 4, 2017 at 8:52 am

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

July 28, 2017 at 10:50 am

In the Proposal Guidelines, it says to include:

Promo Sentence Sales Handles Back Cover Copy

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

September 22, 2017 at 11:37 am

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

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

October 9, 2017 at 12:41 pm

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

July 18, 2018 at 3:09 pm

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

August 15, 2018 at 7:51 am

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

April 11, 2019 at 12:48 pm

This is wonderfully informative. Thank you!

June 10, 2019 at 5:47 pm

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

June 13, 2022 at 6:54 am

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

June 13, 2022 at 8:10 am

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

June 13, 2022 at 1:26 pm

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

August 2, 2022 at 9:59 am

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

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

by Abigail Perry | 0 comments

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

No pressure, right?

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

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

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

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

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

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

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

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

What is a Query Letter?

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

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

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

What does short mean?

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

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

Do You Really Need a Query Letter?

Yes. You bet. 👌

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

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

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

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

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

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

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

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

A Note on Self-Publishing

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

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

First, Personalize Your Query Letter

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

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

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

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

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

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

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

3 Research Strategies to Help You Personalize Your Letter

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

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

1. Your List of Dream Literary Agents

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

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

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

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

2. Comp Titles

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

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

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

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

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

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

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

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

How to Write a Successful Query Letter with 3 Paragraphs

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

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

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

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

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

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

Paragraph 1: Hook

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

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

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

Make a connection by doing this:

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

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

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

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

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

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

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

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

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

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

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

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

Put it all together (one to two sentences):

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

Notice a few things about that paragraph:

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

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

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

Paragraph 2: Book

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

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

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

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

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

This is his suggestion:

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

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

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

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

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

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

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

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

Paragraph 3: Cook

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

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

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

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

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

Here's Nancy Johnson's bio:

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

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

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

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

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

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

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

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

THE GOOD PLACE: A Query Letter Sample and Template

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

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

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

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

Other Places to Find Examples

Here are some of my favorite examples:

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

What About Stories Written in Dual POV?

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

The answer: most likely.

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

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

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

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

What You Should Expect After You Hit Send

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

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

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

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

But they also have to agent.

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

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

Remember, it only takes one yes!

Red Flags to Avoid in Your Query Letter

​One final note.

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

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

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

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

Can You Follow Up?

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

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

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

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

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

The Key Principles for How to Write a Query Letter

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

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

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

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

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

You are a writer.

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

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

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

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

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

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

Spend fifteen minutes writing this paragraph.

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

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

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

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

Abigail Perry

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

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How to Write a Stand-Out Cover Letter

• How to Write a Stand-Out…

SO, WHAT IS A COVER LETTER?

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

TELL US ABOUT THE NOVEL

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

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

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

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

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

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

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

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

TELL US ABOUT YOU

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

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

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

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

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

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

WRITE THE COVER LETTER YOUR NOVEL DESERVES

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

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

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

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How to write the perfect letter to a literary agent

Posted 27 November 2020 by Rufus Purdy

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

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

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

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

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

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

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

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

161 Examples of Successful Query Letters from Famous Authors

On the road to traditional publication, your query letter plays a central role in getting your book noticed. In fact, when it comes to landing literary agents and publishers , a compelling and properly formatted query letter is just as important as a good manuscript. To help inspire you, we’ve collected 161 query letter examples from famous authors spanning various genres:

Adult Fiction

Author: Sean Ferrell

Genre: Contemporary

View the query letter

Author: Richard Harvell

Genre: Historical

The Art of Racing in the Rain

Author: Garth Stein (This query letter example comes from a New York Times bestseller.)

Genre: Animal Fiction, Contemporary

Author: S.G. Browne

Genre: Contemporary, Dark Humor

A Mad, Wicked Folly

Author: Sharon Biggs Waller

Genre: Fiction

Between Earth and Sky

Author: Amanda Skenandore

Genre: Historical Fiction, Psychological Fiction

Author: Alyson Gerber

Genre: Fiction, Bildungsroman

People Who Knew Me

Author: Kim Hooper

Genre: Psychological Fiction

If I Fix You

Author: Abigail Johnson

Where the Watermelons Grow

Author: Cindy Baldwin

Mosquitoland

Author: David Arnold

P.S. I Miss You

Author: Jen Petro-Roy

Genre: Fiction, Epistolary Fiction

Darling Rose Gold

Author: Stephanie Wrobel

Genre: Fiction, Psychological Thriller

Hunting Annabelle

Author: Wendy Heard

Order a query letter.

Children’s Fiction

The Rise and Fall of Mount Majestic

Author: Jennifer Trafton

Genre: Fantasy, Children’s Literature

A Snicker of Magic

Original title used in query letter: There’s Magic in Midnight Gulch

Author: Natalie Lloyd

Genre: Children’s Literature, Fantasy & Magic, Family

Jacob Wonderbar and the Cosmic Space Kapow

Author: Nathan Bransford

Genre: Science Fiction, Children’s Literature

It’s Raining Bats & Frogs

Author: Rebecca Colby

Genre: Children’s Literature

The Peculiar

Author: Stefan Bachmann

Steering Toward Normal

Author: Rebecca Petruck

Genre: Children’s Literature, Middle Grade

Sure Signs of Crazy

Author: Karen Harrington

Pickle Impossible

Author: Eli Stutz

Genre: Children’s Literature, Middle Grade, Adventure

Author: Amber McRee Turner

Genre: Children’s Literature, Adventure, Middle Grade

I Have A Balloon

Author: Ariel Bernstein

Genre: Humor, Fiction, Children’s Literature

Maximillian Villainous

Author: Margaret Chiu Greanias

Crime Fiction

One for the Money

Author: Janet Evanovich (This query letter example is for the first book in a beloved series.)

Genre: Crime Fiction, Mystery, Women’s Fiction, Women Sleuths, Humor

Murder on the Rocks

Author: Karen MacInerney

Genre: Cozy Mystery, Women Sleuths

Blessed Are Those Who Mourn

Original title used in query letter: Blessed Are the Dead

Author: Kristi Belcamino

Genre: Crime Fiction, Mystery, Thriller

The Big Rewind

Original title used in query letter: No Awkward Goodbyes

Author: Libby Cudmore

Genre: Mystery, Thriller, Crime

Untold Damage

Author: Robert K. Lewis

A Bad Day for Sorry

Author: Sophie Littlefield

Genre: Mystery, Crime, Women Sleuths

The Phoenix Reich

Original title used in query letter: The Phoenix Conspiracy

Author: Joshua Lisec

Genre: Thriller, Adventure

Tiger’s Curse

Author: Colleen Houck

Genre: Fantasy, Young Adult, Romance

Author: Gail Carriger

Genre: Steampunk, Gothic Romance, Fantasy

By Darkness Hid

Original title used in query letter: Prince Gidon

Author: Jill Williamson

Genre: Young Adult, Fantasy, Religious Fiction

Magic Lost, Trouble Found

Original title used in query letter: Thief of Souls

Author: Lisa Shearin

Genre: Fantasy, Speculative Fiction

Luck in the Shadows

Author: Lynn Flewelling

Genre: Fantasy, Action & Adventure

Throne of Glass

Original title used in query letter: Queen of Glass

Author: Sarah J. Maas (The novel launched by this successful query letter took the young adult world by storm.)

The Demon’s Lexicon

Author: Sarah Rees Brennan

Genre: Paranormal & Urban Fiction, Fantasy, Young Adult

Enchanted, Inc.

Original title used in query letter: Magic, Spells and Illusions, Inc.

Author: Shanna Swendson

Genre: Contemporary Fantasy, Chick Lit, Women’s Fiction

Author: Kim Chance

Genre: Young Adult, Contemporary Fantasy

An Enchantment of Ravens

Author: Margaret Rogerson

Genre: Young Adult, Fantasy

Midnight Thief

Author: Livia Blackburne

The Iron Witch

Author: Karen Mahoney

Genre: Young, Adult, Urban Fantasy

The Accidental Demon Slayer

Author: Angie Fox

Genre: Fantasy, Romance

Author: MarcyKate Connolly

Genre: Children’s Books, Fantasy, Young Adult

Gates of Thread and Stone

Author: Lori M. Lee

Genre: Fantasy

Bitten & Smitten

Author: Michelle Rowen

Genre: Romance, Fantasy, Urban Fantasy, Vampire Literature

The Whitefire Crossing

Author: Courtney Schafer

Genre: Crime Fiction, Dark Fantasy, Fantasy, Adventure, Historical Fantasy

All the Stars and Teeth

Author: Adalyn Grace

City of Lies

Author: Sam Hawke

Midsummer’s Mayhem

Author: Rajani LaRocca

The Secret Ingredient of Wishes

Author: Susan Bishop Crispell

Genre: Magical Realism, Fantasy

The Night Circus

Author: Erin Morgenstern

Genre: Romance, High Fantasy, Fantasy

Author: Edward David McDonald

Genre: Fantasy, Apocalyptic Fiction

Mystery/Suspense

Author: Hank Phillippi Ryan

Genre: Mystery, Women’s

The Night Child

Original title used in query letter: Split

Author: Anna Quinn

Genre: Mystery, Thriller, Women’s, Psychological Thriller

The Handbook for Lightning Strike Survivors

Author: Michele Young-Stone

Genre: Mystery

The Lost Night

Author: Andrea Bartz

Genre: Mystery, Thriller, Suspense, Psychological Fiction

Author: Allison Brennan

Genre: Romance, Suspense, Psychological Fiction

Trust Me, I’m Lying

Author: Mary Elizabeth Summer

Genre: Fiction, Thriller, Suspense

You Can’t Get There from Here: A Year on the Fringes of a Shrinking World

Original title used in query letter: Hobbits on the Silk Road

Author: Gayle Forman

Genre: Autobiography, Travel

The Hand-Me-Down PC

Author: Morris Rosenthal

Genre: Nonfiction

War Is Boring

Author: David Axe

Genre: Graphic Novel, Memoir

Over-the-Counter Natural Cures

Original title used in query letter: The Wal-Mart Cure

Author: Shane Ellison

Genre: Nonfiction, Health

Buy Ketchup in May and Fly at Noon: A Guide to the Best Time to Buy This, Do That and Go There

Original title used in query letter: Timing Is Everything: A Guide to the Best Time to Buy This, Do That and Go There

Author: Mark Di Vincenzo

Genre: Nonfiction, Reference

Dumbemployed

Author: Phil Edwards & Matt Kraft

Genre: Humor, Anthology, Nonfiction

Hidden Cities: Travels to the Secret Corners of the World’s Great Metropolises: A Memoir of Urban Exploration

Original title used in query letter: Hidden Cities: Inside the Secret World of Urban Explorers

Author: Moses Gates

Genre: Travel Memoir

You’ll Never Nanny in This Town Again: The True Adventures of a Hollywood Nanny

Author: Suzanne Hansen

Genre: Memoir, Humor

Queen of the Road: The True Tale of 47 States, 22,000 Miles, 200 Shoes, 2 Cats, 1 Poodle, a Husband, and a Bus with a Will of Its Own

Author: Doreen Orion

Genre: Memoir, Humor, Travel

River of No Return: Tennessee Ernie Ford and the Woman He Loved

Original title used in query letter: Ernie and His Lovely Wife, Betty

Author: Jeffrey Buckner Ford

Genre: Autobiographies, Memoirs

Peaches & Daddy: A Story of the Roaring 20s, the Birth of Tabloid Media & Courtship That Captured the Heart and Imagination of the American Public

Author: Michael Greenburg

Frantic Francis: How One Coach’s Madness Changed Football

Original title used in query letter: The Rise and Fall of Francis Schmidt

Author: Brett Perkins

Genre: Nonfiction, Biographies

The Power of Memoir: How to Write Your Healing Story

Original title used in query letter: Becoming Whole, Writing Your Healing Story

Author: Linda Myers

Genre: Self-Help, Nonfiction

Sandhill Dreams

Original title used in query letter: A Fort Robinson Summer

Author: Cara Putman

Genre: Historical Romance, Religious Fiction, Western & Frontier

Proof by Seduction

Author: Courtney Milan

Genre: Historical Romance

Hotel on the Corner of Bitter and Sweet

Original title used in query letter: The Panama Hotel

Author: Jamie Ford (This successful query letter was for the author’s debut novel.)

Genre: Historical Fiction, Family Saga

Rumble on the Bayou

Author: Jana DeLeon

Genre: Mystery, Supernatural, Contemporary Romance

Only with You

Author: Lauren Layne

Genre: Contemporary Romance

The Healer’s Apprentice

Original title used in query letter: The Woodcutter’s Daughter

Author: Melanie Dickerson

Genre: Teens, Religious Fiction, Historical Romance

Catching Jordan

Original title used in query letter: Score

Author: Miranda Kenneally

Genre: Contemporary Romance, Young Adult

The Notebook

Author: Nicholas Sparks (A successful query letter from a famous romance author.)

Private Arrangements

Original title used in query letter: Schemes of Love

Author: Sherry Thomas

A Gift of Grace

Author: Amy Clipston

Genre: Amish, Christian Fiction, Romance

A Royal Pain

Author: Megan Mulry

Genre: Regency Romance, Women’s Fiction

Author: Tiffany Reisz

Genre: Contemporary Erotic Romance

Letters from Home

Author: Kristina Mcmorris

Genre: Women’s Fiction, Historical, Romance

A Widow’s Hope

Author: Mary Ellis

Grave Intentions

Author: Lori Sjoberg

Genre: Romance, Paranormal

Devil on a Sparrow’s Wing

Author: Calista Taylor

Genre: Steampunk, Romance

Dark Desires

Author: Eve Silver

Genre: Romance, Historical Fiction, Gothic Fiction

Author: Jennifer Estep

Genre: Humor, Fiction, Romance, Paranormal Romance

The Husband Trap

Author: Tracy Anne Warren

Genre: Romance, Historical Romance, Regency Fiction

Some Kind of Magic

Author: Mary Ann Marlowe

Genre: Erotic Romance, Fiction, Romance, Contemporary Romance

Caged in Winter

Author: Brighton Walsh

Genre: Romance, New Adult

Author: Jennifer Blackwood

Chasing Crazy

Author: Kelly Siskind

Genre: Romance, Coming-of-Age, New Adult

Sorcerer to the Crown

Author: Zen Cho

Genre: Romance, Fantasy, Historical Fantasy

Science Fiction

Ancillary Justice

Original title used in query letter: Justice of Toren

Author: Ann Leckie

Genre: Science Fiction

Death Thieves

Original title used in query letter: The Revolution

Author: Julie Wright

Genre: Science Fiction, Young Adult

Hazzardous Universe

Genre: Science Fiction, Children’s Books, Fantasy, Adventure

The Daedalus Incident

Author: Michael J. Martinez

Genre: Fantasy, Steampunk, Science Fiction

The Disasters

Author: M.K. England

Author: Erin Bowman

Genre: Science Fiction, Fantasy, Adventure, Dystopian Fiction

Author: Michael Mammay

Genre: Science Fiction, Thriller

A Spark of White Fire

Author: Sangu Mandanna

Genre: Science Fiction, Young Adult, Fantasy

Here and Now and Then

Author: Mike Chen

Genre: Science Fiction, Domestic Fiction, Time Travel Fiction

Women’s Literature

The Arrivals

Author: Meg Mitchell Moore

Genre: Women’s Fiction, Domestic Fiction

She Came from Beyond!

Original title used in query letter: She Came from Beyond

Author: Nadine Darling

The Art of Falling

Author: Kathryn Craft

Genre: Women’s Fiction

The Weird Sisters

Author: Eleanor Brown

Simply from Scratch

Author: Alicia Bessette

Genre: Women’s Fiction, Domestic Fiction, Contemporary

Author: Allie Larkin

Genre: Contemporary, Women’s Fiction

Take It Like a Mom

Original title used in query letter: Better Than T.V.

Author: Stephanie Stiles

Genre: Women’s Fiction, Humor, Domestic Fiction

If You Follow Me

Original title used in query letter: Repeat After Me

Author: Malena Watrous

The Last Will of Moira Leahy

Author: Therese Walsh

Genre: Women’s Fiction, Contemporary

The Department of Lost & Found

Author: Allison Winn Scotch

Young Adult Fiction

Author: Gayle Forman (This bestselling author shares several successful query letters on her blog.)

Genre: Young Adult, Bildungsroman, Social & Family Issues, Realistic Fiction

The Maze Runner

Author: James Dashner (This successful query letter launched a famous young adult series.)

Genre: Young Adult, Dystopian, Science Fiction

Pride and Popularity

Author: Jenni James

Genre: Young Adult, Contemporary Romance

Author: Kody Keplinger

Genre: Young Adult, Teens, Romantic Comedy, Social & Family Issues

Author: Marissa Meyer (This query letter example launched a popular young adult fairytale series.)

Genre: Young Adult, Science Fiction, Fantasy, Dystopian

Give up the Ghost

Author: Megan Crewe

Genre: Young Adult, Fantasy, Paranormal

A Wicked Thing

Original title used in query letter: After

Author: Rhiannon Thomas

Genre: Young Adult, Fantasy, Fairy Tales

Under a Painted Sky

Original title used in query letter: Golden Boys

Author: Stacey Lee

Genre: Young Adult, Historical Fiction, Adventure

Original title used in query letter: Perfectly Pia

Author: Jessica Khoury

Genre: Young Adult

Of Poseidon

Author: Anna Banks

Not a Drop to Drink

Author: Mindy McGinnis

Genre: Young Adult, Science Fiction, Dystopian

The Heir and the Spare

Author: Emily Albright

As You Wish

Original title used in query letter: There Are No Stars in Caliban

Author: Jackson Pearce

Genre: Young Adult, Contemporary Fantasy, Romance

You’re Welcome, Universe

Author: Whitney Gardner

Genre: Contemporary, Young Adult

Sad Perfect

Author: Stephanie Elliot

Real Mermaids Don’t Wear Toe Rings

Author: Helene Boudreau

The Weight of Zero

Author: Karen Fortunati

Genre: Young Adult, Social & Family Issues

A Death-Struck Year

Author: Makiia Lucier

Genre: Young, Adult, Historical

Falls the Shadow

Author: Stefanie Gaither

Genre: Young, Adult, Science Fiction

The Rules for Disappearing

Author: Ashley Elston

Genre: Young Adult, Thriller

Author: Amanda Sun

Genre: Young, Adult, Fantasy

Skyship Academy: The Pearl Wars

Original title used in query letter: Skyship Academy

Author: Nick James

Genre: Young Adult, Children’s Books, Science Fiction, Dystopian

Oh. My. Gods.

Original title used in query letter: Growing Up Godly

Author: Tera Lynn Child

Genre: Young Adult, Mythology, Fantasy

The Liar Society

Author: Lisa & Laura Roecker

Genre: Young Adult, Mystery

Author: Karsten Knight

Genre: Young, Adult, Paranormal, Fantasy, Mythology

Author: Mindi Scott

Genre: Young Adult, Contemporary

The Last Good Place of Lily Odilon

Author: Sara Beitia

Genre: Young Adult, Suspense

Losing Faith

Author: Denise Jaden

Shadow Hills

Author: Anastasia Hopcus

I Was a Teenage Popsicle

Author: Bev Katz Rosenbaum

A Match Made in High School

Author: Kristin Walker

Author: Mara Purnhagen

My Big Nose and Other Natural Disasters

Original title used in query letter: My Big Nose & Other Natural Disasters

Author: Sydney Salter

Original title used in query letter: Janie Hannagan: Dream Catcher

Author: Lisa McMann

Author: Stephanie Diaz

Eighth Grade Superzero

Original title used in query letter: Long Time No Me

Author: Olugbemisola Rhuday-Perkovich

Genre: Young Adult, Humor, Middle Grade

The Nightmare Affair

Author: Mindee Arnett

Genre: Science Fiction, Mystery, Young Adult, Fantasy

The Weight of Our Sky

Author: Hanna Alkaf

Never, Never

Author: Brianna Shrum

Author: Jackie Lea Sommers

Love, Hate, and Other Filters

Author: Samira Ahmed

When the Beat Drops

Author: Anna Hecker

Brave Enough

Author: Kati Gardner

Author: Jenn Polish

The Disappearance of Sloane Sullivan

Author: Gia Cribbs

Did these famous query letters inspire you? If you’re ready to start pursuing a publishing deal for your book, get in touch with our team of experts . We can help you craft a successful query letter , a manuscript synopsis, and other material to pitch your book to a literary agent or publisher and get you one step closer to achieving your goals.

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The Complete Guide to Query Letters

This post is regularly updated with new information.

The query letter has one purpose, and one purpose only: to seduce the agent or editor into reading or requesting your work. The query letter is so much of a sales piece that it’s quite possible to write one without having written a word of the manuscript. All it requires is a firm grasp of your story premise.

For some writers, the query will represent a completely different way of thinking about their book—because it means thinking about one’s work as a product to be sold. It helps to have some distance from your work to see its salable qualities.

This post focuses on query letters for novels, although the same advice applies to memoirists, because both novelists and memoirists are selling a story. Nonfiction book queries are addressed here .

Before you query

Novelists and most memoirists should have a finished and polished manuscript before they begin querying. However, some may be tempted to begin early because it can take so long to receive responses from agents and publishers. The thinking goes: Well, the agent probably won’t respond any earlier than a month anyway, and I’ll be done by then, so why not get a jump on it?

But what if the agent responds right away?

Or what if you’re not done in a month? What if you realize your manuscript needs a lot more work?

You’ll wish you hadn’t started querying. You may end up rushing your writing or editing process (undesirable to say the least), or admitting to the agent/editor that it will take you X weeks or months to follow up, by which point, their enthusiasm may have waned.

To avoid creating a high-pressure or awkward situation, I recommend you wait until you feel the manuscript is totally done—the best you can make it. That doesn’t mean you have to hire freelance editors or copyeditors or proofreaders, but it does mean fixing or revising anything you know needs attention.

4 elements of every query letter

I recommend your query include these elements, in no particular order (except the closing):

• The housekeeping: your book’s genre/category, word count, title/subtitle
• The hook: the description of your story and the most critical query element; 150-300 words is sufficient for most narrative works
• Bio note: something about yourself, usually 50-100 words
• Thank you & closing: about a sentence

I consider personalization or customization of the query optional. More on that later.

Some agents and publishers require that you mention comparable or competitive titles. You can learn how to research your comps in this post.

In its entirety, the query shouldn’t run more than 1 page, single spaced, if printed, or somewhere around 200 to 450 words. I recommend brevity, especially if you lack confidence. Brevity gets you in less trouble. The more you try to explain, the more you’ll squeeze the life out of your story. So: Get in, get out.

Opening your query letter

Put your best foot forward, or lead with your strongest selling point. Here are the most common ways to begin a query:

• Maybe you’ve been vouched for or referred by an existing client or author; mention the referral right away.
• If you met the agent/editor at a conference or pitch event, and your material was requested, then put that upfront.
• Starting with your story is a classic opening—and my preferred opening—when you don’t necessarily have a good custom or personalized opening for the person you’re querying.
• Some queries start in an informational manner, which is also fine: “[Title] is an 80,000-word supernatural romance…”
• Published or credentialed writers might start with their successes, especially if they’ve won awards or received an MFA from a well-known school. However, few fiction writers begin their query by talking about themselves because most are unpublished. (This isn’t a problem, though.)

Many writers don’t have referrals or conference meetings to fall back on, so the story becomes the lead for the query letter.

Personalizing the query letter: yes or no?

Your query is a sales tool, and good salespeople try to develop a rapport with their target. It can be helpful to show you’ve done your homework and that you’re not blasting indiscriminately. It can also set you apart from the large majority of writers querying—if it’s done meaningfully.

Here’s an example of a meaningful personalization: “The acknowledgments of The Ideal American mention you with praise, and F. Scott’s masterful work partly inspired my own novel.

If you personalize the query by saying, “I found you in Writer’s Market ,” or “I see from your website that you’re seeking mystery,” and you add nothing else, that’s not terribly meaningful. Try to say something that can’t be repeated by another writer or used in another query. Here I comment further on whether to personalize your query.

Identifying what you’re selling

Your book’s title, word count, and genre can be stated upfront, although often it’s better to wait until the end of the query to offer this housekeeping information.

• Title.  Everyone knows your book title is tentative, so you don’t have to explicitly state the title is tentative.
• Word count.  If your novel’s word count goes beyond 120,000 words, you have a challenge ahead of you. Eighty thousand words is the industry standard for a debut novel.  See this post for a definitive list of appropriate word counts by genre.  If you have an off-putting word count, some agents recommend withholding this fact until the end of the letter, once you’ve potentially hooked them. Minimum word count for most novels is 50,000 words.
• Genre.  If you’re unsure of your genre, you can leave out any mention of it. However, if you do, be sure to draw a comparison between your book and another recent title published within the last five years. You can say that your book is written in the same manner or style as another book or author, or that it has a similar tone or theme. Two comparisons are sufficient; the more thoughtful the comparison, the better. Comparing yourself to a current New York Times bestselling author can come across as arrogant or too easy. Instead, demonstrate a nuanced understanding of where your book falls in the literary landscape. Agents and editors will pay closer attention if it appears you are well read, because that increases the chances your book is well written. (Again, you can learn about comp titles here .)

Describing your story (the hook)

For most queries, the hook does all of the work in convincing the agent or editor to request your manuscript. Here are a couple formulas that can help you get started.

• Who is your main character (protagonist)?
• What problem do they face?
• What are the choices they must make? What tension drives the story forward?
• What does your character want?
• Why do they want it?
• What keeps them from getting it?

Here’s an example of a brief hook for The DaVinci Code :

Robert Langdon is an American academic and an expert in the symbols of the ancient world. While on business in Paris, he’s summoned to the scene of a grisly murder in the Louvre where he’s the main suspect. He must race across Europe, one step ahead of the police chasing him, to solve the murder and prove his innocence. In the process, he uncovers arcane messages hidden in the world’s best-known artworks, solves ancient puzzles, and ultimately discovers secrets about Jesus that could bring down the Catholic Church.

As part of this hook, you may need to establish the setting or time period right away; this is especially true for authors of historical fiction or science fiction and fantasy. For example: “My novel, SCI-FI EPIC, is set in the distant future where humans have abandoned earth and now live on the rings of Saturn.”

A good hook balances character and plot. By the end of the query, the reader should have an idea of why we care about the main character(s) but also the story problem or tension that keeps us turning pages.

While the hook formula looks simple—and it is—your story may sound rather boring when it’s boiled down to these elements.

When a hook is well written but boring, it offers the same old formula without distinction. The protagonist feels one-dimensional (or like every other protagonist), the story angle is something we’ve seen too many times.

The best hooks have some kind of twist or an element that helps your work stand out, that makes it uniquely yours. That is: the idea doesn’t feel derivative of existing bestsellers. For example: Every time an agent comes across a query featuring a YA protagonist with special powers acquired on his birthday, and he must figure out how to control these powers at an unfamiliar school, there’s a good chance the agent is going to pass unless there’s a dramatic twist.

How do you know if your idea is tired—by an agent’s standards? Well, this is why everyone tells writers to read and read and read . It builds your knowledge and experience of what’s been done before in your genre, as well as the conventions.

In Laurie Scheer’s  The Writer’s Advantage , she well demonstrates the difference between a boring story hook and an exciting one:

I have heard an eternity of pitches featuring women as victims, survivors, single mothers, etc. If someone pitches me a story about a 43-year-old unmarried woman who has had a successful career in advertising or law or pharmaceuticals or whatever, and decides at the last minute that her biological clock’s ticking and she wants to have a child … I will wait for the writer to tell me the rest of the story. And there is no rest of the story, because in their mind, that is their story. To which I say, “Who cares?” Seriously, who will care about that storyline? No one. We have seen numerous stories about women wanting to have children later in life. I could produce a list at least two pages long consisting of books and movies with this plot line. However, if one of the main characters is a 43-year-old single businesswoman having her first child and, at the same time, her 22-year-old niece is also having her first child—because the niece does not see the benefit of having a career and only wants to be supported by a rich husband—I suddenly see some conflict here.

Whenever I teach a class where we critique hooks, just about everyone can point out the hook’s problems and talk about how to improve them. Why? Because when you’re not the writer, you have distance from the work. When you do come across a great novel hook, it feels so natural and easy—like it was effortless to write.

Examples of brief story hooks

Every day, PublishersMarketplace lists book deals that were recently signed at major New York houses. It identifies the title, the author, the publisher/editor who bought the project, and the agent who sold it. It also offers a one-sentence description of the book. These sentences are inevitably well-crafted, and can help you better understand what is currently exciting to agents and publishers.

There are trends and fashions in publishing, and if you were to read the one-sentence description of every novel that sold in your genre in the last six months, you would see definite themes emerge.

While your query hook would get into more detail than the following two examples, these hooks help illustrate how much you can accomplish in just a line or two.

Bridget Boland’s DOULA, an emotionally controversial novel about a doula with a sixth sense [protagonist] who, while following her calling, has to confront a dark and uncertain future when standing trial for the death of her best friend’s baby [protagonist’s problem] [a doula with a sixth sense? cool.]

John Hornor Jacobs’s SOUTHERN GODS, in which a Memphis DJ [protagonist] hires a recent World War II veteran to find a mysterious bluesman whose music [protagonist’s problem] — broadcast at ever-shifting frequencies by a phantom radio station — is said to make living men insane and dead men rise [twist]

Check for red flags in your hook

How to tell if your hook could be improved:

• Does your hook run longer than 300 words? You may be going into too much detail.
• Does your hook reveal the ending of your book? Only the synopsis should do that. However, former agent and editor Mary Kole says you might need to reveal the ending in your query. It’s not my preference, but I’ve worked on projects where it becomes necessary, for reasons that Kole explains.
• Does your hook mention more than three characters? Usually you only need to mention the protagonist(s), a romantic interest or sidekick, and the antagonist.
• Does your hook get into minor plot points that don’t affect the choices the protagonist makes? Do you really need to mention them?
• Does your hook talk  about the story, rather than telling the story? Don’t get bogged down in how you wrote the book or what its themes are. Focus on what happens instead.

Writing the bio in your query letter

For novelists, especially unpublished ones, I think it’s OK to leave out the bio if you can’t think of anything worth sharing. But it’s nice to put in something . 

The key to every detail in your bio is: Will it be meaningful—or perhaps charming—to the agent/editor? If you can’t confidently answer yes, leave it out. In order of importance, these are the categories of pertinent info.

• Publication credits. Be specific about your credits for this to be meaningful. Don’t say you’ve been published “in a variety of journals.” You might as well be unpublished if you don’t want to name them. If you have no fiction writing credits, you don’t need to state that you’re unpublished. That point will be made clear by fact of omission. If you have a long publishing history, just list the ones you’re most proud of or the ones most relevant to what you’re pitching. I don’t recommend including academic or trade journals, since they don’t convey storytelling ability.
• Self-published books. Lots of people have self-published, and a self-publishing history doesn’t hurt your chances with a new, fresh project. However, if you’re trying to get an agent or publisher for a book or series  that’s already been self-published , my advice is to not bother trying. (If you must, here’s how to pitch an agent with a self-published book .) Do not make the mistake of thinking your self-publishing credits make you somehow more desirable as an author, unless you have incredible sales success, in which case, mention the sales figures of your books and the average star rating.
• Your profession.  If your career lends you credibility to write a better story, by all means mention it. But don’t go into lengthy detail. Teachers of K-12 who are writing children’s/YA often mention their teaching experience as a credential for writing children’s/YA, but it’s not, so don’t treat it like one in the bio. (Perhaps it goes without saying, but parents should not treat their parent status as a credential to write for children either.)
• Writing cred.  Mention any writing-related degrees you have, any major professional writing organizations you belong to (e.g., RWA, MWA, SCBWI), and possibly any major events/retreats/workshops you’ve attended to help you develop your career as a writer. 
• Special research.  If your book is the product of some intriguing or unusual research (you spent a year in the Congo), mention it. These unique details can catch the attention of an editor or agent.
• Major awards/competitions.  Most writers should not mention awards or competitions they’ve won because they are too small to matter. If the award isn’t widely recognizable to the majority of publishing professionals, then the only way to convey the significance of an award is to talk about how many people you beat out. Usually the entry number needs to be in the thousands to impress an agent/editor.

If you have no meaningful publication credits, don’t try to invent any. If you have no professional credentials, no research to mention, no awards to your name—nothing notable at all to share—don’t apologize for it. Perhaps say something brief about yourself—where you live, your education, your day job, hobbies. Remember: Even if you’re unpublished, you’re still completely respectable. You’re mainly getting judged on the story premise, not your bio.

On the other end of the spectrum: Don’t talk about starting to write when you were in second grade. Don’t talk about how much you’ve improved your writing in the last few years. Don’t talk about how much you enjoy returning to writing in your retirement. Just mention a few highlights that prove your seriousness and devotion to the craft of writing. If unsure, leave it out.

If your bio can reveal something of your voice or personality, all the better. While the query isn’t the place to digress or mention irrelevant info, there’s something to be said for expressing something about yourself that gives insight into the kind of author you are—that ineffable you. Charm helps.

Novel queries don’t have to address market concerns

Don’t be tempted to elaborate on the audience or market for your novel. This is often misunderstood since nonfiction writers do have to talk about market concerns. However, when it comes to selling fiction , you don’t talk about the trends in the market, or about the target audience. You sell the story. I often encourage memoirists to follow the same principle and leave out readership information—save it for the book proposal if it’s requested.

Also, novelists don’t need to discuss their marketing plan or platform. Sometimes you might mention your website or blog, especially if you feel confident about its presentation. The truth is the agent/editor is going to Google you anyway, and find your website/blog whether you mention it or not (unless you’re writing under a different name).

While having an online presence helps show you’ll likely be a good marketer and promoter of your work—especially if you have a sizable readership already—it doesn’t say anything about your ability to write a great story. That said, if you have 100,000+ fans/readers on Wattpad or at your blog, that should be in your query letter.

Close your letter professionally

You don’t read much advice about how to close a query letter, perhaps because there’s not much to it, right? You say thanks and sign your name. But here’s how to leave a good final impression.

• You don’t have to state that you are simultaneously querying unless the guidelines demand it.  Everyone assumes your query is being sent to multiple parties and not to a single person at a time. I do not recommend exclusive queries.
• If your manuscript is under consideration at another agency , then mention it if/when the next agent requests to see your manuscript.
• If you have a series in mind , this is a good time to mention it. But don’t belabor the point; it should take a sentence, e.g., “This is the first in a planned series.”
• Resist the temptation to editorialize.  This is where you proclaim how much the agent will love the work, or how exciting it is, or how it’s going to be a bestseller if only someone would give it a chance, or how much your kids enjoy it, or how much the world needs this work. Basically, avoid directly commenting on the quality of your work (whether that’s to flatter or criticize yourself). Your query should show what a good writer you are, rather than you telling or emphasizing what a good writer you are.
• Thank the agent, but don’t carry on unnecessarily,  or be incredibly subservient—or beg. (“I know you’re very busy and I would be forever indebted and grateful if you would just look at a few pages.”)
• There’s no need to go into great detail about when and how you’re available.  At the bottom of your letter, include your email address, maybe a phone number.
• Do not introduce the idea of an in-person meeting.  Do not say you’ll be visiting their city soon, and ask if they’d like to meet for coffee. The only possible exception to this is if you know you’ll hear them speak at an upcoming conference—but don’t ask for a meeting. Just say you look forward to hearing them speak. Use the conference’s official channels to set up an appointment if available.

The following stuff doesn’t belong in the query

• Your many years of effort and dedication
• How much your family and friends love your work
• How many times you’ve been rejected or close accepts
• How much money you’ve invested in editors or editing
• Quotes of praise from anyone, or mentioning how such-and-such well-known person has read your work and/or offered advice on it. Perhaps it’s boosted your ego or confidence that some VIP has read your work or offered a critique. But agents/editors will make up their own mind, and if your VIP really believed in your work, why aren’t they offering you a referral to their agent or editor?

The submissions strategy I recommend

If you’d like to take a conservative approach, divide your agents into buckets: A list, B list, and everyone-else list. Try submitting in rounds of 5-10 at a time (depending on the size of your list), including 1-2 of each agent type. If your A list people immediately and favorably respond, then I’d send out another round right away, a mix of As and Bs, to see if you can gin up competing interest. If responses trickle in with no particular pattern or order, send another round within 2-4 weeks or so. At least every month, send another round until your list is exhausted.

If you immediately see a pattern in the response that indicates something’s amiss, you can adjust your approach for the next round of queries. The reason I recommend this conservative approach is it tends to be easier to manage psychologically. But there’s nothing wrong with sending out your materials to everyone on your list at once or sending in higher volume. It just means that you don’t get that “next chance” or opportunity to adjust your pitch later. (Once a rejection, always a rejection—or that should be your assumption.)

What is the best timing for a query?

In the writing community, you’ll hear a lot of myths about “good” and “bad” times to query. There really isn’t a “good” time or “bad” time. If the agent or publisher is open to queries or submissions, and your material is ready, then go for it. There is no way you can time your submission perfectly; too many variables are out of your control, including the person’s mood the moment they open the query.

Some say you shouldn’t query in August or near the holidays because agents will be on vacation or not paying attention to submissions. This isn’t universally true and you aren’t giving yourself a better chance by avoiding August or the holidays. Again, if the agent/publisher is open to submissions, they’re open to submissions. Full stop.

But if you insist , here is my opinion on your query’s chances by calendar month .

Query letter example for a novel

It’s the year 1200. Since succeeding to the papacy two years ago, Pope Innocent III has been agitating for a new crusade, one that will finally conquer Muslim-controlled Jerusalem. But European monarchs ignore his call, too involved in squabbling amongst themselves.

So the Pope turns to two of his trusted men with a mission: to seek out the powerful Presbyter John, an unknown king in the Far East, who has promised to put his vast armies in service to the Pope’s Crusade. But it requires traveling through the treacherous political, religious and mercantile terrain of medieval Europe.

One of the emissaries is Mauro, an older monk who uses logic and reason to deepen his faith. The other man is Nicolo, a young Genoese merchant striving to improve his family’s fortune and his own place in the world. Nicolo is supposed to lead and guide the mission, but the young man carries secret orders from a corrupt Cardinal.

THE EMISSARIES (96,000 words) is an adventure tale solidly grounded in historical fact about the search for Presbyter John. The book will appeal to readers of historical fiction in the style of Ken Follett ( Pillars of the Earth ) and Noah Gordon ( The Physician ), and also to readers seeking the accessible social critique of Amitav Ghosh ( Sea of Poppies , the Ibis Trilogy).

I did research for The Emissaries in most of the locations mentioned in the book. I have lived and worked in over fifty countries and received numerous international awards for my work in social and trade justice. My nonfiction book, Javatrekker: Dispatches from the World of Fair Trade Coffee (Chelsea Green, 2008) received a Publishers Weekly Starred Review and the Gold Medal as Best Travel Essay Book from the Independent Publishers Association. I have been the on-air host of two recent PBS specials (“Coffee: The Drink That Changed America” and “Traveling in the 1970s”), and speak regularly at universities and conferences on issues of social justice, international trade and the environment.

Thanks for your consideration.

Special advice on email queries

Email queries and queries submitted through online forms tend to get read and rejected more quickly than snail mail queries (which are rarely accepted these days, in fact). Depending on your situation, you may end up creating two separate versions of your query letter, one for email and another for printing/mailing.

Here’s the formatting process I recommend for email queries specifically:

• Write your query in Word or TextEdit. Strip out all formatting. (Usually there is an option under “Save As” that will allow you to save as simple text.)
• Send the query without any formatting and without any indents (block style).
• Don’t use address, date headers, or contact information at the beginning of the email; put all of that stuff at the bottom, underneath your name.
• The first line should read: “Dear [Agent Name]:”

Email queries benefit from shorter paragraphs and/or more paragraph breaks—unless the agent insists everything be contained within three large, outsized paragraphs. That is a very backward requirement that only makes things harder for everyone, but follow such guidelines if you must.

If you have an email address for an editor/agent who doesn’t accept email queries, you can try sending your query on a hope and a prayer, but you probably won’t receive a response.   In fact, I’ve heard many writers complain that they never receive a response from email queries. (Sometimes silence is the new rejection.) This is a phenomenon that must be regrettably accepted. Send one follow-up to inquire, but don’t keep sending emails to figure out if your query was received.

You’ve sent your query—now what?

If you don’t hear back, follow up after the stated response time using the same method as the original query. If no response time is given, wait about 1 month. If querying via snail mail, include another copy of the query. If you still don’t hear back after one follow-up attempt, assume it’s a rejection, and move on. Do not phone or visit.

If an agent asks for an exclusive read on your manuscript, that means no one else can read the manuscript while they’re considering it. I don’t recommend granting an exclusive unless it’s for a very short period (maybe 2 weeks).

In non-exclusive situations (which should be most situations): If you have a second request for the manuscript before you hear back from the first agent, then as a courtesy, let the second agent know it’s also under consideration elsewhere (though you needn’t say with whom). If the second agent offers you representation first, go back to the first agent and let her know you’ve been made an offer, and give her a chance to respond.

Additional resources on query letters

• Agent Eric Smith freely shares query letter examples
• QueryShark : run by an agent who critiques queries (dormant, but still helpful)
• QueryTracker : dig for examples of successful queries (look under “success story interviews”)

Looking for more?

• Start Here: How to Get Your Book Published
• Start Here: How to Write a Book Proposal
• Writing a Novel Synopsis

Jane Friedman has spent nearly 25 years working in the book publishing industry, with a focus on author education and trend reporting. She is the editor of The Hot Sheet , the essential publishing industry newsletter for authors, and was named Publishing Commentator of the Year by Digital Book World in 2023. Her latest book is The Business of Being a Writer (University of Chicago Press), which received a starred review from Library Journal. In addition to serving on grant panels for the National Endowment for the Arts and the Creative Work Fund, she works with organizations such as The Authors Guild to bring transparency to the business of publishing.

This site uses Akismet to reduce spam. Learn how your comment data is processed .

[…] Here’s my 4,000-word definitive post on writing a query for a novel. […]

Excellent advice here, Jane! Many thanks! Am sharing with the drydenbks community…

Thanks, Jane. I getting ready to start this next step and find your advice really helpful.

So needed. Thank you!

[…] by Oberazzi / via Flickr The stand-alone query letter has one purpose, and one purpose only: To seduce the agent or editor into reading or requesting your work.  […]

Thanks for the article, Jane. I’m doing queries for my first novel now.

Fabulous tips! This info will really help writers who are gearing up for the query process.

Thanks for the helpful article, Jane! I have one question: If I received a BA in English Writing, should I include that in my bio? I’ve always hesitated to do so.

Hi Sean, I’d consider that a fairly neutral statement of fact. Neither helps nor hurts, so feel free to include it.

[…] https://janefriedman.com/2014/04/11/query-letters/ […]

This is a wonderful post, Jane, and so help to writers. You’ve completely demystified the process!

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

The importance of a cover letter

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

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

How to write your letter

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

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

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

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

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

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

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

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

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

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

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

Choosing where to submit

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

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

Sample lette r

Top Secret Location

The Depths of My Imagination

Dear CAREFULLY RESEARCHED NAME INCLUDING PRONOUNS IF APPROPRIATE,

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

Welcome to The House At The Edge of Magic.

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

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

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

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

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

Best wishes,

Amy Sparkes

www.amysparkes.co.uk

OPTIONAL FOOTER WITH CONTACT DETAILS

How to Write a Query Letter That Grabs an Agent’s Attention

You’ve done the hard part.

You’ve spent ages researching, writing, and rewriting until you finally feel your book is ready to share with the world.

Not so fast .

Your next step is one of the most important. Writing a query letter can determine whether a literary agent asks to see more or sends you a cordial form letter intended to let you down easy.

It’s time to move from author to salesman.

You’re about to make a virtual sales call, and your query letter makes the first impression.

Nothing can be more important.

• What is a Query Letter?

It was once customary for a bachelor to request permission to call on a woman by having his calling card delivered to her.

You’re courting an agent on behalf of your manuscript , and the query letter is your calling card.

This one-page letter must masterfully sell. Write it poorly and an agent will assume your book is also poorly written.

It must stimulate and intrigue to secure your all-important first date.

A Query Letter Format That Makes Agents Take Notice…

1—speaks to a specific person..

Get the agent’s name and title right. You’re not sending this “To Whom It May Concern.”

It should be clear you’ve done your research and are targeting an agent who represents your genre and that you’re aware of similar books he has represented to publishers.

2—Presents your book idea simply.

Include a one-sentence summary. Here was mine for my first novel: “A judge tries a man for a murder the judge committed.”

3—Evidences your style.

Grab the agent with compelling writing . Briefly tell the plot of your novel or the purpose of your nonfiction book. Write with the same voice you’d use when telling your best friend about it. Your passion must be obvious.

4—Show you know who your readers are.

An agent needs to believe he can sell your book before he’ll ask for more.

Be specific about your target audience, and “everyone” doesn’t count. Agents know the business and cannot be persuaded that “everyone will find this amazing.”

Tell what you hope readers will take away from your book and why.

5—Clarifies your qualifications.

Briefly summarize why you’re the one to write this book.

What else have you published ? What platform have you built? What education do you have? Link to your website .

The more you’ve done, the less you need say about it. Don’t emphasize your lack of experience, but resist the urge to exaggerate or embellish.

You need not list your entire resume. Instead, refer to a web page where an agent can find more details.

Better to just say something like, “I’ve been a professor of astrophysics for more than two decades, the last four years at Notre Dame.”

An amazing book idea can even transcend the need for a vast platform. So if you don’t have one, it’s all the more important to well represent the potential of your book.

6—Exhibits your flexibility and professionalism.

Keep it brief and express your ability to provide whatever is requested: proposal , synopsis , sample chapters, whatever. Conclude with a simple “Thanks for your consideration. I look forward to hearing from you.”

Be sure to:

• Include your book’s genre, title, and expected word count.
• Properly format: limit yourself to a single page, single-spaced, and use a 12 pt. serif type. The shorter your letter the better, but say what you need to.
• Follow the agent’s submission guidelines to a T, including how to send (via email attachment, not as an attachment, by snail mail [rare], etc.).
• Query Letter Examples
• Here’s a great example with a breakdown of why it works, by Brian Klems of Writer’s Digest .
• Study Writer’s Digest’s list of successful query letters .
• Cardinal Sins
• Overselling —let your premise speak for itself.
• Gushing, flattering, or waxing obvious , like, “You’ll notice I got it to you early, because I’m so excited,” or “I hope you like it.”  Represent yourself as more potential colleague than fan. Be professional.
• Submitting more than one page. Trust me, your query will be ignored if it’s too long.
• Querying only one agent at a time. Volume is your friend.
• Typos. Proofread! Then proofread it again. Even one typo in such a short document smacks of amateurism. Have someone read it with fresh eyes.
• “I sent my query letter, now what do I do?”

Be patient. Occupy yourself with your next project idea.

Some agencies say that if you get no response after a certain period, assume they’re not interested. That’s rude, and sometimes you’re not even told whether they received it in the first place. In that case, wait six weeks  and follow up with kind note asking about the status.

Best case: the agent reads your query and immediately asks for more. That’s rare, but it happens.

Agents get thousands of submissions, and they reject most of them within minutes.

Too many writers give them too many reasons.

My goal is to get you to where you’re seen as the next success. That’s why agents are in the business.

Despite how many ideas they reject, they’re longing to discover the next bestseller. Be the one who writes it!

• A Query Letter Format That Makes Agents Take Notice...

Are You Making This #1 Amateur Writing Mistake?

Faith-Based Words and Phrases

What You and I Can Learn From Patricia Raybon

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What Should A Covering Letter Include?

In this extract from Writers' & Artists' Guide To How To Hook an Agent — a quick-fire introduction to the process of gaining literary agent representation — James Rennoldson looks at things writers should include in their covering letter to a literary agent... as well as some of the things they shouldn't!

It should be clear now that the job of your covering letter is to help the agent to whom you’re submitting form a clear picture of the book you’ve written, and also gain a positive impression of what it might be like to work with you.

Here are some things a good covering letter should include:

• Salutation, including the agent’s name, correctly spelled;
• Framing devices – book title, word count, genre and/or intended reading audience, suitable comparisons if relevant (literary or otherwise);
• Your pitch. What’s at the heart of your book? What is its USP? Why would someone want to read it?
• Information about you – name, contact details, any relevant writing experience, anything else of interest that’s relevant to your book. Mention formal writing qualifications (a recognised course, something previously published or shortlisted) if you have them, but there's no need to say you  don’t  have any experience;
• Agent-specific reasoning. Why have you sent your work to them? Are you aware of (and admire) some of the authors they represent? Have you met them at an event or follow them on Twitter and felt encouraged to send your work to them
• Politeness. This is a minimum expectation in forming a good working relationship;
• Confidence. Believe in your book! If you don’t, why should anyone else?
• Professionalism. Adhere to submission guidelines, use a spellchecker, etc.
• Brevity. Less is more. The covering letter is a  preamble  to the beginning of your manuscript. Let the manuscript do all the talking on your behalf

THINGS NOT TO INCLUDE IN YOUR COVERING LETTER

What follows is a quick-fire list of common mistakes writers make within their covering letter to literary agents.

• ‘Dear Sirs’. Tailor your covering letter to individual agents; don’t ‘Send To All’; and definitely do not assume every agent you submit to is a man because most are not.
• Referring to one’s self. Don’t leave out your contact details (email and phone number); it’s a risk to sign your letter off using a  nom de plume ; and would you write any other application in the third person?
• Mistakes. If you’re sloppy in your covering letter, then even before they’ve started reading your opening chapters an agent will have begun to wonder about the amount of editorial time they’ll need to spend on your manuscript.
• Arrogance/unrealistic expectations. Is your book really going to be the next multi-million-selling phenomenon? Is it really your place to say it’s better than the work of an acclaimed author? And don’t mistake having an appreciation of the marketplace as an excuse to do someone else’s job for them. There’s no need for statistics, graphs or tables around the potential marketability of your book.
• Apologies. Don’t be self-deprecating or dismissive of your work before an agent has even read the first page. - Waffle. Don’t overload an agent with lots of details about the book; don’t include superfluous information about yourself (‘I have two children and three dogs, Their names are … ’); and don’t waste words with statements like ‘I’ve always written since I was a child’. Anyone could say that; what can you say that’s remarkable?
• Gimmicks. Your manuscript submission should stand out for your writing only (although a solid proposal could be enough for non-narrative non-fiction writers). Don’t undermine it with other ‘features’, such as wacky fonts, bullet-pointed lists, accompanying gifts, photos of yourself, illustrations, and similar.
• Lies. You’ll get found out if you make a claim about your book that’s untrue, and ruin any chance of trust with a prospective agent.

In isolation, one of the above errors is probably not going to mean an agent doesn't look at your sample section of writing. A clutch of these sorts of mistakes, however, is likely to make the agent wonder about whether they could work with you.

Written in Q&A format, the  Writers' & Artists' Guide To How To Hook an Agent  is an introduction to the process of submitting a manuscript to literary agents, and is directly inspired by popular questions asked by writers that have attended our long-running series of events of the same name. If you're looking for a literary agent to represent your manuscript  order your copy here , or to find out about our latest events  click here .

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How to write the perfect pitch letter.

• April 1, 2024
• Blog , Publishing
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Submit to a literary agent with confidence and style , using TLC’s top tips on how to write the perfect pitch letter

Over the years at TLC, we’ve worked with thousands of writers through our editorial services , and a significant percentage of those writers have one goal in mind: getting published. Whilst of course this isn’t the only measure of success for a writer, if it’s something you want to achieve then you’ll need to get strategic about how to get there.

One of the first steps on the road to getting published is often the pitch letter : to a literary agent, or perhaps directly to a small or independent press. Along with the synopsis (more about how to write a synopsis here with our guide and template), it’s one of the most important documents in a writer’s toolkit, and a vital part of your submission package.

So, how do you write a perfect pitch?

First, an enormous and important disclaimer.

Your pitch letter is not the be-all and end-all Your pitch letter is not worth your mental health. Your pitch letter does not have to take up hours and hours of your valuable time.

If you are submitting a full length piece of fiction or creative non fiction to a literary agent, the pitch letter and synopsis will usually accompany your opening chapters (first 10-15,000 words), and this packet of three documents will determine if a literary agents ‘calls in’ the rest.

A couple of years ago, we asked some literary agents if they were able to share some numbers with us. For context, here was one agent’s response about how many submissions they were sent, how many they called in, and how many new clients they signed. This is for one full calendar year:

3,002 queries 74 full MS requests 3 new clients signed

As you will see, it’s not only highly competitive out there, but agents can only sign a limited number of clients per year. So, don’t be disheartened if you don’t immediately find the perfect match. And if you do get a full manuscript request, celebrate this! Sending work out can be a very exposing thing, so it’s important to note that the pitch letter and synopsis are simply business documents, and to treat them as such. Make sure you are managing your time, energy, and wellbeing during this process, and sending out only when you feel ready to do so.

Why the Pitch is Important

The perfect pitch letter shows an agent that you are serious, committed, and that you are a safe pair of hands as a writer. It also shows them that you have a clear vision of your book, that it communicates well and easily, and that you have a solid grasp of where your writing sits in the market.

No agent worth their salt will reject a brilliant manuscript because it has a slightly shonky pitch, but agents might read a weak pitch and begin to second-guess. So, don’t give them the chance for this doubt to creep in. Work on your pitch letter, then send it out into the world proud that what you’ve sent, you stand by.  

The Template

Let’s break the perfect pitch letter down section by section. This is of course only a suggested template, so you will want to make sure you leave some room to give it your own flair.

It sounds obvious, but address the agent by name. If you are sending to multiple agents (which is absolutely fine, have a look at our How to Pitch to a Literary Agent resource here for more on that), email them one by one, never in a blind copy email-to-all. Avoid ‘Dear Sirs’. The publishing industry is 70% women and there’s no reason to use a generic (and sexist) appellation.

I am writing to you to submit the opening chapters of my [word count] [genre] manuscript, [title of book].

Get all of the key information into the top of your letter, quickly and clearly.

Reason for submitting

Agents understand that you will likely be submitting to multiple agents at a time. None of them will be expecting a customised love letter, so to help you create a template that you can easily use for different agents, having just a sentence or two that you can swap out for each covering letter makes this exercise significantly quicker. Just remember to double (and perhaps even triple) check that you have changed the name and this reason for submitting sentence for each new submission.

[Title of book] is about… and a sentence on themes

This is your three-sentence pitch. An overview of what happens (a kind of mini blurb).

EXAMPLE: The Clarity follows Margot, a young scientist working on a cure for Alzheimers who is blinded in a seemingly random acid attack. When the building where she was doing her research gets burned down, she quickly realises there is something else going on, and downloads a stash of files she suspects may contain the answer. Unluckily for Margot, someone is watching, and they will stop at nothing to destroy the files – and Margot.

The Clarity is about complicity, conspiracy, and the cost of secrets.

Keep it short, and pithy. Try not to overload the sentences with adjectives or vague nouns, and when describing themes try to identify the main one to three themes maximum. Remember, you will also be submitting a synopsis so you don’t have to go into full story detail here. If you have a complex plot, feel free to expand this paragraph a little.

Comp titles

[Title] would appeal to readers who enjoy X and Y.

This might be two or three books that would sit comfortably on a bookshelf next to yours, or perhaps it’s two authors who you feel you’d share a readership with. Maybe it’s a Netflix show or a recent film. Comps are positioning tools, and by no means mandatory. They should be contemporary, and will give the agent a good idea of your readership, to whom you would be pitching the book should it get published.

Here is a paragraph where you can talk about yourself. Include anything relevant here: are you part of a writing group, have you taken a course, do you have a special interest blog related to your novel with a healthy readership, have you been listed in writing competitions, or been published online. Keep it short! A few sentences are fine. If you’re not sure you have any relevant experience, don’t worry, the agent won’t be expecting a full CV. Just help them get to know a little about you – an agent-author relationship is a personal one, after all!

Sign off politely

Thank them for taking the time, say you hope to hear from them soon, and that’s it! Don’t forget to include your contact information. Even though everything is digital these days, in a busy office it’s still possible that documents end up getting printed or separated from each other. Make sure each of your submission documents contains the title of the MS, your full name, and a contact detail.

What Not to Do

• Quotes: Lists of quotes from people you know about how great your book are are lovely for you, not particularly useful for an agent. Let the work speak for itself. (If you are writing a children’s book, and you have a very cute quote from a child connected to a recent school reading you did, by all means go for it! There are always exceptions)
• White lies: If you do get an offer from another agent, it’s polite (and savvy) to inform other agents whom your manuscript is out with. If on the other hand you try to generate momentum by telling a white lie, this is bad form and won’t reflect well on you. Equally…
• Timelines: Most agents will include timelines for response on their agency websites. Take note of these and if you don’t see anything, a polite follow-up around 12 weeks after submission is absolutely fine. Don’t, however, try to one-up by declaring your own timelines in your pitch letter.

An addendum on disclosure

At TLC we run various events, workshops, symposia, and panels for writers at all stages of their career. One question that comes up a lot, particularly at the moment when publishing is trying to diversify its creative output, is whether you should disclose particular things about your own identity in your pitch letter. This is a very complex issue that requires a longer response than this bullet point, however our general advice is this:

• Think carefully about what you’re writing, in whose voice, and why (here is Kit de Waal’s excellent article on cultural appropriation)
• You should never be expected to disclose anything that you don’t wish to. You can always have a confidential conversation later down the line should an agent end up representing you, but if you did feel it was useful to disclose something in your pitch letter where it’s relevant (for instance in the case of pitching a novel with mental health themes that you feel it’s important you say you have experience of), you can of course do this.  
• No writer should ever feel pressure to disclose something simply because they feel it might be advantageous to them. Most agents out there are operating ethically and their purpose is to advocate for and protect their clients. This includes protecting them from creative exploitation. No matter what your lived experience, you are absolutely allowed to have boundaries.

Need more help?

We hope you enjoyed this TLC Blog. If you’d like some support with your pitch letter, we offer a Submission Package Report service which gives you detailed feedback on your Pitch Letter, Synopsis, and first 8,000 words. Find out more here.

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Blog & Newsletter – 06.09.2022

Writing Tips: How to Write the Perfect Cover Letter  

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

What is a cover letter?

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

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

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

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

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

What are your agents looking for in a cover letter?

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

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

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

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

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

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

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

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14th Apr 2023

How to Get a Literary Agent for Your Book? Detailed Guide 2024

Don’t Have Time to Read? Listen to this Article Instead!

As an author, you may have heard that having a literary agent can be instrumental in getting your book published. However, what exactly is a literary agent, and why are they so important? Let’s get to know.

You Cannot Afford to Miss Getting a Literary Agent for Your Book in 2024: Expert Tips and Strategies to Make Your Dreams a Reality!

Having a literary agent can be crucial for publishing your book since many book publishers will only consider manuscripts submitted through an agent. Agents also have the expertise and industry connections to help authors navigate the publishing process and maximize their chances of success.

What is a Literary Agent?

A literary agent is a professional who represents authors and their written works to publishers and other media outlets. They act as an intermediary between the author and the publishing industry. In addition to that, they work to secure book deals, negotiate contracts, and promote their clients’ work.

How Should You Prepare to Query Literary Agents?

Before you start querying literary agents, it is essential to do your research and prepare your materials. You can follow the below steps. They can help you to prepare to question literary agents.

Research Literary Agents

Start by identifying literary agents who represent books in your genre. You can find potential agents through online directories, literary agency websites, or by asking for recommendations from other authors. Make a list of agents you are interested in and gather info about their submission guidelines, client list, and recent sales.

Understand the Role of Literary Agents

Before querying, you must understand what literary agents do and how they work. It includes understanding their role in the publishing process, how they get paid, and what they look for in potential clients.

Prepare a query letter

Your query letter is your chance to make an excellent first impression with literary agents. Therefore, it should be a concise and professional letter introducing you and your book. Moreover, it should provide a brief summary of the plot. In addition, it should explain why you think the agent would be a good fit for your work.

Polish the Manuscript

Before you start querying, make sure your manuscript is in top shape. It means revising, editing, and proofreading your work to ensure it is free of errors and flows well. Moreover, consider hiring a professional book editing service or beta readers to get feedback on your manuscript before submitting it to agents.

How to Find the Right Literary Agent?

Once you have prepared your materials, it is time to find the right literary agent for your book. If you have a hard time finding a suitable literary agent for you, then do not worry. We are here to help.

Here’s how you can find the perfect literary agent:

Identify Agents Who Represent Your Genre

Not all literary agents represent all genres. Therefore, it is critical to identify agents who have experience and expertise in your particular genre. It will increase your chances of finding an agent who is a good fit for your work.

Evaluate Experience and Track Record

Look for agents with a proven track record of success in the industry, including recent book sales and established relationships with publishers. Moreover, consider their experience level and whether they have worked with authors at a similar stage in their career as you.

Examine Submission Guidelines

Each literary agent has their own submission guidelines. So it is essential to read them carefully and follow them strictly. Some agents may require a specific format or a number of sample pages. In contrast, others may prefer to receive submissions through email or regular mail. Be sure to tailor your submission to the agent’s specific guidelines to make the best possible impression.

Submit Query Letters and Manuscripts

Now that you have identified potential literary agents and evaluated their experience and submission guidelines, it is time to start submitting your materials. Don’t know how to present them? Let us show you.

Craft a Compelling Query Letter

Your query letter should be well-written and professional. In addition, it should make a strong case for why the agent should represent your book. Moreover, it should include a brief synopsis of your book, your writing credentials, and any relevant personal info that may interest the agent. You can also hire content writers . They can help you write the perfect query letter.

Prepare a Synopsis and Sample Pages

Many agents will request a synopsis, sample pages, and your query letter. The overview should briefly summarise your book’s plot and main characters. At the same time, the sample pages should showcase your writing style and voice.

Format the Manuscript

Before submitting your manuscript, properly format your book according to industry standards. It includes double-spacing, using a standard font such as Times New Roman or Arial, and including page numbers and a header with your name and book title. You can also consider a book formatting service if you want your book to be polished and perfect.

Send Submissions

Once you have prepared your materials, it is time to start sending out submissions. Follow the agent’s submission guidelines carefully. In addition, consider submitting to multiple agents at once to increase your chances of finding representation. Be prepared to wait for several weeks or even months for a response. Moreover, do not be discouraged if you receive rejections along the way.

Follow-Up and Communication with Literary Agents

After submitting your materials, following up and communicating effectively with literary agents is essential.

Understand the Response Timeline

Most literary agents will provide a response within a few weeks to a few months. However, response times can vary. Moreover, being patient and respectful of the agent’s time is key.

Follow Up on Queries

Suppose you have not received a response within the agent’s stated timeline. In that case, it is appropriate to send a polite follow-up email to inquire about the status of your submission. However, be careful not to come across as pushy or impatient.

Communicate with Agents

If an agent expresses interest in your work, it is vital to communicate clearly and promptly. Be prepared to answer any questions the agent may have about your book. Also, be open to getting feedback and revisions.

Respond to Offers of Representation

If an agent offers to represent you, take the time to carefully consider their offer and ask any questions you may have. It is also appropriate to let other agents who have your manuscript know that you have received an offer. It allows them to make a competing offer if they are interested. Ultimately, deciding which agent best fits your career goals and working style is up to you.

How to Navigate the Literary Agent Contract?

If an agent offers to represent you, you must navigate the literary agent contract before officially signing with the agency.

Understand the Components of a Literary Agency Contract

Literary agency contracts can vary in their specific terms. However, generally, they will include information about the agency’s commission rate, any other fees or expenses the author may be responsible for, and the length of representation.

Evaluate Agency Fees and Commission Rates

Literary agents typically earn a percentage of an author’s book sales, typically between 15-20%. Additionally, some agents may charge fees for expenses such as photocopying or postage. It is crucial to carefully evaluate these fees and commission rates to ensure they are reasonable and in line with industry standards.

Negotiate Terms

Suppose you have concerns about the terms of the contract. In that case, it may be possible to negotiate with the agent or agency. However, be aware that some terms may be non-negotiable. Moreover, it is essential to be respectful and professional during any negotiations.

Sign the Contract

Once you have evaluated the terms of the contract and are comfortable with them, you can sign the contract and officially begin your relationship with the literary agency. Be sure to keep a copy of the agreement for your records and communicate regularly with your agent throughout the publishing process.

Why do Authors Need a Literary Agent?

A literary agent can be an invaluable ally to authors looking to publish their work and build a successful writing career. You need a literary agent for several reasons:

Access to Publishers

Literary agents have established relationships with publishers and can often get their clients’ manuscripts in front of editors who may not accept unsolicited submissions from authors.

Negotiation

Literary agents are skilled negotiators who can help authors secure favorable book deals, including advances, royalties, and subsidiary rights.

Editorial Guidance

Many literary agents provide editorial guidance to their clients, helping them to polish their manuscripts and make them more appealing to publishers.

Career Development

Literary agents can help authors develop their careers by advising them on which projects to pursue. Moreover, they can introduce them to other industry professionals and help them navigate the publishing landscape.

In summary, you can get a literary agent by following the below steps:

• Research literary agents who represent your genre and have a good track record of selling books to publishers.
• Prepare a polished manuscript meeting the guidelines of the literary agents you plan to submit.
• Write a compelling query letter introducing your manuscript and highlighting your writing credentials.
• Submit your query letter and manuscript to literary agents, following their submission guidelines carefully.
• Follow up with agents who express interest in your work and engage in ongoing communication with them.
• Evaluate any offers of representation carefully, and negotiate the terms of your contract with your chosen agent.

Why Do I Need a Literary Agent?

A literary agent is a professional who represents authors and helps them navigate the publishing industry. They help authors get their work published by submitting their manuscripts to publishers, negotiating contracts, and providing editorial guidance. Authors need literary agents because publishers often only accept submissions from agents. Having an agent can increase an author’s chances of getting published.

How Do I Find Literary Agents Who Are a Good Fit for Me?

Research is critical for finding literary agents who fit you well. Look for literary agents who represent authors in your genre. Moreover, check their submission guidelines to make sure your manuscript meets their requirements. You can also attend writer’s conferences or join online writing communities to connect with agents from book writing services companies who are looking for new talent.

What should I include in my Query Letter to a Literary Agent?

Your query letter should include a brief summary of your manuscript, data about your writer’s background, and any relevant publications or awards. Be sure to personalize your query letter for each agent you submit to and follow their submission guidelines carefully.

How long does it Typically Take to Hear Back from a Literary Agent?

Response times can vary. However, it is not uncommon for it to take several weeks or even months to hear back from a literary agent. Some agents may not respond at all if they are not interested in your manuscript. Suppose you have not heard back after a reasonable amount of time. In that case, following up with the agent is generally acceptable.

Should I be Wary of Literary Agents who Ask for Money up Front?

Legitimate literary agents should never ask for money upfront. Moreover, they earn their commission from the author’s book sales, not from the author themselves. Therefore, if an agent asks for money upfront for any reason, it is likely a red flag. In addition, the author should proceed cautiously or look for representation elsewhere.

A literary agent is crucial for authors who want to succeed in the book publishing industry. However, it can be challenging to find the right one. Therefore, it is essential to do your research and understand your needs. With our detailed guide, we hope you now know how to find and approach the right literary agent for you.

Well, if you want your book to be the next big thing, you should take advantage of book marketing services offered by Authors Breeze. We can enhance your book’s chances of success to a hundred percent.

Charles Maynes

Charles Maynes is a seasoned writer with years of experience in the publishing industry. With a background in journalism and creative writing, he deeply understands the art of storytelling and the importance of crafting a compelling narrative. Throughout his career, he has worked with a range of clients, from bestselling authors to small business owners, helping them to bring their stories to life through the written word.

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