the craft. what happens after the query?

Photo: Photo by Suad Kamardeen on Unsplash

It felt like I spent a lifetime querying and somewhere in the midst of that, I wondered, “What the hell actually happens if someone says yes?” So, I asked. Thankfully, Eric Smith, a talented writer in his own right and agent at PS Literary moved back to Philadelphia in 2019 and hosted monthly meetups before COVID came and confined us all to our lairs. It was there that I was able to actually figure out what happens next.

After hearing no fifty million times, it feels like, it’s hard to actually imagine the next part. But I’m glad to say that I know now from first-hand experience. Some agents will ask for only a query and some agents will ask for a query as well as a sample of the work which I have seen vary from the first five pages to the first three chapters.

If you are lucky enough to either get a partial or full request from that agent, you get to hold your breath a little longer to see what they come back to you with. A few things can happen here. You can get a flat out, “it wasn’t for me,” or you may get a revise and resubmit. Contrary to popular belief an R&R, as its often referred, is not necessarily a bad thing unless the agent is trying to take your project in a completely different direction than you intended. The last option is that they, for some reason, don’t think you suck and they like the book!

Once that happens the agent will set up a call with you. This is to get a better idea of your vision for the book. They may also give you some much-needed feedback on the story after so many people just vaguely said “they didn’t connect.” And more personally, it’s so you can see if they’re a good fit. One thing I loved about my agent was her energy. I felt like she was just as excitable as me and it felt good to get that energy back from someone representing my book. Hopefully, you’ll leave that call with an offer for representation.

Then it’s like, “Oh crap! Someone likes my book, what do I do next?” Well, hopefully, you might have some other requests out there whether partials or fulls and now you get to email those folks back and say, '“your move!” There’s a varying insight on this, but most of what I’ve seen is to follow up and allow them at least two weeks to get to your work. Some of them still won’t finish, some of them will and pass, and then hopefully someone else will also like it, and now you’re a priority and not an option.

At that point, you get to make the decision. What is going to be best not only for your project at the moment but your career in the long run? You don’t have to just be happy to be there, you worked your butt off for this moment and should treat it as such. Lately, I’ve been asked to chat with other authors considering representation from my agent. Don’t be afraid to ask if you can chat with other people on their roster. Look at their recent sales, the success of the agency. All that good stuff. But I will tell you some of the best advice I received from good ole’ Eric, if you’re not already following him, please do, go with who is most enthusiastic about your book. This was in my particular scenario. There are other things to consider as I mentioned, but I was caught between going with a more established agent or a newer agent and in many ways, that established agent already showed me that my book didn’t seem like a priority. Red flag. So bigger or more established doesn’t always mean better. It can, just not always. We don’t deal in absolutes here. I live in the grey.

Once you accept your offer, you’re off to the races and hopefully building a hell of a career with your new agent by your side. Hopefully, things work out, sometimes they don’t, but I hope at least now you know a little more about what happens after you’ve labored over that damn query letter and cried tears of sorrow into your keyboard rejection after rejection.

Happy writing!

Writing Opportunities

Shannon Palous is the person to pitch health/science stories to at Slate. Reported personal essays, neglected-but-important research, silly/maddening things you discovered while reporting other things. shannon.palus@slate.com

Submissions are open for the Sandy Crimmins National Prize for Poetry from Philadelphia Stories. This annual prize includes $1000 for a first-place winner and $250 for 3 runner-ups. Airea D. Matthews, winner of the 2016 Yale Series of Younger Poets, will be this year’s judge. DEADLINE: November 15, 2020. $15 reading fee. Visit philadelphiastories.org/poetry-contest for details. *sponsored opportunity*

We're looking for freelance contributions on New York politics and policy @CityAndStateNY. Reported stories by professional journalists only, minimum $250 per story, send one paragraph pitches--not fully written drafts--to benadlercsny@gmail.com

Samantha Leal is looking for pitches related to Latinx x Wellness for Latinx Heritage Month. Email her at samantha.leal@wellandgood.com.

The Washington Post is hiring a Food Writer.

Romper is looking for a part-time news writer.

Shondaland is hiring two full-time, LA preferred, staff writers.

Book of the Month is hiring an Editorial Assistant.

WHYY is hiring a Suburban Reporter (PA).

Men’s Health Magazine is hiring an Editorial Fellow.