The query letter is one of publishing’s necessary evils. Most people hate writing them, hate having to boil their projects down to a page, but in most cases it’s the only way to get your foot through the door with agents and editors. Like other agents, I receive thousands of these a year, and more often than not I’ll spot something that pegs the author as an amateur. Here are some tips based on my observations.

You did not write a fiction novel! Nor did you write a fictional novel. You wrote a novel. “Fiction novel” and “fictional novel” are redundant and make you sound like an idiot. A novel is always fiction.

Don’t try to teach me about publishing. A recent query letter began with a lesson on why people read thrillers. Others have explained to me what’s wrong about books in a given genre, what’s wrong with books currently on the bestseller list, or what’s wrong with people for putting those books on the bestseller list. I don’t know everything, but I do know publishing, and even if I didn’t, this kind of lecturing has no place in a query letter.

Don’t “review” your own work. Last week I received a query letter about a work that would become a classic in its genre. At least that’s what the author thought. I’m glad when writers are proud of their work, but it’s amateurish to blow your own horn in a query letter.

Do state right up front the genre your novel belongs to.

Do state the novel’s word length.

Do tell me if you think your novel will appeal to fans of other (preferably successful) authors.

Do give relevant background on yourself. For example, let me know if your novel is based on your own career experience. Tell me if you have published stories or other novels, but for God’s sake tell me who your publishers were! Authors are often embarrassed to mention very small or regional publishers, thinking they will detract from the credit. If you’re embarrassed to mention the name of your publisher, don’t mention the credit at all. Otherwise give the name. Don’t make me Google you.

Do give a brief summary of your novel, but not the entire story. The best approach is to give us the setup or problem facing the protagonist, the obstacles standing in his or her way, and what’s at stake if s/he doesn’t set things right. We want the gist of your story, not an actual synopsis, however brief.

Don’t address an agent by his or her first name unless you’re really on a first-name basis. A query letter is a business letter, and the rules of business letters apply. Use “Mr.” or “Ms.” until you’re told to do otherwise.

Don’t enclose a photo of yourself. I’m glad when people like how they look, but how they look has absolutely nothing to do with the merits of their work. Don’t enclose a sketch of how you envision your jacket. Don’t enclose the first page or pages of the manuscript. Don’t enclose a synopsis, unless you’ve read in that agent’s listing that he or she wants one. Don’t enclose a CD of music to accompany your novel. Don’t enclose anything—except a self-addressed, stamped envelope for the agent’s reply.

Even if you’ve already self-published your novel, don’t include a copy. As far as an agent’s concerned, it’s the same as a manuscript, and you shouldn’t send a manuscript unless it’s requested. (However, if your self-published book is selling thousands and thousands of copies, do mention this!)

Keep these tips in mind and your query letter will have a real chance of resulting in a request to see your manuscript.

When deciding what kind of novel to write, it’s not always smart to pick a genre that’s currently hot. By the time your novel is written and on submission to editors, that genre may have gone cold. Some genres appear to be eternally hot—vampire fiction, for instance—but everything cools off eventually. You’re always safer trying to anticipate a future trend and aim your fiction in that direction. How to figure out tomorrow’s vampire fiction?

Look at current films. Films both reflect trends in books and set them. Speaking of vampires . . . when Hollywood saw how vampire novels were selling, it jumped enthusiastically on that bandwagon, not only adapting many of these novels but acquiring original scripts in the genre. That’s Hollywood copying books.

When the publishing industry caught on to the popularity of India-related movies like Monsoon Wedding and The Namesake (itself adapted from a novel), it began looking for India-related novels. Now we are enjoying stories from Shobhan Bantwal, Indu Sundaresan, Anne Cherian, Padma Venkatraman, Farahad Zama and many others. Will the current success of True Grit spark a spate of new Westerns? Keep an eye out.

Watch news trends. Book editors scour the news for hot trends, and so should you. I’ve noticed an unusually large number of animals killing or maiming their trainers lately—killer whales, chimpanzees, elephants. If it keeps happening it will turn into a trend people watch, and editors will no doubt put out the word they’re seeking novels about it. Will more suburban spies be exposed? Will face transplants become commonplace? Will the apparent new spate of floods spark a resurgence of “disaster” novels? As you read the news, keep a list of possible trends.

Monitor conversations. Perhaps the best way to find out what interests people is to simply listen to them. What are people talking about at cocktail parties? At the dinner table? Over the holiday table? Don’t grab at one conversation pulled from the morning’s headlines; watch for trends. For example, lately I’ve noticed a lot of people talking about municipal budget cuts that cause police to be laid off, causing a degree of “lawlessness” not seen before. Today I clicked to my favorite news site and caught this headline: ”Camden lays off nearly half of its police force.”

Budgets cuts aren’t going away anytime soon. My experience tells me that some editors would find a novel about gangs taking advantage of police cuts interesting.

Don’t write what’s trendy now; write what’s trendy tomorrow. If you’re smart you can figure out what that is ahead of everyone else.

1. I will decide on one genre of novel—the genre I most enjoy reading—and stick with it.

2. I will study novels in this target genre to get a good idea of the kinds of stories they tell.

3. I will work hard to come up with a story idea that fits my target genre yet is fresh and new, something I’ve never seen done before in novels, TV or movies.

4. Before I begin to write, I will create a detailed outline of my novel, so that when I do begin writing, I won’t hit any rough spots.

5. I won’t share my story idea with others, because (a) when you talk out an idea it can lose some of its sparkle, and (b) someone will undoubtedly find fault with it, and I’m not interested in what other people think.

6. I will work on my novel every day, whether it’s writing my outline, doing some research, or actually writing text.

7. I will adhere to a timetable: for example, a detailed story outline by April 1, a first-draft manuscript by Thanksgiving, a polished manuscript by the end of the year.

8. I will keep a running list of editors and agents who seem right for my project.

9. I will not start another writing project until this one is finished.

10. By this time next year I will be ready to start submitting my finished novel . . . and I will already have begun working on another one.

Most writers have attended writers conferences and met editors and agents there. That’s often the reason for going. Meetings can happen at cocktail hour or during brief one-on-0ne appointments, or pitch sessions, scheduled by the conference coordinators.

A chat over wine and cheese is fine, but we always recommend taking advantage of these appointments. Their only purpose is to discuss your material, so you needn’t feel embarrassed about bringing up your work in progress. Remember, these agents and editors are there to find new talent.

Here are some tips for making the most of these appointments.

Timing

First, make sure the timing is right. Is the novel you intend to pitch completed and polished? If not, don’t bother making an appointment at all. Or if you do make an appointment, make it informational and don’t talk about your project. Agents and editors assume the projects they’re pitched are finished. If your novel isn’t finished, agents or editors may politely agree to read it when it’s done, but (a) they probably won’t remember you, (b) their needs may have changed, and (c) they may not even work at that publishing house or literary agency anymore! So strike while the iron is hot.

First Impressions

Look your best. Some agents and editors won’t care how you look, but others will. Think business casual.

The Manuscript in the Briefcase

Don’t bother taking your manuscript to the conference with you. Agents and editors will ask you to send them your manuscript after the conference. They are not there to read but to scout. Besides, with airlines charging more than ever for extra baggage, everyone’s traveling lighter than ever. Sometimes a writer will say, “I know I shouldn’t have brought my manuscript to the conference, but I happen to have it in my briefcase and I thought for me you might make an exception.” Don’t do this.

Pitch It!

A pitch is a brief, powerful oral description of your story. Think Hollywood pitch session. You’ve only got a few minutes, so you want to get it right. Begin by giving the novel’s genre and subgenre. Then describe your novel’s high-concept hook, the idea being your novel that makes it appealing and unique. Let the agent or editor know if your book will appeal to readers of other writers’ books; use highly successful writers as examples. But don’t “review” yourself, saying how wonderful your book is. That’s amateurish, and besides, your work will have to speak for itself. Wrap up by giving any pertinent details about yourself, such as previous publishing credits or membership in writers organizations.

With any luck, you’ll have whetted the agents’ or editors’ appetites and they’ll ask to see something. Send exactly what they request—for example, three chapters and a synopsis, the first 100 pages and a synopsis, the entire manuscript and a synopsis, or just the manuscript. Then you wait patiently for a response—and keep writing!

A Contest Sponsored by The Marshall Plan^®

In celebration of National Novel Writing Month (November 2010), Evan Marshall and Martha Jewett, leading literary agents and authors of The Marshall Plan® Novel Writing Software and The Marshall Plan® for Novel Writing ebook, are sponsoring a contest for aspiring novelists. Send them a proposal for your novel for a chance at winning a free copy of the software and a free Fiction Makeover—professional advice on revising your material for better chances of a sale!

Contest rules:

Entrants must not have published a novel with a major commercial publisher. Submit the first 25 (no more!) double-spaced pages of your novel, any genre, along with a synopsis no longer than 1 single-spaced page. Send your material in one .doc file as an email attachment to: evanmarshall@optonline.net. Submission deadline: November 15, 2010. Winners will be announced on November 30, 2010, on writeanovelfast.com as well as Facebook and Twitter. Entrants who do not follow rules exactly will be disqualified.

Become a fan on Facebook and follow on Twitter for contest updates and writing tips.

Prizes:

2 Grand Prizes:

• The Marshall Plan® Novel Writing Software ($149 value) 
• A copy of The Marshall Plan® for Novel Writing Ebook ($10 value) 
• A Free Fiction Makeover for your novel proposal: top literary agents Evan Marshall and Martha Jewett will tell you what you need to do to get your novel published faster in today’s competitive publishing climate.

3 Runner-Ups:

• A copy of The Marshall Plan® for Novel Writing Ebook ($10 value)

About Evan Marshall & Martha Jewett

Evan Marshall is an internationally recognized expert on fiction writing and author of the “Hidden Manhattan” and “Jane Stuart and Winky” mystery series. A former book editor, for 27 years he has been a leading literary agent specializing in fiction. His Marshall Plan® Novel Writing Software, written with Martha Jewett, is an adaptation of his bestselling Marshall Plan® series.

Martha Jewett is an internationally recognized expert on business books. A former award-winning business book editor at McGraw-Hill, John Wiley & Sons, and HarperBusiness, she is currently a literary agent and editorial consultant specializing in business books. An avid memoirist, she blogs at http://www.writeyourmemoir.com. She co-created with Evan Marshall The Marshall Plan® Novel Writing Software,  an adaptation of the bestselling Marshall Plan® series.

If you’re like me, you treasure your writing bookshelf, the volumes that have survived the onset of the Internet and stand loyally by, ready to be perused or referred to. Below are some of the titles I treasure most. Are they on your shelf? If not, they’re worth checking out.

The Chicago Manual of Style: The Essential Guide for Writers, Editors, and Publishers, 15th edition. Over the years, the “Chicago Manual,” as it’s commonly referred to, has become the primary reference for publishing professionals including authors, editors, indexers, proofreaders, copy editors and book designers. Open it up to a random page and you may find yourself lost for hours.

The Lively Art of Writing by Lucile Vaughan Payne. I’ve loved this book since I first devoured it when I was eleven years old. This classic, originally published in 1965, succinctly covers subjects such as choosing a subject and structuring sentences and paragraphs. This is not a book specifically about fiction writing, but all writers will find it helpful.

Merriam Webster’s Collegiate Dictionary, Eleventh Edition. Like the Chicago Manual, this is a book that publishing professionals use as a standard. In fact, the Chicago Manual itself prefers it. (When a word has several accepted spellings, the Chicago Manual opts for the first, or preferred, spelling.)

Style: Toward Clarity and Grace by Joseph M. Williams. Do you like rules as much as I do? Then this book is for you. It gives concrete advice on improving every aspect of your writing, from macro considerations such as “sequencers” and “topicalizers” (words, phrases and sentences that lead your reader through your text) to the nitty-gritty of the sentences’ structure and word order. Like The Lively Art of Writing, this is a book for all kinds of writers, not just novelists.

If any of these books is missing from your writer’s bookshelf, consider purchasing it or adding it to your holiday wish list.

What are your favorites?

Sure, publishing is feeling the crunch along with every other industry. But that doesn’t mean you should tell yourself there’s no point in working on your novel and put it aside until things get better.

In fact, there’s never been a better time than now to get that manuscript out of the bottom drawer and get back to work in earnest. Here’s why.

Writing is free entertainment. Movies cost you money. Netflix costs you money. Eating out costs you money. Books cost you money. But writing books? That’s free entertainment! And anything we can get for free these days is worth a lot.

You can escape the stresses of the real world into a world of your own making. Have you got headaches at work? Is your job secure? Do you have a job? Is your household feeling the pinch? What better way to escape all of these stressors than into a world of your own making? In your novel, the world is as you create it.

Talented newcomers have never been more appealing to publishers. In this economy, many authors’ book sales are poor. Publishers must entice booksellers with new authors who come without baggage— i.e., a bad sales track records. There’s nothing more appealing than a fresh talent with limitless possibilities.

It is often in a new author’s best interest to accept a lower advance to get that foot in the door. And low advances are another plus for struggling, risk-averse publishers.

So what are you waiting for? Get to work on that novel before too many other writers see this blog post!

So you’ve sold a book. Congratulations! You’ve achieved your dream, right? Well, yes and no. Because you didn’t just want to sell a book; you wanted to be a writer. That means building a successful writer’s life—doing what you need to do to stay in the game, year after year, and enjoy the writing career you worked so hard to achieve.

How to do that? Follow these guidelines.

Keep balance in your life. I have known writers who spent so much time writing and promoting their books that their marriages ended and they wound up on depression medication. I have known writers who, more in love with the idea of writing than with actually writing, let years pass between manuscripts, until no one in New York was much interested. Strive for something in between. Set a reasonable schedule for your writing and promoting, but remember that when all is said and done, your family and friends come first . . . and that a happy, balanced life makes for the best writing.

Keep the best counsel. The writer’s two most important business partners are her agent and her editor. Your agent must be enthusiastic about your work. He must provide career guidance and strategizing that will help you achieve higher and higher career goals. He must be effective at getting the most out of your publisher in terms of editorial attention, publicity, and promotion. Your editor must be as enthusiastic about your work as your agent, if not more so. She must be your champion in house, constantly pushing to raise your stature in the company.

If at any point either your agent or your editor is not performing these functions for you, it’s time for a change. When you change, do so judiciously and professionally, so that you will not be labeled fickle or difficult.

Never stop learning and improving. If you want readers to keep buying your books (which in turn makes publishers want to keep buying your books), you’ve got to keep giving them what they want–not just the very best quality entertainment you can produce, but stories that improve from book to book. Readers who feel a writer isn’t getting any better usually lose interest and find new writers to read. Don’t ever stop trying to top yourself.

How?

1. Keep writing. Some techniques and abilities are only discovered in the actual act of writing. Writing makes you a better writer.
2. Consider joining a critique group. Many writers find the support and guidance of their groups invaluable.
3. Keep attending writers conferences and conventions. Not only will you get to enjoy communing with other writers, you’ll also stay current on trends and developments in your genre.
4. Read periodicals (print and online) about books, such as The New York Times Book Review or The New York Review of Books, and specialized fanzines such as Romantic Times BOOKreviews and Locus, depending upon your specialty.
5. Keep haunting bookstores. Attend readings and book signings, especially if the author writes in your genre. Keep yourself immersed in the world of books.

Promote. Do as much self-promotion as your time and budget allow. The days of just writing the novel and then sitting back and letting the publisher do the rest are over.  At the very least, set up book signings in your area, and send postcards notifying family and friends when your novel is published. If you have the inclination, become more innovative and aggressive in your promotion efforts. Self-promotion not only helps you sell more books; it also increases your value to your publisher.

Adapt. Reading tastes seem to be changing faster than ever before. If you keep writing exactly the same kind of book, without regard for these changes, you may be writing yourself into obsolescence. When you spot a new trend, read a book or two that exemplify it, if only to stay aware of what’s being published. Who knows—you might want to try your hand at it yourself. Because eventually you’re going to have to change in some way. Certain artists in all fields have survived for decades because they are so adept at reinventing themselves. (Think Cher.) You may have to do the same thing in your writing career.

I have represented writers who landed six-figure contracts at the height of their careers. Twenty years later I can’t give their books away. Why? Because they got caught in a literary time trap; they were neither aware of nor cared about how tastes were changing. Others who suffered this fate were victims of their own egos. “Why,” they asked, “should we change how we write, when at one time we were so successful? Our fans will always be out there.” No, they won’t. They’ve grown tired of reading the same book over and over while the world continued to change. They’ve moved on to writers who have changed with the world.

Keep reading. This one’s a no-brainer. Of course you’ll keep reading, first and foremost because you love it. What writer doesn’t love to read? Then why am I even bothering to suggest it? Because many writers get so busy writing that they stop reading—they don’t have time, they say with a laugh. But it’s not funny. To do this is to close yourself off not only from what your own fans are buying, but more importantly from the competition. You’ve got to know what you’re up against. You’ve also got to know what kinds of stories are being written, or else a novel you’ve got in mind that you think is fresh and different may actually be trite and overdone.

Here’s a tip: Every so often, read something completely outside the genre or genres in which you write. Good writing is good writing, and we can all learn from one another. Reading outside your genre keeps your mind nimble and fresh. You’ll also find yourself borrowing the most effective techniques from other genres and thereby improving your writing.

Understand and accept the ups and downs. This one is difficult. It involves understanding and accepting that very few writers rise steadily to the top and stay there.  More often a writer will rise and fall, or perhaps rise, stay there awhile, and then fall. By “fall,” I don’t mean not sell—though that can happen. More often a writer’s sales decline, and her advances against royalties follow suit.

Publishing is a difficult business. Publishers are more profit-oriented than ever before. Publishing is no longer a gentleman’s business. Develop a rhinoceros hide. If your material is rejected (and you will get rejected from time to time, even after you’ve made that first sale), forget it and move on. If you are offered a lower advance than you received for your last book because your sales have dropped, resolve to write a better book that will cause your sales to rise again. Redouble your promotion efforts. You’re a writer, right? In good times and bad, high advances and low, you must keep writing. You never know—your twentieth book might be the one that hits national bestseller lists. It happens all the time. One thing I can guarantee: Stop writing and you’ll have no chance of hitting any lists at all.

These, then, are my guidelines for building a successful writer’s life. Follow them and I believe you will achieve not only success but also longevity. Isn’t that every writer’s true dream?