Blogger: Rachel Kent
Getting an Agent (Part 2 of 2)
Yesterday I wrote about four qualities I look for in a client. Today I’m going to cover some red flags that would potentially cause me not to represent a writer either because the person isn’t ready yet for an agent or has shown that he or she isn’t a good fit for me. The writer:
1) Has been working on the same project for more than three years. This person might very well be stuck. I look for clients who will work hard on a project, try to find an agent for it, and then will move on to the next book if that one isn’t finding a home.
2) Isn’t careful online. Be very careful what you tweet, blog and post on Facebook. Making fun of others, gossiping, or posting links that could be offensive are big turnoffs. I won’t want to represent someone who doesn’t think carefully before posting online.
3) Hasn’t completed his or her fiction manuscript. This is a sign that the novelist isn’t ready for an agent. Nonfiction can usually be sold on proposal only. I always ask that a novelist complete the manuscript before I even look at a proposal because it proves that the writer is dedicated to writing and can complete a manuscript. In the past, when I requested proposals before the project was finished, I ended up wasting my time. I’d read the proposal and then request the rest of the manuscript, and then a number of times the writer never finished the project.
4) Hasn’t had critique partners look at the manuscript or won’t do revisions. If a writer hasn’t had anyone look at the manuscript, I have to assume that he or she isn’t ready to have that project published for the world to read and critique. Also, smart critique partners can bring your manuscript to the next level and make it easier to secure agent representation. I have also run into writers who won’t revise the book based on my feedback. This shows a lack of trust in my abilities and shows me that a relationship won’t work with that person.
Let’s help those who don’t have a critique group to find one. If you have a critique group:
Where did you find your critique group? What do the members of your group have in common?
Great food for thought (and action!), Rachel; thank you. As far as critique partners go, I have been praying about this for a few months and have been amazed at the way the Lord brought willing (and qualified) readers into my life. I’d just say pray and interact with writers online and in person, and see what God does! With my MS moving into critique this week, and as I begin to critique another MS, I wonder– in addition to how you connected with your critique partners/groups, what do you all value most in critique feedback? Or, as an agent, Rachel, what do you wish critique partners would do more of?
I have had experiences where my clients have had trouble with critique partners giving the feedback that they need. For example, one client’s project came to me, I read it and saw some pretty significant changes that needed to be made. That client went back to her partners and told them about the changes I requested and all of them said they had the same thoughts when they read the book. None of them told my client even though their instincts were right. So critique partners need to be bold when giving feedback. It makes a difference!
You’re right- it is tempting sometimes to just point out the good things when critiquing, but I know I want some tough love and pointers on what needs work when my own work is read. Thanks for pointing that out!
Sorry to be so wordy- just a quick addendum. One way to make critique partners comfortable with giving constructive criticism is to invite specific feedback on areas you believe may be weak spots in your MS. I have a list of 13 questions for critique partners/beta readers to consider and answer if they desire, such as “what plot holes are there?” “Is there anything that seems too convenient and therefore unrealistic?” etc. Some are more scene-specific than these, but I’m hoping it will invite the kind of specific feedback I’m looking for.
Thank you for the insight Rachel.
A good critique partner is something every writer should have. I befriended a few lovely ladies on Harlequin’s community and we also critique for each other. As well as romance, I also write YA and there are a few members who do too which is great. There is a thread on the forums for finding a critique partner, plus lots of published authors stop by and offer advice and encouragement. :o)
I found my most valued critique partner while googling a title for a ms! Turned out we had entered the same contest and were attending WFSC for the first time. We traded mss, started chatting online, then met up at the conference and have been critting for each other over a year. I also have two other partners that I met online, but that was the neatest story! 🙂
I found my crit partner through blogging. We both commented on a post about critique partners. The writer who wrote the blog knew both of us and suspected it would be a good fit. She was like our critique partner matchmaker. 🙂
What a fun story!
Like the other commenters, I found my critique partners online. Our group formed when we’d been following each others blogs for several months. It’s been a great fit!
The biggest factor in a critique partnership for me is trust. I trust the ladies are giving me unbiased, honest feedback (nicely!). And I do the same for them. The second thing is encouragement. Critiques should never be 100% negative. It’s so important to point out all of the great things in addition to the problem areas.
Thanks for these posts. I really enjoyed them!
May I state a critique group pet peeve? I prefer not to be the first proofreader of a person’s work. Do your homework. I’ve been in critique groups where other writers have not bothered to polish or even proofread their offerings. Why should I work harder on someone else’s manuscript than they? Sorry for sounding like an old curmudgeon, but professionalism starts in the coffee shop. Whew, I feel better now. Thanks. Good stuff, Rachel.
Agreed, Bill. Critique partners should not be copy editors. They should be content editors. If your critique partners are having to send back significant line edits you aren’t doing a good job editing and you aren’t being fair to your critiquers.
I found my critique partners after reading their published books and writing to them, first as a fan, gradually forming an on line friendship with them, which flowed naturally into our sharing our work for a fresh set of eyes, because we share the same research background, genre, setting interests, etc. We’ve since met in person too!
My core critique group came together last year through Mount Hermon’s Head Start Program. The four of us were assigned to the same mentor. We bonded during the conference and committed ourselves to helping each other complete our manuscripts and submit them after the conference. Throughout the past year, our relationship has deepened beyond just critique partners. We’ve become friends, prayer warriors and a support group on this journey. It’s been an amazing experience and a blessing.
What a great series! Extremely helpful advice as writers start querying, and even before, as they’re trying to setup that author platform. I agree with you about working on pushing the same book for more than 3 years, but just wondering how long Kathryn Stockett had to stick to it, in the face of overwhelming odds. Regardless, I’m sure she’s the exception to the rule!
I found one set of my crit partners through ACFW’s Scribes program. The big “loop” was overwhelming for me after a while, but it took very little time for several of us to hook up based on our genres–mostly speculative YA. Some members of the group kept in closer contact and became online friends. It’s been really great to have all those extra sets of eyes and helpful comments.
Another of my crit partners is an aspiring novelist from my church. It’s an unlikely partnership to say the least, as he is middle-aged and writes ABA thrillers. I write YA material for CBA, so he’s definitely not my target audience. But really this plays to our advantage more often than not. He’s given me some great suggestions and ideas that are so outside of genre stereotypes or “the norm.” Plus, I get a good giggle every time one of my Millennial Generation pop culture references is completely lost on him and he has to ask his teenaged daughter about it. 😉
I love all of the different stories you’ve shared about finding critique partners! It’s so interesting that so many of you found your partners in such different ways.
Thank you for sharing!
The on-line critique groups never worked well for me. It always seemed too time-consuming and impersonal. It’s nice to be able to sit around a table and look each other in the eye as we discuss things. I met the writers in my group at a local conference. I am very thankful for this group, because we are at similar writing levels and yet have different giftings. Some of us are great at spotting technical problems, others at POV, character and plotting. It’s a great balance.
Wow! This is great information, Rachel. I wouldn’t have thought about #1 on your list, but it does makes sense.
I love my two online critique groups. The first one, I found as a result of the online writers conference I attend each October. It’s a mixed group–two authors write for tweens and young adults, one writes romance, and I write primarily for young children. The second group is made up of authors from the same publisher. We wanted a group that focused on the children’s market, so we started one. I would love a local group where I could meet people face to face, but it hasn’t happened yet.
Thanks for another helpful post.
You just pointed out something I need! I don’t have a critique partner. I write a Bible study every year, and I get a lot of feedback from the ladies I teach, but none of them are writers.
I worry so much when I see some of my writing friends post things that are negative on their blog or swear or use inappropriate language on Facebook or Twitter. I feel quite comfortable telling my former students, “Hey, you never know who might look at this in your future,” but I feel like my grown up friends shouldn’t need that advice. I may be too conservative, maybe it is okay for YA writers to use that kind of language, but since I write for younger children I would never consider it appropriate for me.
My critique group was formed at the Highlight’s Foundation Summer Workshop. We have YA, MG, and PB writers in the group. It is a great mix. Everyone brings something different to the table.
I’ve also met lots of people through blogging that I trade manuscripts with. I think it is important to know what each person’s weakness and strength is. Again my blog critique partners range from published to unpublished in all levels of writing for children.
I picked up one crit partner in the Scribes groups. We added a couple more when we met at ACFW. The last group member emailed me after she saw my Genesis win on the ACFW site. We hit it off and now we are a group of 5 – used to be spread across 3 continents, but we only span 2 continents now. They are my best writing friends, my biggest cheerleaders, and my harshest critics too. 🙂 We all believe God put us together and I thank Him often.
Great list! I found my crit groups through ACFW and a mutual friend who helped me brainstorm one of my first books.
I’ll never send out a novel without having my trusted CPs look it over. I am very blessed to have such awesome CPS>
I’ve also congratulated a fellow writer for winning a contest and from there we just became friends and good CPS. Never underestimate reaching out to others. Sometimes it’s a gift from God. 🙂
Great advice, Martha!
I never considered a timeline for getting a book published before. Thanks for that advice. I’ll give it another 2.5 years, and in the meantime write my second (maybe third?) book.
I was asked by some writers to join the Fictionista Workshop as a lead moderator. They had seen me on a few forums and thought they needed someone good at smoothing ruffled feathers. They supported me in writing my own book, and in turn got me together with my critique partners. It’s been a wonderfully symbiotic relationship.
I’ve found critique partners through writing courses I’ve taken. For a while I participated in a writer’s group at our local library, but the other members focused on what manuscripts and rarely mentioned anything that needed fixing. On the other hand, my email critique partners have no problem telling me to cut whole chapters, change a plot line or add a comma. They’re great.
I’ve also found it helpful to get critiques from people who are not writers but are avid readers and 100% honest about what they like and don’t like in a book. They tend to have more distance from looking at the writing style and come up with great feedback on what works and what doesn’t work in the story.
Hey Rachel! Just found this blog through a tweet. Love it!
I’ve got a small writer’s group. A bunch of us were editors working in the curriculum department of a university. Turns out, we were all closet writers too. So we joined forces and have been encouraging and spurring one another on ever since. I’ve also met so many wonderful fellow writers online through the blog-o-sphere!
For some reason, I had a rough time connecting with a critique group/partner for various reasons. I still don’t have one…BUT, I do work with a professional editor. She gives me great feedback and I feel that her comments take my writing up another few notches. I’m still open to the idea of getting with a group/partner, someday, but the editor works fine for me at the present time.
I write for our mission’s magazine. All five of us critique and edit each other’s articles and nothing goes in the magazine until it “sings.”
And when I began to see how fresh eyes and perspective can spot flat, sour notes, and as I watched my own voice develop in strength and control, even as I helped others find there’s, that spoiled me for my outside writing as well.
So I joined our local Word Weavers, a Christian critique group of about 50 that meets monthly. We break into groups of 5 to 7 and use the “sandwich method” of critique (which we also use at the mission) where the negatives are sandwiched between positives.
So we start with the good things we see in a piece, then specify the things we feel need to be worked on, then finish with more positives or something encouraging for the writer.
And talk about supporting one another. It’s precious. We have a “Good News” session at the beginning where anyone can share good things that have happened with their writing – from, “I finally sent a query!” to “I got a contract!” It’s wonderful.
I highly recommend not “going solo” when it comes to writing.
Love, Debbie