So, for me it’s what the themes and challenges are. MG is like ATLA when it’s about Aang and YA is ATLA when it’s about Zuko. The emotions are different, the struggles are different, and the tone is different. Think start of Percy Jackson 1 and end of Heroes of Olympus

A book proposal? Do you mean NF? This is not standard for fiction queries. I’d never ask you to make your own marketing plan; it’s something we’d discuss far down the line once a pub contract is signed

Sure! After paperwork, usually agents give an edit letter with feedback. I foreshadow this when offering, and then give more detail. Then I step back and let the author write, offering support as needed. I’ve done brainstorm calls and looked at chapters, or wait for a new draft.

I hate doing this, but I have. When I do it, it means either 1) I recognize this is good but it’s not my thing, or 2) there’s potential here but I don’t know how to move it forward. #1 is how I feel about Sondheim - incredible art, but I don’t want to listen every day.

For me it wouldn’t. Honestly I probably wouldn’t even know upfront unless you told me. If you are rigid in how you believe editing works that may be tough, as agents may not think you’ll take their feedback. But showing early drafts has nothing to do with where you are now

Me? LOVE dialogue. I’m super character focused, so dialogue is huge. But, make the dialogue matter. Extraneous detail or pleasantries can go, unless it highlights a strained dynamic, cause it slows pacing down. Banter is great, but also should serve a purpose.

Depends! I know that’s not helpful, but series can be great for reliability, but can also be harder to sell bc fewer houses want them. More common in SFF than other adult categories. I don’t think there’s a trend per se in superhero, but it’s not uncommon, esp in kidlit

I would say that if it feels like another book entirely (major structural changes, not small edits), it might be okay. Flag it in the first paragraph and see if there’s guidance on the website. If it’s just small things…probably not, unfortunately.

Ha! Oh boy. Some places are okay with other jobs that have no control over book buying. Some arent so there’s no appearance of conflict. Other writing or editorial is fine, but I say do what pays bills. Nothing will prep you to agent other than doing it, so play to your strengths

That’s tough. First 10pp should give a good idea of character & stakes. How much can you do if they’re moving? Like, if it’s a person reflecting on 1 thing as they go through a day, that’s different from 3 scenes. You want agents to focus on what’s key, not try to track location

I ask only to understand what they write. So if it’s all MG horror, and this is Adult SF I want to know cause then we’d not be the best match. Some people may want to see more, but I figure we’ll get there after this book.

Feasible yes. It is harder. I definitely balk when I see first of (# larger than 3). If it can standalone, that’s great and you can say first of a planned series but stands on its own. it’s easier for SFF, but agent is still taking on an unwritten series having only seen 1 book

Take your time. Do your research, find resources for identifying problem agencies and agents, and make other querying friends. Make sure you know how a query is supposed to look and that you know the rules for each agency (whether you can query someone new with a no from one)

Oooh this is hard. When I pitched a dual pov book I used one character as focus and hit on other characters themes and arc. Usually one person jives most with the major narrative and themes and so you can use that. But if both are necessary, nothing wrong with using both

Definitely not. I think the market is pretty open to those books right now, and it means you can pitch to either adult or YA editors which leaves leeway. Just make sure thematically and voice wise you know which it is. It can change, but to start it should pick one

Ah yes I am a tension rod expert. In theory they work but I’ve never seen it happen.

Always include the first pages of your book. If you can exclude a prologue, consider whether you need it. If you need it, include it.

I know this doesn’t help but it depends. Some agents are wary to take on 3 books that must be sold together, some prefer it.

Can the first book standalone? Does it end on a cliffhanger? Cause you can frame as “1st in planned trilogy but could standalone” to split the difference

Communication. Set boundaries, discuss preferred timelines, check ins, and expectations. And find out the same from them.

You & the agent need to know to rely on and trust each other, which the above does for you.

And don’t be afraid to ask for what you need, so you can get it

I think there’s a difference between inspiration & comp. You can say “a modern retelling of X, My Book explores..” and then also comp to something more recent.

Comps are about where your book sits in the market/on shelves. You can include both recent comps & older inspiration

Omg please use third person multi, if it’s right. I think pov sets tone a lot, and one trend may not be right for all books. I actually struggle with present tense, though I see it a lot.

I personally love really voicey third person so it feels like 1st but with benefits of 3rd