Tag: Querying

I’ve kept detailed records of all 30 of my query submissions to date in a spreadsheet and I’ve found the query response rate varies wildly based on whether the submission was made via QueryManager or QueryTracker or via email. However, the difference in query response times is much more muted.

Query response rates

Of the 14 queries I submitted via QueryManager and QueryTracker, I’ve heard back from 100% of them. Of the 16 queries I submitted via email, I’ve heard back from only 38% of them.

In the defense of email submissions, the vast majority of the agents said they didn’t always respond with rejections and to assume that no response means they’re not interested. Given the low response rate, I appreciate that so many of them set that expectation.

That said, most of the rejections I got via QueryManager and QueryTracker were generic rejections, which begs the question: If literary agents using those platforms can copy and paste a generic rejection into the system, why can’t agents using email do the same and close the loop on the submission?

I assume it’s because emailed rejections probably invite more follow-up emails, but perhaps the responses could include a line that discourages replies. I don’t know if that would help, but I do know as an author that it’s really nice to have a definitive answer and not wonder if your email was overlooked or <gasp> routed to junk.

Query response times

Regardless of the submission method, response times averaged 49 days. For submissions via QueryManager and QueryTracker, I heard back in 54 days, on average. For submissions via email, it was 44 days.

However, the spread was huge. I got three responses in less than a day—with all of those submitted via email. One of those speedy responses was a request for the full manuscript, which felt awesome, despite it leading to a “great writing but not for me in the end” rejection. 

At the other end of the spectrum, I got 5 responses after more than 100 days. None took more than 6 months to respond—which I’d heard was not completely out of the question. Even with these late-comers, I was grateful to have responses.

Query feedback

While authors like Jennifer Fawcett say, “Rejection can be a goldmine of feedback,” my experience so far as been in line with that of editor and ghostwriter Jacqueline Salmon. She says, “Gone are the days of polite rejection letters—typed, mailed, and sometimes even offering helpful feedback or suggestions for improvement.”

As expected, the form rejections didn’t include any useful feedback. However, there also wasn’t any in the positive-tilting rejections like the “great writing” one and another saying, “This project is too similar to one already on my list.”

Of course, 30 rejections is feedback in and of itself. Some introspection led me to:

1. Rework the first 50 pages to accelerate the introduction of characters and conflict
2. Identify and correct weaknesses in my query letter
3. Decide to work with a developmental editor

Once I’ve finished edits from them, I’ll do another round of outreach with a stronger manuscript and query letter, and hope for better traction.

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Related post:

QueryTracker vs. ‘The Guide to Literary Agents’

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When I first read this query response from one of the agents I reached out to, I was bummed. They already have a novel that’s similar to mine, I thought.

Then I became concerned. Oh no, they have a novel that’s similar to mine. I need to make sure mine is published first. I thought about how I might accelerate my timeline—which essentially meant abandoning querying and self-publishing.

Is being first really better?

But then I realized that publishing isn’t about being first. If anything, it’s about NOT being first. That’s why literary agents want to see successful comps—and ideally very recent comps—and most ideally lots of recent comps. They want as many reassurances as possible that they’re not going out on a limb.

There’s safety in numbers, which is to say that’s what creates established audiences. The more successful books there are that are similar to yours the better, because people seek out books that are similar to ones they’ve already read and enjoyed.

So, I’m taking a deep breath and sticking with my original plan and query more agents after I’m done working with my developmental editor. And if this other book beats mine to market, that’s all the better.

In the meantime, the fact that a major literary agent has signed a book that’s similar to mine is a form of validation. It means there’s a higher chance another agent will see the value of my novel. It’s far from a guarantee, but it’s a positive sign. At least that’s how I’ve chosen to see it.

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