Writing tips

The plot
thickens

Choosing
a literary
agent

Query letters

Inspire me!

But they
rejected me!

Tips

1. Try writing the synopsis from the viewpoint of other characters. For example, Conan Doyle's Sherlock Holmes books could be stories about Dr Watson as much as Holmes himself. Therefore, you could, in theory, make either character the protagonist (hero). At the very least, it might help you turn the spotlight on your other characters to see just how strong, or how weak, they are. A really good novel might well have a number of characters who could each play the lead. That's what helps make soap operas so popular; everyone's a hero. And a villain.

2. In your synopsis, always reveal the ending. The temptation is to maintain the suspense so that the literary agent or editor feels the tension. But professionals want to see what the pay-off is before they spend the next week hacking through your MS. Be warned.

3. Remember that "theme" is important. Jaws is about a big fish. But it's also about obsession. Or, from Chief Brody's point of view, about dedication. The theme of your novel may not be obvious. But there's usually one buried there someplace. Better still, of course, that you wrote the novel around a theme rather than the other way around. The theme of my novel is lust. Or revenge. Or human fallibility.

The big fish stuff may not be as important as you think.

4. Double-space the synopsis to make it easily readable and digestible. Make sure you include a reasonably accurate word count of your novel (within, say, 1000 words). Make it clear that your synopsis is a synopsis (i.e. put that right at the top somewhere). Don't bother with things like: All rights reserved. Or copyright. Or watch it! It sounds unprofessional. Just start from a level of trust and try and maintain it throughout.

5. Don't include a sheet of paper with little tick-boxes asking the agent or editor to put a cross or a tick against style, content, dialogue, etc (I know someone who did that, and it didn't get me very far).

6. Don't abuse an agent or editor after a rejection (voodoo dolls are optional). Just be professional. If they don't like your book, move on. Eventually you'll find someone who sees immediately that you're the new Shakespeare.

7. Check the spelling.

8. Don't give up.

9. Don't give up.

10. Don't even think about giving up.

Other agents and editors worth pitching

(Check for yourself who they're currently with. Thing change rapidly)

Simon Trewin used to be at PFD. Now he's with United Agents. Simon carries a lot of weight in the business and looks for original and inventive books. Talk straight with Simon and pitch hard.

Andrew Lownie wasn't taking on new authors the last time I checked (check for yourself). But he has a good track record and plenty of books to his credit in both the fiction and non-fiction markets. Worth approaching.

Alice Lutyens at Curtis Brown. Alice looked at some stuff of mine and gave me some valuable criticism. Her response was fast and courteous.

I'll pitch again with my next project.

Back to the top

But they rejected me!

They rejected me too; a hundred times or more. In fact, I stopped counting a long time ago.

For a writer, especially a fiction writer, rejection is the norm rather than the exception. Unless you're really lucky, or exceptionally talented (or a little of both), you're going to have your manuscript or sample chapters sent back with soulless, heartless slips of paper telling you that: Sorry this is not for us!

Usually, there's another line or two telling you that this is just one opinion and that it's a highly subjective business; So do try elsewhere!

If you're lucky, or if you've sent your MS to a sensitive agent or editor, you might get a handwritten line telling you something about why they rejected it. Nice title and beginning, and clearly you write well, but I'm afraid I wasn't sufficiently excited by this novel. It's a highly competitive market, and I need to be absolutely certain that a project is exactly right for me. Feel free to submit other material in the future.

There are endless variations. You'll discover them for yourself as your writing career progresses. What you need to do, aside from consoling your feelings, is to understand why you've been rejected. Here are some of the possible reasons. Grit your teeth.

1. They were too busy to even read your manuscript. You're just one of fifty submissions that week, and the agency you sent it to has one man/woman down with flu and didn't get through last week's "slush pile". So it comes straight back. You wasted time and money, and your feelings are hurt. All you can do it get over it and try again, or give up (which may be premature).

2. You sent your manuscript to the wrong agency. You've written a sci-fi tale, for instance, and have mailed it to an agency that specifically doesn't want sci-fi. Your mistake. Correct it and send it to another agency that is actively looking for your kind of stuff. I did this a lot in the early days (not necessarily with a sci-fi tale). I was stupid and lazy and thought my 100,000 words was going slam right into the big red publishing bell.

Twit.

In fact, the first manuscript I sent went to Darley Anderson. An agent called me 2 days later to ask more about it. Amazing. They wanted more chapters, which I sent, and then it all came back.

Rejected.

On reflection, I can see why. The novel started well but didn't build. My characters did what they did, and things happened, and the world turned. But it wasn't good enough.

Full stop.

Darley Anderson have since looked at 5 or 6 novels of mine. Usually there's good feedback. Kind words. Encouragement. Etc. But - ding! - no sale. Now I try and target carefully (and fire off a few wild broadsides every once in a while in case I hit someone I didn't see).

3. The wrong person read your manuscript. That happens a lot. There are thousands of stories and only so many literary agents and editors. The chances of hitting the right person with the right novel is slim. Occasionally agencies and publisher employs "work experience" staff (i.e. people who don't even get minimum wage), and they sometimes get their hands on the slush pile just to clear the backlog. If they don't like techno-thrillers, they go straight back. Rejected. If they don't like war stories, they go straight back. Rejected.

This is what writers are up against. Get over it.

4. The right person read your manuscript, but it was the wrong time. You just sent in your crime drama to an agent or editor who loves crime dramas - but they just took a similar writer on board. Had you sent it 6 months ago it might have been a different story (so to speak). And if you send it again in 6 months, it might also be a different story (also so to speak; or perhaps even literally a different story if you revise each time). But it isn't right for that editor or agent at that particular moment. So move on.

5. You failed to "sell" your manuscript. You scratched a few lines saying: Take a look and see if you like it! And left it at that. Which is like a used car salesman telling a customer to take a look around the site and see if anything takes his or her fancy. You have to sell cars. You have to sell novels. See Query letters.

6. You had a lousy title. That sounds trivial. Titles can be changed. And on its own, a lousy title (which is a subjective thing) probably won't get you a rejection slip. Instead, it will usually be an accumulation of things. But if your title gives the agent a bad feeling, or the wrong impression, or offends in some way, your MS is coming home in a crumpled envelope.

7. Your manuscript stinks. It smells of cigarette smoke. Or beer. Or you spilled food on it. Or it looks generally untidy and unprofessional.

And it can "stink" in another way. Some manuscripts are, sorry to say, just awful. Irredeemably awful. The world is full of people who couldn't write a suicide note, even if it was just: Goodbye. That doesn't necessarily mean they can never write. Writing is a craft and a talent - and a "knack". And although you may never be the world's greatest writer, you could become an acceptable writer - as long as you've got a tale to tell and the drive to continue. Meanwhile, you're going to have to take a careful look at your work after each rejection and try to see how you can improve it. And give it a good sniff (literally and metaphorically).

8. It was a Thursday. Sounds meaningless, but sometimes manuscripts come back rejected because it was a Thursday. Or a Monday. Or any other day of the week. Or because it rained. Or because someone had a bad lunch. Sometimes there isn't any real, stand-up, bona-fide, guilty-as-charged reason. Maybe someone stuck your manuscript on the "interesting" pile (to be re-read later) and it fell on the floor next to the slush pile and was later picked up by the cleaner who stuck it where it ought not to be. Yes, you should always look for the reason. But there may not be any reason you can see. It's a cruel world.

9. Your synopsis was rubbish. A synopsis is, like a query letter, a "sell". But it has a slightly different function. Its job is to give your agent or editor some details. Such as how the novel plays-out. How the characters develop. And how it ends. I started writing lousy synopses and have got to the point where ... well, they're less lousy. Actually, I think I've got the knack and can probably help you with yours. But a good synopsis is a very tricky thing. You need to condense the entire novel into 1-5 pages (depending on the complexity of your tale). But the shorter you can keep it, within reason, the better.

But don't get sloppy with it. It's got to be enjoyable to read in its own right (or, at least, not dull or long-winded). You should try writing the synopsis at the beginning of your novel, then try it again after a few chapters, and so on. It can be highly revealing and can show you not only what your characters are doing and why, but also what they're not doing.

Frequently as I work on my own synopses I see gaping holes and problems that I never saw when I was working on the manuscript. I find myself spending days and weeks fixing things, only to go back and see another problem.

A good editor can help draft a good synopsis. But it's a lot harder than "merely" correcting a manuscript. A synopsis needs an angle. A hook. You could tell your story in one way, from one point of view, or you could tell it from another. Try and "spin" it and find a fresh perspective. You may discover that your hero isn't the hero at all, or that the novel isn't really about what you thought it was about.

10. Your name doesn't sell. Does that really make a difference? I think it can. It's not necessarily the deciding factor, but Stephen King sounds a lot better/hipper/upbeat than Cyril Glimpenstein (apologies to anyone named Cyril Glimpenstein). Your email address itself may make a difference too. For instance, if you're sending an email query from CyrilGlimpenstein097@blackmail.com (or similar), it just doesn't ring the right notes. I'm not saying that that will get you an automatic rejection. It's more a question of creating a good vibe all around. It's the writer's equivalent of a wash, shave, and manicure. It all adds up. You can always later mention the fact that Steve Strong or Peter Perfect or Siobhan Sexbomb isn't exactly the name on your birth certificate. But first, you have to use every trick you can to get your foot in the door. The moment you sit down to compose that query letter, you're no longer a writer. You're a salesman. You're a wheeler-dealer. You're a trader, a merchant, a shop keeper, a barrow man (or woman), or, if you prefer, a spiv. You've got a pocketful of nylons or watches or mobile phone cards. You have to sell, sell, sell. Keep that in mind always.

Feedback from literary agents.

Good feedback is a precious commodity. Trouble is, in the publishing world it's in short supply - unless, that is, your book is on the best seller list, in which case you'll probably get more feedback than you can possibly process.

Most agents and editors, however, will simply send you a standard rejection letter (or card) saying, basically, Thanks, but no thanks which tells you nothing - except of course that your book isn't wanted.

And if you then have the temerity to ask why your MS was rejected, you'll most likely be told, grudgingly, that they haven't the time to reply personally to each and every submission.

Which has always struck me as a little short-sighted. It's in the interests of the publishing trade to raise the standard of writing, which is best achieved by feedback. And it can't take more than a few seconds to write something like: Good dialogue. Or; Obscure plot. Or, Weak opening or even Huh?. A few critical words of that nature, if they come from enough agents and editors (and there will be enough), can give a writer some real insight into his or her work.

But it doesn't happen.

Not often, anyway.

In the early days of submitting my own novels, I received less than one personal reply in ten. That rate has improved significantly since I improved the quality of my query letters and synopses (take a hint). But it's not enough. What I need, and what you also need, is a direct line to an agent's private thoughts about your work.

Some time ago, I asked a few agents why they couldn't offer any feedback on submission. One gave me the 'too busy' line. Another said that she 'didn't think it was her place to criticise a writer's work'. One other agent said that 'writers sometimes can't take the criticism' - never mind that a flat rejection is, in itself, a pretty big criticism of a writer's output.

The thing is, most writers do want criticism. And as much as possible, please (as long as it's constructive). Just a word will do. A hint. Some clue regarding why a manuscript came back with a red card (or is it yellow?). The suspicion is, of course, that agents and editors very often don't even read a manuscript. They may get no further than your query letter and/or synopsis and therefore can't possibly comment on the standard of writing.

There's not a lot that you can do about this situation, except write the best query letter and synopsis you can (along with writing a decent book and presenting it in a 'professional' way according to an agency's wishes).

Anyway, if it's any use to anyone, here are a few agents and editors who have been kind enough to offer insights into my own novels. Some wrote more than others. One or two even called to discuss my books. You'll have to check for yourself if any of these people are still 'current'.

1. Elizabeth Wright at Darley Anderson. Elizabeth, as I understand it, is no longer an agent with Darley - but still has links with the firm. Elizabeth telephoned me following my first submission, and over a number of years gave lots of encouragement and advice (all of it good). I sent Elizabeth various novels and chapters. None of them got me a deal, but I flatter myself that I was at least standing in the shadow of an offer of representation (or maybe the shadow was just a cloud flying overhead. We will never know).

Anyway, I've since sent stuff to Julia Churchill at Darley who has also been helpful. So make a note. Darley Anderson is a good agency with best-selling clients (Lee Child, Martina Cole, John Connolly, Lynda Page, Alex Barclay) and can afford to be very picky. Tip: Don't submit by email.

2. Tina Betts at Andrew Mann Ltd has been kind enough to read the complete manuscript of my novel THE CHINA MOON and expressed her enjoyment. She didn't, however, feel that the novel was 'big enough' and offered a few tips on improvements. She was right, and THE CHINA MOON has been revised. Tina also looked at my novel DIRTY BUSINESS and WASHOUT - the title of which was changed to GROUNDSPEED and was also revised. Tina, note, can be a little blunt and direct at times. But it's a busy world out there, so try not to take it personally. Just be grateful for the advice.

3. Betty Schwartz was the submissions editor at Hodder until sometime around 2002/2003. Betty read a lot of my stuff, some of which she liked, and some of which she didn't. But the feedback was always good and helpful. Betty is now at Futerman Rose (check this). She likes gritty, fast-paced, earthy stories with strong characters (don't we all?). Anyway, put Betty on the good guys list.

4. Robin Wade of Robin Wade Literary Agency has read a couple of my novels and a number of other submissions. No representation was ever offered, but Robin has been kind enough to criticise (and praise) my work - in pretty much equal measure. Robin also offered me a ghostwriting commission that, largely due to other literary pressures, I wasn't able to take-up - which probably is about as much praise as you're going to get outside of a full representation offer. Robin, apparently, has a business background rather than a literary background. Keep that in mind.

5. Elizabeth Trupin-Pulli at Jet Literary Agency is a US-based agent. She's read some of my stuff, which wasn't right for her (too British in tone). Nevertheless, she had the courtesy to reply encouragingly (a few words, remember, go a long way with a struggling writer). There's no reason why you shouldn't pitch a US-agent. Plenty of them have British clients. In my experience, US-agents have a slightly different approach to UK agents (more informal) and occasionally like to look at 'British cozies'. That said, things that we take for granted here are often viewed as quaint and eccentric by Americans. So their idea of a 'cozy' may not mesh with your own. Keep in mind too that the Americans have different spelling and grammar conventions (double quotes for dialogue, for instance). If you can tailor your stuff for the American ear, it will read better. But it's enough to be consistent.

6. Joy Chamberlain at HarperCollins gave me plenty of criticism regarding one of my novels (GIDEON'S BIBLE). I didn't agree with her assessment, but I was glad of the feedback. Joy did, however, like the title (even though another agent I sent it too, didn't). Remember, agents will disagree with you. They're in the business of disagreeing. That's why we have such a wide range of books in the marketplace. Don't be discouraged.

7. Wayne Brookes at HarperCollins told me that my writing shows 'talent and promise' and that I should 'definitely continue' - and further advised me that HarperCollins doesn't accept unsolicited manuscripts. I've taken Wayne's advice and am continuing to write (and will probably pitch HarperCollins again anyway; that's what selling your work is all about).

8. Debbie Carter at Muse Literary Management received a few chapters of my novel THE GRACE OF GOD. She said she liked my writing and felt that it was 'clear and professional'. But she didn't care for my character and some other elements of the story. I've got an open invitation to pitch again in the future. Savour your positive feedback and empty the 'standard rejection bin' in your head. Just keeping moving on.

9. Thalia Proctor at Little Brown. I contacted Thalia under another name regarding a couple of my books (you might also want to try a pseudonym every once in a while. What's in a name, huh?). Thalia liked my stuff and said as much. She took the entire manuscript for GROUNDSPEED. She also looked at S'END FOR BRADEN (a murder story), but couldn't use it at Little Brown (they wanted something with a little less humour). So she offered to take my novel to a friend at another publishing house. How's that for courtesy and professionalism? As an update, her friend didn't take the novel either, so I'm back on the submissions treadmill. Groan.

10. Sonia Land at Sheil Land. Sonia read my novel GROUNDSPEED and called it 'a rollicking great read'. But could I revise it, please and tighten it up, and send it back? I did as asked and sent it back, but it didn't come to anything. I know the firm was going through a rough patch at the time, so maybe my novel was a casualty of commercial difficulties. Or maybe I just revised the wrong bit. Anyway, the feedback was invaluable.

If you're interested in seeing samples of what was rejected, check out this link. www.michael-oneill-fiction.co.uk. But keep in mind that one or two of excerpts have, to a greater or lesser extent, been updated and revised.