Here you'll find:

• Learning about craft
• On Rules: Finding what works, Shortcuts, and Locked Doors
• ​Rules To Beware Of:  Shields against bad advice 

The first and greatest teachers of craft are books. Read, and pay attention to how the writer is doing what they do. Try to mimic it - and then, almost unconsciously, you'll start to form your own style. 
​
There are also so many great resources out there to help you improve your craft. Here are a few:
Strunk and White's Elements of Style
This incredible curated list of books and interviews on craft by de-canon
Steering the Craft by Ursula K. Le Guin 
Still Writing by Dani Shapiro
Bird By Bird by Anne Lamott
This interview with the great Toni Morrison in the Paris Review
The Magic Words by Cheryl B. Klein
Holly Black's Resources page

You're not doing it wrong. 

I want to say that first, because when we go looking for rules, it's usually because we're worried. So take a deep breath and try hard to believe what I tell you here: you're a writer. Right now. Yes,  a real one. You are. I draw a stately sword and hereby knight thee. You're part of the club. 

Okay, now about those rules.
Rules can be super useful. They give us structure, a starting place, a wall against which to test our new theories. By no means am I saying you don't need them, or shouldn't want them. And while plenty of great writers reinvent rules, or buck tradition, you can always benefit from revisiting the basics, the same way an Olympic athlete still practices. There's incredible honor in standing at the starting line. It means you're willing to do the work, to learn, to face the challenge.

But by that same token, if you come across rules that don't feel right, or don't seem to work for what you're attempting, feel free to leave them behind, or try something new. Rules can be a life raft - but at some point, if you want to reach new waters, you might need to let go and swim. 

Finding What Works 

Follow any writer you like, and you'll learn their take on this whole storytelling thing.  If you throw a pebble, you'll hit a writer sharing their creative process (please, don't throw pebbles at us, we're easily frightened). Some of them have immaculate desks with fairy lights all around. Some organize their plots with color-coordinated notes and markers. Some wake up every day at five to write two thousand words, no matter what. 

​Maybe that inspires you. Or, maybe it doesn't work for you. That's okay. Different isn't wrong. 

It's fun to dress up as a writer. Sometimes, that's the only way to convince yourself to approach the page - and we've all got ideas of what 'Being a Writer' looks like. Typing in coffee shops, skulls with candles dripping down them, desks in charming writer-sheds, fountain pens, dramatic turtlenecks. But maybe you're not a skulls-and-turtlenecks writer. And if you're not, no amount of skulls will change that, or should. 

The best writer to be is the one you are. That's where the good work lives. 

Art is a deeply personal and often lonely adventure. The frills - the coffee, the props - might help you feel excited to work, or capable of the journey, and that's great. But the work - the real work - is learning your own mind, following your own skill, listening to yourself. If you can learn to do that, and feed your writer-mind what it needs (not what you'd like it to need, what it actually needs), you'll be fine. 

Shortcuts 
The other reason we go looking for rules isn't because we want guidance or comfort - it's because we want shortcuts. 

The very design of this field makes us anxious, from an early age, to be A Great Success right now, and yesterday would've been better. We can see the successes of our peers more easily, and constantly, than ever before. That gnawing need to do more, faster, better - it can be both a driving engine and a bottomless pit. Usually, it means we try to push out unready work too early, too young, too soon. 

It all generates the feeling that everybody else knows a quicker way to get there, and if only you could follow that shortcut, you'd be there too. 

There is no shortcut to your best work. No degree, conference, award or workshop can grant you that satisfaction. No list of rules will guarantee that your work is published. When it comes to knowing what you're doing, and creating something true, only time and practice will get you there. It's something you'll have to wrestle in yourself. 

Locked Doors 
Writing can feel like an endless series of doors, each one harder to push open than the last - and yet, while we're struggling to find a way in, some people seem to pass through the barriers without effort. It happens constantly, quietly. Nobody goes around shouting that they have a secret key, but it sure seems like some people have found one. 

The reason it seems like some people have a secret key is that the door was never locked for them. It's much easier to get an agent if your parent is a famous author and you grew up meeting all their publishing friends, for instance. It's easier to get an MFA, or attend workshops and conferences, if you've got the funds, the health, the time. People are not breezing past you because they're better, smarter, or more deserving. They just don't have to spend time picking the lock, or kicking the door down.  

I don't say this to discourage you. I say it to let you know that if the doors seem to jam when you try them, you're not doing something wrong, you're not imagining it, and you're not alone. You haven't failed. Those doors will open. More and more of them open all the time, when we hold them open for each other, through sharing information and uplifting each other's voices. 

And remember: you deserve to enter that room, as much as anyone. Having to kick down the door does not make you any less worthy.

Anyone who says otherwise is probably holding the key that locked it. 

Writers and publishing professionals love to give advice. It makes us feel fancy. For the most part, it's coming from a good place, or at least from limited personal experience. There's nothing wrong with seeking advice from those who've gone ahead of you. 

But when looking for advice, it's helpful to carry a shield, just in case. 

Your shield is already with you - a sharp eye for detail, a talent for asking questions, the ability to look, and look again. Hold it ready, in case you encounter potential snares. 

Watch Out For:

Rules that steal passion:  If you find yourself shutting down your own instincts, or losing joy in what you're doing because of a rule you've heard, stop and reconsider it. Contorting to fit someone else's voice can distort your own - and it can be very hard to find your way back. 

Rules that are impossible to follow: "Sit in your chair and focus" is easier to follow without, say, or a toddler, or chronic pain, or an extra job. Just as reading aloud in class is easy for some students but torture for others, there are some structures that just aren't set up to work for everyone. If you seem to fail at following rules that others find easy, it might be that the rules weren't built to help you, and you'll have to find another way around. That's okay. 

Rules that are too easy to follow:  You're the good kid, the rule follower. Obedience serves you well. So you begin to dislike people who don't follow the rules; maybe you even punish them for it. You mock bad grammar or mispronunciation, judge someone's education, tear down a new writer's attempts to learn. Remember - rules are tools, not weapons.  

Rules that offer crowns: We give people power over us in lots of ways - through attention, money, time, love. We all have people we hold in high esteem, or whose authority feels justified. But just because someone's in charge doesn't always mean they're worthy or correct. You don't have to listen to anyone just because they're famous, or hold a degree, or won that award; listen to someone whose words deserve your time. 

Rules dipped in poison: Some people mean to cause harm. If it's a trusted figure, you might be tempted to give them the benefit of the doubt. Remember, even among beloved figures, power  can bring out the worst in people. When they show you who they really are, believe them. Ask who their words are meant to benefit, who they might harm, and why. 

Use Your Shields 
Go forward knowing that writing advice is great - but not all advice is for everyone, and all of it needs a grain of salt. Be aware of who's making the rules, and why. Do they benefit you, but harm others?  Are they holding you up, or holding you back? ​Can you get free of them if you want to? And can you hold out your shield for someone struggling along the way?

We can all get there, if we help each other. I know you'll find what works for you, and I wish you all the luck in the world. 

Here you'll find:
FAQ 
Revising for Character: Personality, Motivation, Worldview, and Voice 
Revising for Plot: Pacing and Structures 

Revision is the process of fixing up a draft to make it better. It's normal to have to do this a few times! No book is ever perfect, and nobody's first draft glimmers the way they want it to. 

Some people love flow charts, graphs, and worksheets. If that sort of thing works for you, go for it! If not - don't worry! There's no one way to do this. Try things out, and see what works best for you. Don't beat yourself up if you can't color-code all your chapters; don't feel bad if color-coding them helps you focus. This isn't about what everyone else is doing. This is between you and your story. 

The simple answer is that it takes as long as it takes. Don't stress if you can't keep up with someone else's recommended schedule. Just recognize that at some point you have to let it go and show it to someone else. Then you get to revise it some more! 

Revision is going to be different for every person, and every book. 

With that said: finish your first draft. Before you can do any real revision, you've got to have a whole story, not just pieces. Yes, it'll be in bad shape. Don't worry - you get to fix it. 

Now, put it down for a little while - maybe a couple of weeks, maybe longer. However much time you feel necessary to get some distance from it. Then come back and revise it again. Polish any obviously rough edges. 

Then, if you feel pretty good about it, show it to someone else. Take their feedback and listen, even if it's not what you'd like to hear. If you're getting the same feedback from several people, it's probably something you should address. 

Get distance. Go back. Revise again. 

Remember, the ultimate goal isn't perfection. It'll never be perfect - no book is. No, not even the one you're thinking of. I guarantee it's not the story the author had in mind when they started. Trying to force your book to be perfect before you show it to anyone is like never sending your child to school because you're afraid they won't get straight A's. Be reasonable. Be kind to yourself. Give yourself, and your story, a chance. 

I know sending it to agents is intimidating. I know rejection is scary. It's normal to want a definite set of rules to follow - something that'll spare you any doubt or pain. 

That shortcut doesn't exist. There's no magic formula to help you decide when it's good enough (and anyone who says differently is selling something). Here, you've got to take a deep breath and trust yourself. You know if you've tried your hardest. After that, don't be afraid to let it go and see what happens. 

Sometimes, we start with a rough idea of our protagonist, and have to fill them in later. That's okay! Here are some things I've found useful. 

​Personality 

1. Hold a conversation with them on a page, asking them anything that comes into your mind, and see what they say. You might also stage this conversation between your character and a character from something else you love (how would they respond if faced with your favorite villain?) Then go back to see what you've learned.
2. Take your character shopping (or to the gym, the park, the library, wherever). What would they pick out? Where would they go next? Why? 
3. List 20 facts about your character, starting with basic stuff like their favorite color. As you go, it'll get harder, and the things you find out will get more interesting. 

Motivation
The most important thing to know about your character is what they want most. To find that out, you've got to learn  what basic emotions make them tick. Ask:
1. What is my character most afraid of? 
2. In what situation would this person be most uncomfortable or challenged?
3. What does my character believe will make them happy? 

While you're revising, check back in with these three points, and use them to shape your character's decisions in the story. If something feels off, it might be that your character isn't acting in accordance with their motivations. 

Changing Worldview
We're invested in watching this character grow and change throughout the story. If they're the same basic person we met on page one, not much has changed, no matter how many obstacles they've defeated.  But to know if your character has changed, you have to know where they started, and what made them reconsider along the way. 

What's your character's worldview? 
Whether you call them worldviews, guiding principals, mantras, or beliefs, everybody has a few ideas by which they live their life. Maybe it's 'do no harm, but take no crap.' Or perhaps it's, 'Always look out for number one.' Maybe they believe they'll be happy if they prove their worth to a parent, or that they'll be safe if they never fall in love. This is the principal that guides their decisions, on their way to achieving their goals. 

1. First, pick one of your favorite fictional characters - not one from your own writing. Try to distill that character's worldview into one sentence, or even one word. 
2. Now, try to do that with your character. If it helps, fill in these blanks:  "I'll be happy if I can just _____. If I don't ______, the worst result will be _______. I will be loved if I _______. I'm most afraid of facing __________. The most important thing is __________."  

Now, challenge that worldview.
A character's worldview is like a coin. It has two sides - positive results, and negative results. In moments of decision, that coin flips - and depending on which side turns up,  the whole story changes. 

If they get mostly positive results, they hold onto their worldview. But negative results will cause them to rethink things - and that's where you get character growth. 

In Lord of the Rings, Boromir's worldview could be summarized as 'It's my duty to defend my people, above all else.' That coin is flipped when he has the chance to seize power - power that would help him uphold his worldview - by betraying his friend. The negative ripple effects of his betrayal alter the entire story. 

What would flip that coin for your character?
Are they faced with something they've always wanted? Confronted with something they've always feared? Made to question what they believe? 
Challenge them with something that doesn't fit their worldview, or causes two of their beliefs to conflict. Give them a chance to obtain what they want through dubious means. How do the results change their story? How will they be challenged further by what they've done? 

Don't be afraid to let them make the 'wrong' choice - sometimes that's where the best stories come from. Now you've got an arc! 

Voice 
The first few times you write your story, all the characters will probably sound alike. Mostly, they'll sound like versions of you. But compelling characters have distinct personalities. They choose their words differently, arrange their sentences differently, think differently. Here are a few things I've found helpful in making characters more distinct. 

1. Take some major dialogue from your story and remove all identifying tags from it. Now read it. Can you tell who said what? If you show it to someone else, can they tell? If not, you need to do some work.
2. Practice listening to the different ways people speak in real life. Copy down a few sentences you overhear around you. Study what makes them different, what brings out the personality in them. Then try to mimic it on the page. 
3. Not everybody structures their sentences in the same way. Try switching clauses around for different voices. "Isn't it a nice day?" might become "Nice day, isn't it?" Or "Nice, today." 
4. Without stereotyping or trying to write in dialect, give your character a new accent, and see what it brings out in their personality. Accents can be achieved purely through word choice and sentence structure, without dropping letters or spelling things phonetically. "I reckon this here's a fine morning!" conveys a different voice than , "I say, isn't this morning fine?" 
5. Consider what slang or phrases your character might use, based on where they're from. Do they say 'soda' or 'pop'? Would they push a buggy or a cart through the store? If they stubbed their toe, what would fly out of their mouth? 
6. Think of your narrative voice, in addition to character voice. What tone does it convey? Do you want it to hide behind the scenes, or take center stage? 

Plot takes different shapes in different stories, and there's no one-size-fits-all answer to moving your story along. If you look around, you'll find some basic structures like these - but keep in mind that these are from a mostly English-centric, Western worldview of storytelling, because that's what I know the most about. There are many, many other ways to tell a story.

If your story doesn't seem to fit any of these, you don't have to force it to be anything it's not! 

I've made these super basic. For more in-depth resources, check out the links on the resources page!

Pacing
When people worry about plot, they're often actually worried about pacing - particularly in the middle of a story. To keep your story moving along, try these: 

1. List your story's major scenes - the big ones, vital to the overall plot - by writing a brief description of each one. "Protagonist gets magic sword," for example.
2. In each scene, what changes from beginning to end?  Have we learned something? Relieved tension? Studied a character? 
3. State the purpose of each scene - how it supports the rest of the story. "The purpose of this scene is to show the villain's change of heart." If there isn't a purpose, consider moving it to a more useful place, or cutting it.  
4. Are any of the scenes working to do the same basic stuff? Maybe you've got two scenes that both show your villain's change of heart. Consider combining their events, or dropping one. 
5. You've heard a small child tell an 'And then" story, right? "The princess rides a dragon, and then she goes to the island, and then she meets the witch, and then..." It's a slog because readers don't turn pages to watch random events stack up; they read to see how events affect each other. In front of each of your scenes, add "But" or "So." Do they mostly form a cause-effect chain? If not, you've got an "And then" scenario. Label those too, and then revise to get mostly "But, So" scenes instead. 

• Example: Scene 1: The princess fights the dragon. Scene 2: But, she's defeated. Scene 3: So, she goes to the witch for help. Scene 4: But, the witch is in league with the dragon! Scene 5: And then, a knight knocks at the door.​ ​

Some Plot Structures
The most basic structure you'll find is this: 
[Somebody] wanted ________, but ________, so _________. 
Everything below is just a variation on that theme. 
​
3 Act Structure
(Action movies and romantic comedies are good examples of this.)

Act 1: An inciting incident establishes what our characters want, what they stand to lose, and what they plan to do about it. 
Act 2: They try their plan, but something goes very wrong, and they seem to have lost everything. 
Act 3: Using lessons, tools, or abilities from earlier acts, they come to a new understanding of how to face their challenge and over come it.  

The Hero's Journey
(Just about every classic fantasy you've ever read.)

• A hero receives a call to adventure. 
• They cross the threshold of their ordinary world and enter a new realm where things are mysterious and dangerous, but exciting. An older guide helps them along the way. 
• That guide is lost, and the hero has to go forward alone. 
• This goes very badly, and the hero enters some kind of 'underworld' realm in which they must face their deepest fears.
• The hero emerges from the underworld, stronger and wiser. 
• They face the story's ultimate challenge - and may seem to be defeated for a time, but ultimately emerge victorious. 
• Now, having mastered not only the challenges but also their own inner weaknesses, the hero returns home to the ordinary world to be a leader and a link to the world of adventure. 

A plot, B plot
(Episodic TV shows are good examples. I recommend studying Star Trek and Doctor Who.) 

Basically, you have a Main adventure (A Plot) and a subtext adventure (B Plot) which play off of each other until the conclusion. 

• The heroes are on a dangerous quest to defeat the enemy. (A Plot)
• But also, the heroes are in love with each other and don't want to admit it. (B Plot)
• Turns out the only way to truly defeat the enemy is by resolving their feelings for each other first. 
• They do, and they win (or they don't, and it's disastrous). 

7 Point Story Structure
(Lots of things use this pattern, and it has a lot in common with other structures. This is mostly helpful in planning out the major beats of your story.)

Hook:  The premise that gets us interested in the story.
In an ancient age, great heroes once fought terrible monsters to prove their bravery and earn lasting honor.
Plot Turn 1: The inciting incident that kicks off the story. 
A terrible monster named Grendel viciously attacks the hall of King Hrothgar, and no one can stop it. A mighty warrior named Beowulf, eager to prove himself, volunteers to try. 
Pinch Point 1: Your protagonist faces their first challenge. 
Beowulf, weaponless, battles the monster. It's no match for him, and Beowulf wins, proving his strength and ending Grendel's reign of terror.
Midpoint: Your character is no longer reactive, but proactive. They see a problem and they decide to do something about it. 
Beowulf decides to also rid the land of Grendel's mother, a much more dangerous creature and a true match for his strength. After narrowly defeating her, he returns victorious and is made a king who protects his people. His honor and worthiness seem certain.
Pinch Point 2: Up the stakes, apply more pressure on your protagonist. Things take a turn for the worse. 
In Beowulf's old age, a dragon is disturbed. Beowulf goes to face it - but he's not as strong as he once was. If he truly deserves honor, he will have to defend his people against an enemy that outmatches him. 
Plot Turn 2: Here, you see the results of the Midpoint. Your character faces their biggest challenge. 
Beowulf knows he can either be like old King Hrothgar and wait for a younger, stronger hero to turn up and solve the problem for him, or face the dragon himself, risking almost certain death. He faces the dragon and kills it, but is mortally wounded. 
Resolution: Here your character either achieves what they set out to do, or fails. Your story comes to its conclusion. 
Beowulf ultimately proves himself a brave and worthy leader not by being stronger than the monster, but by sacrificing himself to protect his people. He is buried in honor, and his story lives on.

However you revise, good luck! I believe in you. 

Fraedrich: With self-publishing, it’s right there in the name--self. You’re taking on everything yourself by essentially starting up your own publishing house. Congratulations! You’re a business owner. You source your editor, your cover designer. And you’re responsible for paying for them too. You’re responsible for all the marketing. You create the launch plan and upload the book and choose to which platforms it will be distributed. It’s all on you.

Whereas, with traditional publishing, the publisher handles all that for you. They pay the editors and marketers and cover designers. Your agent, if you have one, handles the contracts and negotiations. It’s two very different paths to the same goal.

Fraedrich: I don’t think either self-publishing or traditional is better or worse. Some genres, styles, or voices might simply be harder to find an agent or publisher for if you decide to go traditional. The thing to remember with traditional is that publishing houses are businesses. They’re going to pick up what they think will sell. It might be that your book’s market is currently saturated, meaning a traditional publisher doesn’t want yet another book of that type right now.

Does that mean you should go straight to self-publishing? That depends on what you want for your career. If you don’t want to run your own business, as you have to when you choose to self-publish, and you really want to just go traditional, that’s okay. Put the book that didn’t get picked up in your trunk and move onto the next book. Maybe one day, once the market changes a bit, that first book will get picked up. Or maybe, once you’re in a different place in your life, you will want to self-publish it.

Fraedrich: I have a blog entry that goes into all of this, from looking at the reasons why you want to publish in the first place to the nitty-gritty of which goal types match best with which publishing path. You can find that here:
www.wordsbydana.com/blog/2019/12/15/should-you-go-the-traditional-or-self-publishing-route

Fraedrich: Firstly, one of the biggest ones is that self-published books aren’t as good as traditional. That they haven’t received the same level of editing or formatting quality. That self-published authors aren’t good enough to be traditionally published. This simply isn’t true. The self-publishing world is full of phenomenally talented writers, editors, cover designers, etc. Are there examples out there of poorly done books? Yes, but there are so, so many more brilliantly done self-published books. Again, it’s just a different path to the same goal.
​
Secondly, I’d like to dispel the myth that self-publishing is easier than traditional publishing. Pardon me while I laugh. Believe me when I say it. Is. Not. Remember what I said earlier about every single step in the process and all the bills being on you and only you and no one but you? Trust me, it’s not easy. Not in the slightest.

Fraedrich: Whew, this is a tough one because you can start any number of places. Speaking as someone who had no idea what I was doing when I first started down this road, though, I think research will benefit the first-time self-publishing author the most. This blog post

​ https://www.thecreativepenn.com/2020/03/13/how-to-self-publish-a-book/

from massively successful self-published author Joanna Penn is a great jumping off point. In the post, she’s collected a ton of her starter advice into one place, and you can get her book on self-publishing, which covers the process from square one, there too.

Fraedrich: I’ll start with the biggest challenge, which is something I’ve already mentioned: the fact that everything is on you. There are so many steps involved with self-publishing, so many little things to check and keep tabs on—when will you editor be done with the first round of edits and how much time does that leave you to make those edits before getting the manuscript back to them for the next round? What’s my budget? And if I need a change made to the cover design, how much will that eat into said budget? How will that affect my time table?
​
Then again, there’s a huge feeling of satisfaction when you hold the completed book in your hands for the first time. Knowing you did this, you coordinated all the things to make this come together. It’s an achievement to be extremely proud of.

Fraedrich: ​I’ve talked a lot about how hard the self-publishing life is, which is true. But you should also know you’re not alone. There are fantastic indie author communities all over the place. Mine happens to be on Instagram. Reach out, make friends, and you’ll see there are hundreds and thousands of people out there with the same doubts and worries as you. Hang onto one another, lift one another up, and be kind to both others and yourself. If we all do that, we’ll all be okay.

Fraedrich: Boy, do I! Truth be told, I have too many to link here, so I’ve created a handy Resources page on my website where everything is helpfully categorized. There are even more links in some of those listed, so get ready to be prepared!
https://www.wordsbydana.com/resources

And feel free to reach out to me on my Contact page if you need help:
​ https://www.wordsbydana.com/contact

What's an advance?
The money a publisher pays you for the rights to publish your book. 

How much will I get paid? 
Depends!
Your advance is a guess your publisher makes about how much your book will earn, calculated via their own wizardry and algorithms. Your agent can ask for more money while negotiating your contract, but ultimately, the offer will be what it'll be. 

Do I get paid all the money at once?
Nope. Typically, it's broken into thirds. You'll get a payment each time you hit a benchmark - once when you sign the publishing contract, again when you turn in the completed manuscript, again when the book comes out. 

That might be lot of money to manage.
Yep, especially if you aren't used to getting money in chunks. 
Remember, though - this isn't a salary. Your next advance could be much smaller, and publishing can be unpredictable. Getting a big advance this time only means you got a big advance this time - it isn't a prediction of what'll happen next. Before you quit your day job and buy a yacht for your grandma, do some careful financial planning, and always assume that something unexpected will happen. 

Is an advance different from royalties?
Yep. Royalties are proceeds from sales of your book. You only get royalties once the sales of your book have earned out your advance.

What's it mean to earn out your advance?
It means the sales of your book have paid the publisher back for their investment in you.  Until you've earned out your advance, you don't get any further money from the proceeds of your book. 

So if a book is $10 at the bookstore, do I get that much in royalties?
Nope. You and your agent get a percentage of that, as outlined in your contract. 

I didn't get a big advance. Am I a failure? 
This is the rough part about turning storytelling into a business. Try to remember that your advance is not a critique on your worth as a person, or as a writer. And hey, you know you didn't get into this for the money.  You've crossed innumerable hurdles to reach this point. Hold on to the spark that led you here. That's what matters. 

What if I don't earn out my advance?
You're probably okay. It's pretty common. Publishers know an advance is a guess, and that you're unlikely to earn it out. As long as your books sold decently well, the publisher will call that a win. 

Okay but what if my book sold terribly?
First, I'm so sorry. You worked so hard, and it's not fair. 
Streaks of bad luck can happen to anyone. If you're under contract with the same publisher, this might mean they offer you less for your next book, and so on. Or, it might not matter too much. 
You can strategize with your agent here. Maybe you just see how the next book does. Maybe you change course and submit to new publishers. Maybe you change genres or pennames for a while. 
Better luck next time, friend. 

So which is better, a small advance or a big one?
I cannot look you in the eye and tell you that a six-figure deal is a bad thing. Go buy yourself something fancy and bask in the envy of King Midas. 
But seriously - it just depends on your situation. If you need the more reliable income of royalties rolling in, consider a smaller advance. If a giant windfall will change your life for the better, go for it! 
Just remember that a big advance is harder to earn out, and doesn't guarantee big advances for the rest of your career. Talk about all this with your agent when deciding what offer to accept. 

How am I paid?
The publisher sends the check to your agent, who takes their percentage and then sends the rest to you. 

Also:
Congratulations, you got paid for writing!! Go you!!

Writing's not like other jobs. 
​It doesn't play by the same rules. 

A writer's achievements don't come on schedule. For long stretches, it might seem like nothing's happening - but it is. Be patient and supportive.  

When other workdays end, a writer might still need time alone. This could be their only space to focus.  Help them honor that. 

With other jobs, hard work becomes a measurable reward. 
​
But writing is more like drawing water from a well. 

Each small step is a huge effort. 

It takes a lot of time before it's ready.

All to make something special. 
Something to share.
Something that might give others the strength to climb hills of their own.

• FAQ
• How to write one  - a template and an example
• Resources: Other places to learn more 
• Advice: Surviving the Query Trenches and Etiquette 
• Agent Responses: What responses will I get?
• ​The Call: Questions to help you prepare

What is a query letter? 
A query letter is a specialized letter to a literary agent, meant to interest them in your manuscript so they offer you representation. The process of writing and sending these letters is called 'querying.' 

Along with your query letter, you'll send sample pages of your manuscript. Different agents ask for different things - some might want the first ten pages, the first three chapters, the first fifty pages, etc. Be sure to check their guidelines and send what they ask for. 

How much does it cost to query an agent?
Absolutely nothing. Querying and signing with an agent is free. In fact, you never pay your agent. They deduct a commission of about 15% from the proceeds of your book - meaning, they only get paid when you do, and it's in their best interest to make you both as much money as possible.

When do I send my query letter?
You should only query a complete manuscript that you feel is the best it can be. That means you've shown it to critique partners and revised it a few times. Don't send a rough draft to agents. This is your first step into professional life as a writer. Take it seriously. 

How do I write one?
More on that below. 

Does it even work?
Yes.

You've probably heard someone say it's impossible to get noticed in the query slush pile. It's not impossible, it's just difficult - and you can do difficult things. Don't let the length of the road ahead stop you from beginning. 

You'll hear stories of someone who met their agent at a conference, or an uncle's birthday party, or on the subway, and signed with them in the space of one conversation. Sure, that stuff happens. But it's rare, and it's not how most of us roll. 

Querying is the way most authors get their agents. Really. And to be clear, I'm kind of lumping Twitter pitch contests in with querying, because they're so closely related. 

Now, nobody says that sending a query is a golden ticket. It'll still take a lot of dedication, patience, and time. But it works, and you can do it. 
​
Can I send a query letter to any agent any time? 
No. Agents sometimes need time to get through all the queries in their inboxes, and they'll close to queries for a period of time. They'll usually say this on the agency website, and on social media. Always check to make sure the agent is open to queries before you send one. And don't worry - if the agent you want is closed to queries right now, they'll open again soon. 

This sounds scary. 
You can do this.  

You might've heard this process called "The Query Trenches." That's because this stage can feel like a bit like battle. It's intense, and sometimes wounding. You don't really know how long you'll be there, and everything's uncertain. In the query trenches, you're running on hope.

Writers at this stage feel a lot of pressure to get everything just right, and it can seem like all your dreams hinge on this one little document. You're putting your manuscript in front of publishing professionals for the first  time and, to be honest, getting rejected. A lot. It's not easy. 

Still. How cool is it that you've gotten this far?? Very cool, my friend. Don't back down now.  

Take a deep breath. Exhale.  Listen. It's going to be okay.  Once you learn the basic format, you'll find that it's mostly just common sense and waiting. So don't panic. You've got this. I guarantee you've survived harder things. 

Where do I send this thing?
Got your list of agents who'd be a great fit for your work? Excellent. For each one, go to their agency's website. There, you'll find their submission guidelines and the email they use for queries. You can also check the agent's social media or personal website, if they have one. 

Remember,  agencies have different rules, and agents have specific preferences, so be sure to follow the instructions, and make sure the agent is open to queries!

A query letter isn't like a normal letter. It's a skill - a tricky, frustrating, necessary skill - with certain expectations. It's normal to feel like knocking your forehead against a wall the first few times you try it. Here's a template, and a rough outline based on my book.  Change the details as they apply to you!

TEMPLATE 

Dear [Addressed to the agent's name, spelled correctly, not assuming their marital status or gender],

[Personalized statement about why you're querying them specifically; did you hear them speak at a conference, have a meeting with them, read an interview about their interests?]

[Introduce your book, TITLE IN ALL CAPS, with its wordcount, genre, and comp titles. The comp titles should be recent books in your genre (within the last three years, give or take) or such strikingly good fits that they get immediate attention. Don't choose them just because they're massively popular titles or claim you've written the next GOT, HP, LOTR, etc.]

[Highlight the major events of your story in the most exciting and concise way possible - about a paragraph long. Focus on who your protagonist is, what they want, what stands in the way, and what's at stake if they lose. This is meant to grab attention, not tell the whole story.]

[Now add a brief biography of yourself listing any publication credits, awards, or relevant facts. It's okay if you haven't ever published anything before! It's okay if you don't have a degree!]
​
[Sign off by thanking the agent for their time and consideration.]

Dear ____,

Because you love stories with folkloric roots and narratives about children in grave peril, I hope you'll enjoy my Middle Grade Fantasy, 'Little Red Riding Hood.' Complete at ______ words, it'll appeal to fans of the atmospheric horror of Hansel and Gretel, and the helpful morals of Germanic Fairytales. 

Trusting and innocent Ten year old Little Red Riding Hood just wants to be helpful, so when she hears that her grandmother is sick, she volunteers to bring her some much needed food and medicine. But, despite her mother's warnings not  to speak to strangers, she's sidetracked by a charming wolf along the way. Unbeknownst to Little Red, the treacherous wolf has already hurried to Grandmother's house and devoured the old woman by the time Little Red arrives. Now, faced with a suspicious figure in Grandmother's bed, Little Red must overcome her naivety and outsmart the wolf if she hopes to escape the house alive. 

An MFA graduate of The Black Forest, I am a devoted collector of folklore and fairytales. I live with my brother Jacob in Germany.

Thank you for your time and consideration,
Wilhelm Grimm 

A lot of people have written better guides than I ever could on how to write a good query letter. In the resources below, you'll find examples of query letters and advice on how to write them well. The basic idea of how to write a query letter is standard across all agencies, but look for advice from more than one source, because lots of agents have different pet peeves and quirks. 

Query Tracker
Here you can research agents and get an idea of their various response times.
Publisher's Marketplace
This site costs about $20/month. Here you can research the sales patterns of specific agents, search for publishing jobs, and generally learn what's happening. Some writers share a subscription to help with the cost. 
​​Query Shark
Here, you can study feedback on other people's query's or submit your own for review.  The queries are critiqued by Janet Reid, the agent who runs the blog. 
​Science Fiction and Fantasy Writers of America
A resource dedicated to empowering genre writers. Their resource page covers just about anything you'd want to know about anything. 
Pitch Wars
A contest-based mentoring program that pairs new writers with authors, editors, and agents, to help new writers break into the field. They have tons of great resources on their page! 
DVPit
A Twitter-based pitch contest created to boost the voices of self-identifying, historically marginalized authors & illustrators.
Literaticast and Ask the Agent 
Both by agent Jennifer Laughran. Literaticast is a  podcast about publishing, where she interviews industry professionals. Ask the Agent is her Tumblr page,  where you can write in with your questions. 
The Manuscript Academy Podcast
The Manuscript Academy is kind of like attending a conference, without having to go to the conference. That part, of course, costs money - but the podcast is free, and features agents, editors, and authors sharing helpful info about everything from query letters to working in the publishing industry. 
Shipping and Handling
Another podcast! Run by agents Bridget Smith and Jennifer Udden, this podcast covers everything you never realized you wondered about publishing. They also take time to answer questions from listeners. 
Jane Friedman's Blog 
She has a ton of info for writers here, from query letters, to cover letters, to blogging. 

Ok, so now you know what a query letter should look like and how it works. Here's  my two cents. 
 Surviving the Query Trenches

• ​Writing query letters, and querying agents, is very hard emotional work. Be kind to yourself. It's a long, slow process, full of some wild ups and downs. Take breaks. Work on something low-pressure while you query. Just don't give up. Keep knocking on the door, and somebody'll answer one day. 
• Research your agents like you're choosing the godparent of your firstborn. Know who you're dealing with. If you can afford a subscription, check their past deals on Publisher's Marketplace. Read their interviews. See which authors they represent. See if they've sold any books recently. 
• Still don't give up. 
• Keep a good record of who you've queried and when. You think you'll remember, but you won't. 
• Rejection is painful. That's okay! Don't give yourself a hard time. Lean on your support group. Do something kind for yourself. 
• Do. Not. Give. Up. Not even a little. I see you thinking about it. Keep going. 

Stuff to Remember:

• Follow the Agent's Guidelines. This is the big one. Every agent has their own specific instructions for how to query them. How many sample pages should you attach, and how should you attach them? What are the agent's pronouns? Do they require a synopsis? Do they represent your genre? Read those thoroughly, and follow the  instructions. 
• Don't Sell Yourself Short. You wrote a whole book. A whole book! Beginning, middle, end!  Be proud of this awesome thing you created! It’s okay! And hey, remember this: somewhere out there, some dude with the worst novel ever written is querying with all the gleeful confidence of a tornado in a trailer park. If he has the right to be in this space, you definitely do.
• Don't Be Your Own Worst Enemy. Agents partially use the query letter to scan for red flags: Is this person professional? Do they write well? Can they follow directions? Agents are ridiculously busy. They get a ton of these letters every day, and can’t afford to give each one the benefit of the doubt. If you give them a reason to set your letter aside, they will. 
• This is like a job interview. The query letter is your first step into the office of your potential business partner – someone who needs to know you’re a solid, reasonable, professional person, who’s taking this seriously. So, don't try to be cute. That means: 
  • No strange fonts or distracting colors. 
  • Don't try to rhyme, even if your book rhymes. 
  • Don't write in the voice of your character. The agent needs to hear your voice.

I know you'll find examples to the contrary if you look. Ignore them. They're sinister kelpies luring you into the murky depths. Think of it this way: a kindergarten teacher doesn't interview for the position by treating the principal like a kindergartner; they speak as one professional to another. That's what you're doing here. Your sample pages will speak for themselves.

Manners

• Be polite. Rudeness, arrogance, and inappropriateness will. not. help. It’s not funny. No one will be impressed that you yelled at them, or tried to make them feel sorry for rejecting you. It doesn’t show confidence, it shows immaturity, and you can't bully someone into wanting to represent you. 
• Respect Boundaries. Just stay professional. Be a good person. You know what that means and how to do it. Use common sense, and common decency. 
  • It's easy for these lines to blur over social media. Just remember that no matter how well you feel you know this person, you're still a stranger to them. Act accordingly. 
  • Unless expressly permitted otherwise, don't reach out in their personal email, DMs, social media, phone, etc. to query an agent or check in on a query. 
  • Should go without saying, but nobody wants your critique of their appearance, attractiveness, or personal life, no matter your intentions. 
  • Consider how you'd react if a stranger said to you what you're about to say to this person. Would you feel weird about it? Then there's your answer. 
  • Don't try to stalk, badger, 'wear down,' or beg an agent into being your partner. A no is a no. 
• Beware Exaggeration: There’s a difference between healthy confidence and false bravado. “This is the next big thing, and you’re an idiot to reject it” is childish, and nobody believes it. They’ve heard it before.
• Beware Self-Deprecation: On the other hand, beating yourself up or wallowing in defeat isn't a good look either. You're not bothering anyone. You're not wasting anyone's time, and this isn't hopeless. First of all, you deserve to be here, and you've done an incredible thing by finishing your manuscript. Second, if you're thinking of guilting the agent into signing with you, stop it.  Go forward with healthy confidence, and see what happens. 
• Check Your Tone: Things like humor and sarcasm don't travel well via email. Maybe you think you’re joking. Maybe you know the tone of voice in which you’re supposed to read this email, to make it charming. The agent won’t know that, and chances are, it won’t come across the way you intended. It's safer to stay professional. ​
• Retreat Gracefully. So you got a rejection. It hurts, and that's okay. Don't take it out on the agent - just move on to a new  query letter. 

These are the basic responses your query letter will get. 

• No response: Check to see what the agent's response time is (probably a few weeks). They'll usually say in their query guidelines. If you haven't heard from them after the given time, feel free to send a polite nudge, in the same email thread as your original query, so they know you really did query them once. Stay professional and brief. Something like: 

[subject line]Follow-up on MG Fantasy Query: 
Dear (Agent's name) 
I just wanted to follow up on the query I sent on (Date). 
Thank you for your time, 
(Your Signature) 

If you still don't get a response, it's probably safe to consider it a rejection and move on. 

• A form rejection:

"Dear Author, Thanks for submitting, but your work isn't right for us at this time." A pretty standard, impersonal rejection, with no feedback. Don't worry, we all get them. It's not the end. 

• A rejection with feedback: Now you're getting somewhere!

Dear (Your actual name!), 
Thank you for sending me (Title). While the characters and voice were strong, the story didn't quite grab me. Best of luck as you continue querying other agents! 
Sincerely, (Agent).

This still hurts, but it's a great sign. It means the agent saw merit in your work. Maybe it wasn't right for them, but it's right for someone else!

• Full Request: YES AWESOME WOW YEAH! This means they liked your sample pages enough to read the WHOLE BOOK. Or at least, farther into it.  It's not an acceptance yet, and they could still reject it - but it's a great achievement, and you should be super proud. 
• Revise and Resubmit (R&R) 

This, too, is awesome!! It usually means an agent has requested your full manuscript, read it - and thinks it could use some work. This is great! If you consider the feedback they give and feel it's worth trying, definitely revise that thing and send it back!

I know you can do this. You're capable, you're good at what you do, and somebody out there needs your story. Good luck!

Here you'll find:
FAQ: What's an agent, what do they do, why should I get one, how do I find and work with them?
Signing with an Agent: The Call

​What’s an agent?
A publishing professional who represents you and your work. They negotiate publishing contracts on your behalf, help your work find the right home, and generally look out for your best interests. 

What's it mean to query an agent?
Querying is the process of writing query letters to agents (which you can read more about here). This is how an agent learns about your manuscript and offers to work with you. 

Is having an agent the same as having an editor?
Nope. Although a lot of agents are 'editorial agents,' that just means they're excited to help you work on your manuscript some before they send it out to editors. And that's awesome! Still different jobs, though. 

Wait, so Agents and Editors are different things?
Yep. In a nutshell: your agent pitches your manuscript to editors and negotiates your contracts on your behalf.

Do I need an agent to be a writer?
Not everybody does! If you’re self-publishing, you can seek out an agent if it seems helpful, but it's not necessary.

If you’re traditionally publishing, yeah – you probably need one. Most publishing houses will only look at manuscripts sent to them by agents (that's what it means whenever you see 'no unsolicited submissions'). And while some publishers do accepted unsolicited submissions, it's still really helpful to have an agent in your corner. 

Your agent is like a partner with a shield, helping you navigate a crowded street so you’re not lost in the shuffle, while also holding up a banner telling everyone that your writing is awesome, and unlocking doors that would otherwise be closed to you.

They do a lot of work to help you succeed.

Many agents will help you polish up your manuscript. They get editors to notice you. They help you build your career. Got questions? They’ll answer them. Need help? They’re ready. And most importantly, they negotiate your publishing contracts on your behalf, so you don’t stumble into a bad deal. A good agent can be a career-long partnership.

Sounds Expensive. 
Nope! The great thing about agents is, they don’t get paid until you do. Querying agents is free. Signing with agents is free. All the work they do for you to get your manuscript into the world is done for free. 

Then, when the book sells, your agent is paid a percentage (about 15%) of those profits. So it's in your agent's best interests to make sure your book does well!

Never pay an agent for things like sending them queries, signing with them, or pitching your manuscript. As a general rule, you shouldn’t be paying your agent at all. 

Any agent trying to empty your pockets is a scam. Check out this helpful site called Writer Beware to learn more about bad agents and their warning signs. 

How do I find an agent?
The easiest way is to look up your favorite authors. In the back of their books there's an 'Acknowledgements' section, where their agent is named. You can also check their websites. Usually, on their contact page, they'll list their agent. You can also google 'who is so-and-so's agent' pretty easily. Just be sure to do your research. Make sure the agent is from an established, legitimate agency. Look up what deals they've made recently. Anybody can say they're an agent, after all. 

Another great resource is Publisher's Marketplace, which will let you research the agent's sales record - but it costs money to use. It's not a devastating blow if you can't use it, though it can be a helpful tool. Ask other writers around if they'd be willing to split the cost of monthly payments with you, and share an account. 

A great resource is Manuscript Wish List. They compile lists of agents, their contact info, and the kinds of books each agent is looking for. 

If you write Science Fiction or Fantasy, check out SFWA and their page about literary agents, too.

So am I my agent’s boss?
No. You’re business partners – so neither one of you is the boss in this situation. You come to decisions together. An agent should never bully you, or make you feel like you can’t ask questions. You should treat your agent as an equal.
​
Can I change agents?
Yep! But before you do, always communicate with your agent first. Chances are, they can help with any worries you have. If you’re upset about something, talk to them about it. If you don’t think they’re a good fit for you anymore, talk to them about it. Always be open and up front about what you need and expect.
If you want  to part ways with your agent,  check your agency agreement - the contract you signed when they offered you representation. See if there's a clause about terminating your partnership.
Whatever you decide, never query other agents while you’re still represented by the agent you have now. ​

What is 'The Call?"
This is the moment you've been working toward. After all your querying and waiting, an agent has read your full manuscript and is considering offering you representation! They want to call you and talk it over.

First of all: This Is So Exciting. If you've gotten to this point, it means an agent has requested your full manuscript, read it, and maybe emailed to  talk to you a bit. It means they either want to make you an offer of representation, or they're strongly considering it. While it’s not a definite ‘yes,’ it’s a great sign. Keep your chin up!

What happens? 
The tables have turned, my friend. No longer are you waiting for the agent's approval. Now, they're coming to you, asking to be your literary partner. The ball is in your court. 

The agent will set up a time to talk to you. It's a big moment, but it's also just a phone call - so do your best to relax. 

The agent will probably talk to you about your book - why they loved it, which editors they envision submitting it to, how they would market it. (Awesome, right?) You'll ask them some questions, to decide whether this person is the best fit for you and your work. You should feel free to ask for some time (a week or two) to make a decision. If the agent is pressuring you to make a decision on the spot, get out of there.

If the agent makes an offer (Congratulations!) take a moment to email any other agents who are still considering your manuscript (subject line: Offer Of Representation), giving them a heads up that you've received an offer, and allowing them a week or two to make an offer themselves. 

What questions should you ask? 
You should come prepared with a list of questions. Trust me. You'll get flustered. You'll forget to ask things you meant to ask. Granted, the conversation will probably steer through these topics naturally. This is about you asking what you're curious about. This list isn't comprehensive - you might ask more, you might ask less - but here's the list of questions I had prepared when my agent called. I didn't use all of them. You should feel comfortable asking any and all of the questions you want. Leave yourself space to write down the answers. 
General Questions:

• Can I speak to a current client?
• Under what circumstances would you part ways with a client? 
• Can I see a copy of your agency agreement?
• What does this clause in the agency agreement mean?
• If you move agencies/leave agenting, what happens to me?
• What happens if we don't sell this book?
• What's your interest in a client's social media? Would you ever ask me to remove a post?

About the manuscript:

• What drew you to this manuscript?
• Do you have imprints/editors in mind?
• How do you think this book fits into  the market?
• How much editorial work does it still need?

Submission Questions:

• How many rounds of submissions do you do? How many editors in a round?
• What's your timeline for going on sub? How many more edits before that happens?
• Which of us decides when the book is ready to go on sub?
• When we go on sub, will you share editor/imprint info with me, like who you're sending it to, and who's rejected it?
• Will you share editor rejections with me if I want you to?

Other Projects:

• Will you submit everything I write, or will you veto some things?
• What happens if we disagree on future projects?

Communication:

• How do you prefer to communicate with clients?
• How often will we communicate during submissions?
• What's the longest I'd go without hearing from you?

Seriously, if you're getting the call, congratulations. This is awesome. You've come a long, long way, and you deserve to be excited. Good luck out  there!

Here you'll find:

• What are critique partners?
• Where to find critique partners
• Good & bad partners
• Forming a critique group
• Receiving Feedback

Think of them as sparring partners, helping your hone your skills before the big tournament. They're trusted people with whom you share your work for constructive criticism. 

If you're serious about publishing your manuscript, you need critique partners - people to test your skills against. Think of them as sparring partners, helping you train for the big tournament.

Getting someone else's eyes on your work is one of the most vital experiences you'll have as a writer. It's important to get out of your own head and see how it reads to other people - since that is the ultimate goal of publishing! 
​
​So, how do you find them?

​As a shy person, I'm pretty bad at this. The general advice is to check online, or look around in your community, but that can be hard for introverts, new kids, and cryptids. 

• Joining an organization like SCBWI can help a lot  - but it does come with a price tag. 
• Check out Yin Chang's podcast 88 Cups of Tea and join their FB community. You'll meet a ton of supportive writers there. 
• Check online for local Meetups and see if anyone is organizing a writing group in your area.
• Check out writing hashtags on Twitter like #writingcommunity and #5amwritersclub 
• Ask at your library or bookstore.
• Consider getting a degree (I know, I know). At least try hanging around a university.  If you're from Nowhereville, and there aren't any writers around, it might be one of the only places you'll find other dedicated writers. 
• If you're in school, talk to your classmates or teachers to see what you could organize. 
• If you can, look for literary events, festivals, and readings to attend.
• Apply for writing retreats.

Yeah, admittedly, it'll take a bit of putting yourself out there - but there's a group where you belong, and I know you'll find them!

A good critique partner is:

1. One very trusted person, or several. Do what works for you.
2. Someone who reads widely.
3. Someone who can push you to do better. 
4. Someone who gives constructive criticism, not just praise. That’s why this person probably isn’t a family member. Keep in mind:

• Emotions can run high, for lots of reasons, during critiques. Your loved one is probably afraid of hurting your feelings or discouraging you. You can try telling them to 'be honest,' but they'll probably still have reservations about it. 
• Working with someone close to you can get messy. You might need help your loved one can't give, or you might be asking about things they don't have enough background in. People will get frustrated, and feelings will get hurt. 
• That said, sometimes (especially when you're young) you just need some feedback, and it's hard to find other writers around. If you trust your brother with your work, go for it! 

A toxic critique partner is:

1. Someone who’s out to compete with you, or cut you down.
2. Someone who belittles you or makes you want to quit.
3. Someone who makes you feel unsafe, unheard, or unworthy.
4. Someone who tries to take over your manuscript.
5. Someone who isn’t willing to hear your thoughts or feedback. 

There are lots of ways to make a critique group work! Here are some I've found helpful. 

• Choose a point-person - someone who's in charge of scheduling meetings, keeping everyone informed, and keeping meetings focused. If it's too much pressure, try taking turns in this role. 
• If possible, sit in a circle. A teacher of mine called some rooms 'power rooms.' They're the kind with rectangular tables, where you could tell the power hierarchies at play. People who want more attention sit closer to the leader at the head of the table. Circles encourage eye-to-eye communication and equality, like Arthur's Round Table. 
• Everyone should do the reading before the meeting, and come with comments prepared. It'll save time, and be less stressful for the person in the hot seat. 
• Make sure someone's keeping track of the time, and ensuring no one's story hogs all the attention. If there are a lot of people, you could alternate turns: critique one group this time, the other group next time.
• Try a 'no response' policy for the person being critiqued. They don't get to explain, answer questions, or respond during the critique. Make time for their questions or comments afterward, if you want.  
• Start a new group with a discussion of the boundaries and expectations involved. Decide these together, and check in once in a while to update them. Discuss what you'll do if those agreements are broken.
• If multiple people have the same feedback, or agree with a comment, have them knock on the table twice, or snap. The writer then gets the message that multiple people had the same idea, and can note it down, without people having to repeat each other. 

This is all about learning to listen. 
​
As a new author – particularly when you’re young – you desperately want to be taken seriously. That’s normal. You want validation. You want to be heard, and treated as an equal.

Being criticized for something you’ve put your heart into is hard. It’s like subjecting yourself to a round of small electric shocks; it can make anyone touchy. You might feel invalidated, vulnerable, or foolish. The natural reaction is to interrupt and defend yourself. 

So, someone lobs a critique at your favorite line: "This doesn't sound like your character's voice."
Or, someone points out a flaw in your magic system: "How can the Air Wizards use magic if they're in space?"
Someone highlights something offensive: "Your description of the princess feels kinda sexist to me." 

You jump in. "Oh, see here's what I really meant," you'll hear yourself saying. Or,  "It's not on the page, but the wizard has this whole painful backstory that explains it." Or even, "That's not fair. I'm not sexist. Maybe you're sexist." 

You're not being a good listener. 

When that feeling rises, take a deep breath. Critique is not the time for you to talk. Listen to your partners, and take notes, no matter how strongly you think you disagree in the moment. 

That said, if someone is being toxic, shut them down and protect yourself. Critique is not an excuse for someone to bully you while you sit in silence. It's also not an excuse to watch your partner being bullied while you sit silently.

Sometimes, when you shut down a toxic partner, they'll push back. They'll claim they're the one being bullied or censored. That's nonsense. Remember, they have the right to say whatever they want, but that doesn't mean everyone has to listen to it, and it certainly doesn't give them the right to cause harm.

This is where having an established set of expectations  and consequences for the group really helps; the leader can stop the discussion, revisit the agreement, and take the actions you all agreed to. 

Overall: critiques should be constructive, but not cruel or competitive. It's about making your each other's books better, not making each other feel worse. Listen to your partners, take notes, and look back at them with a calmer mind later. You never know what you'll be able to use. ​

This is not an exhaustive list. It's evolving, and is meant to be a basic starting place. 

Advance: The money a publisher pays you based on their best guess about how much your book will earn. 

Agency Agreement: A contract between you and your agent, outlining the terms of your partnership.
​
Agent: A literary agent represents you and your work in the publishing industry. They pitch your book to editors, make sure you get the best deal possible, fight for your rights, and answer any questions you have.

Board Book: Books intended for infants or very small children. They're made of thick, cardboard material,  for durability.

Boiler Plate: The template contract around which your agent will work to adjust your publishing contract to suit your needs. 

Chapter Book: Books for intermediate readers, easing away from pictures and leaning more on prose.

Comp Titles: (Comparison titles) Relatively recent books, of the same genre or style as your manuscript, to which you compare your manuscript in your query letter. 

Critique Partner: Trusted person who will read your work and give constructive feedback.

Editor: The person who acquires your book for their publishing house, and works with you to make it the best it can be.

Fiction: A genre category referring to any story about things that didn't really happen. It can be anything from a story about an imaginary person living in contemporary New York, to a story about vampires set 300 years ago. 

Genre: A marketing tool used to divide the types of stories, like Science Fiction, Romance, or Fantasy.  Sometimes used synonymously/interchangeably with those categories (Example: Her genre fiction is about wizards.)

Imprint: A sub-section of a larger publishing house that works on books with a specific focus or style. (Example: Harper Children is an imprint of Harper Collins.) It's like a little publisher inside a bigger one. 

Literary: Tends to mean writing that's more thoughtful, intellectual, or stylistic - but what that means, and why, is subject to opinion. 

Middle Grade (MG): A sales category used to market books for about ages 7-12. Themes in MG books tend to focus on children starting to question ideas in the larger world around them - "What makes a good friend?" or "How do I find courage?" for example. 

New Adult: A sales category used to market books for readers in their upper teens and early twenties. These stories might focus on starting college, or leaving home for the first time. 

Nonfiction: Writing about things which actually happened, like memoirs, biographies, and essays.

Picture Book:  Books for young children,  in which much of the story is told through illustrations. 

Publicist: Spreads the word about your book by organizing  free, word-of-mouth events like interviews or articles.

Publishing House: A company that buys the right to publish and sell your book.

Query Letter: A letter, following certain guidelines, designed to interest agents in your manuscript and demonstrate your professionalism.

Rights: Ownership of various ways your book might be published and marketed. 

Rounds: The number of editors to which your agent submits your manuscript within a given timeframe. 

Royalties: Money from sales of your book. You don't get royalties until after your book earns out your advance. 

Self-Publishing: Publishing a book yourself, using your own resources. 

SFF: Science Fiction and Fantasy

Speculative: Writing that asks 'what if' questions in its storytelling, like SFF and Horror.

Submission: Going on submission is when your agent sends your manuscript to editors. 

Subsidiary Rights: (Sub-rights) The rights to publish other versions of your manuscript, besides print, that publishers will offer to buy,  like audio, e-book,  or graphic novel rights. 

Synopsis: A brief (one or two single-spaced pages) outline of the major events in your book, including how it ends. Some agents and editors require them, some don't.

Traditional Publishing: (Sometimes called Tradpub) Publishing a book through a publishing house, which sells and markets it. 

Upmarket: Think literary, yet popular and sellable. 

Young Adult (YA): A sales category used to market books for teen readers. These stories are often about children questioning their place in society and learning who they are as individuals. 

What are publicity and marketing?
The teams responsible for spreading the word about your book through things like advertisements, interviews, and tours. 

What’s the difference between publicity and marketing?
Publicity: all the free methods of spreading the word about your book. Interviews, blogs, articles, appearances at events, etc.

Marketing: All the advertising the publisher pays for. Things like posters, the fancy displays in big bookstores, and spots in catalogues.

Does every book get the same attention from publicity and marketing?
No. A publisher wants all their books to succeed, but they have to allocate their resources differently based on their sales predictions about each book. Sometimes books get a lot of fanfare, then quietly vanish. Sometimes a book emerges quietly, but gets really popular through word of mouth. So it goes. 

Will they send me on a book tour?
Probably not, sorry - but you're not alone! Most authors aren’t sent on book tours. It’s a lot of time and money – besides which, the entire concept of book tours is shifting; instead of one new author on the road alone, it’s becoming common to see events where new authors are paired with veteran authors in their genre to help build an audience. That way, the new author isn’t left out there in a strange city, hoping people show up to hear from an author they don’t know about. Your team can also help you plan events in your hometown, or in places where you’re fairly certain to get a crowd. That’s not to say book tours don’t happen – they definitely do! But don’t go in expecting one.

What if I feel like my publicist isn’t doing enough?
Talk to your publicist about it – politely. Communicate your concerns and see what can be done. In some cases, people also hire an outside publicist to help – but this isn’t a requirement for success, and before you jump to spending your own money, share your thoughts with your team.

What if there’s a platform where I’d love to be interviewed?
Great! Tell your publicist. Make suggestions. You know the most about your book and where it might resonate in the world. Any extra ideas you’re willing to share or work you’re willing to do is helpful.

I’m really shy and I hate the idea of having to talk to anyone. Do I have to?
Nobody can make you. But your participation does help.

I’m not shy, I love talking to everyone, and I think I should be headline news – why am I not?
Be reasonable, friend. Not every writer can be everywhere they’d like. Awesome as you are, there’s very limited space on the covers of those dream magazines and on those popular shows – and there’s a long line.

I have a ton of ideas about swag to make, blogs to write for, interviews to do. I shall do them all!
Great! If you have the resources, time, and energy, go for it. But be sure to check in with yourself, be honest, and remember that this stuff is also taking time away from your writing. Balance it all, and feel free to say no to things when you need to.