• 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.