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GuidesUnderstanding Publishing

Last updated on Mar 29, 2024

How to Write a Query Letter [+ Free Template]

A query letter is an inquiry sent to multiple literary agents to gauge their interest in representing your book for publication. The best agents receive dozens of queries a day but only sign a few authors per year, so crafting a successful query letter is a crucial step in the world of traditional publishing.

In this article, we’ll share the elements that make a query letter successful, such as:

  • The Hook — to grab the agents’ attention.
  • The Synopsis — to quickly pitch your book’s story.
  • The Proof — to make the case that there’s a market for your book and that they will want to work with you.

To help you write your query letter, we put together a free template that will help you get started, which is included in our querying toolkit below.

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How to write a query letter:

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1. Start the query letter with a greeting

First off, keep the salutation simple. “Dear Carrie" is perfectly fine, assuming that Carrie is the agent's first name. Addressing agents by their surname ("Dear Ms. Greaves") is also fine, though the formality may feel outdated, and you risk accidentally misgendering them.

Q: What are the most common mistakes authors make in their query letters, and how can they improve them?

Suggested answer

One of the most common issues I see in query letters is the tendency to skip over who your main character is as the book starts. You want to show the agent who they’re going to be reading about and give the agent a reason to care about what happens to them. That’s your first paragraph (not including personalization or comp titles if you choose to put those at the top). Spend two to three sentences describing your character, their personality, their future plans, their desires, etc. That way, when the agent gets to the second paragraph and you throw chaos into the picture, they’re already thinking, Wow. How’re they going to deal with that?

Example:

Sixteen-year-old farm boy Luke Skywalker would do anything to leave his uncle’s dinky desert farm and attend fighter school with his friends. The evil empire is rising, and he wants to do his part to make the galaxy safe. But until his uncle agrees to foot the bill, Luke’s stuck cleaning the farm’s droids, a far cry from the adventure he seeks.

With an opening like this, you’ve established who we’re rooting for, his desires, and his ultimate goal. In the next paragraph, you can then drop the inciting incident, i.e. the thing that gets the story rolling.

Example:

Mary Collins is free of her wretched husband, their divorce finalized after a grueling three years where he fought her on every detail. Finally, Mary can leave the city where it was so important they live and return to her hometown. Helping her mom run the corner store while catching up with friends and family is the bliss she seeks as she starts over, now free of the myriad of obligations that came with being the governor's wife.

My guess is that Mary's going to find she's not so free of her past life once that second paragraph comes around. But because we know that's her desire/goal, it makes it that much more meaningful when the query then continues to throw havoc her way.

Giving us info about the character is important no matter your genre and age category.

If your book features a police officer, give us a bit of their background so we understand their current situation. That way, when chaos reigns, we know why that particular wrench is so bothersome. If a cop is trying to get promoted, being thrown into a big case is a dream/chance to show off. If a cop is near retirement, the last thing they want is to be trapped in a big case. Without knowing the main character’s background, your query is all about plot and you’re losing the character.

Agents, like readers, want to root for someone. They want to become invested in your character—so give it to them. Show them who they’ll be reading about and make them care. Then in the rest of the query, you can weave in those plot details and stakes.

Kim is available to hire on Reedsy

I like seeing the title, genre and comp titles at the top. Often, writers hide this info in the final paragraph. I want to know immediately what this book is and what it's about, along with where it could sit in the market. It quickly tells me if this book is for me and if the author even knows what their book is about.

Another misstep is writing far too much in your plot paragraph. It really should only be 1-2 short paragraphs. Think plot/premise/payoff. This is probably the hardest part for writers. You are very close to your own work and might feel overwhelmed by condensing the entire narrative into a handful of sentences. When I receive a query, I'm looking for your main character, their world, what has changed in their world, twists or turns along the way, and even a question you might have for the reader.

For bonus points, add a logline before your plot paragraph(s). It's an efficient way to hook the person you're querying.A query letter should be no more than one page. Finally, look up the agent or editor's name and address it to them with the correct spelling. First names are preferred. It feels old-fashioned to address a query with Mr, Mrs, Ms, etc.

Ariell is available to hire on Reedsy

A lot of query letters are too long. An agent will spend perhaps one minute scanning through your query letter, so make it easy for them to find the important stuff. And don't spend too much of your word count on the summary! The goal isn't to tell the agent everything that happens in the book; the goal is to mention enough selling points and hooks that the agent is intrigued and starts reading your sample pages. This means one, maybe two paragraphs of summary, in the basic format: "[Protagonist] wants [motivation], but [obstacle] gets in the way. They'll have to [challenge] if they're ever going to achieve [stakes]."

Nora is available to hire on Reedsy

I think that authors are sometimes so keen to get on board with a particular agent that they forget to keep their letters concise and professional and often volunteer personal information and background information that doesn't have a place in a query letter. The other thing I often see is authors including what almost amounts to a full synopsis of their book, whereas this should be presented in a separate document.

Vanessa is available to hire on Reedsy

Three words: be more specific.

The standard advice used to be: look to a book's back jacket description for an example of how to describe your book in a query letter. The truth is, over time, the trends in queries have evolved AWAY from what's used on the back cover of books. Book jacket descriptions tend to be more vague, and focus on general claims like, "a thrilling coming of age story." Also, book jacket descriptions often end with rhetorical questions like, "Will Eva find love before it's too late?" but rhetorical questions in a query tend to be an agent pet peeve.

Most of all, agents don't want to hear that you have a "sweeping love story." They have 50 other sweeping love stories in their inbox right this instant. They want to hear the SPECIFICS of your setup, conflict and stakes to know how your love story stands out from the others, or they'll be getting out the broom to sweep your query right back out of their inbox!

Michelle is available to hire on Reedsy

A couple of the most common areas I see authors make mistakes in their query letters include:

  1. Not using proper query format
  2. Making the Book section (what your book is about) section either too long or too short.

While there is some variation on a query format, the one I like to use is the Hook, Book, Cook method.

  1. Paragraph 1 is your Book. What the title of the book is, the word count, why you decided to pitch the agent, comparable titles, etc
  2. Paragraph 2-3 is the Book. Think of this like the blurb on the back of a book or on Amazon. You want to give agents just enough information that they want to know more, but not give the ending away. That's for the synopsis, as is going into greater detail about the character and story. For the query, focus on the primary characters with their primary goals and motivations, the overarching conflict and villains, and set up the stakes of what the heroes will lose if they fail
  3. Paragraph 3-4 is the Cook. You as the author! If you don't have any prior writing credits, that's okay. Include a short paragraph about what you like to do, or what you enjoyed about writing the book. If you do have prior writing credits, try to only include those that are most relevant to what you're pitching (example, it's likely not applicable to share that you had an article in a cooking magazine if you're pitching urban fantasy, unless that ties in some way).

When writing the Book section of the query, I often recommend to authors to go into their local bookstore and seek out books in your genre with descriptions you like. See how they introduce characters, conflict, what details they do (or don't) include. Emulate them with your own story. Queries can be difficult, but with practice they do get easier!

Sean is available to hire on Reedsy

Common mistakes in query letters:

  1. Not saying what your book is about and why your target audience will love it.
  2. Remaining a secret writer by not sharing who you are, your background, and your writing experience.
  3. Giving away too much of the story: Mr. A hates Mr. B and winds up killing him.
  4. Making assumptions about the publisher, the books it publishes, and those it doesn't.
  5. Making unrealistic promises: This book is going to be a best seller with 500,000 books sold this year.

Barbara is available to hire on Reedsy

There are a few common mistakes you can avoid when writing your query letters. Here are some "do's" and "don'ts."

  1. Include only your first and last name in the query. The agent has your email address, and that is the address they will use if they wish to contact you. Do not include any other contact information (unless requested).
  1. Address the query letter as the agent stipulates on their website. If they do not specify their preferred salutation, use their first name and last name, e.g., "Dear Jane Doe."
  1. Make your first sentence about what you and the agent have in common (e.g., "Dear Ms. Smith, On your website, you say you like working with authors who (fill in the phrases the agent used), so I'm excited to present my (state your word count, genre, and BOOK TITLE IN CAPS)."
  1. State your comps (competitive or comparative titles) in your first paragraph. With your comps, try to use one book that this agent represented. Don't use best sellers as comps. Don't use books published over 2 years ago (and not over 3 years) as comps. Be current. Do your research. If you can't find recent comps, do more research. Read every book you use as a comp. (As you read your comps, make notes about how each comp is like your book, and how it is not like your book. You'll need this information for your book proposal (for nonfiction), and you'll need to talk about this with the agent when they call you.)
  1. Make your query letter 300 words. Why? Because a 300 word count is industry standard. Because 300 words is what many agents allow for their online submission forms. Because 300 words (single-spaced) will fit on one printed page, in case the agent prints out your query. Because if you can write an interesting query letter in 300 words, the agent will know you're a pro.
  1. Format your query according to industry standards: single-spaced, left justified, 2 spaces between paragraphs. No tabs or indents. No bold or underlining. Put your book title in CAPITAL LETTERS.
  1. When emailing your query, always drop your letter into the body of the email. Never send it as an attachment, unless requested. Don't send a query snail mail unless requested. Write in the email Subject line as directed (e.g., "Query - Title of Book - Name of Author.")
  1. Don't follow up on your query letter (unless an agent has invited you to submit to them). If you have sent an unsolicited query, if an agent says on their website their response time is four to eight weeks, and at eight weeks you haven't heard from them, query other agents (but not in the same agency). No response from an agent is a "No." Don't take it personally ... just move on. Your perfect agent is out there, waiting for your query letter!

I wish you every success with querying.

Michael is available to hire on Reedsy

One big mistake is querying the wrong agent. Sending your 90,000 word adult fantasy to an agent who specializes in literary nonfiction will only result in a rejection. This does not mean that you do not have an amazing story, but rather that that particular agent cannot best service that particular story. As a writer, make sure to do your research to find the best agent for your work.

Hope this helps!

Samantha is available to hire on Reedsy

Answers provided by professionals available on reedsy.com

The next line should make the agent prick up their ears. We’ve listed some ways to achieve that effect below.

Lead with previous success or accolades

If you’ve published before, you can start by briefly mentioning any critical recognition or awards you've received for your previous work.

I’m seeking representation for my second novel, Cobalt Eyes. This book is the follow-up to my self-published novel Inferno Hearts, which was shortlisted for the Jay Malcolm Independent Prize last year.

An agent will always want to find publishable clients — and if you’ve already had some publishing success (no matter how small), that will likely work to your advantage. It doesn’t have to be full-length novels; it could also be novellas or short stories previously published in literary magazines. 

Reveal a personal connection

If you haven’t published before, another good way to start is with a personal connection:

We met last year at the Writer’s Digest Annual Conference and chatted briefly about your work with up-and-coming suspense authors.

Or better yet, get a referral from an established author or a publishing insider.

“You want something that will bring the submission directly to the agent rather than an assistant or an intern,” says Reedsy editor and former agent Fran Lebowitz (no relation to the NYC social commentator). “Showing that you are connected never hurts.”

Jane Doe at Del Rey Books suggested that I contact you regarding representation for my debut science fiction novel, Arbormancer.

But if you don’t have any industry connections to speak of, don’t fret.

Or just pitch the book

Your main sales tool should be your book itself. If you can’t think of a clever way to hook an agent in, just jump straight into your pitch by sharing three key pieces of information that will instantly paint a picture of your book:

  • The title
  • The book’s genre
  • The word count (rounded to the nearest thousand)

I’m writing to seek representation for my 92,000-word crime thriller, Operation Kill.

These three pieces of info are what every agency reader will want to know, and they will thank you for sharing it upfront. In particular, they will want to know if your genre fits in with the sort of book they’re looking for and whether your word count meets current market expectations.

💡 Tip: With your debut novel, it’s always worth keeping your length within the word count range of successful books in your genre.

The next step involves gripping the agent's attention with a powerful story hook.

2. Write a strong “hook” for the book

Just as your novel must get readers involved within the first few pages, your query letter must pique an agent's interest within a few lines. This part of the letter is known as the hook, and it’s a short description of your book’s concept which will help agents get the gist of it at a glance.

Read the full query letter example right here.

The hook should present the most interesting elements of your story, like an original concept, a powerful conflict, or a compelling question that leaves the agent intrigued. Let’s look at these approaches one at a time below.

An exciting concept

Let’s consider a hook for C.S. Lewis’ classic fantasy novel The Lion, the Witch and the Wardrobe:

Four adventurous siblings – Peter, Susan, Edmund, and Lucy Pevensie – step through a wardrobe door and into the land of Narnia, a land frozen in eternal winter and enslaved by the power of the White Witch. But when almost all hope is lost, the return of the Great Lion, Aslan, signals a great change… and a great sacrifice.

You have a magical world, mysterious creatures, and hints of an epic battle 一 it's certainly an exciting concept worth reading more about.

A powerful central conflict

You could also build your hook around an intriguing central conflict. For example, here’s a hook example for Liane Moriarty’s Nine Perfect Strangers:

Nine people gather at a remote health resort. Some are here to lose weight, some are here to get a reboot on life, some are here for reasons they can’t even admit to themselves. Amidst all of the luxury and pampering, the mindfulness and meditation, they know these ten days might involve some real work. But none of them could imagine just how challenging the next ten days are going to be.

Instantly, one can feel tension arising from the participants' desperate yearning for healing, juxtaposed with the unknown methods the resort will use to help them achieve their goals.

Q: What are the key elements of an irresistible query letter hook?

Suggested answer

Hooks should always include:

  1. Stakes. What is on the line here? In quieter or more character-driven stories, this is still important. The stakes might not be life and death, but they need to feel emotionally powerful.
  2. Main character: a sense of who this story is about
  3. The hero’s / heroine’s journey: Our protagonist is on a mission. What is it?
  4. The story world: What is the context for this journey? In SFF, the author has to be careful not to get too into the weeds here; it’s about broad strokes.
  5. Antagonist or antagonistic forces: What obstructs the protagonist from easily completing their mission?
  6. Voice: Any time we write a logline, query, build a hook, or write a synopsis, we have to make sure our unique authorial voice shines through.

Happy writing!

Wendy is available to hire on Reedsy

A compelling question

Perhaps your book's driving force isn't much of a conflict, but rather a question. Let’s look at a potential hook for Taylor Jenkins Reid’s historical fiction novel Daisy Jones & The Six:

A gripping novel about the whirlwind rise of an iconic 1970s rock group and their beautiful lead singer, revealing the mystery behind their infamous break up.

Right away, you have a cocktail of fame and power that begs the question: why did the band decide to split at the peak of their career?

Of course, you can also combine all three or either two of the previously listed approaches above to make agents sit up straighter in their chairs: a central conflict plus a compelling question, or an exciting concept plus a central conflict, and so on. 

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💡 Need more inspiration to craft your hook?

 

  1. Check out these 48 irresistible samples of book hooks and get inspired to craft your own.
  2. Read the queries of published authors featured on QueryTracker.
  3. Browse books in bookstores, online retailers, or Goodreads and read their logline.

Perfecting your hook might take a while, but it’s hands down the most important part of your pitch as it’ll compel the agent to read the rest of your letter. If you’re unsure whether your hook is “grabby” enough, try testing it out on your friends — or better yet, have an experienced editor take a look.

Q: Do you have any words of encouragement for authors struggling in the querying trenches?

Suggested answer

First of all: don’t give up. Rejection isn’t the end of the story—it’s part of it. Every “no” is simply a redirection toward the right “yes.”

Publishing is absolutely a business, but it’s also deeply relational. Editors and agents love working with people they genuinely like and trust. That means: go to writers’ conferences. Join a critique group or hire an author coach. Get to know professionals in the industry, not just for what they can do for you, but for how you can show up as generous, authentic, and collaborative. You never know when a writer friend might one day endorse your book, or when a connection you make over coffee might become a career breakthrough.

And here’s the bigger truth: querying is more than chasing contracts. It’s also a personal growth journey. You’ll discover your resilience, refine your craft, and grow into the writer you’re meant to be. One author I know literally turned her pile of rejection letters into a lampshade and said they helped light her way to publishing three novels.

Need more inspiration? Catherine Stockett, author of The Help, was rejected by 50 agents before one finally said yes. That “yes” led to a book deal, a bestseller, and eventually, a movie.

So hold fast to your dream. If you feel called to write, you probably are. Keep writing. Keep connecting. Keep becoming the kind of author people want to root for. The path may be long, but you’ll be stronger, wiser, and more yourself because of it.

Alice is available to hire on Reedsy

Querying can be emotionally challenging and overwhelming for authors. Once you're in it, you're amongst a sea of probably tens of thousands of other authors at the same time, and there are, of course, only so many agents and agencies out there. Truthfully, the odds are not great; an agent will sign only about 1-3% of the authors they come across in their queries. This is why the query must be in tip-top shape: a query's only job is to make the agent curious enough to ask for pages. Then, they have to fall in love with the pages (the writing and the story, which are two different things) and have a vision for it in the current market.

If you go into it with the right mindset, it can make it easier. Expect to receive many passes; it's inevitable in 99.9% of cases. Your story isn't for everyone; no one's is. And there are so many reasons an agent might pass. Try not to take it personally; if they pass, then they were not the agent for you. You have to have thick skin though. Not every agent will reply, and if they do, they may give feedback or a reason they're passing or they may not. It's hard not knowing, but there's not much you can do about it. Agents are not paid for the time they spend on queries, and their top priority is the clients they already have, so unfortunately, queries often fall to the bottom of the priority list. And because we receive so.many.queries, it's very difficult to stay on top of them all. We simply don't have the time to respond to everyone. All you can do is do your best; ensure your query is spectacular so that it stands out, your pages are spectacular so agents see it as ready or nearly ready for submission to publishers, and research the agents and agencies first so you know you're shooting your shot with the most appropriate people in the industry. Follow their submission guidelines, don't cheat, and be friendly and professional. Get several pairs of fresh eyes on your query so you know it contains all the necessary elements (and doesn't contain anything that shouldn't be in it) as well as your manuscript, and make sure everything is ready before you begin querying. Being prepared says a lot about your work ethic, which is important to agents as well

It sounds cliche, but the only difference between those who find representation and those who don't is that the authors who found representation didn't give up. It takes patience, persistence, and perseverance. And it may not happen with your first completed manuscript, or even your second or third--but if your goal is to find an agent and be traditionally published, keep going. Keep learning, keep trying, keep connecting with other writers and industry pros. You've got this!

Kathleen is available to hire on Reedsy

Don't be afraid to tear up your query letters and start again. Be aware of the time of year -- you may be going 24/7/365 but agents and publishing houses don't do that. Check out Writer's Digest articles on query letter writing and examples of winners and losers. Check out Query Shark. Understand the different agent types and editors at small presses -- different query styles may be required. Send queries out, mark the calendar 4 weeks from that date, and forget about them until then.

Query letters are not a sales letter about you -- you love your book, your letter needs to make anyone want to love your book as well. :O))

Check out writing blogs/websites such as those of folks like Anne R Allen or Janice Hardy -- or any author you admire -- their tips on query letters may include something you've never considered.

Start your next book... c'mon! You might be surprised what's waiting to pop outa your head!

Maria is available to hire on Reedsy

Querying is so tough these days! There's more agents than ever before, but yet imprints are folding, combining, etc. so the number of projects being sold hasn't increased, making it harder to catch an agent's eye.

There may be any number of reasons you're not getting full requests--your query letter doesn't capture the unique quality of your book making it stand out, your first pages fall flat and don't pique the agent's interest, or, quite simply, the agent isn't interested in your characters or plot. And there's nothing you can do about that last one. Every book isn't for every person. Every agent has meh topics they rather not read about. If an agent isn't into mermaids, they're unlikely to request a full from a query that describes a book about mermaids. That query was never going to land a full, and there was absolutely nothing about the query or your writing that could have changed that.

So, concentrate on what you can control and push aside the rest. Querying is not a comment on your worth as a human or as a writer. Publishing is a fiesty marathon. If your current project isn't getting bites, write the next thing. You'll improve with each project. Trust that the stars will eventually align when your idea and words will pack a punch. How can you make your project stand out as unique? What tropes can you put a spin on? Create characters we can't help but root for. Lean into what you--your background, your hobbies, your experience, can bring to a project that springs it to life in a way that can't be replicated.

But above all, know that it's not just you--the struggle is real for many, and the only thing you can do is simply keep writing.

Kim is available to hire on Reedsy

Don't lose faith!

I know that's easier said than done but try not to let rejections get you too demoralized. Most best-selling authors had the same struggle and likely went through many rejections before securing a deal. Unfortunately, it's all part of the process.

If you are getting form rejections then it is likely you are either choosing the wrong agents or there are issues with your query pack, so make sure you put as much work as possible into researching who you want to pitch to and refining your documents. Don't rush into querying. This is your one shot to catch the attention of that agent, so you want to get it right.

If you are getting requests for your full manuscript then you are likely on the right track and have a good submission pack. Don't be afraid to ask for feedback, but agents are very busy so you may not always get it.

I would also encourage you to keep writing while querying. Authors often get their second or third book picked up instead of the first one they queried, so don't lose hope. If you are tired of the rejections then use any feedback you have been given to write something new. There are no guarantees, but keep working at it and hopefully you will find your perfect agent eventually.

Finally, be kind to yourself. A rejection doesn't mean your book is rubbish - it just means that the agent can't see a place for it at this point in time. Many, many, many brilliant books have been turned down initially and then had great success when they found the right home. Don't give up hope.

Amy is available to hire on Reedsy

Answers provided by professionals available on reedsy.com

3. Include a story synopsis

Now that you’ve “hooked” the agent, it’s time to reel them in with your book synopsis.

“The synopsis should really get an agent interested in your book,” says Reedsy editor and former agent Erin Young. “Think as if you're writing the back cover of your book for future readers.”

In other words, your synopsis is your opportunity to shed more light on:

  • The plot
  • The primary characters
  • The central questions or conflicts that drive your story
Read the full query letter example right here.

Plot, characters, and central conflict

Following Erin’s suggestion, let’s look at the back cover of Gillian Flynn’s Gone Girl and see how its blurb introduces these elements.

On a warm summer morning in North Carthage, Missouri, it is Nick and Amy Dunne’s fifth wedding anniversary. Presents are being wrapped and reservations are being made when Nick’s clever and beautiful wife disappears.

 

Husband-of-the-Year Nick isn’t doing himself any favors with cringe-worthy daydreams about the slope and shape of his wife’s head, but passages from Amy's diary reveal the alpha-girl perfectionist could have put anyone dangerously on edge. Under mounting pressure from the police and the media — as well as Amy’s fiercely doting parents — the town golden boy parades an endless series of lies, deceits, and inappropriate behavior.

 

Nick is oddly evasive, and he’s definitely bitter — but is he really a killer?

With just over 100 words, this synopsis lays out the plot, offers an impression of two multi-layered characters, and leaves us with the question that serves as the book’s engine: Did Nick kill his wife?

Q: How should writers research literary agents ethically and effectively before querying?

Suggested answer

Doing a deep Google search on target agents is actually a smart process, assuming the search relates to their professional endeavors not their private life. On platforms where agents are listed by genre, it's usually a database dump that doesn't highlight the specific interests of a given agent. Websites are professional, but also not terribly deep. Publisher's Marketplace often demands a fee to obtain significantly useful information. Social media highlights perspectives, which gives you a feel of the agent's personality or position on current events within and outside of publishing.

A deep Google search can reveal very useful things: interviews with agents on blogs, articles agents may have provided to organizations, positive and negative remarks on given experiences with agents, occasional deals they've worked out that are unique or exemplary, tips and tricks they've offered to beginning authors, and so forth.

Choosing an agent, or agreeing to work with an agent who has offered, is a very personal choice. Ideally it is a long-term choice viewed as a mutual partnership for success. Any and all information you can find about how their views on publishing, their views on the author-agent relationship, helps to better evaluate whether they align with you. You may find that the "Number One Agent Ever" simple isn't a personality match with you, via remarks they've made in an interview, or he/she feels very different than you on certain publishing subjects. Sometimes even value statements might make a difference. Working with a stranger can be awkward and difficult in the beginning, and anything you can glean to better understand who you're about to work with is beneficial. You, and the agent, want to enjoy working together. Weeding out people who just don't "click" keeps everybody happy.

Claire is available to hire on Reedsy

Professional research is absolutely necessary to determine whether an agent is a strong fit. What authors do they already represent? What books have they landed successful deals with recently? If they have a professional social media account, they are likely posting the types of books they like to read or advice about how to reach out to them. This is all healthy, necessary background research to ensure you're not wasting your time or theirs. They likely receive hundreds if not thousands of manuscripts, so if they're talking about how to stand out from the crowd, you should be listening.

But boundaries certainly exist and people will establish them intentionally; if their social media account is private, for example, it's likely wise that you don't request to follow if you don't know them personally!

Holly is available to hire on Reedsy

Answers provided by professionals available on reedsy.com

Even without a grand mystery at the center of your book, you can still grip agents by vividly defining the central conflict and stakes. High stakes help readers invest in your characters and stories; otherwise, there's no reason to care about the outcome of your book. So, make sure your query letter clearly shows what your protagonists stand to win or lose.

🧮 Combined, your hook and synopsis should make up around 50% of your letter. Since the letter should be max 400 words in total, that’s 200 words or less.

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4. Compare your book to published titles

At the end of your synopsis, you can mention some comparable titles (also known as comp titles) and authors to show that you’re going to be an informed publishing partner with an awareness of the market.

Q: What’s your number one tip for choosing effective comp titles?

Suggested answer

There are two kinds of comp titles: sales comps and editorial comps. An editorial comp is meant to convey the spirit of your book. It can be recent or old, it can be in the same genre as your book or not, it can be in another age range, it can even be a movie or a TV show instead of another book! An example might be starting your query letter by saying "Anne of Green Gables meets Star Trek in this contemporary middle grade novel about a girl adopted by the crew of a spaceship." Editorial comps are meant to tell agents and editors what they can expect from the content and tone of your book.

In contrast, sales comps are meant to show where your book fits in the current market. Your goal is to convince agents and editors that readers will want to buy your book by pointing them to similar books that have sold well. Sales comp titles should be recent (published in at least the last five years, but two years is better!). They should be in the same genre (if you write horror, only comp to other horror books. If you write romance, only comp to other romances). They should also be in the same age range (this is especially important if you write middle grade or young adult books. Always check the listed age range for a book: if it says it's for readers in the 8 to 12 range, then it's middle grade. If it says it's for readers in their teens, then it's YA).

When you write a query letter to agents, always try to include two or three sales comp titles. It's a great way to show agents that you pay attention to the market and read widely, and it's a chance to show agents that your book has a good chance of selling.

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There are a few ways you can go about it:

“X meets Y” — This classic “Hollywood formula” shows how your book combines elements from two different titles.

This book has the sprawling fantasy feel of Erin Morgenstern’s The Starless Sea with the dark feminist bent of Silvia Moreno-Garcia’s Mexican Gothic.

“For fans of” — You could identify a few authors whose writing style is reminiscent of your own and mention them as a reference point. 

For fans of Vera Kurian and Deanna Raybourn, this book is a sharp, riveting thriller.

“Comparable titles include:” — You could also try directly mentioning a couple of comp titles, as long as you’re confident the agent will know them and get the reference.

Comparable titles: The Iliac Crest by Cristina Rivera Garza, The Wonders by Elena Medel, Brickmakers by Selva Almada.

Read the full query letter example right here.

Overall, you want to make the agent think, “Ooh, I like those books! Maybe I’ll like this one as well.” However, avoid comparing your manuscript to:

  • Mega-successful books. You probably don’t have the next Harry Potter series.
  • Hyper-obscure books. They won’t be impressed, they'll just be bewildered.
  • Books that are too dissimilar.High Fidelity meets War and Peace” paints a weird picture.
  • Outdated books. Comparing your book to The Da Vinci Code might have been impressive 20 years ago, but today would make you seem totally out of the zeitgeist.

And now that the hard part is over, let’s talk about you: the author!

5. Pitch your author credentials  

Illustration of an author short bio

After your synopsis, write a short author bio to show what you’ve accomplished as a writer. This will give the agent a little bit more context about your publishing experience and potential. If you’ve already shown off some credentials in the greeting part, you can either skip this one or add more relevant information.

Q: Do agents and publishers consider publications in literary magazines or awards from writing contests when evaluating an author?

Suggested answer

Yes, they absolutely do! One of my friends recently got a publishing offer for her picture book from a relatively informal online contest. So, it happens! Contests with a large online community aspect also help writers connect with each other, and this is so important for a writer in the long term.

Short story publications in prestigious magazines are an important part of how writers in the literary genre build their careers. This also goes for publications in magazines or newspapers that carry prestige in any genre. The New York Times' Modern Love column has launched a couple memoirs. I would say, though, that these magazines are struggling to survive amid the noise of the internet.

For non-fiction and memoir writers, getting published in outlets that are relevant to your target audience can help build your "platform"--your authority on a topic, and how big of an audience you can tap into. You can often take chapters or excerpts of your book and send them out as essays to various publications. Even if an agent or publisher doesn't see these articles, listing those publishing credits in your proposal will help prove your authority on the topic.

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Here are some ways in which you can (subtly) toot your own horn:

Share your accomplishments

When presenting yourself, avoid rambling about your day job or literary ambitions. Instead, stick to your accomplishments. For example:

  • Have you had any books or short stories published?
  • Have you won any awards or writing contests?
  • Are you a graduate of a creative writing program?
  • Have you attended any writing conferences, workshops, or retreats?

If yes, mention the most impressive feats in a line or two. Here’s an example:

Read the full query letter example right here.

If you also have a significant social media following, this is the time to bring it up. It will let the agent know that you can help your book become a success. However, having an audience is more important for nonfiction authors than for novel writers. You could write something along these lines:

I gave a TEDx talk about effective communication in the digital age, was a speaker at the London Book Fair, and have 75,000 followers on Twitter.

Besides your accomplishments, you can share some relevant info about your background and why you’re the right person to write your book.

Reveal why the subject matter means so much to you

You could also mention your inspiration for writing your book or explain why you’re particularly suited to do this story justice. For example, this is what Sonora Reyes mentioned in her query letter for The Lesbiana's Guide to Catholic School:

I've written largely from my own experience as a queer first-generation immigrant who attended a Catholic high school.

Agents are often looking for unique and culturally relevant perspectives, so you can leverage yours as a selling point. 

But a simple one-line bio is fine

Overall, if you don’t have any quantifiable writing chops, it’s okay to write: “I live in Poughkeepsie with my wife and three kids. This is my first novel.” Many agents are open to debut authors and will mainly judge your letter on the story premise.

Now that you have all the essential ingredients of your query letter, it’s time to customize it and perfect the finer details.

6. Personalize to stand out from other queries

Querying is a numbers game 一 you’ll likely have to send dozens of letters before (hopefully) finding representation. While you might be tempted to blast agents with a one-size-fits-all letter, a bit of personalization can go a long way. 

Q: How does personalizing a query letter improve request rates, and what should be tailored?

Suggested answer

I'm more concerned with whether your query letter hooks me: I want your title, genre, word count and comp titles at the front. I am even curious to know why you are the exact person to write this book (e.g., 'I'm an arctic research scientist so I set my locked room mystery in a research base', etc). You can put info about yourself in a very short about section in your sign-off paragraph. That said, it doesn't hurt to include something specific to me. For example, suppose you listened to an interview where I said I'm interested in finding a particular type of novel that yours fits with, or you connected with something I posted on social media. In that case, it's good to include this. It makes me think you are keen to work with me and aren't just randomly querying. But with that said, as long as you address the letter to me and then write a strong, gripping query and telling me a small amount about yourself and what that means to you as a writer, I'm less concerned about you including extra personalisation directed at me.

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The baseline requirement is that you need to address your query to the agent's name; "Dear agent" letters sent out as shotgun emails to five hundred agents will get rejected quickly. Beyond that...my usual suggestion is to offer one or two sentences at the beginning of the query letter showing that you've done your homework. This can be as simple as "I saw on MSWL that you're looking for more multi-POV novels," or "I saw on your agency website that you're interested in cozy fantasy." This shows that you're respecting the agent's time by making sure that what you're sending is aligned with their tastes at the most basic level. Agents know that you're probably querying about ten people at once, and they're receiving perhaps hundreds of queries a day, but the personalization makes it a little more likely they'll spend some extra time looking at yours.

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I think a personalized query letter achieves the same aim as a piece of handwritten, personalized mail: it shows the sender has put thought and intention into what's enclosed.

As a small-press publisher, I certainly understand that manuscript submitting is a numbers game. Authors have every right to query their manuscripts to dozens of publishers and agents simultaneously. But no one wants to be treated like a row on a query tracking spreadsheet! Dear Sir/Madam, to whom it may concern, generic language about the submission's fit within my company's catalog of publications: these tactics suggest the author is taking a slapdash approach to submitting.

Conversely, when a submitting author can demonstrate their familiarity with my press, it comes as a huge relief to me. Of course, I don't expect every submitting author to buy a copy of book I've published before firing off their manuscript. But if an author can reference a title from my manuscript wish list, or if they address me by name, or if they can say in 1-2 sentences how their book aligns with my company's mission statement, then that goes a long way!

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As Reedsy editor and former agent Amy Bishop points out: “You can tell when the letter’s just a generic copy-and-paste job. It indicates that the author hasn't done their research on the agent or agency they're querying.”

That being said, the personalization should be sincere and thoughtful. You can include it in your letter’s opening, as mentioned in the first step, or after your author bio as a final note to conclude.

💡 Tip: Agents who prefer online submissions will sometimes add a specific form field (e.g., “Why A+ Literary Agency?” or “Why do you want to work with me?”) where you can write a custom message.

Reference their client list 

There are several ways you can add a personal touch to your letter. One of the easiest ones is to reference the agent’s existing clients:

I am a huge fan of your client, Michael Chabon. The setting of The Yiddish Policemen’s Union was a major influence on my novel.

Of course, don’t lie about liking a book or exaggerate your praise and enthusiasm. Most agents won’t want a sycophant for a client!

Reference their wish lists

Many agents make known their manuscript preferences by sharing their wish lists on Twitter or their own websites, which you can reference to personalize your pitch.

I see you’re looking for cozy mysteries geared towards Millennial readers. For this reason, I thought that Murders and Avocado Toasts might fit well on your list.

Agents are always looking for reasons to take a chance on a new author — and giving them a good reason to do so (like how it would help their career) is always a good idea.

Mention something they’ve said in public

Or if you want to do one better, refer to something that the agent has written or mentioned in public before.

I saw your presentation at the Literary Writers Conference last year, and your comments on the dearth of female protagonists in fantasy really resonated with me. My book attempts to redress that.

As with your praise of their clients, don’t lay it on too thick. If you tell an agent that something they tweeted “changed the course of your destiny,” they might find the prospect of meeting you in person a bit uncomfortable!

7. Close the letter by thanking the agent

Finally, end the letter with a formal salutation. 

Thanks for your consideration. I look forward to hearing from you.

 

Sincerely,
Your Name

No muss, no fuss. Don’t try to arrange a meeting or tell them how amazing it would be to work together. Just thank them and sign off!

A sample query letter with noted break down of its sections

Formatting rules of thumb

Before you send anything, don’t forget to double-check your formatting! Make sure to format your documents according to each agent’s submission guidelines, or else your query could be disregarded automatically (and regrettably).

Two primary methods to send queries are online submission forms (e.g., QueryManager) and email (e.g., Gmail or Outlook). Snail mail is extremely rare these days. Many authors prepare their letters in a Word or Google document and then copy-paste the text in the submission form or the email body, but you could also be asked to send your letter as a Word or PDF attachment. 

Q: When is it appropriate for authors to follow up on query letters, and how long should they wait before doing so?

Suggested answer

Check with the agency's or agent's guidelines on this; often, there will be something on the website or on the query form that will say something like, "If you don't hear back within X weeks, consider it a pass" or even, "Please wait X weeks before following up." Always follow the guidelines.

Unfortunately, it can take a long time to hear back--there are many more authors out there than there are industry professionals, and there just isn't as much time to dedicate to queries as we would like (it's also unpaid time). Most agents won't mind receiving a nudge, but I recommend waiting at least 3 months/12 weeks before doing so (unless they specify otherwise on their website). Keep it short and friendly and professional as possible. If they specify on their website not to nudge, please be respectful and don't nudge.

An exception would be if you have received an offer of rep or an offer to publish by an indie press. If that's the case, congratulations! Typically, you would contact any agent that still has your query (especially if they have requested pages) and give them a timeframe (usually about 10 days to 2 weeks) to get back to you by. (Please do not nudge with an offer of representation if you have not actually received an offer, though.) That way, they have the chance to prioritize your manuscript and counter with an offer, if they love it enough.

Sadly, if you don't hear back in another few weeks after a nudge, it's likely a pass, and I don't recommend nudging again.

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If in doubt, keep things simple with your letter formatting:

  • 12-point Arial or Times New Roman font
  • 1.5 or double line spacing
  • Separate your paragraphs with a simple blank line
  • Avoid indented paragraphs, colored fonts, or excessive bold and/or italic words

💼 A query letter is effectively a business email, so keep it as clean and professional as possible.

Similar formatting rules apply to the first few chapters of your manuscript, which authors are often asked to send alongside the letter. Use the template in our downloadable query kit to ensure your letter looks professional and ready to impress (see the top of this post).

8. Hire a professional editor for a query letter review

Finally, if you want to guarantee that your query letter is firing on all cylinders and taken seriously, you can get a query letter review from a professional editor. This will ensure that every part of your letter is perfectly honed — and perhaps more importantly, that you aren’t sending any red flags to agents.

Q: How do editors and agents evaluate whether a manuscript has commercial and craft potential?

Suggested answer

Potential is usually obvious in the first few sentences. The quality of the writing, pace and tone particularly, are evident from sentence one. But structure is important too, and if that's not in place, no amount of fine writing is going to fix it. So fine writing + tight structure (whatever these things look like in any given novel) is the clue that the manuscript has potential.

Potential is all about a writer being in control of their material. A writer I feel confident in from page one. The sense that although the manuscript isn't perfect and needs work, the writer fundamentally knows what they are doing. I look for a tone that fits the genre. This is really important, and often it's not working in manuscripts. Good pace is important too, again whatever that looks like in any given novel. This is often determined by the genre. For example, thrillers are pretty much defined by their fast pace, yet I've read many manuscripts described by their writers as thrillers that simply aren't, often due to slow pace.

Potential in a manuscript is always an exciting thing to find as an editor, and it is usually evident where a writer understands their genre, its pace, and its tone. That is a very strong start!

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The first thing I consider in a manuscript is how well the first line caught my attention and made me truly care. Even if is subconscious, readers are passing judgement on a piece immediately. This is why the first line is absolutely vital to setting up a successful manuscript. Unfortunately, most people have a very short attention span, and over 500,000 new fiction books are published each year, leaving no shortage of choices for readers. If a writer is adept at capturing an audience in just one line, it tells me they likely understand storytelling and know how to craft a narrative with a compelling voice.

Beyond this, I see potential in consistency. By this, I mean I always look for consistency in the voice throughout a manuscript and for characters to remain consistent in their choices or motivations. If characters are constantly doing strange and out-of-character things, it tells me the work is not well planned or fully developed. I look for plot consistency as well: is the central problem remaining the central problem, or have things drastically shifted somewhere along the way? If it has shifted, it is a sign that the original plotline/idea may not have been strong enough to carry the story.

I hope this helps! There are quite a few other small things I look for, but these are the two biggest ones I can typically spot right away.

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Why is getting a query letter review from a professional so much better than, say, having a friend read it over? Well, you’ll be able to work with an editor who’s actually been an acquiring editor for a publisher, or maybe even an agent themselves. This insider industry knowledge can be a game-changer for authors struggling to sell their books.

And compared to most editing costs, the cost of a query letter review is a real bargain — most Reedsy editors charge between $50 and $250 for this service. Considering that a compelling query letter could be your gateway to a generous advance and lucrative career as an author, it might be the best return on investment you'll ever get.

Get an expert editor to review your query letter

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Bryn D.

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Former publishing executive and author, specializing in romance and mystery. I give detailed, encouraging edits, and I help with querying!

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And that concludes our post on how to write a query letter! To see more query letter examples (and what you can expect from a query letter review), check out Part 3 in this series. We've posted letters from a range of genres that have been reviewed and improved by our very own Reedsy editors!

16 responses

Cheryl Charlesworth says:

02/11/2017 – 18:19

Best damn post this side of the Altantic....thank you.

↪️ Reedsy replied:

02/11/2017 – 23:23

Aw, thank you! Glad you liked it!

Olga GOA says:

02/11/2017 – 20:22

Hello. But how to find this agent? :D

↪️ Reedsy replied:

02/11/2017 – 23:24

Ah, that's where the research comes in. In the next few weeks we'll be following this post up with another one that will be all about researching agents. Watch this space, as they say :)

Mandy Suhre says:

12/11/2017 – 05:16

I write screenplays and poetry. Can anybody help with that? Please and thank you, Mandy (Suhre) Brown

↪️ Sadie Francis Skyheart replied:

28/08/2019 – 15:57

What Reedsy does for authors, ScreenwritingU does for screenwriters. If you haven't checked it out, I highly recommend!

Aleksandr says:

07/12/2017 – 14:59

At first glance, the recommendations are worth it to be read. You have perfectly divided everything into parts: grab the attention of the agent, write a brief overview. If our experience in such letters is not great, but you really want to get the result from such a letter, then it is better to go to a professional. Of course, is cool when you all know how. But sometimes, some things should be transferred to another, for the sake of result. You can write great articles like Neil https://neilpatel.com/blog/, or books like https://en.wikipedia.org/wiki/Stephen_King. But in attracting the attention of the agent can be much more difficult. After tens of unsuccessful attempts, I went to https://writingpaper.org/. I was perfectly satisfied with the work, and I got several meetings with agents that I needed. So sometimes it is important to distribute your efforts correctly.

Cher says:

31/07/2018 – 20:46

Thank you, thank you! This post is extremely helpful!!

jturkish says:

27/01/2019 – 23:13

Sorry folks, aside from the advice to pander to the audience in the first lines of your query and manuscript (which I don't agree with. If your manuscript is good you don't have to pander, have some respect for yourself and your audience! Besides, Gone Girl and especially Twilight, aren't very good novels,) and that your Synopsis should read like a Query Letter (I was trained that a Synopsis or Outline is just that, your entire novel as distilled as possible, ex: a two hundred page novel described completely in less than five pages, a description.) This is the exact same advice I've had in every other publishing column I've ever read, and what I foolishly spent twenty thousand to learn in college. Unless you are an absolute grass roots beginner, save your eyes, your time, and your sanity, for reading Agent's biographies and expectations instead of reading this column. And if you are a grass roots beginner (looking at you college creative writing class kids out there, of whom this page seems aimed at), do another edit on your book, or write another novel entirely. Get some experience under your belt, enjoy being an artist, join your school's society of uber geeks, drink beer, talk about your favorite books, read and critique each other's manuscripts, talk about your favorite Simpson's episodes, meet some very interesting people and incorporate them in your novels; before spending all your free time trying to break into the subjective rat race that is writing at a professional level. Don't worry, the writing biz will still be here when you graduate.

janis hutchinson says:

25/06/2019 – 20:52

I wish you also had an article describing a nonfiction (mine is Christian) query letter. Is there one somewhere?

Chloe says:

07/08/2019 – 19:29

When should I be worried if the agent doesn't respond back?

↪️ Yvonne replied:

08/08/2019 – 01:43

Hi Chloe, agents are very busy, so it could take a couple of weeks to even two or three months to get a response. Some literary agencies have guidelines posted on their website on when to follow up on an unanswered query — check those, as it could be helpful.

Chloe says:

07/08/2019 – 19:30

When should be get worried if the agent doesn't respond back?

Sadie Francis Skyheart says:

28/08/2019 – 15:58

Excellent advice. :-)

B.L. Alley says:

04/11/2019 – 19:56

As usual, this advice is geared toward those who already have a foot in the door.

↪️ Martin Cavannagh replied:

05/11/2019 – 14:14

Not really, to be fair... most agents will tell you that they will, at various points in the year, be looking through the "slush pile" for new authors to represent. These steps are designed to help totally unknown authors stand out from the countless authors who submit overlong, unfocuses query letters.

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