Alright, buckle in folks, time to pour some tea and make a salt circle that is probably going to get me in loads of trouble later. But there’s some things that current professors don’t know about the querying process, because most of them have had agents for at least the last five to ten years, and thus aren’t aware of some of the new quirks. Let me tell you the myth as I heard it. Be prepared for lots of rejections, insert Stephen King story about the railroad spike here. Feel lucky to get even one agent’s attention, and then you can shop later once you have proven your books sell. Your relationship with your agent should be like finding a spouse, so feel free to be a little choosey and patience.
Let’s tackle this bit by bit. Let’s start with the rejections. I am going to say 60 to 75% of the time, you aren’t going to get a response at all. The silence is meant to be a rejection, but for those with outrageously long wait times, that can be painful as all get out. Sometimes, you’ll at least get an auto-response saying that your query was received and here’s how long you’ll have to wait, but don’t bet on it being accurate. The only part that is accurate is expect lots of either returned or ignored type rejections. There’s even more agents now than ever, so you’ll have a huge field to go through. You definitely need to verify every agent that you run across–there are a lot of predators out there taking advantage of the high numbers of agents.
As for lucky getting an agent… Okay, here’s a weird trend I noticed. Very rarely did anyone I hear squealing on Twitter or QueryTracker say they got one agent. Because the next step after one positive reaction…is tell everyone else that you got an offer. It became clear to me that agents rushed to anything anyone smelled at being decent. All it took was one offer, and you could end up with nine or ten offers because one person took the time to decide your book was worth something. It’s a lot like the pitch events on Twitter, with all the agents flocking to whatever someone else liked. It seems like a lot less investment in one person and a lot more following the pack. But because of this, and publishers only putting out a few new books a year and trusting too much in their best sellers and putting all their money in one basket, it’s a lot harder for good books to get read at all.
As for being choosey and patient, well, I agree with the patient part. I was perhaps overly patient. But choosey? That depends. As part of getting your query letter, synopsis, and first fifty pages prepped, you definitely also need to really boil down what you need from an agent. In my case, I had to have someone who enjoyed some element of fantasy. Everything else, I was a lot more flexible on, but I was aware of the “tags” in case it was on someone’s no list: LGBTA+ friendly, romance could go either way, female protagonist, young adult. Know what an agent absolutely has to have an interest in, and then be aware of the other aspects of your book in case it will turn an agent off. I would also look at other writers’ critique of querying an agent on Twitter or QueryTracker. Writers will usually post warnings, such as people never getting back to you even after you give them a full, or warnings of stuff going on in agent’s personal life so have extra patience. But after that? Keep the field as broad as you can. Once you are out of agents, you are out.
Back to me being too patient. I figured out in my process where my line in the sand was, and that was communication. I would wait and wait and wait, as long as the agent kept in touch with me and told me that they weren’t going to meet the deadline they gave me, but here was the updated one. I would wait for months if not a year if you kept in contact with me. Why? Because I understand that life happens. I’ve had the flu twice this year already, and I lost every pet but one last year. I know it dearly. As long as you are talking to me, I will give you the time you need. But ignoring me when I ask for updates after you’ve missed the deadline is now my newest pet peeve ever. I highly recommend that you figure out where your line is, so you can approach queries without it being a frustrating process. As soon as your line is crossed, withdraw your submission and move on.
I’m not really bitter about the querying process. Do I think it’s antiquated? Yes. Do I think it could be a lot better managed? Yes. Will I do it again for White Dragon, Black Lark? …Eh. It’s going to depend on if it is long enough to actually be considered by agents as a book, since most don’t represent novellas. It stands a better chance than Ten, which is the stepping stone of a series and it appears that agents aren’t playing with series anymore. But I will definitely be approaching querying from a different stand point, now that I know how things have changed. I’ll probably do the pitch events first for an initial interest, and then start combing Query Tracker.
Look, getting published is hard. It’s a constantly evolving game. I’m not mad at my professors for not preparing me–they are out of that game, and have been for a while. They all have agents, and can even play against them if they need to because they have the experience and contacts to do so. But someone starting out in this business doesn’t have that, and everywhere you go digging, you’ll find people looking to charge you hundreds of dollars to prep your book for agents, and that’s just crap. Unless your grammar or plot structure is just awful, it isn’t going to do anything except slap a coat of paint over a barn that your agent (if you do get one) will ask you to rebuild anyway.
So just go in with open eyes, and try to see what is trending or starting to trend for agents. I’m not saying write to trend, that’s near impossible. But it will at least let you know if you need to sit on a manuscript until series are big again (or give up and go self-published with that bit), or if fantasy has gone down a weird path you can’t follow and you need to wait for it to swing around your way again…or maybe the weird path is your way and you need to hurry and finish! Keeping your thumb on how the query game is changing is the biggest piece of advice I can give you. Otherwise, you are going to come in confused from the start like I did.
Tabletop RPG: Serenity the RPG System Thoughts
(After a long drought, finally an RP post! Sorry ya’ll, I had the plague and it will not go away.)
So I had bought the Serenity the Roleplaying Game’s book ages ago, along with a big old Verse map and a giant book about a specific cargo run. Why? Because I was interested in seeing how playable it was. Now, the book itself isn’t laid out in the most logical of senses, and sometimes it seems a bit screwy to me. I’m not going to critique the system as a whole, but instead, talk about how it plays.
I ran it this last weekend for a group of three players. It was specifically meant to be short, one or two sessions, three at an absolute maximum that I didn’t see happening, and so in an effort to keep it short, I chose to use one of the episodes of the series (“The Train Job”) as my framework. Bonus, most of my players had either never seen the show, seen only a small percentage of it, or hadn’t seen it in well over ten years and had since forgotten a large chunk of it. I had no worries about them actually recognizing what I was up to.
The game started off a little shaky–I’m not used to DMing, and I was trying to think of how to describe something I had seen in a show to convey exactly the right tone. But as the players started to make their plan and I got comfortable, we all started to enjoy ourselves. This is where the good parts of the game really started to show themselves. It isn’t loaded down with rules and schematics, but instead relies on the imaginations of the players and the DM, and on the way that they RP things out. It also gives some players a bit of flux.
What I mean by that is the use of Plot Points. I know of other DMs who will deliberately fudge rolls if a character rolls poorly and it may lead to someone having a bad night, or for similar reasons. Serenity makes that almost unnecessary with the use of Plot Points, provided the characters haven’t been just slinging them around. By really using them when they can tell a roll is important, it lets them get the desierable outcome without some…somewhat shady but good intentioned shady…actions on behalf of a DM, which I can appreciate.
That being said, 1’s still happen, and critical failures can lead to problems. But I’ve taken the stance that just because you failed the roll it doesn’t mean something catastrophic has to happen, and depending on what it is, the party isn’t screwed. In my most memorable case from this last weekend, one failed the hiding roll with a 1 while the other did really well. So I did something like you’d see out of a comedy skit to explain how both got hidden because of how well the other person rolled covering for both of them. Everything still proceeds, and everyone at the table got a laugh out of it. Failures don’t have to mean instant-death, and I was glad to get to DM something like that.
Is the lack of detail sometimes annoying? Oh very. And the rate of lethal damage applied to the weapons, while realistic, means that combat is never going to go well, and I’m still thinking about how to balance that out in a longer game. I also have to figure out whether I’d want to do something similar to Whedon’s work, where there is a long arc that we’re building to but a lot of it plays out in small moments, or if I want the long arc to be the focus with occasional side jobs. But that comes back to the flexibility of the system. It really lets you run the type of game that you want to run.
I don’t know if I would recommend this system for a newbie DM and newbie group of players. It’s not laid out in a way that’s neat, there’s a lot of holes, and the combat is harsh. But for a group that has messed around with a few systems, it is pretty forgiving to let them let their hair down for a bit. As a newbie DM, I had the advantage of knowing the world best, which gave me the measure of control that as DM I need to have any kind of confidence. With a group of die-hard Firefly fanatics, that isn’t going to be the case…but other new DMs may not have my anxiety crutches, so your mileage is just going to vary on that front.
If I can trust my players to stay off my blog, I might talk about the planning I go into for longer campaigns, but that’s a big maybe. I wouldn’t want to accidentally spoil anyone’s backstory or arc for them, and that will cause sour feelings. (Plus some of the players are uber private, which I respect.) In the meantime, if you can get your hands on the book or a PDF of it, it’s worth a page-through at the very least.
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