Tag: how to

“I can tell from the first page what genre your novel is probably going to be. If I’m wrong about what genre it’s going to be based on the first page, then, honestly . . . there’s probably something with the writing that the writer needs to look at.”

 

I saw this question on Quora the other day: how does a literary agent know from the first 10 pages if the novel is worthy or not?

 

First, let’s discuss the meaning of the word “worthy.” What exactly does the writer mean when she says “worthy?” Presumably “worthy” means worthy to be published: is it a good novel, is it a good story, is it something marketable it’s something that an agent would be interested in, is it something an editor would be interested in?

 

The issue we have here is, your first step in querying agents and editors is to make sure you are querying the correct person for your work. You don’t want to send a horror novel to someone who exclusively represents romance, for example. In this instance, the literary agent knows from the first page, and certainly by 10 pages in, whether or not you have submitted the right genre to that agent or that editor.

 

Most novels are going to be able to establish their genre well within the first 10 pages, and often within the first page. I run a service on Fiverr where I critique the first page of people’s novels, and every once in a while someone will say, “Well, but how can you tell from the first page if it’s any good?” It’s because when you read as many manuscripts as I do, (never mind how many agents read!) and this many books, this many query letters, I can tell from the first page what genre this is probably going to be. If I’m wrong about what genre this is going to be based on the first page, then, honestly, there’s probably something with the writing that the writer needs to look at.

 

Every Sunday night at 6 p.m. Pacific time, we host a live stream called First Page Sunday. We use my first pages or first pages from published novels or first pages that have been submitted to the show, and we read them and give a quick—very friendly but professional—critique about that first page. More often than not you will be able to tell what genre this story is going to be based on the first sentence, certainly in the first page, and never mind 10 pages.

 

By 10 pages into any book we should be well-established into what kind of book this is going to be, because in those first 10 pages, you’re establishing character; you’re establishing tone; you’re establishing voice; and a really good writer is probably even going to introduce the main conflict of the story. We may not know what it is for sure, but it’s probably going to be there at least in the background if not introduced outright.

 

If you think about some of your favorite stories and go back and read the first 10 pages, you will probably start to see that we know who the main character is; we know that they are headed into some kind of trouble, and hopefully (more often than not) they’re headed into trouble because of a choice they have just made that is going to forever alter the trajectory of their life. All of these things, generally speaking, are going to occur in the first 10 pages. If none of those things occur in the first 10 pages, then that’s how a literary agent is going to say “This isn’t ‘worthy.’”

 

Using the word “worthy” here makes me feel as though the writer believes that something can be objectively good or objectively bad; objectively worthy or objectively unworthy. That’s simply not true. There is, simply and frankly, no accounting for taste. That’s something writers will face when submitting to any agent.

 

Maybe you have written a romance novel, a traditional contemporary romance, and it has a happily-ever-after (HEA) ending. All of your friends say it’s good, your beta readers, your critique partners . . . everybody says it’s great. You send it off to 20 or 30 or 50 agents and they all reject you. Oh my god, you’re not worthy!!!

 

Right?

 

Of course not! That’s absurd. Don’t ever think that.

 

(aside: Do as I say not as I do…)

 

The fact that your awesome romance novel has been rejected by 20 or 30 or 50 agents doesn’t mean you’re not worthy; it doesn’t mean the story isn’t worthy of being published. It means a million different things that you have zero control over. Maybe the agent was having a bad day. Maybe she just got five other manuscripts that sound a lot like yours. Maybe she’s not sure if she’s gonna be keeping her job or not. Maybe her mom and dad are really p.m. sick and she has to care for them and so she’s more focused on that at the moment.

 

There are so many different things that go into an agent choosing to represent or not represent a novel. One of them—and please listen carefully to this—that you cannot ever control is simply this: maybe it wasn’t a good fit.

 

I promise at some point in your career, if you’re going in the traditional market, you will get rejection letters that say “It just wasn’t a good fit.” Every writer who gets that rejection says, “Oh my god! What on earth does that mean??”

 

It means it wasn’t a good fit.

 

There were agents who p.m. passed on Harry Potter. Who said, “This isn’t a good fit.” You might hear that story and say, “That shows them! They didn’t pick up this smash hit! I bet they wish they’d picked up Harry Potter, hahaha!”

 

The reality: In terms of wishing they had that kind of money? Sure, of course they wish they had that.

 

Do they wish they’d picked up Harry Potter? Probably not. They said no because it wasn’t a good fit.

 

That is something we writers and authors need to accept and really get into our bloodstream. Sometimes it is literally that simple. I’ve gotten rejection letters from agents and editors like, “This is awesome, I love it, you’ve got a great voice! . . . It’s just not for me.” So you move on. You can’t bother getting upset by it.

 

By page 10 we ought to know who the main character is, an idea of what the conflict is going to be, and the voice and tone of the novel. The lesson here is to make sure that your tone and your voice is consistent. That’s one of the takeaways I want you to have when you start your novel, wherever you end up choosing to start it. You’re establishing a world and you establish that world on the first page. There’s no escaping it. Whatever it is you’re establishing on that first page needs to carry through the rest of the book.

 

I opened up my science-fiction book club novel—Hounded, by Kevin Hearne—and on page one, there is no question what type of book this is going to be. (The link will take you to the book’s Amazon page, where you can Look Inside.) I don’t know the main conflict on page one but I know the tone, I know the protagonist, I know what he’s capable of, I know the world that we’re getting into. Hearne is able to put all of that into the first page. By page 10, we absolutely know where the story is going.

 

That’s just good writing. Whether you subjectively feel it’s a good book is up to you. I’m going to finish the book, and I may end up not liking the book; that’s up to me as the reader. But was the job accomplished? Yes, I think you can critically look at the book and critically determine whether or not Kevin Hearne has done his job as the writer.

 

Keep writing!

 

(And if you need more advice and feedback on your work, consider joining us at Patreon for only $5 a month.)