Agents

Sure, I Trust You

29 January 2015

From Kristine Kathryn Rusch:

Here’s the one sentence response that I expected to last week’s post  and didn’t receive:

I know some writers have had troubles, but my agent [editor/publisher] would never do something like that.

Am I optimistic enough to believe that writers—traditional and indie—are finally getting the message that they’re business people? And, as business people, they should operate under the trust-but-verify model?

Or have I simply trained the people who respond to my blog not to put that sentence on here? (And if that’s the answer, then how come I didn’t see that sentence in the comment threads on other sites?)

In the past, I’d put up a post challenging the numbers coming out of traditional publishing and half a dozen writers would defend traditional publishing, their agents, or their editors.

But so far, no one has—at least in the venues I’ve seen.

Does that finally mean that events of the last few years have proven to writers that traditional publishing does not hold a writer’s best interest at heart?

. . . .

It doesn’t matter how much you trust your editor or your agent, they’re not the ones handling every aspect of your career. You are. You are responsible for your career. And as such, you need to trust but verify.

In other words, you need to run your business as a business.

When I negotiate contracts, I always imagine that I’m negotiating with someone worse than the person I’m actually negotiating with. The easiest way to do this is to imagine that the person handling the other side’s negotiation gets fired or dies or moves to a better job, and gets replaced by a savvy spawn of Satan. That spawn of Satan will take every innocently drafted clause of the contract and twist it to his advantage.

My job, if I do it correctly, is to make certain that the clauses can only be interpreted as written.

. . . .

But there’s more to trusting and verifying than audit clauses or even a fiduciary responsibility.

There’s an attitude.

When I started in the publishing business, long-time professional writers told me that my relationship with my agent would be like a marriage. I was startled, because at that point, I had just come out of a divorce, and frankly, I didn’t want another. What I didn’t realize was that about six years hence, I would fire my then-agent and the experience would be lots worse than the divorce.

. . . .

Your editor might be nice, but the publishing company she works for is a corporation attached to a large international conglomerate. Whose attitudes do you think will triumph inside the corporation when it comes to dealing with your business relationship? Your nice, salaried editor’s or the corporate legal department’s? Your editor may be on the communication end of the contract negotiation, but you can bet cash money that she’s checking with legal before responding to your requests. She has to, or she’ll lose her job.

So, if something goes awry, your editor will not be able to help you. A lot of editors go dark when things go badly, and forward emails and paper communications directly to legal. Some editors try to maintain the relationship with their authors, only to lose their jobs in the process.

When it comes down to it, the business decision for the editor is pretty simple: Do I defend my author or do I keep the job that pays for my home and feeds my children?

. . . .

Imagining that these powerful people are protecting us is quite parental, isn’t it? And it’s flattering to think that our talent is so great that important people will do things for us so that we can concentrate on “what we’re good at.”

Only…they’re not doing these jobs for us. They’re doing the job for money. Agents get more than 15% for the work they do. Agents are only as powerful as their clients, so if they have powerful clients, the business grows. And many agents work hand in glove with publishers.

Agents run their own businesses, and again, that trumps anything they do for you. Given a choice between the good of the agency and the good of a single writer, they’ll choose the agency every time. (And so would you, if you were an agent.)

Link to the rest at Kristine Kathryn Rusch and thanks to Bruce for the tip.

Here’s a link to Kristine Kathryn Rusch’s books

Your Publisher Is Your New Best Friend. Not!

19 January 2015

From agent Janet Grant:

I’ve been thinking about an author’s relationship with his or her publisher recently, and it occurred to me that some of my clients have learned how to successfully maintain that relationship the hard way. So, to save some of you from those faux paus, lean in and listen (er, read) carefully.

. . . .

Here are five assumptions and behaviors to avoid since your publisher is not your new best friend.

1) Do not assume that what you say to one person stays with that person. (This is not Las Vegas.) Everyone at the publisher’s works daily with everyone else. Okay, that seems obvious, but think about the repercussions of, say, complaining to your editor that the person who wrote your back cover copy is lame-brained. Why, that  might be the individual the editor has lunch with almost every day. Hmm, your editor might not view you quite as favorably as she did a few minutes ago.

. . . .

3) Do not confess that you don’t read any books in the genre or category you’re writing in. You have just proclaimed that you’re writing with blinders on. That you don’t even particularly like your genre. Especially if you admit this to your editor, red flags will start snapping in the wind for her. Oh-oh, you don’t know the “rules” for your genre; how can you produce the best manuscript? Just how much work will she have to do to pull you from the brink of disaster?

. . . .

5) Do not divulge that your party-laden weekend left you debilitated on Monday and unable to work. Sure, you noticed the person you’re talking to on the phone or writing an email to has an active social life on the weekends. But your job still requires you to be working on your edits. You accepted certain responsibilities when you signed the contract, and the publisher handed money over to you to further motivate you to do your work.

Link to the rest at Books & Such

Polarization of Authors?

13 January 2015

From agent Kristin Nelson:

NINC is a terrific conference that caters to authors who are already multi-published. After attending last week, it’s clear to me that this conference is leaning more and more toward supporting authors who are exploring the indie-publishing route.

There was a decidedly anti-traditional-publisher sentiment in a lot of the panels that I both participated in and attended. This is not a commentary on the conference, by the way. It’s merely my observation. I think a lot of attendees would probably agree with my assessment.

But this is what worries me. I sense a widening division between authors who traditionally publish and authors who self-publish. And there’s no need for that. This is not an either/or question, nor is there only one right path to publication. (By the way, for what it’s worth, editors from “traditional” publishers much prefer the term “commercial” publisher.)

The conference vibe seemed to rest on a few assumptions:

1) That authors who stay with traditional publishers are stupid for doing so (not necessarily true) and that they can’t make a living/career by solely writing while partnering with a commercial publisher.

. . . .

2) That indie publishing is the only route for an author who wants to be in control of his/her career (not necessarily true, as agents negotiate a lot of things in contracts).

Link to the rest at Pub Rants and thanks to Al for the tip.

UPDATE: As of 10:00 AM US Eastern time, the Pub Rants site appeared to be down.

SECOND UPDATE: As of 4:30 US Eastern time, the Pub Rants site was back up.

Top 3 Reasons Why Fiction Manuscripts Get Rejected

11 January 2015

From Authors Publish:

My number is 28, what’s yours?  You know, the number of times a Literary Agent or Publishing House sent you the “Thank you, but no” letter.

As writers we research the best possible way to write a query letter; how to manipulate our 350 page manuscript into a one page synopsis. We review all possible avenues for our baby to grow into an adult.  Yet we are no closer to that elusive yes.

Haven’t you ever wanted to simply hit reply and ask why?  Well, I did, and you might be surprised to learn the answers.

A Literary Agent, an Editor, and a Published Author walk into a bar…

Sam Hiyate, Literary Agent – The Rights Factory

When asked what his top 3 reasons for rejecting fiction manuscripts were, Sam replied, “Three?  I only have one, but I can give you three examples.”

1)     I can’t sell it.

a.     I can’t get excited about it: When I get something in, it’s my job to get excited about the manuscript and to find people who will get just as energized.  I need a reason to read past the query, and a desire to absorb what I’m offered.

b.     The writing itself: All stories need to start sharply and carry on at a good pace.  They need to have a compelling plot or character we like or like to hate.  The best writers take you to a place you cannot even comprehend.  I need a reason to turn the page.

c.     The genre:  Every agent specializes.  There are certain genres we follow and have built relationships with publishers around those genres, and there are those we haven’t.  I won’t read a manuscript if it’s a poor fit for me, or it’s obvious the author hasn’t done their research.   People need to listen to what we represent – it’s those kinds of books we understand.

. . . .

Wendy Lawrance, Editor – Great War Literature Publishing

When asked what her top 3 reasons for rejecting fiction manuscripts for GWL were, Wendy said, “What, only three?”  After settling on 6 reasons we worked through how each directly related to the publishing arena and came up with the following as her top 3.

1)     Self-Publishing: This entity has become the bane of many traditional publishers’ lives.  Self-publishing is great in allowing first-time and unknown authors to get their work out there.  However, when a book has already been published, the traditional publisher has to think very hard about how much time and money they are willing to invest in a book which may give them several legal issues, may have already run its course (in terms of sales), or may have caused irreparable damage to the author’s reputation (if the book happened to suffer from poor editing and/or presentation).

. . . .

3)     Arrogance: This is a belief in the author that their book is better than anyone else’s, that it will be an automatic bestseller, and that they will be approached by multiple film studios for the movie rights.  Accompanying this is the belief that the publisher essentially owes them a contract with a hefty advance and immense royalty rates.  It’s good to have confidence in what you’ve written, but this can be taken too far.

. . . .

When I asked Wendy about the insurgence of self-publishing and its impact on traditional publishing, she not only focused on the importance of the issues mentioned above but the expectations of authors:

I would never say don’t self-publish, but if, having tried this, you decide it’s not for you and that you want to pursue traditional publishing, then, by all means, go ahead. However, I’d recommend doing it with a different book to the one you’ve produced yourself – although preferably not a sequel!

Those who anticipate that, if they self-publish, a traditional publisher will come along and snap them up, are being unrealistic.  This happens on only a very few occasions, when the publisher is certain they will get a return on their investment.  This also assumes that traditional publishers read self-published books all the time, which, bearing in mind how many new books are self-published every day, is impractical.

Link to the rest at Authors Publish and thanks to Catherine for the tip.

Why the Self-Published Ebook is No Longer the “New Query”

5 January 2015

From author Anne R. Allen:

A few years ago, soon after the debut of the Kindle e-reader, the world was buzzing with talk of self-published “Kindle Millionaires” like Amanda Hocking and John Locke, and big publishers were beating a path to the doors of all the newly successful self-published ebook writers.

Even modestly successful self-publishers were being approached by agents with offers of representation. Agents were actually urging authors to self-publish, as in this quote from agent Jenny Bent from Sept 7, 2011, which I gleefully quoted on this blog.

“Unpublished authors, do you have a great book but can’t find an agent? There’s no excuse not to get that book out there independently and prove to yourself and to the world that there is an audience for your writing.”

Soon after, as Ms. Bent said in an interview a few years later, an “industry” grew up of agents and publishers who approached Amazon bestsellers and offered them contracts. Some were more ethical than others, but many did get lucrative deals for their formerly self-pubbed clients.

. . . .

2) Ebooks provide higher profits than print, and the ebook market for your title may be tapped out.

An ebook doesn’t have to be printed, shipped or displayed in brick and mortar bookstores, and electrons don’t cost a thing. That means the profit to be made with an ebook is a much higher percentage than for a hard copy.

An indie title that has sold millions in ebook form has probably raked in the biggest profits already.

Even if sales can be expected to be brisk in print, the bottom line isn’t big enough to be worth the trouble for most publishers. Executives at the Big Five are loathe to put money into a print run for a book whose profits have peaked.

As agent Kristin Nelson said in November, “a St. Martin’s editor was willing to go on record to explain exactly why her house will no longer buy indie authors who have self-published ebooks that have gone on to be wildly successful. St. Martin’s claims their data shows that the ebook sales have already tapped out the market.”

This hasn’t always proved true, as in the case of Nelson’s client Hugh Howey and his Sci-Fi novel Wool, which went on to sell millions in hard copy after his phenomenal self-publishing debut. But Howey is the exception rather than the rule.

Since super-agent Nelson is well known for getting some of the biggest traditional deals for former self-publishers, her words have weight. If she no longer can get the Big Five to look at self-pubbed titles, it’s unlikely that other agents will be willing to try.

3) Some chain bookstores refuse to promote formerly self-published books

Nelson also says bookstores often refuse to promote former indies, even with an enticing “co-op” deal (that’s when publishers pay to rent the real estate in the front of a store to promote certain titles. )

Nelson was quoted in the Digital Reader, saying, “…even if a publisher buys a successful indie title intending to publish a trade paperback edition, and even if they’re willing to pay bookstore co-op, booksellers are reluctant to grant that title the physical retail space. They are simply turning down the co-op offer.”

I don’t know exactly why this is, but I have some theories.

By “chain bookstores” she may have meant Barnes and Noble specifically. B & N is a rival of Amazon, and they may see giving space to former indies as promoting Amazon, since indies generally make the majority of their sales on Amazon.

. . . .

5) Amazon is no longer the indie playground it used to be

Amazon’s algorithms no longer treat indies as equals with the same “also-boughts” and advantages they give their own growing list of imprints, so becoming a bestseller is a whole lot harder if you self-publish or go with a small press.

The Zon also requires that you stay exclusive with them in order to offer freebie runs and countdowns, plus the borrows everybody used to get with Amazon Prime. Plus borrows pay a lot less than they used to since Kindle Unlimited debuted last summer.

. . . .

But if your ultimate goal is a Big 5 contract…

Self-publishing is not the best path for authors who hope to have a “hybrid” career. If you want some of your titles to be traditionally published, you’ll have to go with the trads first, which means starting by querying agents.

Some YA agents say they still do check Wattpad for superstars with an eye to signing them as clients. But Wattpad is a social network where people give away chapters of their books for free, not a self-publishing platform.

Link to the rest at Anne R. Allen’s Blog and thanks to Suzie for the tip.

Here’s a link to Anne R. Allen’s books

PG found the information about tradpub concluding that successful indie ebooks have already tapped out the market for those books most interesting. If this is the case, PG suggests this is more evidence that tradpub doesn’t really give many authors a significant boost in the ebook world.

Wouldn’t you love an agent like this one?

4 January 2015

From The Book Deal:

Kimberley Cameron is a great example of how one innovative agent is dealing with the stonewalling risk-averse attitude these days of many mainstream commercial book publishers.

“Traditional publishers are rejecting so many quality books we’re submitting, by both debut authors and those with a solid track record of successful titles,” Kimberly told me recently. “We’re convinced these books have a market, so we started a new in-house imprint called Reputation books, with the tag Books we stand behind.

We’re publishing new titles and rights-reverted backlist books, and releasing them as eBooks, print-on-demand paperbacks, and even hardcover.”

Kimberly Cameron has been a player in the book world for more than twenty years. Writer’s Digest calls her a superstar agent.

. . . .

What percentage of writers who get in touch with you do you take on? And how many are debut authors?

We get thousands of submissions every year, mostly through email query letters, some through attending writers conferences, and take on less than one percent. About 80 percent of them are debut. I personally have about 50 to 100 authors at various stages of development, submission, publication and marketing. I wish I could clone myself and represent more.

What kind of advances are you getting these days?

Advances have gotten lower as the industry has changed, so sometimes I’m content with a few thousand for an unproven author. But I made a two-book $85,000 deal recently for a debut author. It was so satisfying to make that call to let her know. We’ve also made deals for more than $100,000 but not for first-time authors.

Why did you start Reputation Books?

We continue to sell books to the various big conglomerate imprints. For example, I recently sold a new author’s first thriller to Minotaur at St. Martin’s for a solid advance. But we also spend countless hours sending out manuscripts we love and believe in without finding a home for them. It can get frustrating to wait and wait and then be rejected. It’s not only a question of time, though, but an instinct, a feeling that we’ve exhausted all the old possibilities. So I believe that agents have to adapt to myriad transformations in publishing. Our role is constantly changing. It makes sense to step in and rescue those books that might never be published, and I like being a publisher.

Link to the rest at The Book Deal and thanks to Deb for the tip.

Update from a Slightly Less Terrified Author

29 November 2014

From author Heather Hill:

For those that have been following my progress, I have news. About a month ago I left my agent – a most amicable parting – and decided to go it alone again. I won’t go into my reasons here, but will just say that there were other avenues for me to explore and as she was in the progress of moving to another company, I decided not to go too.

. . . .

Publication of The New Mrs D was agent-assisted under Amazon KDP’s White Glove Program. For those who don’t know what this is, it is a self publication platform only available to agented authors. Your book is promoted on three Amazon pages in rotation with other White Glove Program books for a period of thirty days. In return, Amazon KDP requires a 6-month or a 12-month period of exclusivity. Some authors see a spike in sales during that 30-day period, while others see little, if any, difference.  In order to benefit from this 30 days of promotion, you must sign 15% of your royalties away to your agent. I decided to give it a go.

The New Mrs D hit the UK humour best-sellers list within a day of becoming available for pre-sale. And not long afterwards, it was chosen for a Kindle Daily Deal promotion on the Australian Amazon site. For one day only it appeared on the Kindle Daily Deal home page and subsequently sold 857 copies in that day, rocketing it to no1 bestseller over all.

. . . .

This afforded me a steady income, good enough to fund more advertising, giveaways and keep me writing. So when my agent and I parted ways, I asked what would happen to my eBook rights, currently held by her previous agency, if I took them back. The answer was ‘nothing, it’s fine. They have agreed to transfer the rights to you and you won’t lose any of your reviews or sales rankings.’ ‘Happy days,’ said I. ‘Let’s do it.’
For two whole weeks I continued to plug my book, putting links in everything I wrote and even began planning a few free days on KDP. I contacted over 40 free ebook websites telling them of the dates of my promotion. Then, I tried to see my sales reports, which were originally held by the agency so I could only see them if I asked for them. Assuming they were now moved to me, I had a peek and found: NOTHING. Not one sale. Despite my novel appearing to still sitting comfortably in the Amazon Australia Humour Top 100.

I contacted Amazon, who then pointed out that I now in fact had TWO ebooks on there. The original one, still with my old agency, and a newly published one which was the one I was looking at that had no sales. I wasn’t seeing sales reports because the original sales were still going to the agency. The one I had was only visible to me. I hadn’t noticed the new ASIN number.

I contacted my ex-agent agent, who came back to me the very next day to say it was all sorted out now and very sorry for the confusion. The rights were now mine. I still had my reviews and sales rankings. Brilliant! Except… I didn’t.

The agency unpublished the original eBook (without telling me or my agent) and it crashed out of the charts, leaving me with a newly published copy that couldn’t be seen or found by anyone. I’d gone from making a modest income, which in truth was like oxygen to us, to none – at the click of a button. I telephoned the agency, naturally, to be told, ‘we’re very sorry. It can’t be undone.’

Link to the rest at @Hill4Heather.com and thanks to Margaret for the tip.

Here’s a link to Heather Hill’s book

Good Practice Guidelines for New Agenting Services

25 November 2014

From the Association of Authors’ Agents, an association of British agents:

In recent years, the industry has diversified significantly. Whilst members continue to serve authors by selling rights in their work to third parties and to be paid by commission for such work, many literary agencies are now offering a wider range of services to clients than they used to and a broader framework of good practice is required.

 These guidelines to which members of the AAA are required to adhere are not intended to amend or replace the terms of the Code of Practice, which remains paramount. Members are reminded that an agent has an overriding fiduciary duty to act in the best interests of their client at all times.

 1. Members shall clearly set out in writing their terms of business with regard to all services offered to an author, for example in a client agreement or in an addendum to an existing client agreement. Where appropriate, members shall explain clearly what services they offer, for example what processes they undertake when assisting a client to self-publish.

. . . .

4. When a member, in assisting an author to self-publish, agrees to terms with any retailer on the author’s behalf, they should first draw the author’s attention to the terms and conditions and emphasise any clauses of particular interest or relevance, for example any exclusivity requirements or pricing regulations. The member should ensure that the author understands the implications of what they are signing (and that such terms and conditions may be subject to change without notice) and what other options are available and should suggest that the client may wish to take third party advice from the Society of Authors or a lawyer.

5. When a member assists a client to self-publish, they may be required to agree to certain obligations, to make warranties and to grant certain rights to retailers or to distributors which would usually be made or granted by the author or publisher and not by his or her agent. If the member is required to make such agreements on his/her own or on the author’s behalf, he/she shall first of all draw the author’s attention to and explain the details of the proposed agreement and obtain the author’s written permission to make it. If appropriate, the member shall transfer certain of such warranties and obligations (such as that the work is not libellous) to the author by written agreement.

. . . .

 11. When members assist authors to self-publish, they shall not act in any way which would prevent or deter an author from resigning from their agency on notice. The written terms for such arrangements should include reasonable provision for the author regaining control over all aspects of their self-publishing in the event of the author resigning from the agency, including provision, if the author asks for their work to be ‘un-published’ from a retail platform, for the member to serve notice to that effect without delay subject to any exclusivity period entered into with a third party with the author’s original consent.  In the event of an author resigning from the agency the member shall return to the author all documents and property originally given to the member by the author and documents prepared by the member on the instruction of the author although the member is of course free to retain copies of contracts they negotiated.

. . . .

 13. No member shall engage the services of a client for example as a writer-for-hire or a co-writer or co-owner of Intellectual Property or copyright, or licence rights from a client, without declaring to the client in writing any proprietary or profitable interest stemming from such an arrangement and should suggest that the client may wish to take third party legal advice prior to making any such formal agreement with the agency. If the member should have a profitable interest in a contract beyond normal commission arrangements as set out in the client agreement, then the member may not charge commission on the client’s share of the earnings from such a contract.

Link to the rest at the Association of Authors’ Agents and thanks to Diana for the tip.

The problem with literary agents

20 November 2014

From The New Republic:

Looking for literary “representation”? Have you written, oh, let’s say, a collection of linked essays about poets and poetry, published in online journals, that would make an elegant and modestly remunerative little volume to be shepherded through the publishing process by an astute and learned literary agent? In that case (or as you might have guessed, in my case) you might consider recasting your mediations on Sylvia Plath and Catullus as a teenage vampire novel or as a memoir about your triumph over bad parenting, because, as far as the vast majority of American literary agencies are concerned, the book you’ve written is radioactive.

Everyone’s trying to make a buck and literary agencies can hardly be faulted for interesting themselves in what sells rather than in what doesn’t, or at least not so much. The problem, as one bracingly honest agent confided to me in the course of one of my innumerable rejections, is that the notion of “sales” has narrowed nearly to the vanishing point. Almost all agencies, he told me, are looking for one of two things: bestseller potential or the possibility of media adaptations. Although Edmund Wilson once contemplated a movie version of Axel’s Castle that would have featured Adolphe Menjou as Marcel Proust and the Marx Brothers as James Joyce, he could afford to joke about it. Would Axel’s Castle even be published today? I’m not so sure.

Let us hope that what that agent told me was a gross exaggeration born out of personal disenchantment. (Everyone in the publishing industry these days seems pretty disgruntled.) After all, good and serious books still manage to get published. Yet after plowing through hundreds of agency websites, I find it hard to believe that many other good and serious books aren’t being stopped dead in their tracks. The nomenclature is the first tip off. Nothing wrong with a little business jargon, but must they call themselves “boutique agencies” or, even worse, “full-service boutique agencies,” which, rather than lending the snob cachet so obviously intended, makes them sound like massage parlors? Far worse than any unfortunate phraseology is the resistance to ideas that contradicts the otherwise high-sounding claims made on so many of the agencies’ websites. “Character driven fiction,” “concept driven nonfiction,” “narrative nonfiction,” “exceptional stories,” “inspirational memoirs”: all of these things have their place in the literary universe and have made for many, many wonderful books, but with one or two honorable exceptions, you will find no equivalent wish lists for “language driven fiction,” or “tightly reasoned argument,” or “uninspiring memoirs.”

Unlike furiously anti-establishment bloggers, I have no problem with the role played by literary agents as cultural gatekeepers. There are far too many writers out there, and if the good ones are not to be buried by the bad ones, agents have an obligation to recognize and nurture talent that might otherwise go undetected.

Link to the rest at The New Republic and thanks to Nate for the tip.

My Computer is Trying to Destroy Me (And Other Writing Fears)

1 November 2014

From author Megan Grey via The Fictorians:

With Halloween only a few days away, this is perfect time of year to explore the fears we writers often face. And if my own experience is any indication, we writers have lots of things that can strike terror into our neurotic little hearts: Rejections. Pitch sessions. Criticism. Rewrites. More rewrites. Our laptops deciding to drunk-query our dream agents.

Maybe I should explain that last one.

With my first novel (at least, my first submission-worthy novel) written and rewritten and rewritten again, I faced the much-dreaded next step. It was time to query agents. I spent weeks crafting the perfect query, and researching which agents would (in my estimation) be the best fit. Then I spent a few extra weeks procrastinating sending it, for a host of what seemed like perfectly reasonable excuses at the time, but really boiled down to one: fear.

Late one night, after bolstering my courage with approximately 8.3 pounds of dark chocolate M&Ms (as a Mormon, I don’t drink alcohol or smoke, so I heavily abuse chocolate instead), I readied this perfect query email to one of my top agents, took a deep breath, and hit send.

. . . .

A quick scan revealed it had indeed sent, and seemed to be formatted fine. I was just about to close it and ease my paranoia with a few extra M&Ms when something horrible caught my eye. At the end of my query, where I could have sworn I had written “Thank you so much for your time“, this email read “Thank yo.”

Thank YO?!? After about a millisecond of debating whether I had the street cred to pull that sort of nonchalance off (I don’t), I quickly decided to send another one. Surely if agents see two of the same queries in their inbox, they’d only read the most recent, right?

. . . .

 This time, when I checked the sent folder, my horror doubled. Not only did this one also end with “Thank yo“, but my computer had somehow deleted the latter half of several of my sentences. So now I had two queries to one of the top agents in publishing, both of which made me appear that I was querying while intoxicatedOr a complete idiot. Or, most likely, both.

Link to the rest at The Fictorians

 

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