This might turn into multi-posts once I’ve finished reading through January’s unagented submissions, but for the time-being, I wanted to give a general idea of what goes behind my process when selecting queries to move onto my long long long list or ultimately, pass on.

But before we get to all that, let’s start at the beginning.

As a publisher, I’m normally only open to submissions sent to me by agents, but because I’m keen to amplify voices that are new and emerging, or who might otherwise be overlooked by traditional publishing, I periodically open my submission inbox to unagented writers (Trust me: it’s worth it. There are so many fantastic manuscripts floating out there without a home). However, without close/open periods, an editor can get overwhelmed.

This January, I opened for 2 weeks to unagented manuscripts. In that time, I received 300 submissions. This might not be a lot for other editors, but considering I will choose between 0-2 manuscripts from that pile, that’s a lot!

I initially read the query letter before the synopsis and opening chapters. This is where a chunk of culling happens. I try to be as clear and transparent about what I’m looking for via blog posts and manuscript wish lists (keep in mind that these are not prescriptive or all encompassing but they do give an idea of what I am and am not looking for). If a query is for a 150K-word high fantasy saga, it’s pretty much an automatic pass. I’m not the right publisher for this sort of genre. In fact anything that is super genre-y will most likely not be the best fit for the company. Also, you shouldn’t be querying a manuscript to anyone if you haven’t even finished it.

But most likely, an automatic pass will be because someone just didn’t write anything! Query letters are tough; I get it. There’s conflicting information on the internet but there are general industry standards (title, word count, genre, comp titles, a quick plot synopsis, and a smidge about yourself). I even indicate this on the submission page, plus give an example that can be tailored (I try to be very upfront about what a query letter should be as I know not everyone is coming into this with all the privilege of knowledge).

If you only write – Please find my manuscript attached. Cheers! – I will not keep reading. I need to know what your book is about. It’s that simple. If I just can’t figure out anything about your book, that will put you in the pass column. By that I also mean, you wrote five paragraphs about yourself but nary a single mention of your book or you wrote a lot about themes and motifs but didn’t describe the plot.

If I haven’t already made it clear, you really, really need to tell an editor or agent what your book is about and include the genre, word count and comp titles (more on comp titles in another post).

Also, if you address me as ‘Dear Sir…” (or ‘Dear Sir/Madam’), I’m going to put as much effort and presumption into your query as you did sending it to me. If you assume only men are reading and considering your work, I will auto decline for your laziness and sexism. The laziness is for not even bothering to look up who you’re pitching to and whether we’re a good fit (or if you know anything about the company itself).

I explicitly requested only standalone novels as I don’t currently publish series, trilogies or duologies, so if you sent the first part in your series, I’m afraid I had to decline.

So, why might I initially decline a submission:

• Not the right fit for what I’m looking for
• I have no idea what your book is about (did I already mention this?)
• Way outside the word count
• Laziness and/or sexism
• Sent an instalment in a series, trilogy or duology

But let’s dig deeper. You have all the right stuff: sharpened query letter and a good genre fit.

This is where things can be super subjective and sometimes come down to a business reason. Are you pitching a book that sounds a lot like one that is already on my list? Because I’m a small publisher, it’s a tough sell to have two such alike books sitting next to each other. I already have a book coming out in April that involves a grieving couple doing up an old haunted house. You know what I receive a lot of now? Books about a grieving couple doing up an old haunted house. But don’t worry! That’s not an evaluation of your book’s quality or general marketability. It really is business. I aim to publish 2-6 titles a year. The list is very selective.

Also, it really comes down to taste. Maybe I just had a hard time connecting with your book, plot, writing style.

And, ultimately, when I have an open period, I select so few or no manuscripts at all. So the chances are hard. It might come down to that someone is just millimetres ahead of yours. There have been books on my previous short lists that I ended up passing on but found homes swiftly with other publishers.

So, why might I eventually decline a submission:

• It’s a business decision
• I wish I could connect more strongly with your writing, plot, characters, etc.
• I just connected more with someone else’s book

This isn’t a complete working of my selection process but I hope it does pull the curtains back a little.

The first step is grabbing an editor or agent’s attention with a clear letter that outlines:

1. Title, word count, genre, 2-3 comp titles
2. A logline is optional but really great especially since I read letters multiple times throughout the process; it’s a quickie call back to remind me of your book when I’m reading the opening chapters and synopsis
3. 1-2 plot paragraphs (introduce your character, the premise, the stakes and the payoff)
4. Sign off paragraph (a little about yourself and why you are the writer for this specific book)
5. Grants, awards, etc are not necessary but it’s good to add them in your sign off. Any way that you could indicate you’re serious about your writing is useful (magazine publications; writing groups; online courses; book club at the library; you don’t need to be a prize winner to get this across).

The second step is your manuscript itself:

• Grab me from the first page. Even better, the first paragraph. Actually, make that the opening sentence!
• Sometimes writers are just not starting their book in the right place. If you need to get the narrative going by having your character wake up, put on their shoes and make some incidental observations, write that! But then cut it and start on page 15 where the narrative really focuses.