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The query letter has one purpose, and one purpose only: to seduce the agent or editor into reading or requesting your work.

The query letter is so much of a sales piece that it’s possible to write one without having written a word of the manuscript. All it requires is a firm grasp of the story premise—the most essential part of the query for a novelist or memoirist.

Every query has two components that affect agent or editor response:

1. The book’s premise and the appeal of that premise in the current market (which is ever changing).
2. How compellingly you have packaged or described that premise in about 200–400 words.

This class will directly help you with the second issue, as well as offer methods of determining whether the first issue might be a problem. Jane has edited more than 5,000 query letters during her career and has literally seen it all. Her industry experience gives her exceptional insight into what agents and editors see all the time, and what will or will not be memorable.

The reality check: Even the best query letter cannot remedy a lackluster or problematic story premise. But a good query can help emphasize a work’s strengths and attempt to minimize its weaknesses. The agent or editor has to be intrigued by the story idea and characters, and that comes from you, the writer. If you do your job particularly well, the agent or editor may ask if you have any other projects in the pipeline, or otherwise open the door to further conversation.

For some writers, the query will represent a completely different way of thinking about their book—because it means thinking about one’s work as a product to be sold. It helps to have some distance from your work to see its salable qualities.

Feedback opportunity: If you’re open to having your query used as part of the presentation for constructive critique (Jane will be kind), you can include a draft when you register. Your identity will be kept confidential, but of course your story details will not. Keep in mind that only a handful of registrants will see their materials critiqued during this session, and it won’t be a formal or full critique. But it’ll still be fun and useful!

What you’ll learn

• The key elements that every novel or memoir query letter needs, and what’s optional
• What a story premise should include and how to avoid getting overly detailed
• How to avoid the dreaded laundry-list quality in your story premise
• What strong comparable titles look like and what to do if you’re failing to find decent comps
• What to say in your bio note, especially if you’ve never published a thing to your name
• The appropriate length for a query letter
• How much you should discuss the target readership of your work
• How much you should get into marketing plans or platform-related information
• What self-published authors should do when querying for a new work or an existing, self-published book (but here’s the answer to the latter—it will save you money and time)
• Informed guidance on breaking the rules

Who should take this class

• Any novelist preparing to query agents or editors, especially those pitching for the first time
• Any memoirist preparing to query agents or editors—again, especially first-timers
• Creative writing students and graduates of MFA programs

Who should avoid this class

• Children’s picture book writers. The query letter holds very little weight because you submit the entire manuscript on first contact. Even if the query isn’t that good, most agents or editors will flip through the manuscript because it’s short.
• Poets. One doesn’t pitch poetry so much as submit it for consideration. There is almost never a story premise or pitch. Agents rarely sell or accept poetry collections.
• Nonfiction writers who are not memoirists (e.g., essay collections, self-help, business, narrative nonfiction)
• Writers of experimental or hybrid genre works. Such writers are likely to find this class frustrating since it focuses on pitching a story, and you may not have a clear story.

How do I attend the live class?

This class uses Zoom webinar technology. You will join through your Internet-connected computer or mobile device. When you register, you will receive information via email on how to join the class. If you don’t receive it within 1 hour of registering, please contact us.

• When: Saturday, Jan. 13, 2024
• Time: 1:00 p.m.–3:00 p.m. Eastern Standard Time / 10 a.m. Pacific Time
• Fee: $25

The webinar is broadcasted via the internet with live audio delivered through your computer or mobile device speakers. The visual presentation is displayed directly from the presenter’s computer to your computer screen. The Q&A is managed through a chat-style submission system with questions read and answered by the presenter for the entire class to hear.

Closed captions are provided during the live class. We use Zoom’s automated closed caption service (powered by Otter), which is about 80%+ accurate. We also use Otter AI to generate an unedited transcript, provided with the recording.

All students receive the following

• Access to the live class (2 hours). The instructor will take questions during class using in-class chat/text. The class will end after roughly 2 hours.
• A recording of the class—audio and video. This is especially helpful if you have a conflict with the class time or something comes up and you can’t make the session. Each registration comes with access to the archived version of the program and the materials for 30 days. You do not have to attend the live event to access the recordings.
• Presentation slides. All participants receive a copy of the slide presentations in PDF form.
• Rough transcript. We use Otter to create an automated transcript of each webinar, which we’ll share with you in addition to the audio and video recording.
• Digital resource guide: Land a Book Deal. Jane will share a link to her continually updated web-based resource guide with links to more guidance, tips, and resources.

Event Attendance & Anti-Harassment Policy

We strive to provide an environment where all present—whether attendee or presenter—can feel supported. In order to ensure a welcoming event, here is what we expect from all who participate.

• That the presenter and the presenter’s work be treated with respect by attendees and that all attendees treat each other with respect and a generosity of spirit.
• That attendees will refrain from harassment of any sort including (but not limited to) comments or questions of a racist, homophobic, sexist/sexual, or threatening nature. This includes actions that disrupt or interfere with anyone’s ability to participate. Offenders will be asked to leave the live event and will not be refunded.