---

The query letter has one purpose, and one purpose only: to entice the agent or editor into reading or requesting your work. Many agents also request that you enclose your opening pages, to give them a preview of how your story starts and demonstrate your command of the writing craft.

At the most basic level, the query letter is a sales pitch. As such, it must convey a firm (and concise) grasp of the story’s premise.

Most novelists and memoirists will have a complete and polished manuscript in hand before they’re ready to draft a query. If the query does its job well, agents will request more of the manuscript and expect it to be available. However, some writers prefer to draft their pitch earlier in the process as a way of keeping their efforts focused on their overall vision for the story and where it fits into the marketplace.

When evaluating queries, agents and editors look for:

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
3. Whether your manuscript demonstrates an understanding of publishing conventions (including genre, comp titles, and especially word count)
4. Opening pages that deliver on expectations set by the query letter and make agents want to read more.

This class will directly help you write a strategic, professional pitch for your story and avoid common mistakes in your opening pages that can be deal-breakers for your entire submission.

Jessica offers a unique perspective from both sides of the desk: She has spent decades behind the scenes of publishing through her long career at Writer’s Digest, has sat on conference and workshop panels with agents and editors reviewing hundreds (if not thousands) of queries and opening page submissions, is a USA Today bestselling novelist who knows how daunting it can be to pitch your own creative work, and specializes in helping private clients prepare submission materials that do their manuscripts justice. 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 (Jessica will be kind), you can include a draft when you register. If you’re willing to include the first page of your manuscript, even better! (No opening pages will be reviewed from registrants who do not include their query letter for context.) 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!

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
• 3 effective ways to frame your premise (one of which should work for almost every story)
• Myths about having to personalize every query letter, and what effective personalization looks like
• How much genre matters and what to do if you’re unsure about your genre or if your book is straddling multiple genres
• Why your book’s working title is more than just a placeholder
• What strong comparable titles look like and how to find them
• What to say in your bio note, especially if you’ve never published a thing
• Special bio considerations when writing memoir
• Red flags that can make your query an automatic no
• The appropriate length for a query letter
• How much you should discuss the target readership of your work, 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
• What agents are really looking for if they ask you to include your opening pages
• Indications that you may be starting your story in the wrong place
• The real reason agents often dislike prologues
• Common mistakes and pet peeves to avoid on your first page

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
• Writers seeking representation in a new genre (for example, you published a memoir ten years ago, no longer have an agent, and are ready to submit your first novel)
• Writers who have been querying a novel or memoir without success, and suspect the query itself may need to be revisited

This class is NOT for:

• 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., self-help, business, narrative nonfiction): these carry special considerations not addressed in this class (read Jane’s guidance).
• 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: Wednesday, November 19, 2025
• Time: 1:00–2:30 p.m. Eastern Time / 10:00 a.m.–11:30 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.

All students receive the following

• Access to the live class (90 minutes). The instructor will take questions during class using in-class chat/text. The class will end after roughly 90 minutes.
• 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 offer a lightly edited transcript of each webinar, which we’ll share with you in addition to the audio and video recording.

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.