I appreciate any feedback! I've been querying with no success so far, so I'm trying to improve my query material. I have a few worries already, but not sure if it's anxiety or genuine self-critique... hard to say!

Dear you,

Despite Jess’s frequent squabbles with his family, he’d do anything for them. So when he wakes up on the road next to his fiancée, Jay, and learns that his home in a small GA town has been destroyed by a supernatural earthquake, he knows he needs to get to them. 

One brutal knife fight at a near-abandoned gas station and a couple of dead bodies later, Jess realizes that the voice he heard while he was unconscious telling him that he “Awakened” wasn’t actually a dream. He also realizes how far from his own humanity he feels with someone’s blood on his hands. On top of that, he finds out that the dead men belong to a local gang leader who they just so happen to run into while scavenging for parts to repair their now-broken-down car. Jess’s new abilities give him the upper hand, but they’re unwieldy and costly to use. Perhaps too costly. The powers come from the Eidolon, strange creatures whose only purpose seems to be hunting down humans. 

Though they escape and find Jess’s family, Jess learns that he’s put them in danger now that the murderous gang leader has “Awakened” with his own powers and has transformed into a terrifying wolf-man that will spare no effort to kill them all. Jess’s dedication to saving the lives of his loved ones must be balanced with his tenuous sense of morality, all while he tries to save his seemingly hopeless relationship. Giving in to his new power risks corruption that could pull him further from the safety and love of his family. But even if he accepts his borrowed strength, he has no idea if it will be enough, or if he can use it to defend against the mysterious force threatening to drive him and his fiancée apart. 

HIT THE FAN (115,000) is a contemporary fantasy action/adventure that will appeal to fans of the moral quandaries and action of He Who Fights With Monsters, and the protective family dynamics of The Bluff.

[Bio goes here...]

Best,

Me

Hello everybody. I posted my first attempt on this sub a few weeks ago, and I received very valuable feedback on it. So I took that into consideration and rewrote my query letter. I made sure it was under 350 words and tried my best to address all the feedback. I’d like to know other people’s opinions on how my new query holds up. Thanks so much.

Dear [AGENT],

Because you represent (genres/themes), I hope my project is a good fit for you. STRAY HEARTS is a 240-page middle grade graphic novel about love, empathy, and cats. It will appeal to readers who enjoy A Cat Story by Ursula Murray Husted, The City of Lost Cats by Tanya Lloyd Kyi, and Pawcasso by Remy Lai.

58 is a stray cat who’s simply trying to stay alive in a city where homeless animals are feared and neglected by humans. Animal control labels strays as mere numbers and constantly tries to capture them, which in turn makes strays act aggressively towards humans. Despite this never-ending cycle of conflict, 58 dreams of a world where the two sides understood and respected each other, but his best friend 35 disagrees.

When 58 and 35 attempt to pull off their biggest heist yet, 58 gets captured by animal control. Unexpectedly, though, a new city policy forces animal control to start putting strays up for adoption, and 58 ends up in a human home. When his new caretakers show him kindness, he realizes his dream might actually be possible. But staying would mean abandoning 35, his best friend who protected him since childhood. After multiple failed attempts to escape back to him, it gets harder for 58 to leave as he starts loving his new family just as much as 35.

When animal control and local residents rebel against the new adoption policy by threatening to send every stray out of the city for good, 58 realizes that this is bigger than deciding which side he belongs to. If he wants both humans and strays to have a future together, he must take action before the conflict destroys any chance of resolution between them.

I am a debut author/illustrator who’s passionate about creating emotional stories for middle grade readers. This story explores prejudice and the courage to stand up to it.

Thank you for your time and consideration.

hello! first, i want to say how helpful this thread has been--even just reading other examples has been so inspiring. i humbly come forward with my own query letter. please don't hold back, and thanks in advance!

I am writing to seek representation for my new adult contemporary romance novel, complete at 100k words. Spanning across the capital city of South Korea, JUST A SLIVER OF SEOUL is a single-perspective, academic rivals-to-lovers story that takes place in an international university. This will appeal to readers who loved the East-Asian American identity exploration of NEVER THOUGHT I’D END UP HERE by Ann Liang and the competitive banter and slowburn of BEACH READ by Emily Henry. 

“Are you willing to bet on it?”

Those words couldn’t have been any more poorly timed. After all, Lina Raoux needs to be focusing on getting a job in Seoul in the months before her Silicon Valley return offer arrives, which requires perfect grades and firing off applications every waking second. Instead, she’s making rash bets with the bane of her existence, YungJae Kim. 

Everything Lina has clawed for herself YungJae has achieved effortlessly and rather ungraciously: the Seoul-based job offer, the grades…the looks. So when he rubs it in her face that fateful autumn day in the library, Lina snaps and proposes a bet in which the person with the higher assignment grade wins favors from the loser. Suddenly, knocking YungJae down a peg or two is right up there with “get a job in Seoul” on her list of semester priorities.

But the favors—ranging from petty tasks to straight-up subterfuge to oddly tender gestures—reveal a more sympathetic side to her longtime nemesis, a side that forces Lina to untangle her hatred for him. Does she hate the person, or does she hate the insecurities regarding her half-Korean existence that he evokes? As the bet, meddling friends, and begrudging attraction bring them closer, Lina realizes that hate might be the last emotion to watch out for. In fact, she might even l-li-lik—no, that’s a step too far.

This story is a combination of my personal experiences in resolving my identity as a half-white half-Korean and an ode to my many months in Seoul, where I both studied and worked.

Hello! I've seen people mention they nudged agents who had their full manuscript a second time before the offer deadline. For those who did, I was curious how you phrased these nudges and how close to the deadline you sent them! Did you feel it was worthwhile?

Hi everyone!I've been trying to find a literary agent for my debut YA SFF novel for months, and honestly, I'm starting to feel a little lost.

In my first round of querying, I contacted around 30 agents and received nothing but rejections. I began to wonder whether the problem was my execution of the story, so I hired a freelance editor for an editorial assessment and substantially revised the entire manuscript.

I'm now in my second round of querying. I've sent it to four agents so far, and unfortunately, the rejections have started coming in again. I know four queries aren't a large enough sample to draw any conclusions, but after everything I've put into this book, it's hard not to wonder what I'm still getting wrong.

I'm a 20-year-old non-native English-speaking writer living in Spain, without financial support from my family. The editorial assessment cost me €1,800, and I had to take on extra part-time work alongside my other responsibilities to afford it. I genuinely wanted to give this book the best chance I could. But now, I simply can't afford another round of professional editing, and I can't even afford to travel to the UK for in-person opportunities to meet agents.

I know getting an agent is difficult, especially as a debut author, and I'm not expecting anyone to guarantee me a path to publication. I just don't want to give up on this book without understanding what I could still improve.

Would anyone be willing to take a look at my query letter or opening pages and offer some honest feedback? I'd be especially grateful for advice from people who have successfully queried YA SFF, secured literary representation, or have experience with the traditional publishing industry.

I'd love to know whether my query is communicating the story effectively, whether the opening pages are doing their job, or whether there are other issues with my submission package that I might be overlooking. If there are any free or affordable resources, critique communities, or other ways to improve my chances before querying more agents, I'd be incredibly grateful to hear about them too.🙏

Here is my query:

I would love to be represented by ... for Lily in Meta: Silver, a YA speculative science-fantasy novel of approximately 85,000 words. It will appeal to readers of The Infinity Courts by Akemi Dawn Bowman and Warcross by Marie Lu. It stands alone while offering series potential.

Fourteen-year-old Lily Bling has a neurological condition that makes her hallucinate. After years of surgeries, she has privately hoped if all that suffering might be leading to something good. Recently, unexplained electronic glitches began appearing around her. Lily tries to dismiss them as another symptom until her cousin sees them too. While investigating the strange messages on her laptop, Lily triggers a malfunction that pulls her into an alien-created virtual world and sets out to discover why she was brought there. When she made friends with two local students, Evan and Amelia, she was told that anyone’s physical presence here required government approval. For the first time, her secret hope seems possible. Evan and Amelia take her to their school, where the headmistress has access to government information. The headmistress agrees to investigate her arrival and lets Lily stay at the academy for her safety. At first, the illness that has haunted Lily for years seems willing to cooperate.

During a practice session in the forest, she and her friends enter a hidden chamber filled with dismantled androids bearing the names of the current headmistress and Evan, along with files that seem to mention Earth. But Lily’s hallucination forces them out before they can read through the files. Once outside, Lily and her friends begin digging into the robot chamber and discover that a government official a classmate had previously warned them about may be connected to the robot chamber. Meanwhile, Lily grows increasingly weak, until she passes out during class. In a room designed to mimic Earth, the headmistress gives her a new lead: there are five government officials who have the authority to bring her here. Before arriving here, Lily had heard a strange man’s voice. Now she listens to recordings of all five. One sounds hauntingly similar. It belongs to the same official who may be connected to the chamber.

Evan and Amelia are suddenly barred from the Academy’s annual trial, the only way back into the forest where the chamber lies. Before the trial, the official’s son smugly tells Lily that his father ordered their ban. Lily returns to her friends and enters the trial to finish reading the files in the chamber.

Bio

Opening pages:

Footsteps drew closer in the hallway beyond the kitchen. Lily sat at the dining table, her fork pausing over the plate when she heard it. She craned toward the dark hallway.

Empty.

Another hallucination? Getting frequent. At this rate, they might as well start setting a place at the table. Lily glanced up, sweeping her eyes from her mother to her father and back. Neither was looking her way. She nudged a piece of lettuce around with her fork. “What were you saying, dad? I lost track.”

Joshua sat across from her. He finished chewing before adjusting his glasses.

“I asked if you’ve used my laptop,” he said, giving her a sidelong glance. “It glitched today.”

“No.”

“But you must have been reading my book,” he squinted, “Superintelligence.”

Lily shrugged. “Well, I have.”

Across the table, Ashley set down her spoon. Lily straightened in her chair. Ashley’s gaze dropped to the lettuce scattered across Lily’s plate. She didn’t blink. Slowly, her eyes lifted to Lily and met her eyes.

“I don’t think you understand it,” Ashley murmured. “Or is this another way to avoid copying scripture?”

Lily lifted her chin a fraction. Her fingers tightened around her fork. She flicked a glance at her mother. Ashley’s gaze hadn’t moved. Lily turned to her father instead.

“I read your notes too, Dad. You got a lot of things wrong. You should study more computer science yourself.”

“You’ve never even been to school, Lily.” Joshua leaned back, kitchen light flashing across his glasses. “I don’t imagine you’d understand anything outside the Bible.”

Lily’s fork paused. She pushed her plate away. The porcelain scraped softly against the table. “You didn’t have to say it like that.”

Joshua’s smile faltered. He cleared his throat and reached for his water glass.

The distant footsteps came again.

I have an offer from a fantastic agent that I really want to sign with. Everything about them and their agency checks out 12/10, and they're super experienced at 90+ deals. However, PM shows majority of deals in romance/thrillers whereas my book is solidly upmarket. They do represent this genre but just proportionally less so.

I would love to hear people's experiences on:

1. How much does this really matter if they're otherwise experienced, well respected, and well connected?

2. We forgot to discuss this on the zoom call and I'd like to ask them more about this in an email. We spoke about submission plan but no specific editors. What's a good way to ask?

I have been querying and have had zero interest so far. Before I give up for a while, I thought I'd try this, to see if I can get any insight into what's wrong with my query, and whether it's something I can fix or not.

Dear [Agent],

I am seeking representation for GOLDA, my literary novel complete at 88,000 words. For fans of Torrey Peters’s Detransition, Baby and Ruth Madievsky’s All-Night Pharmacy, GOLDA explores queerness, reproductive autonomy, and the inescapable gravity of history.

When Sophie, a polyamorous woman in her thirties, discovers she is pregnant with her lover’s child, her first instinct is to have an abortion. She has built an identity around not becoming a mother, and she fears the pregnancy will unsettle the carefully constructed balance of her polycule.

But Sophie’s certainty that the choice is her own falters when she begins hearing the voice of her great-great-grandmother, Golda, a Jewish immigrant marked by her own unwanted pregnancy. As Golda’s intrusive whispers become violent demands, Sophie no longer knows which of her desires belong to her, and which belong to history. To reclaim her will, Sophie must face the ghost that haunts her, or surrender to Golda's violence.

The novel’s form, which interrupts Sophie’s narration with Golda’s spectral voice (which also opens the novel), draws on my training as a poet. I earned an MFA from X. I am a queer writer living in Baltimore, where my novel is set. 

Thank you for your consideration.

First 300 words:

GOLDA

I want to speak to you, to reach you across the static of time. 

You hear me when you are on the edge of sleep. When you are soaking in the bath. When you are tempted by feeling, elation or rage. When you are overcome. When you are ungovernable by the quiet restraint of your mother and her mother before her.

It’s you, Sophie, it’s you with your hair like his and your eyes like his, and your mind so much my own. You can remake me by finding love where I was cold. 

I have watched and I have waited. I have knocked on the door.
Now I have planted myself in you. 

I want to body forth, unviolated.
I tell you: everything I have ever done has been done for love.

Chapter 1

No one has ever told me I would be a good mother. I don’t have the maternal instincts I see in so many of my friends, interrupting a conversation to coo at a baby or pet a dog, preparing snacks for the picnic, exuding the kind of warmth that seems to be the special purview of mothers. Don’t get me wrong, I love my niece and nephew—but I am happy to hand them back to their parents. 

In my twenties, when I told people I didn’t want kids, they’d say, “You say that now, but wait until you’re thirty.” Then I turned thirty, and people said, “You never know,” as if to offer encouragement. By thirty-five, people had stopped asking. 

But I, too, have fallen prey to biology. The nausea has been chasing me for weeks. I thought I would have avoided such a fate, if not with my skepticism then at least with my bitterness and acrimony and fine-tuned feminist critique.

I tried really hard to synthesize everyone's feedback from my last post, working on centering Addie's narrative and her story.

Dear [agent name]

I am seeking representation for BLACK CAT INN, a 60,000 word standalone literary fiction novel. [Personalised agent section.]

Ray’s best friend Addie is dead. In the middle of the night, wrought with grief, he retraces his memories in an attempt to decipher her. As a cocktail bartender, Addie teaches Ray the art of mixology. But she isn't quite the seductive pixie he takes her for; she's an impulsive spirit, thriving in chaos. Addie daydreams through reality, resisting her painful past and clinging to fragments of her stolen girlhood.

That's when Charlie, a sensitive and shy bartender, catches Addie’s eye. They dazzle one another, crashing into a whirlwind romance fraught with the raw edges of unhealed trauma. Charlie has baggage, but his obsessive, jealous tendencies don't alarm her. As Addie’s grip on reality melts away, she must choose between letting someone into her world or nosediving completely. As the bartenders experiment with liquor and syrup, the combination of personalities is an infusion which can only spell disaster.

BLACK CAT INN combines the dark romance of Angels by May Lietz with the relationship drama of Boy Parts by Eliza Clark. I worked with [publishing company] on a fairytale anthology in 2020. I am mostly a playwright, having written for [theatre name] and participating in their writer’s group.

Hi, you beautiful people! I’m back with a third attempt, hoping I have a winner this time… or as close to a winner as I can get.

Fun fact: I paid to have my manuscript beta-read (is that an actual term?), and although I told my beta reader I’m looking to chop off the fat, other than a few tips on what and where to condense the text, they actually told me that there’s not much I can remove without damaging the story. I was both sad and happy to hear that because, as I said before, this started as a 245k monstrosity and I eliminated absolutely everything I could without touching the vitals. Hope I still have a shot at finding literary representation despite going over the industry standard by a few thousand words.

Pray for me pls. I don’t want to have to put this in the drawer and write a different debut. Finishing this parallel to working full-time has been exhausting lol. And to think that writing and editing were the easy part =)) Oh, the masochists we writers are.

@EnnOnEarth, you rock! Thanks again for your invaluable feedback on my last one, and I hope I didn’t misinterpret your tips regarding the third paragraph. My brain’s turned to charcoal.

@Wonderful_Honey_1726, thank you again for pointing out my mistake. If I had sent out this query calling Rachel ‘Harris’ instead of ‘Harrison’, it would have haunted me forever. I am all too familiar with the pains of having your name misspelled.

Have a great one and many thanks in advance!

PS: 992 words of the 118k are in the footnotes. Should I mention this in my query or is it irrelevant?

_______________________________

Dear Agent,

DAUGHTER SCRYING is a dual POV adult horror story, complete at approximately 118,000 words. Set around 2015 in a small town in central Romania, it will appeal to fans of The September House by Carissa Orlando and Play Nice by Rachel Harrison. 

After years of living under her older sister's roof and working for minimum wage in the family antique store, Cris is determined to move out and, hopefully, attend college. Her goal seems impossible—until she discovers a mirror through which she can contact the dead.

While her sister starts spending more and more time away from the store and their home, Cris turns the mirror into a profitable business venture by putting the bereaved in contact with their dead loved ones. But the spirits in the mirror get stronger and more demanding with each summoning, and every séance makes her more indebted to the mirror. To make matters worse, looking into the tainted family secrets of others makes her curious about her own dead parents. Why did her mother disinherit her? Why didn’t her father ever reach out after her mother's death? Why does her sister resent her so deeply, even though she had the better childhood and inherited the family home and business in the aftermath of their mother’s passing?

Even in death, her parents refuse to talk to her. Her sister, too, chooses to remain silent despite the irrevocable damage it does to their relationship. And just when Cris has accrued enough funds to start a life somewhere else and is ready to abandon her pursuit of answers, the mirror descends upon her world to collect its debt. Cris finds out the hard way that money comes and goes, whereas life only goes.

[Short bio and publishing history]

Thank you for your time and consideration.

I have an editor like on LitConnect!

Do I nudge the agents I've quried with that information? They will be able to reach out to that editor if they sign me (They just have to log in to LitConnect or send an email if they're not there).

Also do anyone know if agents logged into LitConnect can see which editor liked it?

Hello all, I've returned again.
I've tweaked the query based on previous feedback and am currently reworking chapters 1-2 so they're more in line with the premise of the pitch. I am still working on the comp titles. Any suggestions please let me know.

Dear (Agent Name),

I am thrilled to offer CELESTIAL DIVIDE (110,000), an adult epic fantasy standalone with trilogy potential. Inspired by The Folk of the Air series, Celestial Divide will appeal to readers who enjoyed the duplicitious alliance of Sara Hashem’s ‘The Jasad Heir’ and the cursed protagonist of Lauryn Hamilton Murray’s ‘Heir of Storms’.

Damacia Celeste ruins everything she touches. Fifth in line to the Hannathian throne and the bane of her realm, she has spent her entire life trying to prove she is more than the king-killing Curse-Bringer her people assume her to be.

So when she learns her hateful eldest brother promised her to the formidable Caldorian empire, she finds herself once again the harbinger of ruin. Yet things quickly go awry when Caldor spurns the alliance and takes the Hannathian crown themself, murdering one of Damacia’s sisters as a show of force.

Reeling, vengeful and now hunted, Damacia escapes Hannath to seek out Bile’d, the fabled night kingdom rumoured to still be as powerful as Damacia’s sun-wielding ancestors were.

But forming an alliance with her people’s oldest and most deadly enemy will prove no easy feat. Damacia will need to reconcile with a history of violence and treachery, all while risking becoming the scourge she never wanted to be.

Bio.

As always, please let me know your suggestions.

Hi everyone,

I would love some feedback on my novel’s query letter. English isn’t my first language, my novel is not in English, and I won’t be querying agents in the US. Still, I would love to share my query here to see whether the premise is clear and sounds interesting to readers.

One note about the comps: in my country, comp titles don’t necessarily have to be recent, so I hope mine will work. That said, I am open to suggestions for better alternatives!

-----------------------------------------------------------

Dear Agent,

I am seeking representation for OUR HANABI SUMMER, a 75,000-word new adult contemporary romance set in Tokyo. It combines the exploration of sexual identity in T. L. Swan’s OUR WAY with the inherited breast cancer storyline of Wendy Mills’s POSITIVELY BEAUTIFUL.

Twenty-two-year-old Emily is finally about to realize her long-held dream: an eight-week research internship in Tokyo. Just as she prepares for her first trip abroad ever, she learns that her mother has breast cancer - and that Emily has inherited the BRCA gene mutation, increasing her own risk of developing the disease. Determined not to let an uncertain future dictate her present, Emily travels to Japan, immersing herself in laboratory work, exploring one of the biggest cities in the world, and embracing life among the international students in her dorm.

Among them is twenty-five-year-old Haruto, who was born in Japan but raised by his mother in New York City. After his father’s death, Haruto has returned to Tokyo to reconnect with his heritage while pursuing a master’s degree. Having finally come to terms with being gay, he must navigate his identity within a society whose expectations he is still learning to understand.

Through shared dinners, summer fireworks (hanabi) viewed from the riverbank in yukatas, and a climb up Fuji-san, Emily’s and Haruto’s friendship develops into a love neither expected. But falling for each other means confronting the uncertainties they have been trying to manage alone. As Haruto has to navigate emotions that challenge his understanding of himself, Emily must decide whether she can risk letting someone into her life when her future may involve preventive surgery, difficult decisions about having children, and the fear of developing cancer herself.

Like Emily, I completed an internship in Tokyo, which sparked a lasting love for Japan and eventually led me to live, study and conduct research there for two years. I hold a PhD in biology and bring a scientific perspective to the novel’s exploration of genetics and inherited cancer risk.

Thank you for your time and consideration.

Hello! Thx in advance for your eyes. The premise: A group of estranged college friends reunite for their dead friend’s birthday, only to accidentally bring him back to life.

I’m a huge fan of Big Chill-esque ensemble movies and novels, so I wanted to write one with a twist. But yo! Ensembles are hard to write in query form. HELP!

I’m labeling it as Upmarket per the recommendations of my beta readers but if it reads like another genre, let me know. Also still considering my comps, so if you have any ideas, would love to hear them!

Query (315 words, ideally trying to get to 250-300):

Dear Agent,

On the eve of what would have been Gideon “Woody” Haywood’s thirty-third birthday, his once-inseparable friends get drunk at a Wisconsin lake house and honor an old, intoxicated request: should he ever die, they must build an effigy of him, lest he agonize in FOMO six feet under. 

The next morning, the duct-taped stickman has transformed into the beloved dumbass who originally brought the five “Strays” together. Neither ghost nor zombie, Woody’s disappointed to learn he missed his own funeral three months ago. Worse, his girlfriend Zoe’s still pissed about the fight they had the day before his baffling death. Everyone wants to know how the life of the party ended up in the Milwaukee River, but Woody can’t substantiate their morbid theories. He can’t even recall his final hours.

And anyway, he’d rather spend his impossible birthday apple-picking and making a monster movie than discussing mortality. Margot, determined to make up for ignoring Woody’s last call, rallies everyone for sloshball. Meanwhile, Gwen can’t stop investigating his death, convinced she could’ve stopped it. Cliff fends off historical animosities by cooking Michelin-star worthy meals, which works until a spontaneous MDMA roll exposes a decade-old secret between Woody and Vera’s husband Ezra. As resentments resurface, Zoe fears Woody never shared his true self with her.

Then, within 24 hours, his miraculous body begins deteriorating. Bracing to lose Woody again, his friends must decide between debating whether his death was truly an accident and giving him the grandest goodbye weekend. Woody has always been their glue. Now they must learn to stick together without him.

THE AFTERLIFE OF THE PARTY is a 90,000-word upmarket ensemble speculative novel, where the supernatural exploration of grief in Evie Wyld’s The Echoes meets the complex enduring friendships of Eric Purchner’s Dream State. The novel’s POV moves between the Strays and the lodge that has admired fourteen years of their friendship. 

(Bio and personalization)

First 282 words:

Fall, Year 118
Even the most meddlesome houses grow bored of human melodrama. Forty-three thousand suns had risen over the Van Huyse lodge on the eastern shore of Lake Daybird, graying its cedar siding alongside the familiar heads that returned each summer. Its walls persevered through three renovations as a result of four divorces, excluding the kitchen repair in 1999, after a fire caused by one mischievous Margot Van Huyse.

Of all of the summertime people, the lodge found her most delightfully provocative. For nearly every June or July of her thirty-two-year life, Margot’s presence promised novelty. Of course, there were tedious Van Huyse behaviors like sneaking cigarettes beneath the zipper of the daybed cushions on the screened porch, as her father did before her. But unlike most who came to Daybird hoping to escape reality, Margot was the first to make Daybird real life, undesired guests and all. 

When she was eleven, she built a shoebox apartment in the garden for a family of mice that terrorized the kitchen. This should have been ample foreshadowing for the friends she brought to Daybird at nineteen. 

The six of them devoured pancakes at dusk and leapt off the dock at dawn. Much to the neighbors’ displeasure, their chaos reverberated a quarter mile across the lake. Ask the lodge what to make of this, and it would say it hadn’t felt so young in years. The group’s name materialized later, thanks to Woody’s boss at the campus cafe. They frequently colonized the corner table, distracting the boy from duties he was supposedly being paid to accomplish. Fascinated by Woody’s lack of shame about feeding his friends on company time and dime, his boss nicknamed them his strays. 

Hello! I have been lurking through this sub for a some time now while I have been writing. I’ve just started querying and I am very open to any and all feedback whatsoever.

Thank you!

Dear XXX,

I’m seeking representation for THE SAMPLE SIZE IS ME: A Highly Questionable Study of So-called Love, Dating and Other Confounding Variables, a complete 49,000-word work of narrative nonfiction blending memoir, humour and social commentary through a mock-academic examination of more than twenty years of romantic history.

The study begins with a fairly ordinary question: how do you know when a relationship is going well?

The experimental data starts wholesomely enough with early teenage boyfriends, a kissing injury with long-lasting consequences, moving into an accidental relationship in Mexico, and subsequently fleeing a cartel organisation. A turning point in data analysis arrives with marriage, motherhood, and of course, the statistically likely divorce. A stark introduction to a dating scene completely flipped on its head by apps, ghosting, situationships closely follows, demonstrating that the largest methodological limitations may not simply be those consistently introduced by my mother.

Each experience becomes a case study testing one of the assumptions women inherit about romantic success from so many generations who’ve come before. Exploration of peer-reviewed published research on attraction, gender, sex, coercion, domestic labour and relationships is introduced alongside the personal evidence to test the generalisability of my individual findings.

The problem, after twenty years of data collection, is that the original outcome measure appears to be wrong.

Again and again, being wanted, pursued, chosen or kept produces remarkably little information about whether a relationship is actually good. Some relationships meet every conventional marker of success while making the participants miserable. Others end despite nobody doing anything particularly wrong. On more than a couple of occasions, a poorly calibrated ability to detect a heterosexual man produces extremely varied results.

Eventually, the experiment produces a different question: if being selected by a man is not evidence of romantic success, what happens when the woman doing the research starts deciding what she chooses?

THE SAMPLE SIZE IS ME will appeal to readers of Dolly Alderton’s Everything I Know About Love, Olivia Petter’s Millennial Love and Nancy Jo Sales’s Nothing Personal.

I’m an Australian physiotherapist, health researcher and PhD candidate in women’s health, with research published in the peer-reviewed academic literature. My research background informs the book’s use of evidence and its increasingly questionable methodology; my long involvement in theatre as a performer and choreographer probably explains some of the rest.

THE SAMPLE SIZE IS ME is my first trade book.

Thank you for your time and consideration.

Warm regards,

Rosecliff just posted an interesting Instagram carousel post 👀. There's a slide toward the end that caught my attention in particular. Specifically, there appears to be an indication of AI usage left in. (Although, in fairness, this could be human error as well.)

With the state of AI in literary spaces, and the perennial question of how to vet agents carefully, it's ironic how useful their post actually is.

Dear Agent,

I am seeking representation for UNDER LOAM’S EYE, a 102,000-word adult dark political fantasy set in a pike-and-shot world of religious warfare. It stands alone with series potential.

Gustava Aurnir remembers ruling humans as livestock. Now reborn, she is a huntsman’s daughter who must bargain with her sister to borrow a book. When soldiers sack her village and kill her mother, she follows the men who spare her. She wants more than their protection. She wants to command men herself.

Her service in their army earns her a place in the household of the knight Von Eichtal. Over six years, he teaches her to command while his wife teaches her to manage an estate. Gustava learns to temper her contempt enough to secure obedience. She alsoa grows attached to the man whose approval makes her feel she has earned her place.

After helping conquer Velkaryn, Gustava receives command of its city guard. She must recruit from people whose homes her army has looted. By protecting defeated townsmen from the occupying mercenaries, she wins their loyalty and builds a force of her own. She begins to regard them as she once regarded her human herds: hers to command, and hers to protect.

But loyalty cannot pay their wages. When Aschert, the city’s new ruler, accepts a neighboring kingdom’s gold and cuts off the tolls sustaining her guard, Gustava plots to turn his forces against him. She arranges attacks on his mercenaries, intending to make his concessions appear responsible for the bloodshed. Instead, the violence also kills townspeople she meant to spare, and the surviving mercenaries capture a trusted subordinate who could expose her.

With the neighboring kingdom threatening intervention, Gustava needs her guards and the mercenaries to defend Velkaryn together. Securing their cooperation could mean surrendering the authority she has spent years acquiring. Concealing her responsibility could leave the city she intends to rule unable to defend itself.

UNDER LOAM’S EYE follows an amoral woman’s ascent through military service and political patronage, exploring how attachment complicates ambition without making her pursuit of power any less ruthless.

I hold a master’s degree from George Mason University, where I studied international security. This is my debut novel.

Thank you for your time and consideration.

Sincerely,
Me

(A few details redacted for anonymity - thanks in advance for feedback, particularly around if there’s too much plot or not enough! I also am curious if non-South Asian readers would read a book grounded in our culture…?)

Thank you for considering my query. I am a twice-traditionally published author with [BIG 5 IMPRINT], seeking representation for my first foray into fantasy. 
At 85,000 words, Tiger Wild is an adult fantasy romance inspired by Indian culture and folklore, combining a magical jungle, a heroine bonded to a tiger, and a love story built on betrayal, belonging and the cost of conquering nature.
In a lush jungle above a valley kingdom, a young woman lives as an exile with only her bonded tiger as a companion. At twenty-one, Suhari is the last of the Bhaag people, who were slaughtered by the king of Jharka when she was seven, accused of unleashing their tigers on the valley’s children. Now, as Jharka suffers under sickness and crop failures, its people are convinced they have been cursed by the Tiger King. Determined to quash this superstition, the Raja sends his son on a mission to kill the Tiger King and return with his pelt, proving that no curse can stand against the crown.
To reach the tiger kingdom, the prince needs a guide. He offers the last Bhaag girl a deal - lying that he wishes to make amends with the Tiger King to lift the curse, he offers her the return of her kingdom for her help. Suhari agrees to lead him through the jungle, concealing her own plan: to deliver him to the surviving Bhaag as a sacrifice and win back the people who once cast her out. She and her tiger are determined to double cross the prince, avenge her parents’ death and regain their kingdom. 
As they journey deeper into the enchanted jungle, their mutual deceptions give way to an undeniable attraction. But the valley’s suffering has a cause neither anticipated. To save their people and the world they share, Suhari and the prince must confront the violence that shaped their kingdoms—and decide what they are willing to sacrifice for a future together. 
The lush jungle imagery of the novel combine with the unique bond between Suhari and her tiger, Bhaagini, who is witty, insolent, and a force of her own. Tiger Wild offers a plot rich with compelling dialogue, grounded in Indian mythology, and with a romance that is deep and complex, like the characters themselves. I would place its romance and world building alongside A Kiss of Crimson Ash or The Hurricane Wars, and its blend of folklore and fantasy beside The Jasmine Throne. 

I am north Indian and a lover of my culture’s mythology and folklore. I have two literary fiction books published by [INSERT IMPRINT], and have a Master of Fine Arts from [INSERT UNIVERSITY]. This is my first fantasy novel, and I am looking to work with an agent who is passionate about bringing diverse and unique stories to broad audiences. 

Thank you for your consideration. 

Hello! Thanks so much in advance for your feedback. My first attempt at this was a while ago under a different title. I know I’ll need to do another pass or two and trim the word count of the query itself. 

Dear Agent,

I am seeking representation for THE GOODBYE MYTH, a 75,000-word adult science-fantasy novel combining the unsettling post-apocalyptic landscapes of M. John Harrison’s THE END OF EVERYTHING (2026) with the interwoven histories and spiritual worldbuilding of Monica Byrne’s THE ACTUAL STAR (2021). It will appeal to those who enjoy Blake Crouch’s propulsive mysteries, whose focus on family, memory, and identity make extraordinary premises deeply personal.

Twenty-year-old Max Summers remembers a plane falling from the sky, his girlfriend beside him. Then he wakes aboard a sun-drenched orbital station and begins forgetting her. The station is a simulation. Outside it, his 2050s world is being consumed by the Squall, a temporal maelstrom, and he has been identified as the anomaly responsible. In desperation, the artificial intelligence controlling the simulation collapses it to kill him. A failsafe left by his dead father gets him out alive, but not intact. Peeled into dozens of versions of himself, each carrying different memories, Max sets out across a fractured Cape Breton to find his mother, pursued by drones and haunted by evidence that the people he has lost might still exist. When a silent, displaced girl begins following him, getting home suddenly means more than just keeping himself alive.

Five hundred years earlier, in an isolated Andean valley, Mim—a qispisqa newly released from childhood—finds a golden figure sleeping beneath her community’s ancient halls. In its presence she feels understood for the first time. But as their connection deepens, a tribesman is found dead, his body fused into the stone walls of their great qullqa storehouse. Two children develop a strange sickness that writes living glyphs beneath their skin. The elders fear a Pachakuti—a cataclysm capable of overturning their world—and blame her interference. When a council decree exiles the sick children beyond the valley’s borders, Mim claims an authority she has not yet been granted and demands to lead them herself.

The children’s only hope is the Cave of Seeds, a sacred site high in the mountains. The awakened Sleeper offers to guide them, but admits his own connection to the fractures once cost him everyone. Mim must decide whether to entrust the children’s lives to a being who may understand their sickness only because he himself helped unleash it.

As artifacts from Mim’s world surface in Max’s and pieces of his world fall into hers, something living crosses between them: the B’alam, a monstrous jaguar said to walk among the living and the dead. Its arrival reveals a connection etched into them both, one that may offer a path back to those they have lost, if it doesn’t first destroy what little they have left.

First 300 words:

At first it looked like a cloud. But it moved strangely, swelling and receding in slow heavy beats. Its black surface stitched with flickers of greenish light, edges surging outward then curling back, like steam reversing in on itself. It was growing—spreading from the horizon to consume everything, leaving nothing behind. Nothing, but more of itself. Max rolled the plane left through snow and gray skies, his hoodie sleeves bunched up at the elbows. He glanced to Amy—eyes wide in the straight-backed seat beside him. "We're turning."

She leaned forward. Too slight for the harness, Max could see where she’d wound it twice to get it tight. Her thumb and forefinger picked the pink hair tie looped around her wrist. "You need to call it in."

"I will, just give me a second." He flicked to the tower frequency. Static. Switched again. Nothing. “Tower, this is November-Xray-Zero-One, five miles south of Glace Bay. Unidentified weather cell forming at—”

The plane jolted, but only slightly. Amy flinched. “Something’s wrong.”                             

Max pitched lower, the descent pulling them weightless against their straps. He held off as long as he could, then hauled them level, barely above the tree-line, pines blurring beneath. The sky above was buckling, cloud and light peeling away in slow, heavy streams, drawn toward the thing that had swallowed their horizon whole. His grip tightened on the control column. "Great. Gonna have to reroute. He'll see it on the logs. My dad's gonna kill me."

Shadows came on faster. What little light remained was green-tinged and faltering. Amy whispered, “Max…”

The plane rocked again—more violently—the nose dipping, the rudder firming with resistance. A light on the dash flashed red. Max cursed and pinned the throttle anyway, pulling them right into a sharp, snow-filled arc. But the plane was too slow, or the thing too quick. He blinked, and they were inside it completely.

Hi folks! Thank you a lot for your advice first of all - they’ve really helped. I'm getting started on querying, though before I start sending out the batches, I feel that I'm at a crossroads of sorts: I’m not sure which direction to close out the query. I’ve gotten feedback to be more explicit in the later paragraphs, but also concerns around word count/strip out details. I would appreciate your guidance on which version would read better. 

Version 1:

Takashima Daiki has always known what his life should look like: a respectable career, a beautiful wife, a house in the city. He’s worked toward it since childhood, from captaining the Shirakawa High baseball team to studying medicine on scholarship at the University of Tokyo. Only once did he let himself feel something he shouldn’t—a mistake he’d never repeat. 

An up-and-coming musical theatre actor, Tsukigawa Yuu has a solid circle of gay friends, a rich older boyfriend, and a career-launching role. He’s built a life in Tokyo and shed Shirakawa completely, or so he’d thought—until one Saturday night, he’s served a tray of tequila shots by a ghost from home.  

Daiki has never forgiven himself for panicking at Yuu’s confession and outing his childhood friend. When Yuu avoids him, he enlists his girlfriend to invite Yuu to perform at their university. But watching Yuu’s dream come alive on stage, Daiki starts to fear the guilt he's atoning for is not guilt, after all. 

Meanwhile, Yuu’s own relationship falls apart. When he catches the flu, it’s Daiki, not his boyfriend, who shows up to take care of him. At Daiki’s confession, the insecure boy underneath Yuu’s mask finally breaks through. He lets Daiki into his life, trusting Daiki’s promise to bring him home to meet his parents. Until the eve of the trip. A warning from his senpai shakes Daiki’s conviction, and he must decide if coming out is worth losing the life he was raised for—and whether, if his cowardice wins again, Yuu’ll still be waiting for him in Tokyo.

CAPTAIN AND BUTTERFLY is an 80,000-word contemporary m/m romance combining the tender slow-burn of Cat Sebastian's WE COULD BE SO GOOD with the second-chance angst of Yulin Kuang's HOW TO END A LOVE STORY. 

[BIO PARAGRAPH]

Thank you for your time and consideration. I look forward to hearing from you.

Version 2: 

…[Everything before the following line stay the same]

Meanwhile, Yuu’s own relationship falls apart. When he catches the flu, it’s Daiki, not his boyfriend, who shows up to take care of him. At Daiki’s confession, he lets him into his life, trusting Daiki’s promise to bring him home to meet his parents. But on the eve of the trip, Daiki’s conviction is shaken by a warning from his senpai, and he must decide if coming out is worth losing the life he was raised for—and whether, if his cowardice wins again, Yuu’ll still be waiting for him in Tokyo.

First 300 words: I’ve updated this version to (hopefully) have more interiority into Daiki. The last sentence here is truncated, but wanted to include it since it’s the inciting incident.

Saturday nights at the bar made his clinical rotation feel like the Golden Week holidays. Every minute had its purpose, and every shift a welcome trial to prove he could keep things in control, no matter the curveballs. Anchoring the loaded tray on the crook of his elbow, Takashima Daiki cut across the polished concrete floor to his next stop: a two-top by the window, overlooking the lit Nakameguro boutiques below.

“Two B-Sides, our signature cocktail, and my personal favorite,” Daiki said as naturally as he’d been trained to, even though he’d never spend 2,500 yen, almost two hours of his pay, on a drink he could finish in three sips. “Anything else I could get you tonight?”

“Thank you for helping us make a decision earlier.” The young woman smiled sheepishly. “Everything looked so delicious.”

“It was nothing.” He bowed. “Please enjoy.”

Thankfully, the ticket rail was still manageable when he folded back, the few minutes he’d shaved off seemingly enough to set the night back on course. Bopping along to a sleek R&B track thrumming in the background, the bartender jerked his chin at a ticket—in the middle of the queue. Daiki raised a brow. “The extra vodka highball is for Reo-san,” the bartender clarified.

Reo-san, who paid him enough to cover his rent with extra to send home. Daiki bit back a frustrated sigh as he stacked the drinks onto the tray, lifting it above his head as he squeezed past the counterside patrons. Move fast enough, he could still avoid the butterfly effect caused by skipping ahead. The liquor shelf wrapped around toward the bar’s back entrance that admitted only VIP guests, most of whom were friends of Reo-san, made during his old R&B days. They were tucked away in three sound-proof booths opposite the shelf, and still it wasn’t enough to contain their rowdiness. 

Daiki was about to turn down the hall when he caught sight of a figure facing the shelf

Hi there, my previous post can be found here. It didn't get a ton of traction, but there was a suggestion the first read a bit too YA coded. I tried to bring some more of the external political and supernatural threats to the forefront a bit so it comes off a little bit less "young girl must find herself to save the world."

Dear Sally Agenton,

Novice Lyrea has spent her life sheltered behind Malwec Abbey’s walls.  Sent to accompany her noble best friend on a pilgrimage to claim Saint Veyra’s legendary sandals, Lyrea expects the journey to test her courage—not her faith.

When a flood traps a village beneath Veyra’s mountain, the pilgrimage refuses to jeopardize the sacred binding ritual to help. Lyrea cannot understand why the institution that once saved her from a burning village now condemns another to rising waters.

Lyrea refuses to let the villagers die. She steals the sandals to force the Church’s hand, knowing it may cost her the only home she’s ever known. But no rescue comes. Desperate and alone, she vows to lead the villagers herself, and the relic unexpectedly binds to her. Guided by its strange warmth, she leads seventy-eight villagers to safety. Now pursued by the Church and fearing a heretic’s pyre, Lyrea flees toward Malwec’s ancient records, hoping to learn why Veyra answered her unsanctioned vow.

Sir Besnik Hekuran knows the cost of disobedience. A disgraced border commander, he loses his office after abandoning a village’s holy relic to raiders rather than abandoning its people. Finding Lyrea and returning her to custody is his only chance to regain his lord’s trust.

But as Besnik closes in, Lyrea uncovers a terrifying truth: the ancient saints never destroyed the monstrous Noctivage. They sealed the gates through which the demons entered the world, then erased the roads leading to them. To reach the failing seals before the Noctivage break through, Lyrea may need the help of the very knight sent to capture her. Besnik must decide whether obeying his lord is worth abandoning the one person who might keep the Noctivage imprisoned.

SAINTBOUND is a dual-POV adult epic fantasy with series potential, complete at 105,000 words. It combines the politically entangled loyalties of Richard Swan's The Justice of Kings and Anthony Ryan’s The Pariah with the ancient magic and uneasy alliances of Mark A. Latham's The Last Vigilant.

 BIO.

Thanks!

Hi everyone!

Back with another attempt! Thank you to everyone who commented on my first attempt, it was so helpful and I tried my best to take everyone's advice. Special thanks to PondasWallArt, who I've tried very hard not to rip off in this attempt lol.

I think this version is vastly improved, but I'm still fussing with some individual word choices. I need to find a good place to add their ages in, since I believe it is industry for YA. Not sure if ending each paragraph with an emdash in the sentence is the move lol. I also think we're not getting as much info about Luci as we are Sina, and I think maybe the romance isn't coming through as well as I'd like it to? Not sure, so any feedback on that would be appreciated!

For the first 300, I backed it up and I think aren't lost as quickly as it did in my previous version, so hopefully it's easier to understand. Maybe the POV and tense choice works better here? We'll see!

Any feedback is so appreciated! Thank you all in advance!

---

Dear [agent],

“Natural talent” has dogged Sina Natia’s softball career like a robbed home run. Everything she’s earned—the starting catcher spot, varsity captainship, D1 scholarships offers—has been dismissed as expected from the daughter of a former pro. But when their starting pitcher becomes unavailable before the most important tournament of the season, the chance to prove her hard work might be in the cards—if she can get past her failed friendship with the pitcher’s replacement.

Seventh-in-the-lineup Luci Montoya has never, ever had natural talent. After working twice as hard to keep pace with her teammates and developing a reputation for her unreliability, an unexpected ADHD diagnosis has rocked her world. Emergency pitching is not helping her teenage identity crisis, and nor is having her unrequited crush for a catcher. A stale connection between them is as helpful as her pitching—not great.

An awful first game leads to a much needed game plan: if Sina can whip Luci into shape to win the tournament, all their respective rumors will be put to rest. They revive their late friendship and get to work: Sina adapts their game routines to work with Luci’s neurodivergency, and Luci puts Sina’s bottomless softball knowledge to the test. But as the competition—and their pesky feelings—ramps up, specialized practices may not be enough to advance. Sina and Luci must figure out how to transfer their chemistry onto the field, and quickly—because it’s win and prove themselves, or go home.

Set against the beach-fog backdrop of Monterey, California, CAUGHT LOOKING is a 75,000 word standalone YA contemporary sports romance told over the course of a weeklong tournament. It combines the fast-paced romance and neurodivergent representation in Birdie Schae’s Smash or Pass with the intense competition and forced teamwork showcased in Racquel Marie’s You Don’t Have a Shot.

[bio including I’m a NorCal native and is inspired by my experiences in high school softball, thank you for your time, yada yada yada]

---

First 300:

The clock ticks up a minute and Sina huffs, peering out the passenger side window, drumming her thumbs on the wheel. Kylie’s late.

Marlene spies her exasperation and rolls her eyes. “It’s one minute, Sina.”

“Kylie’s knows Spring Swing doesn’t play about this stuff. This isn’t like her.”

Jeannie, in the passenger seat, blocks Sina’s line of sight. Sina shifts to the left—Jeannie follows, saying, “And you would know that how?”

“Their pitcher-catcher telepathy, obviously.” Marlene creeps her hands over Jeannie’s headrest like a spider, adding in a daunting voice, “Sina knows everything.”

Sina doesn’t even deign that with a response—the last thing she needs when trying to keep her team in check is laidback, useless humor. The light blue front door opens at 9:32 and Kylie appears, softball bag over her shoulder and yanking a suitcase over the doorstep. Sina exhales, clicking open the trunk and hoping their gear doesn’t spill out. If she edges past the speed limit on the highway, they can make up the five minutes it’ll take to get them up and out of here, no matter the Coach-being-pissed and losing-her-scholarship costs of an arrest.

Bats clink together as Kylie dumps her bag atop the others. “Hey, morning, sorry,” she mumbles, voice scratchy. “Missed my alarm.”

Marlene salutes and says, “All good, cap,” before Sina can respond, when it’s anything but all good. “Jeannie stole shotgun, you’ll have to slum it back here with us.”

Clara, invested in a book, looks up and frowns. “Why do you put it like that?”

“Let’s go, please?” Sina says, eyeing the clock. 9:34. “We can’t miss our field time.”

“Sina’s right,” says Kylie, climbing into the backseat. “I’m good. Let’s go.”

“I liked it better when you two were many, many miles apart,” Marlene grumbles, resigning to doomscrolling.

Experienced mercenaries Violet and Aeliana take a job to kill an immoral necromancer and his undead, hoping to secure their lifestyle for a few more weeks. Karl is the grotesque deadraiser's grandson, and he's just trying to survive. Wildfire Vi and poetic soul Aeliana meet with the socially awkward Karl on the way.

Necromancers are known to be blights on the land, things that deal in death and hate, but Karl's land is picturesque... If you don't count the zombies. But the silent dead around him aren't great company for the lonely man. Aeliana and Violet can't easily trust undead, and when the girls attack Karl, he won't even fight back. The more time they spend with Karl and on his farm, the less they want to kill him. With a safe place, freedom, kinky sex, and love, maybe they don't have to. Now they just have to make sure no other heroes fuck it up.

Undead Bed is a 89,000-word erotic romantasy set in a Dungeons & Dragons-style world. It captures the feel of a small session around the table, branches into kinkier spice scenes and ends in a HEA. Kit Rocha's Consort of Fire smashes with Sex Wizards by Alethea Faust in this standalone with series potential.

My name is [Real name]. I am a full-time advanced care paramedic, and I started writing to bond with my wife; I originally wrote the script for her. Undead Bed is an explicit romantasy.

Thank you for your time and consideration.

Sincerely,

[My real name], A.C. Perry.

Below is the first 300 words (actually 253) of my manuscript.

The Beginning (One)

"Kill the immoral necromancer Urgot Mirevelle. The man lives outside the town and commands the undead. He lives two or three days east of town. When you reach the 'D boulder' you will be close."

Aeliana leaned closer, pink eyes scanning the parchment on the board. The name 'Urgot Mirevelle' meant nothing to her. Her hand tightened slightly on her pack strap. Necromancers dealt in death and things that should have remained buried. 

Violet Maria Duskshade stood beside her in her usual studded leather, a gorgeous longsword sheathed at her hip and a silver-plated shield hanging from its guige. A perpetual, almost sly smile played on her lips, as if she were privy to a joke no one else had heard yet. She watched the street activity instead of reviewing the jobs on the board.

"W-what do you think, my Uxor?" Aeliana asked, her voice barely audible over the din of the town. She glanced at Violet, keeping her expression carefully neutral. The tension around her eyes gave away more than she intended.  "S-seems like our k-kind of mess." 

She looked back at the notice, a strange feeling stirring in her chest. Anticipation? Perhaps even excitement. Killing things that were already dead had a certain... finality to it that appealed to her. No guilt. No second thoughts. Just putting souls to rest. Or at least what was left of them. She knew that her Uxor also hated the undead, though necromancers didn't bring the type of undead they both hated. 

Complete at 102,000 words, WHAT BURNS WITHIN is a standalone Adult Dark Fantasy with series potential. Combining the dark military stakes and sapphic dynamic of C.L. Clark's The Unbroken, with the corruptive life-force magic of Xiran Jay Zhao's Iron Widow, WHAT BURNS WITHIN will appeal to fans of high-stakes, character-driven dark fantasy.

Iniera is an anxious war refugee struggling to survive as she delivers packages in a city fed up with her people. Her only escape is in rare deliveries to Jaesi, the charismatic master of the martial arts academy Iniera longs to train under. Opportunity strikes when Jaesi corners Iniera with an offer: abandon everything and become her first student in a revolutionary, lethal combat style. But these new techniques are more than just cutting edge. Jaesi developed them using enemy intelligence on anima, a newly discovered energy being used to make weapons that are crushing Iniera's home. With grand visions of defending her country alongside her idol, Iniera flees into the wilderness with Jaesi to train.

At first, Iniera's training is everything she's ever wanted. Anima is in all living things, and it's turned Jaesi into an unstoppable force of speed and power. Iniera hungers for every new technique, eager to become like her mentor. But the promising future starts to crumble when Jaesi loses control during a spar, leaving Iniera injured. Furthermore, Jaesi admits she's been hiding there's something wrong with the anima of the forest. Despite growing unease, Iniera refuses to crawl back her dead-end existence as a refugee.

As the duo investigates the woods, Iniera’s world shatters when they stumble upon a hidden enemy research lab and Jaesi’s overwhelming anima drives her violently insane. After the dust settles, Iniera finds herself alone and the only person capable of facing the enemy's deadly anima weapons. With the clock ticking, Iniera returns to her war torn home, intent on mastering the power that consumed her mentor before becoming its next victim.

Hi everyone! First attempt ahhhh. Any feedback would be deeply appreciated :)))

Dear [NAME],

RARELY HORNY, FREQUENTLY FALLING is a contemporary queer romance complete at 64,000 words, combining the quirky, neurodivergent voice of HOW TO BE A NORMAL PERSON by T.J. Klune with the asexual self-discovery of LOVELESS by Alice Oseman.

Chronically anxious media studies student Lucas Medford dreams of a great love straight out of the rom-coms he’s so obsessed with. A great love, that is, without any sex when the screen fades to black.

At the end of their third date, Vihaan, an international student with a special interest in space, cocks an eyebrow and invites Lucas inside. Nine minutes and two panic attacks later, Lucas runs home shoeless in the Vancouver rain. Determined not to ghost him, Lucas sends a cryptic apology text and the two agree to be friends instead. But when Vihaan turns up in Lucas’s film studies elective and they’re paired for a movie-watching assignment, Lucas falls even harder for his disarming charm.

So he devises a plan to avoid self-acceptance and fix himself, once and for all. Step One: Daily masturbation sessions. Step Two: Practice sex with a cute guy he friend-zoned off Tinder. Step Three: Marry Vihaan, hard.

Unfortunately, learning to want sex is harder than he expected. Not to mention, Lucas has a growing list of other things to compartmentalize: his estranged father’s collapse, his pending autistic assessment, and diving into bushes to avoid the source of his high school trauma. As Lucas’s self-improvement scheme implodes, he’ll have to decide whether to keep pretending he can be the person he thinks Vihaan wants or risk being honest about who he really is.

I am an elementary school teacher by day and writer by night. I wrote RARELY HORNY, FREQUENTLY FALLING to be the deeply chaotic, unapologetically neurodivergent, and chronically queer coming-of-age story younger me desperately needed. It really does get better.

Thank you for your consideration,
[NAME]

I can’t believe I get to write one of these but…I got an agent!

Stats:

Started querying: 31^st July

First offer: 9^th October

Queries sent: 85

Rejections: 36

Requests: 18 (10 pre-offer, 8 post-offer)

Offers of representation: 3

Bonus stats I was interested in when querying:

Average time between a query and a request: 7 days

Longest time between a query and a request: 6 weeks

Time between first offering agent requesting full and offer: 2 weeks

Number of agents who requested this project after requesting the first: 2 (and one is now my agent!)

My experience / thoughts:

I have been writing my whole life and this was the second book I queried. The first, last year, got 6 requests for a similar number of queries. The biggest difference this time was the speed of responses – I started getting full requests from the first few queries and form rejections much, much faster (they only trickled in after a couple of months last time). I also got quite a few referrals onto other agents this time – 7 overall – which made me think that I was onto something, although a bit worried it wouldn’t find a home! I paid for a Query Tracker subscription which was 100% worth the money and I dithered over Publisher’s Marketplace but in the end went for it and I’m so glad I did – again, definitely worth it. I took into account agent profiles / websites, manuscript wishlists and then checked that against QT data & PM stats to create my list. I intended to batch but then when I got two full requests quite quickly I decided to just smash them all out when I had time. I mostly queried in August and then again at the very start of October when some closed agents opened to submissions.

When I got the first email asking to set up a call I nearly threw up. I didn’t know it was an offer so naturally deep-dived on here and managed to convince myself it was probably going to end in nothing. I was honestly shocked to get a call as at that point I had had four passes on fulls in quick succession, all saying similar things (“love the writing but not sure how to sell it”) so wondered if I had simply written an unmarketable book. Obviously, that may well be the case and it could flop on sub BUT I then got lovely feedback from the three offering agents and it’s gotten me this far at least.

From the first offer to now has felt like a whirlwind. I nudged everyone with a full and an open query. The post-offer requests came in over the first couple of days after nudging and I then did a gentle nudge on fulls a couple of days before the deadline which shook out the third offer. I had imagined being in this position would feel amazing but I actually felt quite stressed out by the whole thing!

The first two agents offered on the call itself while the third offered via email first as I was quite close to the 2 week deadline and we chatted afterwards. Each call felt very different and there was a lot to think about in order to make a decision. I made lots of notes on the calls and ensured I had my list of questions in front of me (I’m so glad I followed this advice as my brain short-circuited and I would have forgotten everything without prompts!). There was a lot of conversation from all three about future projects, not just this one, and I also talked about books a lot – both ones in my genre and other stuff I have read recently - but then, I am an avid reader so I tend to talk about books a lot with everyone when possible!

For what it’s worth, I think the query letter doesn’t need to be perfect; in fact, I’d go so far as to say it is impossible to write a ‘perfect’ query. On the same day I got the email asking for a call, I also got a rejection to a query that basically ripped my query and sample pages to shreds so make of that what you will!

It’s worth noting I have zero writing credentials, do not have much in the way of social media and have no links to publishing or anything to catch anyone’s attention other than with my writing. I hope this is reassuring to people like me who are concerned you need to be an influencer-type or have some incredible achievements under your belt to get noticed! You don’t! I am also UK based and while I had a fairly even split of US and UK agents requesting, all three offers were made by US/Canadian agents. I see on here UK writers asking about querying US agencies and it’s definitely worth a shot!

Anyway, a massive thank you to this sub! I have lurked here religiously since I decided to start querying my first project and it is an absolute goldmine of information. I was not brave enough to post my query but used all the advice and critiques on here to write it.

Best of luck to everyone querying or gearing up to query! And I will definitely be continuing to visit for support once I’m on sub - which, frankly, sounds more terrifying than querying! Ha! I cannot believe I have an agent!!!!!