Querying a Literary Agent, Part 4: What Happens After You Hit Send

Rosemi Mederos: 00:01

If you have plot bunnies coming out of your plot holes, it’s time for a writing break.

With my friend back in town, my time as the dogsitter of a sweet old boy has come to an end, but I now have a head cold to keep me company. I hope you are doing better than I am.

I have an update on my new archnemesis, Google. If you’ve tried to email me in the past several months from a Gmail account, I probably did not respond because I was in, I don’t know what to call it, Google Purgatory? In short, Google servers blocked my work email. I was blacklisted. The reason remains unknown, as I don’t even send out a newsletter that could be considered spam. Haters gonna hate, I guess.

Now, it appears I’ve been set free to run amuck on their servers once again. However, any email sent to me from a Gmail account during my stint in Google Jail does not get forwarded to me. The whole affair was quite strange. I didn’t receive a notice or an explanation, and there was no fanfare when they realized the error of their ways. I’ll remember this when the apocalypse comes, Google.

In this episode, we are wrapping up our four-part series on querying literary agents. Today is the day you hear back from your dream agent.

But first, I have got to tell you about the latest big publishing scandal. The Writing Break cafe is open, so grab your beverage of choice, and let’s catch up on the latest publishing news.

The US Justice Department has arrested three people connected to a company called PageTurner. These people stand accused of defrauding over 800 writers out of approximately $44 million. One former sales agent said, ““I made a lot of money ... .Once we talk to our clients, our goal is to get their money.” They allegedly promised book deals, marketing, and even Netflix options, only to trick authors into paying hefty upfront fees, with one aspiring author paying over $600,000.

Remember to always verify an agency’s legitimacy before signing or paying anything. You already know to watch out for companies and agents requesting upfront fees, but it seems like every time the feds take one scam company down, two more pop up in its place.

And, no, that is not the big scandal I promised. That’s coming after this next story.

Fan fiction is having a moment. Rose in Chains by Julie Soto and The Irresistible Urge to Fall for Your Enemy by Brigitte Knightley both originated as “Dramione” fan‑fic. Yes, that means Draco and Hermione. While Harry Potter based, the stories are reimagined with new worlds and characters, and these books have made it to bestseller lists. If you are interested in trying your hand at writing fan fiction, be sure to deeply rework characters, setting, and plot to avoid intellectual property conflicts.

And now for the latest publishing scandal.

. The Salt Path, published in: 2018

However, this month, The Observer dropped a startling exposé questioning the truth behind Winn’s inspirational tale. It alleges Raynor’s real name is Sally Walker and that she embezzled approximately £64,000 from her employer, not a failed investment as stated in her book. They claim the couple lost their home due to debt repayment and a court settlement, not business failure.

Medical experts also doubt Moth’s diagnosis of corticobasal degeneration (CBD), which typically carries a life expectancy of six to eight years. He has survived for over a decade since his diagnosis, even running a marathon last year. The exposé also reports that the couple owned property in France during their supposed period of homelessness.

The author, Raynor Winn, has called the exposé“highly misleading,” and she’s seeking legal advice. She expresses regret over any past mistakes but denies criminal intent, confirming she did embezzle money but that the embezzlement was settled privately, with no charges filed. She shared medical letters to defend Moth’s CBD diagnosis, and maintained the French property was an “uninhabitable ruin” at the time.

The Salt Path was embraced as a beacon of hope. It was a tale of resilience, grief, homelessness, and healing through nature. Now, readers and moviegoers feel betrayed, but we’ve been here before with past memoir fabrications, like James Frey’s A Million Little Pieces.

Penguin Random House faces scrutiny over its editorial oversight. Penguin initially claimed that they did their due diligence, but the publishing house is also delaying the release of Winn’s next book, called On Winter Hill.

I think I need a scone to go with all that tea, so I’ll meet you on the Overthinking Couch in just a moment to discuss what happens when a literary agent actually replies.

The most common thing that happens after you send a literary agent a query is . . . nothing. You don’t hear from them at all, which is fine. Their website usually tells you how many weeks of silence should be taken as a ‘no’. More on that later.

But let’s say you do get a response. What should you expect? There are three different replies you might receive from a literary agent after sending out a query: there’s the form rejection, the personalized rejection, and a request for additional materials.

First up, the form rejection. These are generic and brief. You might get something like, “Thank you for submitting. It’s not right for us at this time.” That is it. This type of response is not a reflection of your worth as a writer or the quality of your work. It simply means that the project is not the right fit for that particular agent at that particular time. There is no need to read between the lines or overanalyze the phrasing. It often means that a literary agent’s assistant has rejected your submission. And more and more often, submissions are passing through AI, so it’s possible a human never even laid eyes on your email. That’s sure motivating, right?

On QueryTracker.com, authors will often paste the text of the rejection they received from a particular agent, and from that you’ll be able to discern whether you received a form rejection or a personalized rejection from that agent.

The personalized rejection is the kind of rejection that hurts, but it can be useful. If an agent takes the time to give you feedback, it means your writing caught their attention. They saw promise in your voice, your concept, or your structure. For nonfiction authors, this might look like comments about your platform, the clarity of your proposal, or whether the topic feels sufficiently focused for the market. Personalized rejections often contain insights that can help you strengthen your work for future submissions.

And then, there’s the response we are all hoping for: a request for additional materials.

If you are writing fiction or memoir, the agent may ask for a partial manuscript, which typically means between ten and fifty pages, or they may ask for the full manuscript.

If you are writing nonfiction, it’s a bit more complex. The agent will usually ask for a full book proposal and sample chapters. This usually includes the introduction and one or two chapters from the body of the book. We talked about submission materials in the last episode, in case you missed it.

If you already sent the nonfiction proposal and samples with your initial query, a follow-up request might mean one of a few things. The agent may want the full proposal if you only sent part of it. They may ask for additional sample chapters. They may suggest revisions and invite you to resubmit. Or, they may be ready to set up a call to discuss the possibility of representation.

For nonfiction, if an agent follows up with a request, you have likely cleared that first hurdle. You have shown that your concept is appealing and your platform looks promising. Now they want to assess two things: execution and market viability.

Execution means they want to see whether you can actually deliver the book you are proposing. They will be looking for clear, confident writing, a compelling structure, and a voice that suits the subject. They want to know that your content is engaging and that you can carry your idea across the full manuscript.

Market viability means they want to understand whether there is a real audience for your book. They will consider whether the topic fills a gap in the market, whether the comps are current and well chosen, and whether your platform will help support sales. They will also consider timing and relevance. In other words, is there a reason this book needs to be published now?

For example, if you are pitching a book called Go From First Draft to Existential Crisis in 30 Days, the agent will want to know that your method is actionable, that you have a clear audience in mind, and that this idea feels fresh enough to stand out in a crowded category.

So, what do you do when you get a request?

First, take a deep breath. Then follow these six steps, which applies to both fiction and nonfiction writers:

Thank the agent for the request.

Label your files clearly with your last name, the title of your book, and the type of file.

Attach the requested materials in the format they specified.

Include your original query in the reply unless the agent specifically asked you not to.

Proofread your email before sending.

Update your query tracker.

Earlier in this series, I think it was the previous episode, we discussed staying organized and tracking your queries. You can do this with a spreadsheet, a query tracker site, or pen and paper. At a minimum, you should track the agent's name, the agency, the date you sent the query, the date of their response, the type of response, any feedback received, and whether the agency allows you to query another agent at their firm in the future.

Nonfiction authors should also track any proposal variations. If you are adjusting platform metrics, comp titles, or marketing language for different agents, make a note of that.

If the agency’s website says it’s okay to follow up, set a reminder. If the agency site says “no response means no,” then take that as your answer and move on.

Now let’s address rejection.

Rejection is part of the process. Every published author you know has an inbox full of rejections. Ghosting happens, too. It is frustrating, but it is common. Do not let it derail your momentum.

However, if you receive several rejections with similar feedback, pay attention. That is a sign that something in your query or proposal needs to be revised. If agents repeatedly mention an unclear premise, a weak opening, or an underdeveloped platform, it is worth pausing your submissions to make adjustments.

A rejection from a literary agent is not a final judgment. It is one person’s opinion on one version of your project. Keep refining, and keep going.

If this series helped you, I would love it if you’d leave a review, share it with a fellow writer, or mention it in your query letter. Thank you so much for listening, and remember, you deserved this break.

Thank you for making space in your mind for The Muse today.

Writing Break is hosted by America’s Editor and produced by Allon Media with technical direction by Gus Aviles. Visit us at writingbreak.com or contact us at podcast@writingbreak.com.