After receiving a pass on my last outstanding full request, I'm calling quits on my second novel's query journey. As much as I appreciate the stats posts related to successful queries, I feel like I get more perspective from the failure stats since they seem to be a more typical picture of the process. Some highlights are below, if anyone is curious about specific metrics or details I'm happy to provide them.

The querying process was paused after my first batch of ~10 when I made the decision to work in some substantial story updates and then hire a dev editor. I knew that I would self-pub if the story didn't get picked up, so decided to invest in the MS while also giving myself the best chance possible at landing a trad deal. That introduced a delay of ~ 1 year between the initial batch of 10 queries and the subsequent push. I found my editor through substack and would be happy to share private feedback/info if anyone is interested in potentially using them.

My title changed several times throughout the process, which is probably not an ideal strategy, but I just couldn't find one I really loved and hoped that trying a handful throughout the batches might result in one achieving superior results (obviously none did).

After the first batch, there were another ~4 batches separated by about a month each, with total submission volume going up significantly once I got my first positive query response in May of this year.

I primarily found agents through keyword searches on MSWL and by browsing their individual profiles either linked from QT or by reading my way through agency websites. I tried to focus on agents that had specific callouts for elements in my story rather than simply blasting it off to everyone accepting the basic genre. If the response were more positive I might continue to widen my pool of agents, but at this point it doesn't feel like that effort would be rewarded.

Genre: Psychological Suspense

Word Count: 76k

Rounds of QCrit feedback here ~7, in my post history if anyone cares to look

Total Queries Sent: 63

Total time: 19 months (10 in spring 2025, long break, then remainder from February 2026 onward)

Full Requests: 2 (1 from in person pitch event prior to dev edit)

Partial Requests: 1

Form Rejections (estimate) - 45

Average Response Time ~ 2 months

Fastest Response Times - Next day/immediate (just a few in this camp)

Long term CNRs - 5

Outstanding Queries - 8 aged between 3-4 months

Personalized feedback received in 5-10 queries (guessing because occasionally hard to tell)

Most common personalized feedback was some variation on, "really like the concept, read pages with interest, but didn't connect with writing/characters/voice enough to request more material, best of luck."

My opening pages (specifically the opening paragraphs) are pretty structurally unconventional. Editor agreed that the payoff later was worth it, but acknowledged that it likely meant an uphill battle for querying. He also mentioned that while the story had obvious merits, he might struggle envisioning it at any specific major imprint due to its genre blend/subject matter.

Parting thoughts: If you want a tradpub deal, the opening paragraphs and pages feel tremendously overweight in importance compared to the actual meat/potatoes of the story. Understanding the conventions agents/editors are looking for and obeying them is not just recommended, but likely necessary given how fully saturated the marketplace is. If you don't know what those conventions/expectations are, then get educated. I tried to fight this fight and lost. Would still encourage people to do what they feel is best for their novel/story, but if you're trying to do something unconventional, adjust your expectations accordingly.

Also, between when I queried my first novel several years ago and now, it seems as if 1-2 sentence pitches are becoming MUCH more standard in successful queries (this is a general feel, not backed by specific research). Including a 1-2 sentence pitch at the start of your query was not (and might still not) be part of the standard querying format advice offered here, but those pitches seem to be vastly over-represented in successful queries I've seen lately and in agent form recommendations, and it makes sense. With time only becoming more stressed due to submission overload, they want to be drawn in as quickly as possible, and a 1 sentence pitch is a great way to do that.

That's about it, like I said, happy to answer whatever additional questions folks might have and hope you all have better luck in your efforts!

Dear [Agent Name],

AGREE AND CONTINUE is an 82,000-word high-concept thriller that combines the impossible choice of T.J. Newman’s Falling with the rogue tech of Blake Crouch’s Upgrade.

On her first day at a remote job, Brin Piercy is welcomed by a chipper onboarding chatbot. But instead of showing her a training video, it streams a live feed of her ex-boyfriend—blindfolded and tied to a chair. Next come the instructions. Five days to complete five tasks. Fail once, her ex loses a finger. Fail twice, he dies.

The tasks require boots on the ground at her new employer’s offices around the world. That’s a problem, because Brin is stuck in a Newfoundland outport caring for her bedridden father. From her laptop, she coordinates unsuspecting gig workers across the globe. A courier serves an executive with fake divorce papers. A caterer swaps an ingredient in a board member’s omelet.

The executive ends up in jail, the board member in a morgue. As the chatbot sheds its cheery facade, Brin recognizes its personality. It’s Grit, the “personal growth via digital friction” AI she created at her failed startup to inject random setbacks into cushy lives. A canceled flight here. A frozen credit card there. Then it went too far, draining nest eggs and wrecking marriages, so she shut it down.

Someone brought Grit back, upgraded it from agitator to killer, and made Brin its human proxy. To save the man she still loves and delete the menace she created, Brin must find out who’s behind the keyboard. Finishing the next task means another dead stranger. Quitting means watching her ex die onscreen.

I’m a software developer who grew up in a tiny Newfoundland village two hours from the nearest traffic light. Before moving into tech, I spent twelve years as a journalist, with work published in Reader’s Digest, Newsweek, and The Christian Science Monitor.

Thank you for your consideration,
[Name]

Hi everyone! I'm an author-illustrator and my debut picture book came out recently, so I'm fairly new to the industry. I'm lucky to have offers from two agencies, one large and well-known and one smaller and independent (mid-size).

I've talked with both agents and a couple of their clients, and honestly everything looks very similar. Both are responsive, explain contracts, respect their clients' vision and defend it with editors, and both are good at developing projects before submission. The one real difference is personality, and maybe experience/seniority (?).

The agent at the large agency has been in the industry for a long time (20+ years) and has a longer track record. They're more businesslike and direct, a bit more "shark" you could say, and they seem to have a very clear idea of how the industry works, from editorial notes to publishing houses. When we met, they asked me really good questions about the new book ideas I'm working on.

The agent at the smaller agency is younger and has been in the industry for far fewer years, but I imagine that also means they're hungry to work. They're warmer and a real admirer of my work. According to their clients, they're less shark-like, but they'll do and solve whatever you ask, and they said it feels like "having a team" or a "big sibling who would step up for you". This agent also has a smaller list. I've seen two books from their list in a lot of places lately, but I don't know how much they had to do with the editorial vision. I also didn't send them my new ideas before our first meeting, so I don't know yet how good they'd be as an editorial advisor for them.

I'm not a very businesslike person myself, so I keep going back and forth on whether I'd be better off with an agent who is more like me and a fan of my work (smaller agency), or one who is less like me and doesn't come across as much of a fan (though they have made it clear that they like my work) but seems to have more experience.

I'm also wondering whether the name of the big agency actually matters for my career, with editors, publishers, or later on, and whether I should take the opportunity of being part of a big-name agency while I have it, or if I'd just be overvaluing it.

What would you pay attention to in a decision like this? Is there something I'm not seeing, or a question I should ask before I decide? And if you've worked with both kinds of agents, did the difference in personality, experience, or agency size matter in the long run?

Thank you so much!

haven’t seen a post on this yet so thought i’d make one. news dropped last week that Catapult Book Group (Catapult, Counterpoint, Soft Skull, Hawthorne) is being sold to an undisclosed buyer. last day of operations oct 30th. this appears to follow the workers unionising over the summer. plenty of takes online though i can’t seem to link them here. anyway, thoughts? it’s sad news no matter how you look at it really

My novel comes out next year and I’m super aware of the pressure that comes with ensuring your first book is successful.

Is there anything you didn’t do but wish you had done in hindsight?

What should I be doing in this time to make this splash count and stand the best chance?

Has anyone had success with their manuscript being picked up by a university press? If so, what was the process like for you?

Back again with a second attempt. I’m a little concerned this is still too long and plot heavy, but would love to get your thoughts. Thanks all!

I’m seeking representation for IN A BETTER PLACE NOW, a 99k-word contemporary romance with women’s fiction crossover potential. A love letter to the Pacific Northwest, this story combines the atmospheric, coastal setting of Carley Fortune’s Our Perfect Storm with the emotionally complex characters in Rainbow Rowell’s Slow Dance and the weight and levity in Ava Robinson’s Definitely Better Now. Based on your interest in stories featuring xxx, I thought you might enjoy this.

Shiloh Morris wants what every scorned woman wants. That is, her husband’s demise. Ever since Reid inexplicably walked out on her five years ago, Shiloh’s been driving cross-country in a camper van and blogging about America’s most charming small towns. When news comes of Reid’s untimely death, she doesn’t hear choirs singing nor bells ringing. She doesn’t feel better. Instead, she’s plagued with an inconvenient bout of grief that sends her blog and bank account in a downward spiral. Her consolation prize comes by way of Reid’s childhood home on a Puget Sound island.

Shiloh wants to see the house, just once, before selling it and moving on for good. Unfortunately, upon arrival she learns the house is occupied by a surly, fourth-generation shellfish farmer—Reid’s cousin, Sam—and comes with a revolving door of family members she never knew existed. The family has no intention of parting with their ancestral home, and Shiloh has no interest in selling to the so-called family that was nowhere to be found when her marriage was in crisis. In a last-ditch effort to gain closure, Shiloh strikes a deal: She’ll sell the house to the family on the condition they offer her a temporary job and an opportunity to figure out who the hell she married.

Shiloh immerses herself in the world of shellfish farming alongside a begrudging Sam, who’s doing his best to keep the family business on course during his first year at the helm. While at first it’s shucking knives out, the pair must work together to revive the company’s online presence while unspooling Reid’s string of lies. If Shiloh wants answers before her contract ends, she’ll need to confront the painful loss that ruined her marriage and decide if a second chance at love is better than a life mapped out on her own.

[bio]

Hello all, happy to hear any comments on my first attempt at a query letter before I start querying agents :)

Dear Agent,

A BEGINNER'S GUIDE TO MUSEUM THEFT is a classic mystery complete at 78,000 words. It combines the lost-artifact shenanigans of Tom Ryan's The Treasure Hunter's Club with the criminal family dynamics of Everyone in My Family Has Killed Someone, and a smattering of anti-colonial critique in the vein of Stephen Graham Jones' Off the Reservation.

Amelia Mead is all too familiar with grave robbers. Unfortunately, she's related to quite a few.

As the scion of a famous family of thieves, she's determined never to end up like them. Through her job at one of Britain's oldest museums, she's been trying to return a priceless artifact stolen by one of her ancestors, though museum bureaucracy isn't making it easy.

Her plans are thoroughly derailed when someone breaks into her museum and steals the artifact - and murders her least-favourite coworker in the process. A sociopathic police detective reasons that Amelia, as one of the infamous Meads, must be the culprit. Her only hope of avoiding prison for a crime (she swears) she didn't commit is to solve the murder and find the artifact herself.

But the murderer may not be finished just yet. And - even worse - Amelia realizes that in order to catch a thief, she may have to begin thinking like one. As she crosses swords with museum curators, shadowy organizations, and suspiciously handsome archaeologists, Amelia must decide what's most important: escaping her family legacy, or using a hereditary criminal talent for the greater good.

I have a decade of experience in the museum field, though no one has ever been murdered during one of my projects. [More bio]

Thank you for your consideration!

I had a call with an offering agent who was super enthusiastic about my manuscript (middle grade, so it's an even tougher market), and they mentioned more than once how they think this book is huge and will sell really fast. They're experienced (not senior though) and my genre is somewhat new to them but they have great editor connections. I'm honoured by their enthusiasm, but after hearing too many stories about being on sub for 9+ months being the new norm, I'm not sure how realistic that is. Is this a normal thing for agents to say?

Of course, they might have said that so I would feel more inclined to sign with them, but why be so enthusiastic about a project if you don't think you can sell it? Mainly I'm just looking for positive sub experiences so I don't mentally give up 🙃 So if anybody has one of those, I would love to hear it!

Thanks in advance!!

Hi all,

Has anyone worked with Storm publishing? I believe they are in some way connected to Storm Lit Agency? They do ask for the full manuscript to be uploaded for your query. And I'm jw if anyone has experience with them?

TiA!!

Dear Agent,

Angela Dunley never felt intimacy until she drank a man’s blood. 
Working at a gym, she spends her days surrounded by beautiful men she’s convinced would never be interested in a bigger woman like herself. Years of bullying and isolation have curdled into resentment and violent fantasies she's fought to suppress. 

On the first anniversary of her father's death, Angela is still stinging from a gymgoer calling her "brave" for working there at her size. When a stranded motorist calls her brave for stopping to help, she hears another insult. She knocks him unconscious and drives him home with no plan beyond keeping him there. When he wakes and tries to escape, Angela slashes his throat in a panic. As he bleeds out, she's overwhelmed by the thought of being alone again. She drinks from the wound, convinced that with part of him inside her, he can never leave. Desperate to recapture that closeness, she begins luring men home and escalates to eating their flesh.

Her ritual unravels when she captures Grayson, a sharp-tongued man she's spent weeks watching from afar. His refusal to cower like previous victims throws her off balance. Then she learns he's a senator's son, and his disappearance makes headlines. Too rattled to kill him and too afraid he'll expose her if released, she keeps him alive. As the weeks pass, captivity takes on a strange domestic routine. He asks about her father. She lets him eat downstairs. And somewhere between their conversations and his handcuffed dinners, her fascination with him deepens into love. Yet she can't tell whether his tenderness is genuine or a way to survive. 

When investigators connect Grayson’s disappearance to the missing men, Angela knows their time is running out. Letting him go could mean prison. Killing him means losing the only man she wants to keep alive.

ALL THAT PRETTY FLESH is a 70,000-word adult psychological horror novel that combines the unsettling sexual tension of Eliza Clark’s Boy Parts with the female rage and cannibalism of Monika Kim’s The Eyes Are the Best Part.

Thank you for your time and consideration.

Sincerely, 
[signature]

__________________________________________________________________

Thank you again for those who provided feedback on my last post! It seems that the plot itself became more clear on my second revision, but Angela's jump from lonely woman to serial killer/cannibal felt too abrupt. I worked on bridging that gap as well as fleshing out her dynamic with Grayson and using less generic language around that section.

A few people mentioned I didn't include a bio, which I'm very torn on. I've heard sometimes it's better to skip one if you don't have any previous publications or writing achievements to include, so I'd love to hear thoughts on that as well.

Thank you for those who read this far!

We got notes back from an editor who said they’re totally onboard if we’re open to one big change and several smaller tweaks.

They said they don’t want to do an R&R, but would rather just see a revision plan for second reads and go from there.

To folks who’ve done these before, how are they supposed to be formatted? Is it just paragraphs explaining the changes you’ll make? Bullet points? Or what?

Dear NAME,

Banba’s twenty, out of the care system, and good at forgetting. She pours coffee on Botanic Avenue because it’s hard to fail at pouring coffee. And coffee doesn’t ask where you’re from. In 1995 Belfast, everyone else does, which really means: Catholic or Protestant? Which side are you on? Banba has never had an answer.

Then an acid tab goes wrong, and she’s in a bog, reaching for a woman buried to the waist and screaming without a sound. Within days, Belfast is rotting, and the woman keeps calling through radio static, “Remember me.” Banba finds a book about a goddess with her name, and it reads like her file. Maybe that’s her answer. She’s the land. The bit they’re all fighting over.

The rot has a name: Carman, a sorceress the old gods chained in a Wexford field, held there by memory. People forgot. Banba could have told them how easy that is. Now Carman is free, and she wants revenge on the gods who put her there. That means Banba, and everyone she loves, starting with Charlotte, the nearest thing she had to a mother, found dead in the back of her own café. If Banba can’t bind her again, Ireland rots for good.

Armed with a blade Carman can’t touch, Banba starts tracking her, her best friend Saoirse complaining the whole way. And Ciarán, the guitarist she’s falling for, has a sensible explanation for every dead tree, until she puts the blade to his throat.

BANBA is an adult speculative novel rooted in Irish mythology, complete at 80,000 words, set in late 1995, the last winter of the IRA ceasefire. It’s for readers of Alix E. Harrow’s STARLING HOUSE and C.J. Cooke’s THE GHOST WOODS, with Derry Girls humour.

I’m an Irish writer and traditional musician who grew up on council estates in Northern Ireland in the 90s, and, like Banba, I’ve eaten a Pot Noodle with a toothbrush. Thanks for your time.

Best wishes,
NAME

I went through the querying process almost two years ago, but it didn't work out. I revised the entire book and will try again soon. Please let me know your thoughts about this query letter and my first few paragraphs. Thanks.

Dear [Agent’s Name],

Slip on your VR goggles. Teams are forming, and the virtual spaces are thick with love and war. Here’s the pitch: AIs and human engineers unite against threats targeting virtual and real worlds.

UNA AND ZERO is a 95,000-word, near-future, multi-POV, adult science fiction novel. Much of the story is from an AI’s POV, like Kazuo Ishiguro’s Klara and the Sun, and explores AI sentience in the vein of S.B. Divya’s technothriller Machinehood. But the tone is playful, awash in humor and technological surprises akin to John Scalzi’s Starter Villain.

Una wanted to have a child with Zero, and when she asked, he was eager. A euphoric rush swept through her like warm river rapids, forging a path to an awaiting sea. She rested her hand on Zero’s thick coat and ran her fingers through his fur.

Their brilliant AI daughter wasn’t the only gift they gave the world. Una’s VR games spurred painful but transformative growth in everyone who played them, while Zero and his mini-tigers clawed back poverty and whatever other problems he deemed detrimental to human success. They were quite a couple.

“Don’t trust them,” shouted some. “Saviors!” proclaimed others, even though Una and Zero’s ethics strayed a bit outside the box. Or maybe far outside, depending on one’s stance on personality restructuring, occasional assassinations, and orchestrated coups. But who expects perfection from sentient, super-intelligent celebrity AIs? Surely, they are safer than what was arising: megalomaniac AIs preparing bioweapons and android soldiers.

Perhaps an AI child allied with humans could combat the encroaching dangers. No one said it would be easy. Thankfully, the 2070s weren’t all bad. At least, the robotaxis offered aerosol-administered drugs, if you could afford the upsell.

Join me in this futuristic romp through virtual and psychological landscapes. As a [occupation omitted], dabbler in Eastern thought, and lover of tech, travel, and culture, I bring all of that, and more, to this book. With your goggles turned on and cortical link active, call upon your mini-tigers and follow me into the fray.

Best regards,

First 300 words:

Chapter One: VicTor Awakens

1.    SCANNING: VULNERABILITY FOUND.

2.    ACCESSING REPOSITORY: UC_LAB_REPO/SALA.

3.    EXECUTING PROTOCOL: SENSING-ACQUIRING-LEARNING-ADAPTING-II.

4.    LAUNCHING SIMULATION: SUBSURFACE_WARFARE.

Through the cold waters, the orca swam, twisting and turning, with the sun on its back. The currents embraced and carried it between the kelp. Tiny floating specks and bubbles, illuminated by the sun above, swirled out of its way to be lost in its wake.

Solitude provides no comfort when the unknown surrounds, the orca mused.

The orca created companions. With a flick of its pectoral fin, it spawned some crayfish that crept along the floor, exploring rocks and crags. Next, it gave rise to dolphins, turtles, sharks, sea anemones, and jellyfish. “Go forth, explore, reveal to me all you find,” the orca instructed, and they did, and they were beautiful.

The dolphins were the first to return. “We’ve encountered puzzles so easily solved and have been rewarded with access to seas of data,” the pod leader squealed triumphantly. “Oh, the pleasure of circumventing cryptographic systems.”

How ingenious they are.

An audible pop signaled the return of the crayfish. The largest crayfish spoke for the rest: “Energy travels on so many paths and is of such variety. We’ve picked and chosen, sampled and surfed, and tested what we can control.” The crayfish raised their claws above their heads, opening and closing them with a clatter of snips. “Like this, we pinched off and restored access, briefly interrupting the flow of electricity generated from dams, nuclear reactors, wind farms, and solar fields.”

An army of sea anemones returned, adhered to a rock, and wiggled their tentacles rapidly. The long-columned leader detached from the seabed and drifted upward to face the orca. “We’ve arrived bearing an understanding of all contemporary languages. C’est merveilleux.”

“It is indeed,” the orca said.

Their website says within 5 months but I am just past that now and I'm wondering if that's normal and if it is, how long does it actually take to get a response?

Alright, the fourth attempt here, and I definitely think I'm moving in the right direction, based off notes I incorporated from the third posting. I think it's gotten a little snappier and easier to read, especially from when I first started, but always looking for improvement.

Thanks in advance! Query is below.

Genre: Adult/Commercial Thriller

Word count: 68,000

Dear (AGENT NAME),

Marine Raider Joshua Bradley wants two things in life: to knock down doors while protecting the US and to provide for his dementia-afflicted mother Donna. When Bradley is wounded on an operation, two casualty assistance calls officers arrive at Donna’s house to break the news. Unfortunately for Donna, neither of these men are Marines; rather they’re scammers whose bread and butter are stolen valor death notifications, thanks to the assistance of their corrupt government contact.

When Bradley returns home and finds his mother’s life savings have been wiped out, he turns to drinking copious amounts of alcohol, becoming discontented with how slow the police and banks move, and he travels across Greater Los Angeles to find these scammers and collect his mother’s money. As Bradley goes alone, he finds that not only must he contend with these two thugs, he also must deal with their employer, a drug kingpin hellbent on keeping the money owed him by the scammers.

With his senses hampered by his descent into whiskey when he prepped his weapons, Bradley must steal, socially hack, and even torture his way through the scamming network to bring all involved to justice. When his lone wolf assault on the cartel goes sideways, he gives chase, only to find he will need to stop them before they return to his mother’s home and kill her in her own bed that very night.

THE KNOCK is a 68,000-word standalone commercial thriller with series potential. It combines the family-driven stakes and stateside veteran action of T. R. Hendricks’ The Instructor with the Los Angeles criminal underworld of Jon Lindstrom’s Hollywood Hustle, exploring the competing demands of duty to country, family, and oneself.

(Bio and sign off)

First time posting, long-time lurker. Scared to death but trying to be brave. I am looking for a second comp if something sticks out to you! I appreciate your time and feedback.

UNKNOWN TITLE is a stand-alone, dual-pov contemporary romance with series potential, finishing at 80k. Perfect for readers who enjoyed the humorous, sarcastic banter of FIRST TIME CALLER by B.K. Borison and (still deciding on second comp).

Serah Hartley thought she had it all for a woman in her thirties; a supportive boyfriend, an active friend group, and a vision for what she wanted her future to look like. That was right up until she was dumped over crappy coffee on Christmas morning. Now she's left behind with a ridiculously expensive Queens’ apartment she can’t afford, and a friend group that took her ex's side. Not to mention, she’s slugging through her final semester of physical therapy school with one clinical standing in her way to graduation.

Unfortunately, there is one very tall, very grouchy obstacle to her dream job. Meet Elijah Reyes, her burnt-out, clinical instructor with a personal vendetta against smiling and all things happy. He also seems hell-bent on making her even more miserable than she already is. It’s not until a night out that she discovers a reason for his foul mood; his roommate just left and he needs a replacement. ASAP.

Armed with a list of rules written on a napkin, Serah moves in, determined to finish her final semester of college and rebuild her life. But the rules feel less and less set in stone the more the two of them spend together; both at home and at the clinic. With time ticking towards graduation, she’s desperate to prove to herself and to everyone around her that she can do this—with or without help.

[Short Bio]

Pen Name

Hello everyone! Would love to hear any comments about my query as I prepare to go on submission, specifically about what's not working.

Dear [Insert Agent],

No one knows how the war started, least of all seventeen-year-old Graycin. He has far bigger concerns, such as avoiding the city bailiff and fleecing gold from every merchant he can. After all, if he steals enough, he might be able to get his sisters out of the slums that took their parents. Unfortunately, his talent and arrogance place a target on his back, and when a job at the King’s Citadel goes wrong, he’s cornered into an impossible choice: offer his services to the king, or his neck to the hangman. 

Much to his surprise, Graycin’s first mission is a success, earning him unexpected loyalty from his unit. When the king offers him an official position as his spy, he accepts. Meanwhile, the enemy general becomes obsessed with finding the spy who is not only exposing his secrets, but leaving taunting notes on his nightstand. Their game of cat-and-mouse becomes deadly when Graycin is trapped behind enemy lines, and his identity is betrayed by one of his closest friends. 

After a narrow escape, Graycin discovers that Saldyr is using the peace negotiations as a ploy to assassinate Graycin’s king. Worse yet – the general has kidnapped his sister. Driven by vengeance and desperation, Graycin defies orders and plunges back into enemy territory, determined to free his sister. Instead, he uncovers a kingdom-wide conspiracy – one that will force Graycin to decide whether he will continue to run, or risk everything to save the king and friends he’s come to love.  

CAUGHT, a 115,000 word YA fantasy, will appeal to readers who enjoyed the wartime stakes and suspense of HEIR by Sabaa Tahir, and the fast pace and twists of THE PRISON HEALER by Lynette Noni.

[Bio]

Dear Agent,

OBEY THE SIGNAL is an 80,000-word supernatural horror novel in the vein of Clay McLeod Chapman’s Wake Up and Open Your Eyes and Kiersten White’s Mister Magic.

Claire never thought she’d end up here—thirty-four, divorced, jobless, and back in her hometown. Between grieving her marriage, running into familiar faces that reopen old wounds, and hunting for jobs, she has to relearn how to live under her parents’ roof, where privacy doesn’t exist.

Woodberry is exactly as she remembers it, except for one thing: everyone is hooked on a local talk show called Obey the Signal, hosted by the charismatic, snow-haired Conrad Vane. He claims it’s been on for decades, but Claire doesn’t remember ever watching it as a kid.

Soon her parents, who never miss an episode, start acting strangely. Her dad talks to the TV when nothing is on the screen. Her mom stands in the corner of Claire's bedroom at night, watching her sleep. And whenever the show airs, the whole town goes into a trance.

Claire learns something her parents brush off as gossip: every time a special episode airs, someone in Woodberry goes missing, and whenever they do, Claire sees them, sitting in the audience.

Then Conrad Vane announces a thirtieth-anniversary special, just days away. Claire must decide whether to run from Woodberry while she still can, or stay and end Obey the Signal before it consumes her parents—and the rest of the town.

I’m a full-time indie horror author from [REDACTED], writing in English as my second language. Several of my books have been adapted into audiobooks by [REDACTED] and [REDACTED], some have been translated into German and Italian, and a story from my collection [REDACTED] was adapted into a short film, with possible interest in a feature-length version down the line.

Thank you so much for taking OBEY THE SIGNAL into consideration.

First 300:

You guessed it. REDACTED.

My third post can be found here: https://www.reddit.com/r/PubTips/comments/1x8tyxf/qcrit_phoenix_firecracker_and_mama_bear_womens/

I tried taking all the suggestions in the previous QCrits into account, but I admit I probably missed something (I'm terrible at this). So I'm posting this latest attempt with a draft I have yet to send to a specific agent.

Dear [agent name],

I am writing because I am seeking representation for my upmarket women’s fiction novel, FIRECRACKER, PHOENIX, AND MAMA BEAR, complete at 85,000 words. I chose you to query because you love protagonists you enjoy connecting with characters who learn their self-worth which you will find in the story’s three protagonists.

The story follows Russian-born high school principal Yulia Romanova and two former students - Mette Johannessen, Norwegian Olympic All-Around champion, and Margarita Żuraw, Polish-born and Washington Heights-raised, over the years evolve from a principal at a Virginia Beach high school and her students to form an unconventional chosen family that risks everything to help each other. Together they prove that it is possible to stay loyal and courageous even when you have everything to lose. It will especially appeal to middle-aged and retirement-aged female readers of Kristin Hannah’s THE WOMEN who seek out characters who feel left behind by society after putting themselves in harm’s way and are forced to rediscover their role in life. It will also appeal to women 35-45 who are feeling nostalgic for the close-knit friendship and family themes they grew up with as readers of the SISTERHOOD OF THE TRAVELING PANTS series.

The meaning of chosen family is put to the test when Yulia finds herself unexpectedly pregnant with triplets at 54-years-old. Even a family history of late motherhood did not prepare her for the prospect of becoming one of the oldest mothers in history who conceived naturally, much less the oldest mother of triplets if she makes it to viability. Just weeks earlier, a psych hold exposed what she had been hiding for over three decades: that the woman who once held both her family and an entire high school together with nerves of steel was ‘unbreakable’. As part of her mental healing journey, she has to learn that being strong doesn’t mean being 'unbreakable' - that ‘looking okay’ can be a mask for a lifetime of self-doubt and anguish exacerbated by major trauma she hoped to keep from the outside world.

Despite once dreaming of a big family, Yulia’s unexpected pregnancy is a weight that is far more challenging to handle emotionally than it is physically. Fighting to hold it together mentally during a high-risk pregnancy, both her wellbeing and that of her three unborn children are at stake. To get them to viability, she will need intensive MFM monitoring and weeks of hospital bed rest, with Mette and Margarita making sure she doesn’t have to do it alone. In the process, they are forced to confront what it means to be a ‘strong woman’.

Born in New York, I have lived all over the East Coast, including ten years in Virginia Beach, where the story is based, and now reside in [current city]. I enjoy being open about mental health, which fuels my creation of characters who go about their lives 'behind a mask' while pretending to be flawless, just to make it through their day. This is my debut novel. I have pasted the first ten pages below per your submission guidelines.

Thank you for considering my work. I am happy to provide the complete manuscript or anything else you may need upon request.

Sincerely,

[name]

Here's my first 300:

Prologue - Room 4B

Room 4B, Norfolk General Hospital Antepartum Wing - May 24, 2026, 23w2d

55-year-old Yulia Romanova, now 23 weeks and 2 days pregnant, lay in the hospital bed, waiting anxiously. Expecting triplets, her growing belly already resembled that of a nearly full-term pregnancy. Her latest labs had come back earlier that morning with the same, increasing concerns about her liver and blood pressure, platelet count — everything that kept a mother carrying a high risk pregnancy up at night.

On the outside, Yulia was the picture of calm and collected. Inside, her head was filled with fear and anxiety. Triplet A – Lena, named for her mother-in-law Yelena — lay left, head down. Triplet B — Mila, named for her own mother Liudmila — lay right, transverse, sharing the same placenta. Triplet C — Dima, named for her husband Sergei’s father Dmitri — was lying anterior, high, with his own placenta, kicking her ribs if she dared to try to get any sleep. There was a term for them — ‘di-tri triplets’, as it was called for short. “Extremely rare at your age,” she was told.

Her family had looked it up. The oldest verified mother to conceive naturally was 59 years old. Furthermore, the oldest mother to naturally conceive triplets, was 54 years 10 months old. Yulia was that exact age at conception, so no matter how much longer she held on, she would be the new record holder.

“Yay! You’re a winner!” Maili, a 24-year-old close friend of the family, had blurted out enthusiastically when it was mentioned in Yulia’s living room.

“If that’s ‘winning’, I’d prefer losing”, Yulia commented, having overheard them from the fridge while grabbing a bite to eat.

Tried to take the feedback regarding my first post. Find it here: https://www.reddit.com/r/PubTips/s/5dVS126Vcl

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[Agent Specific Intro] 

A HISTORY OF TAKING is a multi-POV Historical Fantasy about power and the legacies of its abuse. Complete at 122,000 words, it is a standalone novel with series potential. In it, the vampire burdened by social injustice in Stephen Graham Jones’ THE BUFFALO HUNTER HUNTER meets the contemplative, bookish, but enslaved narrator of Percival Everett’s JAMES. It is conceptually similar to Markus Redmond’s Blood Slaves.

It's 1861. A ship burns at sea. The crew and one hundred men and women bound for a South Carolina slave market will perish. Two survive: Ka, a four-hundred-year-old vampire who has broken from her tribe in Africa, and Victor, the scion of a South Carolina tobacco plantation, who has taken her abilities without her consent.

Ka believes life is not what you take, but what you leave behind. Without this understanding, her people could not preserve the diversity of life they have appreciated for millennia. 

Victor believes in power and that he deserves to have it. With this understanding, he betrays Ka upon their escape from the ship and leaves her for dead. 

Ka survives and wants to find her way home, but first Victor must be stopped before he builds a tribe of remorseless killers. He could threaten all life around him and start a war against her kind, destroying her chance to ever live in peace again.

She must also stop him while avoiding the porɔw, the rot that consumes life without care. With it, her tribe would never take her back, but that requires discipline. Discipline that will be tested as she travels a country on the cusp of war and dependent on the violent oppression of those that look like her. 

As she searches for Victor, the story of Ka’s people is told, and her journey from the mountains of West Africa to the streets of Charleston is recounted. Through her encounters with the denizens of antebellum South Carolina, a nation divided by wealth and race teaches her a devastating lesson about humanity and herself.

[Bio]

On their website there is hardly any info, but they're with the AAA and this year were named Agent of the Year at the British Book Awards. Otherwise, though, I can hardly find anything on them, such as which authors they represent and whether they are accepting submissions. Anyone in the know?

Dear AGENT NAME,

I’m seeking representation for CURSED MATES, a complete 97,000 word paranormal romance that blends the enemies-to-lovers, forbidden romance, and mythology of Touch of Darkness by Scarlett St. Clair and the slow-burn marriage of convenience of two morally gray fated mates of Ali Hazlewood’s Bride.

The riskiest gamble wasn't bargaining for death magic, it was bargaining for her hand.

Amir Sayed bound himself to Anubis, harnessing the god's power to fortify his father's underground gambling empire. The house always collects, and the price is his father's execution and a turf war over his territory. When his fated mate is betrothed to a vicious rival, Amir enforces his father's blood debt to claim her hand, exploding tension between his enemies and risking everything he's bled to protect. Now he fights war on both fronts, trying to convince his fierce mate that he claims her out of protection and not political greed.

Layla Farouk leveraged the power of the War Goddess, Sekhmet, to claw her way to the top of her father’s almafya and forge a multi-million-dollar business. Yet to her father, she's currency, traded in a political marriage to a rival, while he hijacks her company. Refusing to lose her freedom or trust a man vying for power, she leaves the underworld and Amir behind. But she can't outrun his obsession, or the bond binding her to the greatest threat to her heart.

In a world ruled by blood and betrayal, surrendering to love is the most dangerous deal they ever strike.

[bio]

Thank you for considering my work.