Being patient can be difficult when you haven’t heard from a literary agent that you’ve queried. How long should a writer wait to check in with a literary agent after sending a query letter, book proposal, or even a manuscript? What’s the best way to follow up after you’ve sent your book out for consideration: by phone, email, or a knock on the door? Is it even worth a writer’s time to nudge a literary agent for a reply at all?

Writer’s Relief has been working with novelists, memoirists, and nonfiction writers since 1994, and we’ve learned a thing or two about how to work effectively with literary agents.

Is it okay to send a manuscript with a request for a signature upon delivery?

No. If you want Delivery Confirmation, don’t make a literary agent (or anyone else in the agent’s office) sign for your letter. Ask your local post office or other courier’s office how you can get confirmation of delivery without a request for a signature.

Is it okay to ask a literary agent to confirm immediately that he or she received a query letter, proposal, or book manuscript?

Generally speaking, no—it’s not okay to follow up a query with a simultaneous request for confirmation of receipt. Of course, this poses problems for writers.

Some literary agents who accept email queries have adopted a policy of replying to queries only if they are interested in the project in question. That leaves the writer in a pinch: wait and assume that no news is bad news? Or wait, and then follow up?

There’s no right or wrong answer here. If, after you’ve waited a substantial period of time (at least three months would suffice), you are really itching to write a follow-up, then at that point you may have nothing to lose. The literary agent will either confirm that you’ve been rejected or ask you to resend your query.

But we don’t recommend following up a query with a request for receipt confirmation. It’s just bad form—and the literary agent will likely find it annoying.

(TIP: Know what else will annoy literary agents? Asking them to go through some kind of anti-spam verification process in order to respond to your email. Not the best way to make friends.)

What is the ideal amount of time to wait before following up with a literary agent?

While there is no “rule” about how long to wait before asking for an agent's opinion on your manuscript, the key is to consider how you would feel if you were a literary agent. If you’re getting 500 query letters a month, impatient people annoy more than impress.

Some literary agents have guidelines on their websites that indicate how long to wait before making an inquiry. (For example: You may follow up on your submission after six weeks.) For those literary agencies that don’t offer instructions, be as patient as possible. If you push an agent to read your query, he or she will read it all right—with the understanding that you are impatient and pushy.

Are there extenuating circumstances that make it okay to send a follow-up?

If you are in an unusual circumstance (especially a circumstance that pertains to having competition for your book), then a literary agent may be more open to a follow-up.

The best circumstance for following up with one literary agent is when another agent has requested your materials. It’s more appropriate to say, “I’m following up with you because another agent has requested my complete manuscript, and I wanted to let you know” than it is to say, “I’m feeling antsy and want you to drop what you’re doing and get to my book.”

Read more: What To Do When A Literary Agent Requests Your Manuscript

How should you follow up with a literary agent?

More often than not, literary agents prefer to communicate via email, which allows them to read and reply at their own pace. It’s rarely appropriate to call. And it’s never appropriate to stop by in person—no matter how close you just happen to live to the literary agent in question.

When you do send a follow-up email, be polite and brief. Don’t choose a vague subject line like “My book.” Instead, be specific:

SUBJECT: Joe Writer, follow-up, The Case of the Missing Facts

or better yet

SUBJECT: Joe Writer, follow-up, notice of manuscript requests

Writer’s Relief submission strategists are always on hand to help our clients navigate the submission process. We provide our writers with valuable advice about when and how to follow up with a literary agent—and all elements of publishing. Want us to manage the submission process for you? Give you more time to write? We’ve been targeting submissions for writers since 1994!

What is an author platform? The term platform is generally most relevant to writers of nonfiction (especially those working with book proposals); however, novel and memoir writers can also be included in terms of their platforms. Literary agents and editors use the word platform within the publishing industry to talk about an author’s relationship with his or her audience. Let’s get into the specifics of what a platform is, why literary agents and editors take them seriously, and whether or not you, as a writer, need one.

Author Platforms in Real Life

When you write a proposal for a nonfiction book, you’re expected to have a good, strong platform. A platform involves many components: the author’s expertise in the field that he or she is writing about; the author’s preexisting popularity, notoriety, and status as a leader in his or her field; the author’s personal, already-established connection to the readership that will be interested in his or her book.

In short, a platform is the author’s background within a given field that establishes him or her as the right person to publish (and sell) a book on the subject.

Most of the time, writers of self-help, how-to, or even biography proposals will need a strong platform.

What Is A Strong Platform? A Weak platform?

Let’s say you’ve written a nonfiction book proposal to publish a book about a brand-new diet: The Lima Bean Diet.

An author who has a strong platform:

Is a highly educated nutritionist with multiple degrees and special studies about lima beans

Has written and published many peer-reviewed articles on lima beans in science journals

Has written and published many popular weight-loss articles about lima beans in major commercial magazines

Has a blog with a strong following of people who have had success with The Lima Bean Diet

Has gained some preliminary media coverage (local TV spots, articles, interviews) that suggests The Lima Bean Diet is the next big thing

Has led high-energy seminars all over the nation about The Lima Bean Diet and has a growing mailing list

A writer who has a weak platform:

Has minimal or informal education in his or her field (relies on personal experience to prove The Lima Bean Diet works)

Has published a few articles on The Lima Bean Diet with “underground” blogs, websites, and zines

Has not published anything in commercial magazines or has published only in small-circulation periodicals

Has a blog, but not many followers—and few followers are active

Has a following of family and friends (with some friends of friends and some strangers)—but that’s where it ends

Has had little to no media coverage

Has no reputation for being an expert, leads a couple of local seminars in libraries or health food stores

What Your Platform Means To A Literary Agent Or Editor

To make “big numbers” on a nonfiction book, a literary agent will look for an author who comes with a built-in audience (an audience that depends on and trusts said author’s expertise). Many writers believe that they “have a great idea for a book.” And still more believe that their personal experiences alone make them the authority about their subject.

Nonfiction writing is especially competitive. If a literary agent “falls in love with” a project, he or she may be willing to work with an author to build up a platform (in order to impress an editor), but this happens very rarely. Instead, writers should build their own platform before querying an agent.

How To Build Up A Better Platform For Your Writing

1. Be (or become) an expert in your field.

2. Establish a strong online presence via an author website, a blog, and social networking.

3. Write articles for major commercial magazines.

4. Be approached as an expert source for other people writing about your subject.

5. Offer seminars and establish yourself as a speaker.

6. Hire a publicist who can help with media exposure.

One last note: if you’re writing a memoir, it helps to be high-profile, but it’s not necessary. Memoirs are not sold via proposal, and, therefore, their authors don’t necessarily need a platform. For all intents and purposes, a memoir works like fiction: The book must be complete, not pitched via proposal.

Writer’s Relief has been helping writers of fiction and nonfiction connect with the best literary agents since 1994. We’ve successfully helped many creative writers build up their publication credits (and platforms) within the literary-magazine market. When you have a strong writing bio or platform, you’re more likely to receive interest from a literary agent. So check out Writer’s Relief today!

Have you finished a novel? Are you submitting your poetry manuscript to competitions? If so, your manuscript should be proofread and prepared to publishing industry standards. The format and presentation of your manuscript matters in the same way as how you present yourself at a job interview. Show up in jeans at your own risk!

Writer’s Relief offers a proofreading and formatting service (novels, nonfiction, and poetry manuscripts included). This service is designed to help writers prepare their manuscripts for publication and/or for submissions to literary agents and publishers, as well as contests and competitions.

Want to get a proofreading and formatting quote? Send us an electronic copy of your book manuscript (Proof@wrelief.com). Include your contact information: mailing address, phone number, and e-mail address. We’ll evaluate the manuscript and quote a price to prepare it for you. Be sure your subject line refers to the project you want proofed.

You can also call our proofreading department today at (866) 405-3003 between the hours of 8:30 a.m. and 3:00 p.m. ET.

You’ve done the work of writing a great manuscript, so don't skimp on the final steps. Make sure that your pages are ready to pass muster with the agent or editor who receives them. We will format the manuscript to meet industry standards, and we can assist with special formatting for contests and/or competitions. Remember, presentation is everything!

If a literary agent asks to read your entire manuscript, pat yourself on the back! Something in your book or novel piqued the agent’s interest—not an easy thing to do. The literary agent believes you may have something that he or she could sell to an editor.

BUT—before you bundle up your manuscript and send it off in the mail, there are a few things to consider. You’ll want to get the most mileage out of the agent’s interest in your book. A savvy and diplomatic writer may be able to use one agent’s request to stir up interest from other agents.

Here are some options and tips to help you decide how to handle an agent’s request for a complete manuscript:

Of course, the easiest thing to do is to simply send the manuscript ASAP, as per the agent’s request. No questions asked.

But sometimes, it’s not that simple.

Has the agent requested an exclusive read? If so, you may want to put the brakes on. There are a number of ways to handle a request for an exclusive, and we’ve written a post to help you make the right choice. READ MORE: When A Literary Agent Requests An Exclusive: Solutions For Sticky Situations.

If the agent is your top choice and you know that you’ll sign with the agency given the opportunity, then you do not necessarily need to drum up enthusiasm at other literary agencies. Doing so might feed your ego, but it may not be conducive to a strong partnership built on mutual respect and trust.

If, however, you’re hoping that a literary agent other than the one who requested your book will rep your writing, you may want to contact the agencies who have already received your query in order to inform them that you’ve received a request from another agent.

(TIP: Don’t call. Agents hate that. Email is fine. State simply that you want to let so-and-so know that another literary agency has requested your complete manuscript and that you want to extend the courtesy of informing said agency.)

You don’t need to drop the names of the people who are reading your book, but by informing the parties involved that your full manuscript is currently being read by others, you may just get bumped to the top of the slush pile. After all, no literary agent wants to get scooped by another agent.

Need help negotiating the finer points of the book publishing industry? Writer’s Relief submission strategists are here to help!

If you’re writing a novel under a pen name—and you’re querying a literary agent—there’s a right way and a wrong way to use your pen name in your query letter and on your manuscript pages. And if you’re writing poems, short stories, or essays under a pen name, there’s etiquette for submitting them under a nom de plume too. So here is Writer’s Relief’s best advice on how to use your pseudonym in your cover and query letters as you try to publish your book, poems, or short prose.

Should you include your real name in a query or cover letter?

Yes. Absolutely. Here’s the rule of thumb: Submit without hiding your real name. Publish under your pen name.

All dealings with agents, editors, publicists, and other industry professionals (like the staff at Writer’s Relief) should be conducted under your real name. Why? Because it’s good business. Think about it this way. “Pen name” is a nice way of saying “fake name.” And there are very few of us who use aliases in our everyday lives—at least, very few of us who are not violating parole.

You wouldn’t introduce yourself at a job interview using a fake name, and since a cover or query letter acts as an introduction, the same rules apply. Using your real name suggests that you’re honest and open—not trying to hide anything. Plus, if your editor or literary agent is going to draw up a contract or write a check for you, he or she would use your real name. So why introduce yourself with a fake name unless you were trying to be cagey? Honesty is always the best policy.

Click to learn more about how you get paid and how you interact with publishers when you write under a pen name. 

Writing nonfiction? Learn the truth about using a pen name to protect your identity and prevent lawsuits. 

Where in a query or cover letter should you mention a pen name?

One sentence somewhere in the body of a query or cover letter mentioning that you write under a specific pen name should be sufficient.

Where on a manuscript should you write a pen name?

On book manuscripts, one common practice is to list your real name with your contact information and your real name as your byline. Then, beneath your real name, you will include something along the lines of:

The Best Book Ever Written

by

Jane Doe

(writing as Arabella Von Pseudonym)

Sometimes “writing as” will be abbreviated as “w/a,” but in your query letter you should spell it out. If you don’t want to use the “writing as” approach, you can simply opt to write:

The Best Book Ever Written

by

Arabella Von Pseudonym

The important thing is to be forthcoming about your real name on your letter and with your contact information.

In your submissions to literary magazines (if you’re submitting poems, stories, and essays), you’ll want to include your real name with your contact information on the first page (typically upper left corner) of your manuscript. Then if you’re writing a story or essay, you can do something like:

The Best Story Ever Written

by

Arabella Von Pseudonym

There are no hard and fast rules about pen name format on manuscripts: The important thing is to be sure to distinguish your real name from your pen name—and to always associate with fellow professionals using your real name, but to publish under your pen name.

Confused? Writer’s Relief helps guide our clients through the etiquette of the publishing industry, including issues of pen names. Our submission strategists are here to help!

As with so many aspects of the writing world, formatting issues are a gray area, and writers struggle with the burning question: One space or two after closing punctuation?

When in doubt, creative writers often turn to the Chicago Manual of Style, whose official view is that there is no good reason to use two spaces after a period for work that is to be published. (Obviously, this rule does not apply to personal correspondence, notes, etc.)

In the days of typewriters, extra space was necessary to create a more defined space between sentences for the reader's eye. Typewriter fonts are monospaced, which means that all the letters take up the same amount of space, and most of us were taught in typing class to add that extra keystroke at the end of a sentence. But computerized fonts are proportionally spaced, and a single space is sufficient to provide a visible break. The exceptions are the fonts Courier and Monaco, which are monospaced, but it's probably best to switch to a font such as Times New Roman or Arial rather than using the double space.

So save yourself a keystroke; there's something to be said for efficiency. And if you're submitting your writing to literary agents and editors, save yourself some time. Try Writer's Relief! 

Not all writers make it a habit of going to writers’ conferences, but they are a part of many writers’ professional lives. These conferences are a meeting ground for literary agents, editors, writing instructors, and fellow scribes who gather to share knowledge and expertise, make contacts, and meet specific goals, whether it’s a writer pitching a novel or an agent scoring a best-seller.

Although you can find day workshops that are more affordable, longer conferences are often not cheap. They range from 200 to 500 dollars and up, so it’s important to choose wisely. Here are some tips to help you get the most for your money.

Here’s where you can find a list of writing conferences organized by date and state.

What to look for:

First, you’ll want to locate conferences that fit your particular needs. Some focus on children’s writing, while others are for romance or mystery writers. Narrow down the field to those that pertain to your genre. The Internet is full of information on various conferences.

As with all investments, a little research can go a long way. Request all the information offered and go over it carefully. Do some checking with fellow writers or critique groups for opinions, and research the guest speaker(s).

Take a good look at the opportunities available. Are there workshops, networking opportunities, well-known lecturers? If all you’re offered is a chance to hear an obscure author read her work, you won’t get much out of the experience.

Make note of the specifics, such as the travel requirements, lodging choices, and facilities. You may want to stick closer to home, or choose a mountain retreat over urban classrooms. Is there lodging available, or are you responsible for making hotel arrangements separately?

Double-check for hidden costs, and tally all possible expenses. If you’re organized and ask well in advance, you may be able to apply for a scholarship (or partial scholarship) to help defray the cost. The same goes for volunteering at the conference. You’ll have to ask for these options, as they probably won’t be advertised. You may also choose to attend with a friend. If you each take different seminars and workshops and then share notes, you’ll get more for your money.

What to do:

Clarify your conference goals before the actual event. Are you hoping to meet an agent, hone your writing skills, schmooze with other writers, learn new trends, and/or promote your work? Plan your time accordingly. If networking is your objective, skip the guest lecture and attend the less formal cocktail party instead. Or sign up for that "new media" seminar if you’re interested in learning new trends.

Wear comfortable shoes and dress appropriately. "Business casual" is a safe bet, although there are usually opportunities for more formal dress during dinners, etc. Be sure you’re remembered for your professional and engaging personality, not your plunging neckline or glow-in-the-dark cowboy boots.

Keep an eye on the time. If you’ve made appointments to speak with editors or agents, don’t be late. Stick to your allotted time out of courtesy both to the editor or agent and to your fellow writers.

Bring a light shoulder bag or briefcase stocked with your business cards, a notebook, extra pens...and use your bag for the free handouts. When you receive a business card, make a note on the back to remind you who you talked to and what it was about. It’s best to keep your hands free, so check other luggage and your coat in advance.

Position yourself carefully—asking questions from the front of the room will get you noticed, while the back row is a good place if you plan to slip out early.

Be prepared to do some work—networking can be exhausting, and this is not the time to sit back and be a passive observer. Everyone at this conference shares a common interest, so don’t let insecurity keep you from meeting new people and learning from them. The energy of these events can be very inspirational.

After the conference, send "nice to meet you" notes to agents or editors you spoke to, and be sure to mention where you met and (briefly) what you talked about.

Pitching your work:

Feel free to bring copies of your query letter, synopsis, or a few sample chapters or other writing samples. (Note: Writer’s Relief will proofread, format, and submit your manuscripts to literary agents and editors. We also compose query letters and cover letters, and we manage all the tasks related to making submissions. Learn more about Writer’s Relief’s process for submitting to literary agents and editors)

Some conferences have time set aside specifically for pitching your work, so be prepared in advance and take advantage of this time. Make sure your pitch is polished (practice giving it to the mirror, your friends, your parrot), exciting, and BRIEF. There’s no need to compulsively tell everything about the story and the reason it was written. Agents and editors are trained to spot a good opportunity on very little information, and you want to avoid that glazed look in their eyes if you go on and on.

Do not aggressively corner agents and editors and subject them to a verbal pitch during dinner or in the restroom. You’ll only aggravate them or scare them away. And be careful what you say. Editors and agents often run in the same circles, and if you’ve been ranting about other writers or editors, you will be remembered—but not in the way you’d like. Read more: Ten Things NOT To Do At A Writer's Conference.