Who is publishing work by new writers? If you’ve been in the publishing industry long enough, you’ve probably heard a writer lament, “In order to get published, you have to be published already!” And yet, if having publishing credentials in order to get published was truly necessary, no one would be published at all.

There are many publishers, presses, literary magazines, and publishing houses that acquire the books, short stories, poems, and novels of new, unpublished writers. It’s just a matter of being at the top of your game, and knowing where to look.

Local Papers, Private Publications, and Specialty Publications

While having your work published in a small, monthly hometown paper (whose editor was at your barbecue last year) might not be the most glamorous publishing credential, smaller publications in your region are a great place to start. Often, editors of local magazines, e-zines, and community newsletters are thrilled to print the work of up-and-coming writers from their area.

If you want to tap into this market, be sure you’re the right person to do it: If you’re not truly enthusiastic about participating in your community with like-minded readers/writers, you might not be a prime candidate for this type of publication.

You might also consider writing for a specialty newsletter. For example, many corporations, religious organizations, and clubs issue community bulletins and newsletters on a regular basis. Why not see about getting your writing published there? Or keep your ear to the ground to learn about local magazines targeted to a specific audience. Many locales will have smaller poetry magazines or periodicals about nature, education, or local living. Those are great venues for new writers.

Once you have a few smaller publications under your belt, you’ll be ready to take the next step: publishing your creative writing in literary magazines.

Online Literary Magazines

New writers would do well to take the booming world of online literary journals very seriously. As the Internet continues to evolve, a writer’s online presence (and online platform) will become increasingly important. Ignore online journals at your own risk!

We’ve been writing a lot about online literary magazines in recent weeks (we love them), and we hope you’ll check out some of our articles listed below. In the meantime, here’s what you—as a new writer—need to know about online journals.

Because online journals don’t typically have the same kind of operating costs as print literary magazines, they do have a little more leeway to take a risk on a new writer. Choose your online journal submissions carefully, and you could end up with a fantastic portfolio. Don’t know which online magazines are best for your work? Writer’s Relief can help.

Articles About Online Literary Magazines:

Online Literary Journals: How To Determine Quality And Reputation

Online Writing Submissions: Mistakes Writers Make Submitting To Literary Agents And Editors

What Is Considered Previously Published Writing?

Print Literary Magazines And Journals

For new writers of poetry and creative prose (short stories and essays), literary journals are a rite of passage into writing maturity. While online journals are increasingly important, many literary journals are also available in print editions (though the number is shrinking).

Print literary journals DO frequently publish work by new writers. At Writer’s Relief we’ve been helping writers submit their work to literary magazines since 1994—and we’re not going to tell you that it’s easy to be accepted for publication in a print magazine. Generally speaking, only about one or two of 100 submissions make(s) it all the way to publication.

That said, literary magazine editors truly are on the hunt for exciting new writing. And to many editors, your writing background matters very little. It’s the quality of the writing that dictates whether you’ll get published—that and how well you researched and targeted your submissions.

At Writer’s Relief we’re proud that we’ve helped writers publish their work more widely. Some writers-turned-clients came to us with no publishing credits at all and left with many publications AND a literary agent. Learn how you can become a client of Writer’s Relief.

It’s not easy to publish an essay collection unless you’re already a well-known author (or a celebrity), but it is certainly not impossible. There is a market for individually published personal essays—for example: newspapers, themed anthologies, literary magazines, trade and professional journals—but selling a compilation of them takes extra marketing savvy.

At Writer’s Relief we are often asked how writers can get their collection of essays published, and we recommend the following tips to help essay writers approach editors and literary agents with greater confidence and success.

How can I generate an editor or agent’s interest in my book of essays?

Publication credits. If you’ve previously published essays in reputable literary journals, make sure to include these credits in your query letter. We highly recommend that you build your publication credits before approaching an editor or agent with a collection of unpublished essays. The market for an essay collection is limited unless you have significantly newsworthy experiences or have a background that proves your writing has mass appeal. Wide publication credits will help indicate readers’ interest in your work.

If you are still in the process of building credits, investigate local venues for your essays—newspapers, newsletters, etc. There are also free specialty publications covering every imaginable topic (check out coffee shops and bookstores) that may be receptive to personal essays. (Hint: you can find many of them in our Writers Classifieds!) Start locally but aim for national exposure for the best results. If you’ve published a personal essay in a reputable national literary magazine, you’ve increased your odds of selling a collection by quite a bit.

Theme. Collections do well when they include essays with a common theme. For example, David Sedaris is best known for his humorous essays, and C.S. Lewis once published a collection of religious essays. Other themes may include women’s studies, travel, sports, or city life. Unique themes get attention—people love to read about real-life experiences that are highly unusual—but even the most outrageous stories must be backed by good writing.

How can I find editors or literary agents who work with essay collections?

Research, research, research. Study the essay collections at local bookstores and libraries—and don’t forget to investigate the nonfiction areas such as travel, cooking, or parenting. Note who publishes these collections and what kind of essays are selling. Check the books’ acknowledgment pages for possible references to literary agents or editors.

Study book reviews and buy compilations of essays (for example, The Best American Essays) to learn where each was published. And don’t forget about networking. Writers’ groups, college English departments, conferences—get to know fellow writers and ask questions.

Search for literary agents who welcome  essay collections. You can find thousands and thousands of resources online and in bookstores. You’ll need to examine literary agency listings carefully in order to determine which are best for you. And, if you’re short on time, Writer’s Relief can help you. We maintain a database of information—current and constantly updated—to help you target your submissions more successfully. We’ve been helping writers get their work published since 1994.

REMEMBER TO CHECK OUT OUR LIST OF WRITING CONTESTS and ANTHOLOGIES! You won’t find a better list anywhere (AND IT’S FREE!) of upcoming anthologies, special-themed journals, and contests. 

Striking the right tone in a cover or query letter is critical. Learning how to write a cover or query letter is like learning how to dress for an interview; while appearances aren’t everything, first impressions can be crucial.

Tone In Query Letters To Literary Agents
When querying a literary agent, be careful not to be too clever, too cute, or too anything! A good query letter doesn’t need to make desperate grabs for attention: It professionally and succinctly reports the facts about a manuscript.

Taking an understated, professional approach suggests that the query letter needs no bells and whistles to be impressive: It’s the manuscript itself that shines.

Again, think of it as if your query letter is on a job interview. Don’t be overly formal and stuffy (you must appear approachable, and you don’t want to look as if you’re overcompensating by dressing your book up to look inappropriately eye-catching). But don’t be too casual either (you wouldn’t show up for an interview in your pajamas!).

Also, in the same way that you would avoid wearing a clown nose or light-up sneakers to an interview, avoid phrases and clever gambits that may come off as ploys to get attention. Clever can be annoying to agents reading letters by the thousands. If your query letter has a gimmick, literary agents may assume your book needs a gimmick to sell!

Literary agents want the facts—not the hype. And when you give a literary agent what he or she wants, you position yourself as a person who is professional, courteous, knowledgeable about publishing, and easy to work with.

The bottom line: Want to strike the right tone? Be straightforward, concise, and professional. Leave cute and clever to infomercials.

Tone In Cover Letters To Editors Of Literary Magazines
Many writers make the mistake of thinking that the cover letter is the key to having their work chosen for publication. The truth is, editors at literary magazines are not normally impressed by what the cover letter itself has to say, and they will skim over it (or not read it at all) in order to spend more time reading your writing.

The key to an effective cover letter is to be selective and succinct. The overworked, underpaid editor’s eyes are more likely to absorb information from three well-crafted sentences than from three well-crafted paragraphs.

At Writer’s Relief we recommend that our clients keep their list of accomplishments and publications to a brief bio paragraph. This means that if your work has appeared in 30 literary journals, it may be a good idea to list only the highest-ranked journals on your list. If you haven’t been published yet, don’t be afraid to throw in a few relevant details (Do you have a degree in engineering? Have you attended writing workshops, etc.?). Read more: No Publishing Credits? Get Publishing Credentials: How To Build Up Your Writing Bio Super Fast.

It is just as important to know what information to omit as it is to include. Therefore, we must stress that you should not describe the plot and themes of your poetry or short prose in a cover letter.

When you send your work to a literary magazine, your submission will be read regardless of the content of your cover letter. By explaining your plot or motifs, you might inadvertently imply that you suspect the editor must be lured into reading a submission (and that means you imply that he or she is slacking off!).

Also, explaining a story, poem, or essay in a cover letter is effectually saying to the editor that he or she is not intelligent enough to figure out the plot and themes on his or her own.

The bottom line: Keep your wording simple. If your cover letter represents that first business handshake, save your creative style for the focus of the presentation: your writing.

Writer’s Relief has been helping our clients prepare (and strike the right tone in) cover and query letters since 1994.

As writers, we've been told time and time again that we need to develop thick skins, deal with criticism constructively, persevere in the face of a thousand rejection slips. And we’ve all heard the stories of how many well-known authors were turned down by countless editors, only to later publish a best seller.

But the reality for most of us is this: Success is hard to measure in the world of fiction writing, and it’s up to you to create a realistic measure for yourself. Take a minute to examine your ultimate goals and determine how to stay focused and positive during the difficult process of submitting your writing.

Do you feel you’ll be a failure if you don’t produce the next great American novel, or if you publish only 7 poems instead of the 50 you promised yourself? If your happiness is tied up in reaching certain goals, maybe it’s time for some reevaluation. Sure, Sylvia Plath’s genius was inextricably tied to her despair and depression, but for the most part, a dejected, deflated writer will produce dejected, deflated writing. It’s time to take charge of your happiness so you can take charge of your writing.

Explore your inner voice. This is the voice inside your head, orchestrating your thoughts and progress. If it says, You’re not good enough, how can it not affect your writing? Be kind to yourself. If you’re new to writing, change not good enough to learning the ropes. If you’ve been at it for years and are still hitting a wall, take a good hard look at the critiques and suggestions you’ve received. Take a class, try a new genre, explore writing groups that offer solid advice and constructive criticism. Above all, put aside your ego long enough to really hear what experts say about your writing.

What would make you happy? An angry, pessimistic, irritable writer may hang all his or her hopes for happiness on publication. But chances are that if this writer gets published, he or she will simply become an angry, pessimistic, and irritable author with a publication credit. It’s kind of like winning the lottery—you may suddenly have a million dollars, but the problems in your life are still there: You’re still afraid of spiders, still estranged from your grown children, still suffering from heartburn, and the cat still throws up on the carpet nearly every day. The process of writing should be a joy in itself. Publication is the icing on the cake.

Are you being realistic? Get-rich schemes don’t work, and magical shortcuts to publication don’t exist. Writing takes time to develop, like a good wine develops depth and character with age. This doesn’t mean that you have to be in a nursing home to finally reach your goals, but looking for instant gratification won’t help either. Patience, persistence, constant and well-targeted submissions—these are what will move you toward your publishing goal.

Set yourself up with small, reachable steps, and celebrate the completion of each one. I will work on my synopsis for half an hour. I will get a good night’s sleep so I can work on a poem early in the morning while everyone sleeps. I will let the machine take my calls for the next two hours, and I will eat a healthy lunch for energy. I will identify the problem with my antagonist and fix it. Each step leads to the next, and the path will slowly unfold before you.

At Writer’s Relief we know how difficult the submission process can be for creative writers. For more tips on staying positive and dealing with rejection, check out our E-book, Rejoice in Rejection. Our submission service targets the markets best-suited for your work, and we see rejection slips as positive proof that our writers are moving forward in the publishing industry (our clients also see an above average number of acceptance letters as well!). Since 1994 we’ve been compiling records of literary agents’ and editors’ personal preferences and keeping abreast of changes in the literary market, all to give our clients the best chance for getting their writing published.

The introduction of a nonfiction book is one of the first places potential readers look when deciding whether or not to make a purchase. The introduction answers the reader’s questions: Will this book be useful to me? Will I learn something? Will it inspire me or help me with a problem? Potential customers have already been intrigued by your cover, title, and the blurb on the back cover. Now that they’ve expressed serious interest, they are turning to the all-important introduction to help make their final decision. Your job is to make sure your introduction hooks the reader and answers the most important question: “Why should I buy this book?”

What should be included in the introduction to a nonfiction book?

The introduction to your nonfiction book should clearly and concisely explain what the book is about, what the reader can expect to gain from the book, the motivation behind the book, and any background (the story behind the story) that may be interesting and relevant.

A nonfiction book provides information, guidance, and/or inspiration to its readers, and the introduction should generate interest in what the book promises to deliver. Start with a hook that answers the reader’s most basic need: What’s in it for me? Some authors use quotes, shocking statistics or facts, or a question (“Did you know that tree houses date back to the 15th century?”). Others start off with a brief overview of the book, a clear and specific (and short) summary of what the book offers. “This book will show you how to get debt-free in six months.”

Many authors use the introduction to explain why they wrote the book. Unless there is an interesting story behind it, some readers will not care about the author’s motivation. Again, they want to know what benefits they’ll receive from reading the book. You must forge a connection with the reader and determine what your audience is looking for. Suppose your book is about nutrition during pregnancy. Your target audience will obviously be pregnant women, or women who are hoping to get pregnant. What are their unique challenges and concerns? Show how your book can answer their questions, help them in their quest for better nutrition, and address their specific needs.

If you offer a concrete benefit for purchasing the book, make it clear in the introduction. “This book lists 100 Internet-based businesses you can start for less than a thousand dollars.” Your readers need to know that your book will help them increase their wealth, improve their health, strengthen their relationships—it could teach them how to build a deck or improve their SAT scores.

Your introduction might also instruct a reader how to approach the book in question: Should the book be read front to back? Can the reader jump around? Are there online supplements to the book? Is it best that the reader plow through the book in a matter of days, or should he or she be prepared to make a longer investment? Are there quizzes, writing assignments, or other additional steps that the reader should expect apart from just sitting back and reading?

Lastly, to further engage your potential reader, invite them to participate in the journey of your book: “I invite you to explore the world of tropical fish” or “Discover the secrets of successful e-commerce businesses.”

Who should write my introduction?

You may write the introduction yourself, or have a fellow author or expert weigh in, especially if the other person is influential in the field. For example, if you are writing about the foster care system, you may want a trusted source at the local agency to write your introduction and lend some credence to your book, or you may have a compelling introduction written by someone who survived or thrived because of (or despite) the foster care system.

It is possible for some books to have more than one introduction, including both the author’s introduction and the other expert’s. Both should be kept short. When possible, mention your introduction in your nonfiction book proposal.

If you’re writing your own introduction, match the style of your introduction to the actual text. (A humorous book should not start off with a dark, moody introduction.) Make sure your introduction is clear and concise—this is no place for tangents, long-winded descriptions, or a boatload of statistics—and make every word count. Don’t take more than a few pages to make your point: Readers want to get right to the heart of the book as quickly as possible. Use engaging language and keep your audience firmly in mind.

Writer’s Relief can help if you get stuck. We are a submission service for writers, targeting the best-suited markets for your writing, and we offer everything from proofreading to full management of the submission process. Our FREE newsletter for writers has tips on everything from writing cover and query letters, landing a literary agent, mastering tricky grammatical rules, and so much more.

The second video in our series of free online tutorials for writers is now available for your viewing pleasure!

Watch this video to learn how to send your writing to literary agents and editors using both pasted-in text and email attachments!

In just six minutes, you’ll learn everything you need to know about how to make online submissions via email! And if you haven’t watched our first video tutorial for writers yet, please do: How To Submit Creative Writing Online Using A Submission Manager.

Click here to watch the email submission video tutorial!

It is common practice for journals and literary agents to reject previously published writing, but what exactly does previously published mean? Why are most literary agents and editors unwilling to take a chance on work that has already appeared elsewhere? When is it appropriate to submit previously published work?

The answers to these questions have become increasingly hard to pin down as the Internet takes on a huge role in the writing world.

The definition of previously published:
Back when print publishing was the sole option for sharing work, previously published was a black-and-white term. If your poems, stories, or essays appeared in a book, journal, anthology, textbook, or any other widely read publication, your work was considered published. If it didn’t, it wasn't. Simple. But now, more complicated questions arise.

Previously published poems, stories, and essays:
Literary journals don’t want previously published writing because editors want to ensure that their publications are fresh, new, and unique. In other words, editors want to be first to discover your writing. Also, editors would prefer to stay away from any rights entanglements.

Is work considered previously published if I post it on a blog, Web site, large social-networking site, or online literary journal?
If you’ve posted your writing on any of the above sites, it is generally considered previously published.

Is my work considered previously published if I post it in a writing forum or Web board?
If the forum or Web board is private and intended for the purposes of encouraging feedback or community support, then most editors and literary agents will consider the work unpublished. But just in case, you may want to take it down once you’ve received feedback so it doesn’t appear online.

If the forum in question is public (that is, if nonmembers can see what you’ve written), then your work will likely be considered previously published.

What if I published my work on my blog or other Web site, but then I take it down before submitting it—is that considered previously published?
This can be tricky. Try not to publish your work online if you plan to submit it elsewhere (like print journals). If you did post online, no one can stop you from taking your work down and then submitting it, but be warned: Editors may not like this tactic.

Once your work is removed from the Internet, do a search of random lines from the work to make sure it is not appearing anywhere. (Warning: Google and other search engines will often archive old Web pages, so simply deleting something from the Web doesn’t mean it’s gone!) If an editor finds your “unpublished” work online, you might look irresponsible or, worse, devious.

If I publish an excerpt online, does that mean the whole work or part of the work is considered previously published?
Generally speaking, excerpts are okay to publish online, as long as they are on the short side (relative to the work in question).

Previously published novels and books:
The rules for determining what is previously published change when you move into the book-publishing business. Literary agents and publishers at traditional publishing houses have different expectations and goals than editors of literary magazines, so the concept of what it means to be previously published can shift.

It’s no secret that literary agents are keen marketing experts. The success of their business relies almost entirely on their ability to find and represent books that are not only well-written but also potentially lucrative. Because of this, work that is available online can sometimes be unappealing for a number of reasons. First, if the book is already being published and the writer is making money, the agent is cut out of those profits. Second, if a book is posted online as a free download, why would readers pay to read it?

The laws (and the industry jargon) are still trying to catch up to the technology. Keep in mind that the following points are general guidelines: Each literary agent or editor may have his or her own definition of what is considered previously published.

Click here to learn more about How to Get An Agent For Your Self-Published Book.

Is a hard copy self-published book considered previously published for the purpose of finding a literary agent?
The subtext of the question above is: “Can I pitch my self-published book to literary agents?” If you’ve published a book or novel on your own or with a third-party POD publishing house, and you still retain the copyright, you can pitch it to most literary agents. That said, always be forthcoming about your book’s history.

Is a self-published book offered in electronic format considered previously published?
The majority of literary agents are willing to consider a book that has been published electronically (published in a digital, nonprint format) as long as the author holds all rights. However, you may need to remove your book from online bookstores and take your book down from the Internet.

If I publish an excerpt from my book online or in print, does that mean the work is considered previously published?
Generally speaking, it's okay to publish excerpts online, as long as they are on the short side (relative to the work in question). Be sure you maintain the copyright if you’re going to publish a portion of your book prior to publishing the whole thing! Otherwise you could end up publishing your book, minus your previously published first chapter!

Writer’s Relief does NOT work with previously published poems, stories, or essays; however, we will work with self-published books on certain occasions.

The flip side: Publishing your work online can be beneficial
The Internet can be a wonderful resource, especially for those who don’t have critique groups or workshops available in their area. Unfortunately, very talented writers who just happened to workshop their writing online are getting caught in the cross fire between editors, agents, and the rapidly evolving question of “What is previously published writing?”

There are journal editors and literary agents who don’t really care about work published on small Web sites. Did you put a story up on a message board for critique? Have you posted a chapter of your manuscript on your blog? As long as the work isn’t plagiarized from someone else, some literary agents and editors don’t mind if the writing has appeared online.

But until the industry fully adjusts to the presence of the Internet, many literary agents and editors are going to simply reject work they consider to be previously published. At this point, the best option for writers is to play it safe until the rules become clearer.

Remember to check out our Free List of Writing Contests, Conferences, Calls for Submissions, Services, and More!

As a general rule of thumb: If you plan to submit your work to long-established literary journals and magazines or to literary agents and editors, DON’T post it publicly online first.

At Writer’s Relief we’re committed to informing our clients and Newsflash readers of publishing industry scams when we see them. Below you’ll find an article that discusses the possible pitfalls of “who’s who” scams that target writers. There are many “who’s who” organizations—organizations that claim to be the definitive list of professionals in a given industry. Some are legit, some are scams, and some are just questionable. In this article we refer to all such organizations as “who’s who” directories, since many of these companies use the term “who’s who” to describe themselves. Writer’s Relief is not referring to a specific company or scam. So before you add a “who’s who” credit to your bio in your cover and query letters, be sure that you are not being sucked into a money-making scheme.

A letter arrives, informing you that you are being considered for inclusion in a prestigious directory for writers, professionals, and executives. This is a reference publication containing brief biographical information on a particular group of people, supposedly people of note, and as a writer, you are thrilled to be included among the nation’s top professionals. What an honor! Just think of the networking possibilities! You can’t wait to add your who’s who credit to your cover or query letter, since you’re sure it will impress literary agents and editors. The letter encourages you to fill out the enclosed application and turn it in—with special emphasis on this line: There is no cost to be included in this fabulous directory.

Well, that’s all you need to hear, so you fill out the online form and sit back, feeling good. A few weeks later you receive a congratulatory phone call from this esteemed directory, and the caller has quite a few questions for you, which you confidently answer. After this lengthy interview, you are feeling rather important and validated. Finally, your talent as a writer has been recognized.

Once you’re feeling good about being included in a who’s who listing, that’s often when you’ll be hit with the hard sell.

If you’ve felt this way when a who’s who company got in touch with you, don’t feel bad. Writers have to deal with rejection on a daily basis, and sometimes our need for validation can lead to costly mistakes. At some point, the lure of a who’s who or a contest scam tempts everyone. Writers must be careful not to fall prey to such scams.

No, there is no cost to be included in this directory. There is, however, increasing pressure to purchase a membership so that you and your friends and family can access the directory. See your name in print. Peruse the competition. Plus, for a mere thousand bucks, you’ll get fabulous travel vouchers, gift certificates, even a nice award certificate to put up on your wall. Some who’s who directories even (gasp!) send you a personalized press release announcing this great honor.

When you fall over half-dead from shock at being asked to pay so much money, the friendly salesperson relents and decides to offer you a super special deal—the same price offered to nonprofit charities and libraries—but this is a once-in-a-lifetime offer, and you’d better sign up quickly. How can you refuse?

How can you not?

The sales tactics of scam who’s who directories can be downright aggressive. Aside from the “prestige” of being listed in their directory—and you’re likely to find prisoners and people who have been deceased for quite some time among this prestigious group—the focus of the sales pitch is often the promise of social-networking opportunities. But in this age of online social-networking sites, do you really need a thousand-dollar directory? Especially when its listings are randomly solicited? You’re more likely to make a useful connection through LinkedIn or Facebook, and the best part is that they’re free.

Many who’s who directories are not legitimate credits to add to your publishing bio; they work the same way as many poetry contest scams. If you list a who’s who credit that literary agents and editors do not recognize as legitimate, you’ll peg yourself as an amateur and a dupe. When a who’s who organization calls you and asks for your money, do your research before you commit to anything. Then, if necessary, head for the hills. Ask that your name be taken off of their list.

One final note: There are legitimate who’s who directories out there—one of the most respected is the Marquis Who’s Who, an organization that actually researches its candidates (rather than randomly harvesting names from the Internet) and only includes those deserving of inclusion. Marquis doesn’t care if its members actually purchase the directory, and there are no high-pressure sales calls. Who’s who directories that are NOT scams can be a great asset to your writing bio. We at Writer’s Relief watch for scams and keep our clients from mistakenly listing dubious credits in their cover and query letters.

Often, we at Writer's Relief read query letters from writers who will mention more than one book. They mention prequels and sequels, previously published books, unpublished books, self-published books, and more. But is it a good idea to mention other book projects in your query letter? 

Though every writer’s situation is unique, here are some things you’ll want to take into account before you mention other projects when you are pitching via query letter.

Books designed to be part of a series. Certain books are by their very nature meant to be part of a series—such as some fantasy and mystery novels. But always keep in mind that before your agent can sell a second or third book, she or he has to sell a first book. So focus on book one, and then casually mention that the book could be (or is being) developed into a series (to make it clear that you’re not going to put the cart before the horse by pitching second and third books before the first one has proven that it is viable). 

Manuscripts you wrote a long time ago. Many new writers who do not have writing credits tend to include phrases in their bios such as “I have written five books.” This leads the agent to wonder: five published books (if so, why didn’t the writer mention the publisher?), five self-published books (if so, what is the writer trying to hide?), or five books that are sitting under a bed somewhere (if so, will the writer try to pawn off those stale old manuscripts on the agent who takes that writer on?). If the writer is deliberately vague about the “five books,” the agent will generally assume the writer is an amateur. Rather than mention that you’ve written five books that you were not able to publish traditionally, it may be better not to mention them at all. Focus on building up your bio with publication credits in the literary magazine market or by demonstrating a commitment to the craft. 

Self-published books. For more on the question of whether or not to mention a self-published book in your bio, read Self-Publishing: When (Not) To Include Your Self-Published Book In Your Cover Or Query Letter Bio. For more information on how to get an agent for a self-published book, read After Self-Publishing: How To Find An Agent And A Publisher For Your Self-Published Book. 

Spin-offs. Some writers will indicate that they are already in the process of spinning their single title book into an alternate venture—perhaps developing the story of the secondary characters, or perhaps taking the story to the next level with a prequel. Again, be sure you’re only pitching one book at a time. If you’ve already completed your spin-off projects, it may be better to hold off on mentioning that those projects are already complete until you and the agent are in serious talks. 

Other unrelated books or genres. If you’re writing a romance novel and you want an agent to work with you on another project (a thriller), it's best to focus on one project at a time. The query letter is not necessarily the place to mention multiple projects. If an agent shows interest in one of your projects and you feel you can develop a rapport, then that’s the time to mention your other ventures. But until that point, try not to overwhelm him or her. 

The moral of the story: an agent can only represent one of your books at a time. Generally, if you are entering a new relationship with an agent, you don’t want to overwhelm him or her by suggesting he or she represent previous projects, future projects, or side projects. A good query letter pitches one book only—and perhaps in certain circumstances, it may casually allude to other projects (if the writer is careful in his or her allusions). And if an agent asks if you have any other projects in the works, then feel free to share. But in general, play it safe by focusing largely on one book in your pitch. 

At Writer’s Relief we work with our clients to write strong query letters, and we advise them on strategies and tactics regarding the submission process. For more information, visit www.WritersRelief.com.