|

How long does querying take?

Writer Question: Exactly how long does querying take?

I’m often asked how long it takes to hear back from editors or agents. Maybe a writer has an agent who has submitted a proposal or a manuscript, and she’s biting her nails waiting to hear back, or she’s submitted the full manuscript of her novel at an agent’s request and is wondering how long it will take to hear a yes or no.

I understand how hard it is to be patient; I am as neurotic as the next writer. What writers want me to tell them is “six days.” Or forty-three, or nineteen, or even one-hundred-seventy-six, as long as I promise they will hear back by then.

It’s the uncertainty they object to, not the elapsed time. Which is why no one ever wants to hear my answer, which is: “It depends.”

how long does querying take

It depends…

Asking, “How long does it take to hear from an editor/agent?” is like asking, “How long is a piece of string?” I can tell you that no usually comes faster than yes, so be careful what you wish for.

I can tell you that editors with more seniority generally respond faster because they have to do less hoop-jumping to make an offer and are more likely to know if something is going to get past the acquisitions committee.

By the same token, some agents and agencies have more clout, and editors will respond more quickly to submissions from them.

Projects that have huge commercial appeal will go faster than projects of less commercial appeal or with non-celebrity writers.

Other than that, it depends on how strongly the editor feels about the project, how much buy-in she needs to get from others to make it fly, how full her list is (not to mention her workload), who’s on vacation, and even how well another book on a similar topic is doing.

You may get an offer in a few days or weeks (I’ve had that happen). You may get an offer after many months (Ditto). You may never get an offer. You may never even hear back.

So instead of worrying about “when,” accept that it will be seven months from now, be pleasantly surprised when it isn’t, and get to work on your next project.


Other Helpful Content

  • Focusing on the Big Picture

    One of the first things I teach newer developmental/story editors is to focus on the big picture. That means looking for problems with a novel manuscript’s plot, character development, and setting. It means noticing perspective/point-of-view problems, flabby scenes, unnecessary exposition. It does not mean pointing out every unnecessary adverb or overused word. Don’t Overwhelm the…

    Read more…

  • Unpacking Your Assumptions about Fiction

    If you’ve ever taken a class from me, you know that I have a pathological hatred of using questions in editorial queries. By this I mean asking questions like, “What is Joe’s motivation?” where you are, or think you are, asking the author to address the problem of Joe’s lack of motivation. Use statements instead…

    Read more…

  • What Is the Difference Between Line Editing and Copyediting?

    Line editing (LE) and copyediting (CE) are related skills, as they both focus on the sentence level. Obviously there is significant overlap between the two skills. Basic Definition of Copyediting But copyediting is about ensuring consistency across a manuscript, correcting egregious errors, making sure the manuscript conforms to a specific style guide, and otherwise smoothing…

    Read more…

Join the Club!

how to become an editor

New to story editing? Begin at the beginning.

Similar Posts