I love your channel because you talk about this stuff that's usually whispered about. It's great for newbies coming in and to normalize these types of things for other published authors.
Not going to lie, I jumped in fast because I thought you were looking for a new agent. But it’s another INVALUABLE life experience and one that makes me picture life beyond the first step of getting myself an agent.
This is so good to know. I left my agent 5 years ago after my book was published and chose not to get back in the query trenches later on because I was so afraid to explain to a new agent as to why I left in the first place. Which actually had to do with mental illness and nothing to do with my old agent.
Oof I clicked this when I saw it because I thought you were looking for a new agent. I'm glad that wasn't the case and thanks for the advice for those of us who need it.
I'm back in the Query Trenches again after leaving my agent of ten months. My book was never sent out on submission, and my departure from who I thought was going to be my dream agent is still quite fresh, but I knew Alexa Donne would have some great advice to keep me sane. Thanks, Alexa! Your videos have been invaluable to me throughout this heart-wrenching, difficult process. You've actually made me believe that everything is going to be okay. I wish I could repay you, so I'm going to buy one of your books TODAY! (I can't wait to read it.)
Alexa you scared the crap out of me! I thought you were going to tell us you left Elana Roth Parker after you made that amazing video about her. She is on the top of my list and has been for awhile, if I ever make it around to actually sending out my book x.x. This was super helpful! Thank you for all the videos and I absolutely adored the Ivies! I can't wait to post my review of it.
Haha no I still profess undying love for my agent. I tried to add the whole "advice for" part to the thumb so it wouldn't be confusing, but I still failed! :)
very useful info. Im glad uni taught me how to self publish and market since that way even if no traditional publisher wants my stuff i'll still be able to make the books i want
I've published without an agent because my publisher is pretty small, but I really want to go with a bigger publisher for my next book. I've never had much luck with querying before, but I got the premium version of Query Tracker per your suggestion in a different video, and I'm hoping that it'll help me. Thanks for this video! :)
I saw that you recently did an interview for the Ivies (congratulations!). Would you ever talk about doing author interviews? In every interview I see, it’s like the author always has something awesome and profound to say and that low-key stresses me out lol...but also 😰 Either way, thanks so much and good luck with your new release. The Ivies sound awesome and I can’t wait to read it!
A quick question: if you write a series and it's split up into many books, with an agent and publisher, should the writer let them know how many books have been written if all, or is it best to work with them on a one book at a time capacity?? What if they mutilate the whole series or decide they don't want to proceed further based something that could be changed??? Can the writer tell them to wait and take one book at a time is what I'd like to know. Thanks in advance!!! 🙏
Hello, I was wondering if you still stand by everything you've said about formatting a manuscript in your October 2017 video about it, or if there are any updates or new information about formatting that writers should know about in 2021. A basic internet search made it seem that everything in said video held up, but I thought that maybe as an author who is immersed in the publishing industry more than I, and much more knowledgeable about manuscripts would have extra insight.
No, publisher. But some agencies will "pee on" the right to sell your option--and that is bad. But right of first refusal is standard at your publisher--you're not obligated to sell it to them though, even if they want it.
as blessed by cats says, exactly: PRH bought S&S, though the merger isn't complete yet so it's not quite officially Big 4 yet... but I'm trying to correct myself as often as possible b/c I keep forgetting!
@@AlexaDonne did they by the full company, does Viacom still own any of it? Because on CBS Morning when they have an author on talk about their new book, they still mention how Simon and Schuster is a division of Viacom.
I might be real dumb but can I ask...what ARE the “big four?” I gathered from this thread that penguin random house is one, but what are the others? Or is that one of those things we aren’t supposed to ask
Hey Alexa, I'm gearing up to query a YA sci fi. I was just curious to know how you feel a sci Fi in the young adult market would fair in the current climate. I guess I don't want to query something that will be DOA.
Question irrelevant to the video: Do you think one should write dialogue and action separately? I tend towards the answer "yes" because they require different halves of the brain (dialogue is emotional and action is clinical and straightforward). Would be interesting to hear your take!
@@jylietmaddyzpires2442 Action, though motivated by character, is usually written plainly and matter-of-factly. Words and communication are less about logic, and more about emotion.
@@alexscott3401 I don't think that's true at all. We might be thinking of "action" differently, but if you're writing action scenes like someone dragging their injured loved one out of a battle or a teen skipping home from his first school dance "matter-of-factly," then you're missing huge opportunities to get your reader invested. If you don't have any dialogue rooted in "logic," either, then you might not be using dialogue as effectively as you could. Dialogue is a great way to give the reader information, even without emotions. Name-dropping world-building details "plainly and matter-of-factly", for instance, is a great way to introduce readers to those things in a natural way.
@@jylietmaddyzpires2442 The "action" you're speaking of is emotionally-motivated, yes, but the description of it doesn't have to be. It works for the character to be DOING things that suggest their emotional state but unless you're writing a 1st person perspective you leave a lot at the door. Action that also suggests someone's emotional state isn't inherently emotional either, because it is written as fact. Character dialogue is rooted in THEIR individual logic, yes, but people are amalgamations of their wants/needs. There's always a time to show and not tell, and expository dialogue unless in moderation and discretion can come off as sinful.
@@alexscott3401 I think our disagreement lies in semantics. If we're operating on different fundamental differences of the meanings of "emotional," then we're just talking past each other. I can't quite tell what it is that you're trying to argue. What I am trying to say is this: dialogue and writing dialogue cannot be summarized as always inherently emotional and action and writing action cannot be summarized as always inherently "clinical and straightforward." I'm skipping over the "left brain" vs "right brain" thing. Spelling is left brain. Managing sequences of events is left brain. Reasoning out what a character is going to say next is left brain. Typing with your left hand is right brain. Coming up with a weapon for a fight scene is right brain. Picturing a new setting is right brain. Dividing one from the other is silly. Writing uses every part of your brain no matter what you're writing. You said "plainly", "matter-of-factly", and "clinical": those are not the same as "true" or "factual." If you're going to say that dialogue can't be "plain" or "matter-of-fact" or "clinical" because it's filtered through a character, then we'll just have to agree to disagree on the meanings of those words. "Action that also suggests someone's emotional state isn't inherently emotional either, because it is written as fact." That just doesn't make sense to me. Emotions are facts. Using certain words to demonstrate a character's emotion AND convey those emotions to the reader is inherently emotional. Word choice decisions like "sobbed with the soggy hand-written letter clutched in her hands" over "cried holding the letter" are emotional decisions. They can be approached "clinically" as an exercise in maximizing or specifying emotions, but then you can say the same for any word choice decision ever, such as choosing "If I ever even see a toe of your shadow again" for a character to scream over "If I ever see you again". "... but people are amalgamations of their wants/needs." Of course they are, and action in narrative is the interaction between those amalgamations in response to stimuli. That doesn't make either of them more "plain" or "straightforward" than the other. "There's always a time to show and not tell, and expository dialogue unless in moderation and discretion can come off as sinful." The opposite is equally true: there is always a time to tell and not show. If you're saying that dialogue can't be "plain" and "clinical" because it could be poorly written, well that's just a value judgment. Exposition in dialogue can be "straightforward" and "matter-of-fact" AND effective. Phew! Long reply, thanks for reading. If we keep talking about this my replies may get longer, but I'm really enjoying this conversation even though I don't think it's going to win you over. Trying to keep things relevant to the original post that started this conversation, but as we keep discussing more and more points keep coming up.
Me: *has never had an agent*
Also me: *hangs onto every word*
I love your channel because you talk about this stuff that's usually whispered about. It's great for newbies coming in and to normalize these types of things for other published authors.
Absolutely! I love her channel for the same reason.
*me staring in awe at The Ivies in the background* XD
Not going to lie, I jumped in fast because I thought you were looking for a new agent. But it’s another INVALUABLE life experience and one that makes me picture life beyond the first step of getting myself an agent.
This is so good to know. I left my agent 5 years ago after my book was published and chose not to get back in the query trenches later on because I was so afraid to explain to a new agent as to why I left in the first place. Which actually had to do with mental illness and nothing to do with my old agent.
Oof I clicked this when I saw it because I thought you were looking for a new agent. I'm glad that wasn't the case and thanks for the advice for those of us who need it.
Same!!
I love all of your videos. They are incredibly helpful and I appreciate how honest they are. I wish you live-streamed more!
I'm back in the Query Trenches again after leaving my agent of ten months. My book was never sent out on submission, and my departure from who I thought was going to be my dream agent is still quite fresh, but I knew Alexa Donne would have some great advice to keep me sane. Thanks, Alexa! Your videos have been invaluable to me throughout this heart-wrenching, difficult process. You've actually made me believe that everything is going to be okay. I wish I could repay you, so I'm going to buy one of your books TODAY! (I can't wait to read it.)
Honestly, for some reason this is comforting even as an unagented writer XD
Alexa you scared the crap out of me! I thought you were going to tell us you left Elana Roth Parker after you made that amazing video about her. She is on the top of my list and has been for awhile, if I ever make it around to actually sending out my book x.x. This was super helpful! Thank you for all the videos and I absolutely adored the Ivies! I can't wait to post my review of it.
Haha no I still profess undying love for my agent. I tried to add the whole "advice for" part to the thumb so it wouldn't be confusing, but I still failed! :)
very useful info. Im glad uni taught me how to self publish and market since that way even if no traditional publisher wants my stuff i'll still be able to make the books i want
I'm still hoping to find my first agent but was still interested in this difficult and complicated scenario. It was very well explained, thanks Alexa!
This is so helpful to get further insight into how querying works in general. Really learning a lot from these videos.
Thanks for doing a video on this! I've totally experienced this in the industry, and GAHH all the feelings.
I will listen to any advice or information about getting an agent. I want an agent so badly. 😩😩😩
I've published without an agent because my publisher is pretty small, but I really want to go with a bigger publisher for my next book. I've never had much luck with querying before, but I got the premium version of Query Tracker per your suggestion in a different video, and I'm hoping that it'll help me. Thanks for this video! :)
I saw that you recently did an interview for the Ivies (congratulations!). Would you ever talk about doing author interviews? In every interview I see, it’s like the author always has something awesome and profound to say and that low-key stresses me out lol...but also 😰
Either way, thanks so much and good luck with your new release. The Ivies sound awesome and I can’t wait to read it!
So funny that I also thought you were looking for a new agent, too!
A quick question: if you write a series and it's split up into many books, with an agent and publisher, should the writer let them know how many books have been written if all, or is it best to work with them on a one book at a time capacity?? What if they mutilate the whole series or decide they don't want to proceed further based something that could be changed??? Can the writer tell them to wait and take one book at a time is what I'd like to know. Thanks in advance!!! 🙏
Where do I add this line: "Now I’m seeking new representation for my novel?" At the beginning or the bio section of my query? Thank you.
Hello, I was wondering if you still stand by everything you've said about formatting a manuscript in your October 2017 video about it, or if there are any updates or new information about formatting that writers should know about in 2021. A basic internet search made it seem that everything in said video held up, but I thought that maybe as an author who is immersed in the publishing industry more than I, and much more knowledgeable about manuscripts would have extra insight.
Nothing has changed AFAIK! Still how I format my ms for my publisher. You should be good.
Is it the same for a children’s book?
Question: Does your agent still get their 15% commission from your book's sale (the book they agented / handled) even after you leave them?
Do you have a lawyer look over contracts?
Just to clarify, when you say 'option' here, are you talking about the agency's ability to look at work first before you go on sub?
I think my mind is boggling at the revelation that the second of a 2-book deal needs to be sold to the publisher you're already with. SIGHhhhhhhhhhh
No, publisher. But some agencies will "pee on" the right to sell your option--and that is bad. But right of first refusal is standard at your publisher--you're not obligated to sell it to them though, even if they want it.
@@AlexaDonne Thank you!
You have said "big 4" in multiple videos now. Was there a merger or something?
yes, Penguin Random House acquired Simon and Schuster as far as I know
as blessed by cats says, exactly: PRH bought S&S, though the merger isn't complete yet so it's not quite officially Big 4 yet... but I'm trying to correct myself as often as possible b/c I keep forgetting!
@@AlexaDonne did they by the full company, does Viacom still own any of it? Because on CBS Morning when they have an author on talk about their new book, they still mention how Simon and Schuster is a division of Viacom.
@@DrVVVinK They sold all of it to PRH. But the sale hasn't closed so it will be Viacom owned until that happens.
I might be real dumb but can I ask...what ARE the “big four?” I gathered from this thread that penguin random house is one, but what are the others? Or is that one of those things we aren’t supposed to ask
Hey Alexa, I'm gearing up to query a YA sci fi. I was just curious to know how you feel a sci Fi in the young adult market would fair in the current climate. I guess I don't want to query something that will be DOA.
She has a video on YA sci fi i think
Question irrelevant to the video: Do you think one should write dialogue and action separately? I tend towards the answer "yes" because they require different halves of the brain (dialogue is emotional and action is clinical and straightforward). Would be interesting to hear your take!
what exactly do you mean here? why do you think that action is "clinical and straightforward"?
@@jylietmaddyzpires2442 Action, though motivated by character, is usually written plainly and matter-of-factly. Words and communication are less about logic, and more about emotion.
@@alexscott3401 I don't think that's true at all.
We might be thinking of "action" differently, but if you're writing action scenes like someone dragging their injured loved one out of a battle or a teen skipping home from his first school dance "matter-of-factly," then you're missing huge opportunities to get your reader invested.
If you don't have any dialogue rooted in "logic," either, then you might not be using dialogue as effectively as you could. Dialogue is a great way to give the reader information, even without emotions. Name-dropping world-building details "plainly and matter-of-factly", for instance, is a great way to introduce readers to those things in a natural way.
@@jylietmaddyzpires2442 The "action" you're speaking of is emotionally-motivated, yes, but the description of it doesn't have to be. It works for the character to be DOING things that suggest their emotional state but unless you're writing a 1st person perspective you leave a lot at the door. Action that also suggests someone's emotional state isn't inherently emotional either, because it is written as fact.
Character dialogue is rooted in THEIR individual logic, yes, but people are amalgamations of their wants/needs. There's always a time to show and not tell, and expository dialogue unless in moderation and discretion can come off as sinful.
@@alexscott3401 I think our disagreement lies in semantics. If we're operating on different fundamental differences of the meanings of "emotional," then we're just talking past each other. I can't quite tell what it is that you're trying to argue. What I am trying to say is this: dialogue and writing dialogue cannot be summarized as always inherently emotional and action and writing action cannot be summarized as always inherently "clinical and straightforward."
I'm skipping over the "left brain" vs "right brain" thing. Spelling is left brain. Managing sequences of events is left brain. Reasoning out what a character is going to say next is left brain. Typing with your left hand is right brain. Coming up with a weapon for a fight scene is right brain. Picturing a new setting is right brain. Dividing one from the other is silly. Writing uses every part of your brain no matter what you're writing.
You said "plainly", "matter-of-factly", and "clinical": those are not the same as "true" or "factual." If you're going to say that dialogue can't be "plain" or "matter-of-fact" or "clinical" because it's filtered through a character, then we'll just have to agree to disagree on the meanings of those words.
"Action that also suggests someone's emotional state isn't inherently emotional either, because it is written as fact." That just doesn't make sense to me. Emotions are facts. Using certain words to demonstrate a character's emotion AND convey those emotions to the reader is inherently emotional. Word choice decisions like "sobbed with the soggy hand-written letter clutched in her hands" over "cried holding the letter" are emotional decisions. They can be approached "clinically" as an exercise in maximizing or specifying emotions, but then you can say the same for any word choice decision ever, such as choosing "If I ever even see a toe of your shadow again" for a character to scream over "If I ever see you again".
"... but people are amalgamations of their wants/needs." Of course they are, and action in narrative is the interaction between those amalgamations in response to stimuli. That doesn't make either of them more "plain" or "straightforward" than the other.
"There's always a time to show and not tell, and expository dialogue unless in moderation and discretion can come off as sinful." The opposite is equally true: there is always a time to tell and not show. If you're saying that dialogue can't be "plain" and "clinical" because it could be poorly written, well that's just a value judgment. Exposition in dialogue can be "straightforward" and "matter-of-fact" AND effective.
Phew! Long reply, thanks for reading. If we keep talking about this my replies may get longer, but I'm really enjoying this conversation even though I don't think it's going to win you over. Trying to keep things relevant to the original post that started this conversation, but as we keep discussing more and more points keep coming up.
I've watch the whole video even if there is no agents in France XD
Meanwhile I'm just wanting to GET an agent at all lol.
Genuine question: where do you do query or pitching? I only know of people doing it on Twitter
I have videos on querying I would recommend. There is a whole process to querying and the whole thing is private. It's emailing agents, essentially.
Earliest I've been here!
Same lol
Alexa, just writing on your latest video to say how I just wash women in the window on Netflix, huh, you have to do a review, and rip it. Please.
Second