Well, I’ll tell you. Partials arrive every day. Either I or my assistant will open all envelopes upon arrival. We prefer that writers not send a “received” postcard (because it’s extra work for us to pop those in the mail) but if they do, we try and remember to mail it. Sample pages are removed, office clipped if they aren’t already, and then dropped into a physical inbox for partials. On average, the stack is almost always anywhere from a foot to three feet high. We have great intentions of reading at least three to four partials every day so as not to get behind. The reality is that we often wait until the three foot high pile is precariously leaning and then we take a day to read through everything as quickly as we can. That’s why it can literally take up to two months to receive a response from us.

Most of our day is spent talking with clients, editors, handling contracts, reading current client work, accounting, and generally putting out fires if any have occurred. Reading partials (even though I’m actively searching for new clients) ends up taking a back seat.

For the most part, I personally read all partials. I’m currently training my assistant to read on my behalf though. In truth, most agents have assistants who do the first read and determine what will be passed forward to the agent to read. The time crunch and the high volume of submissions make this a necessary part of doing business.

What’s Actually Going Through the Agent’s Mind As Your Partial is Read
As I mentioned above, the pile is enormous and would give the leaning tower of Pisa a run for its money. In all honesty, when it’s time to read partials, I’m thinking about how fast I can get through them. I grit my teeth as I write this. Should I be so truthful? Yes, I think you writers need to know. I wish I could be thinking about what gem I might discover today, what a pleasure it is to read for a living, and what interesting stories I might get to read today. Then I look at my dayplanner and see the millions of things that need attending to and the reality is that I need to tackle that pile as fast as I can.

So, a partial that snags my attention, engages me, makes me forget my dayplanner (and all the pernicious details impatiently tapping their feet), and forces me to lose track of time because I’m lost in the story is a partial I’m going to take very seriously and for which I’ll request a full manuscript. All others are going to get passes. And remember, this is extremely subjective-based on my tastes and what I like. There are plenty of books published that I’ve read and haven’t liked. A pass from my agency doesn’t necessarily mean that a work isn’t publishable—just that I didn’t love it enough to take it on.

On average, about five percent of what my agency receives is very well written and either the story will engage me or not. Ninety percent of what is submitted is adequately done. The writing is solid but there is nothing special about the voice or the story line that will make it stand out. Five percent is so poorly written, it’s laughable. I’m actually pretty amazed and pleased that the number is that low.

The Evaluation Process
Here is another moment of truth. Agents decide whether or not a manuscript is right for them in literally 5 - 10 pages. I’m not kidding. It’s that fast. We know exactly what we are looking for and whether the manuscript can deliver. Every once in a while a submitted partial is intriguing enough that I’ll read the full 30 pages requested, set it aside for a day or two, and then go back and reread to see if I’m still intrigued enough to ask for a full.

What we look for:

Voice. Many writers can learn to write well at a writing program or through a critique group. I don’t know if you can teach Voice. A writer either discovers it or not. It’s an elusive concept but it’s the writer’s voice that makes the words stand out on the page. The best way I can describe this is to have you imagine that you are in a bookstore. A cover grabs your attention so you pick it up. You read the back cover copy and it entices you to flip the book over to read the opening pages. You start reading and either you are hooked (from page one) and you can’t put the book down and fifteen minutes later you look up and realize you’ve been blocking the aisle, or you shrug your shoulders and stop reading. You put the book back on the table or shelf. The author’s voice didn’t speak to you. It’s the same gut reaction for agents.

A fresh and original storyline. I see partials every day that are well executed but don’t have an original story to tell. Bookshelves are crowded. Editors are buying very little fiction. I need to take something on with an original story idea.

Editors who would love to see this. Off the top of my head, can I think of five editors who would enjoy this partial I’m reading? If so, I’m probably going to ask for a full.

What will get a pass:

Fresh storyline but the writing isn’t strong enough. This is so heartbreaking. Often I’ll see partials where I’ll think, “this is a terrific concept,” but then the writing just isn’t strong enough to carry the story. Time is too scarce to work with an author to see if he or she can get it there. There are too many other possibilities out in the world.

Sharp writing with a tired storyline. This is heartbreaking too. I can tell the author is talented but the story has been done (and done, and done again…)

A beautifully written but boring work. I hate when this happens. The author is clearly talented but has a story that I just wouldn’t buy if I were in the bookstore. Clearly, I’m not the right agent for this novel.

Poorly written material regardless of story. Here’s another secret I shouldn’t be revealing. Sometimes these partials are highly entertaining and add a moment of levity to our day.

Stories that clearly don’t fit in the market. I’ll get a cover letter that will say something like this: “my story is a blend of science fiction and romantic comedy with elements of suspense. It can be called Chick Lit.” Huh? It is only the extraordinary writer who can outrageously defy genre boundaries and become a phenomenal success. It just doesn’t happen often. You need to know where your novel fits in the market.

Partials with demanding or unprofessional cover letters. I pass just on principle. If an author seems difficult in tone, and trust me, this is apparent in cover letters we have received, I’ll pass because I just don’t want to deal with that personality. Life is too short to deal with negative and demanding people. Assertive and pro-active authors, now that is a different story.

The Request for a Full or the Dreaded Rejection Letter
When I love a partial, I’ll immediately email the author to request a full. I personally don’t ask for an exclusive (because I don’t think it’s in an author’s best interest), but I know several agents who do. Know ahead of time whether you would like to honor an exclusive. Be sure to put a specific deadline on that exclusivity (three weeks is reasonable). You don’t want your manuscript tied up for months at a time. After all, this is your career.

I don’t ask for exclusivity but I do ask that I be kept abreast of any developments regarding the project. Authors should keep that as a rule of thumb. If other agents are expressing interest, let the agent know who currently has the work. That agent might read faster. However, under no circumstances should you lie about your project and the status. This has happened. Authors need to know that publishing is a small world. Agents know each other and we talk.

More often than not, my agency is sending out rejection letters. My assistant devotes one morning a week to responses. Yep, that means we might have already read the partial but it won’t be until next week before the actual letter goes out. The time crunch is to blame.

Words of Encouragement
If this is your dream, then persist. Just realize that publishing is first and foremost a business. You need to be professional; you need to make your novel the best it can be before shopping it because you only have one shot to do it right.

And despite all the daunting odds, success happens all the time—and for new writers. The first author I ever signed was Jennifer O’Connell, author of BACHELORETTE #1. This was her first novel. She queried me by email. I asked for sample pages, which she sent. Loved it. Asked for the full. Her manuscript was so fun and original, plus Jennifer has a very distinctive voice. Three weeks later we were selling her first book to New American Library of The Penguin Group. Now, such a fast timeline is an exception not the norm, but it just proves that miracles happen. Everyday.

Publishing dreams can come true.

Copyright 2004 Kristin Nelson

Kristin Nelson started her own agency after working as a literary scout and subrights agent for Denver-based literary agent Jody Rein. She is also a graduate of the nationally respected University of Denver Publishing Institute. In the early nineties, she studied creative writing with National Book Award Nominee Patricia Henley at Purdue University where she earned her M.A. This makes her particularly interested in representing fiction.

In her life before agenting, Kristin was a freelance writer. Her articles have appeared in local and national magazines. She also spent six years as a corporate trainer for business communication topics. Her clients included the U.S. Olympic Committee, American Express, Disney, U.S. Army, EDS, and Wells-Fargo.