A query letter is not a summary of your novel; it is a sales pitch of about 300 words designed to make an agent request your manuscript. Agents read hundreds of queries a week, often in minutes, so your letter must hook fast, prove you understand your genre and market, and read like it was written by someone they would enjoy working with. Most rejections happen not because the novel is bad, but because the query fails to show what makes it worth reading.

Open with the metadata and the hook in the first two sentences: title, genre, word count, and the core premise. For example: 'My 85,000-word fantasy novel follows a lighthouse keeper who discovers the ships she guides are carrying stolen memories.' That sentence gives genre, length, character, and a distinctive twist, which is far more effective than opening with 'I have always loved writing' or a rhetorical question. Agents want the story, not your biography, in the first paragraph.

The body of the query should present the protagonist, their goal, the obstacle, and the stakes, in that order, without recounting the whole plot. Focus on the central conflict and the choice your protagonist faces, and stop before the climax; the agent wants to be intrigued, not informed of every twist. Avoid naming more than two or three characters, because a query crowded with names reads like a cast list rather than a story. If you cannot summarise the stakes in one sentence, your novel's conflict may need clarifying before you query.

Next, add a short paragraph on comparables and credentials. Name two recent, successful books that share your audience or tone, phrased as 'readers who enjoyed X will find similar appeal in Y,' and mention only credentials relevant to the book, such as publication credits, professional expertise in the subject, or a genuine platform. Do not claim your book is the next bestseller, do not mention that friends loved it, and do not apologise for your experience; confidence and specificity beat praise every time.

Finally, personalise each query and follow the agent's guidelines exactly. Mention one specific reason you chose this agent, such as a book they represented or an interview where they described seeking your genre, and address them by name. Check their submission page for formatting, word count, and whether they want pages attached, because ignoring guidelines is the fastest route to automatic rejection. Query in small batches of five to ten agents, revise based on responses, and remember that silence usually means 'not right now,' not 'never write again.'

After sending queries, the waiting begins, and it is often months long. Track your submissions in a spreadsheet with the agent, date sent, materials sent, and response, so you never accidentally query the same agent twice or lose track of partial requests. While waiting, start your next project rather than refreshing your inbox; agents respond to writers who are working, and a second book makes you more attractive if the first finds a champion. If you receive only form rejections after thirty queries, revise the query or the opening pages before sending more.

Treat rejection as data. A form rejection after the query alone suggests the pitch or premise did not hook; a rejection after a partial request suggests the opening chapters need work; a rejection after a full request means you came close and the book may need revision or a different agent's taste. Request feedback politely when offered, but do not argue with rejections. Many published authors collected dozens or hundreds before finding the right agent, and the right agent is worth the wait because they will champion your career, not just one book.