Enticing Readers with a Killer Book Blurb

Writing a book is one thing. Selling that book is another.

The countless hours you’ve poured into your manuscript will be for naught if it never makes it onto readers’ bookshelves or Kindles, and one of the key elements in successful book marketing is a compelling book blurb. Condensing your entire novel into a couple paragraphs of densely packed promo is not easy—but you’ve already written an entire book, so you can do this, too.

Don’t underestimate the importance of a book blurb: Self-published authors need one to entice readers to buy the book, and authors hoping to land a deal with a traditional publisher need a tantalizing blurb to hook prospective agents. So take your time to write an effective blurb, allowing for many drafts and dog-walking breaks to keep your spirits high.

Query Letter Blurbs for Traditional Publishing

If you’re going the traditional publishing route, you’ll almost certainly need a literary agent. Most major publishers won’t accept direct submissions from authors, and the professional guidance of a literary agent can work wonders for your publishing career. Landing an agent is the difficult part.

To convince an agent to represent your manuscript, you’ll need a query letter. Short and sweet, never exceeding one page, query letters succinctly describe your manuscript, your experience as an author, and why the given agent is a good fit for your book. The most important part of a query letter is the book blurb, your chance to convince the agent your manuscript is worth reading.

Selling your manuscript to an agent isn’t entirely the same as selling it to readers. While readers are simply looking for entertainment and may be more willing to take a risk on your book, agents are searching for professional opportunities and need to know reading your full manuscript won’t be a waste of their time. That’s what your blurb is for. Without giving away the ending, you need to promise the agent an interesting and worthwhile read.

Promotional Book Blurbs for Self-Published Books

If you publish traditionally, your publisher will take care of crafting an effective book blurb, but if you self-publish your book, you have to do everything yourself. Your book blurb is almost as important as the book itself, because the book isn’t much good if no one ever reads it. It’s crucial that you take the time to learn how to write a compelling book blurb.

Query BooksThe key to book blurbs is succinct, concise writing. Keep it short and skimmable, and emulate the style and tone you use in the book. Hook your prospective readers with a creative and interesting first sentence, and end on a cliffhanger that leaves readers hungry for more. Choose the vocabulary carefully to build atmosphere and spark your readers’ curiosity. Focus on the most important themes of the book, but don’t forget that less is more, and packing in too many details can turn potential readers away.

Writing is a creative field, and no two books are the same. Consequently, there’s no one perfect approach to writing a book blurb, but that doesn’t mean you can’t draw inspiration from previous successes. Go to Amazon or your local bookstore, browse the blurbs in the bestseller section, and take note of which blurbs most strongly spark your interest. Using similar techniques can help you boost your own blurb.

Book Blurb Example

While there’s no one-size-fits-all approach, the classic format for fiction book blurbs is to introduce the situation, add a problem, and raise an intriguing question. Blurbs typically end with a single sentence that describes the mood of the book. Keep it short: Don’t go over 150 words. The goal is to convincingly sell your book in as few words as possible.

In a previous post on query letters, we used the example of a middle-grade novel, Good Boy, about Spot, a canine detective who has to begrudgingly collaborate with a leading detective cat to uncover a pet treat black market in their hometown. Here’s what the book blurb for Good Boy could look like:

Spot is your average border collie detective: observant, deliberate, energetic, and passionately anti-feline. The star detective of Inouville’s canine police force, he’s only one groundbreaking case away from the most coveted detective award in the canine world: the Good Boy Award.

And then that case falls right into his lap. Or, more precisely, the leading detective from the rival feline police force comes hurtling through his open window, claws out, and whacks his favorite pet treats right out of his paws (cats never were polite). The cats have discovered a major pet treat black market—and the only way to uncover it is through cooperation. Is Spot a good enough boy to put aside his anti-cat bias and expose Inouville’s largest organized criminal group?

Good Boy is a uniquely creative comedy exploring crime and mystery, bias and prejudice, and indefensibly rude felines.

Professional Help with Query Letters and Book Blurbs

Need help writing an effective query letter or book blurb? Don’t be discouraged. Plenty of authors seek external help. QueryLetter.com is a fantastic resource for authors Query Logostruggling to summarize their masterpieces succinctly and successfully. QueryLetter.com hires publishing industry professionals with vast experience in the field, which means they know exactly what agents and publishers are looking for. Whether you’re looking for help with your query letter or need assistance finding the right literary agents to query, the publishing professionals at QueryLetter.com can help you.

If you need practice writing book blurbs, QueryLetter.com’s blurb-writing contest is perfect for you. Let your imagination run wild! The winner will be awarded $500—a great incentive to practice your blurb-writing skills.

Why Query Letters Matter—and How to Write a Great One

So you’ve finished your manuscript. Congratulations! Take a moment to celebrate. Indulge in some celebratory sweets, play with your dogs, and revel in the glory of having written a book.

And then get back to work. If you’re looking to get published, you’ve finished only the first step. Assuming you’re hoping to go through a traditional publisher, your next step should generally be to write a query letter and land a literary agent.

What Is a Query Letter?

Query letters are what authors use to hook agents and publishers and get them interested in their work. They essentially serve as an advertisement, with the goal being to entice the agent or publisher to request a full copy of a manuscript.

Query letters should be short and sweet (like the Littles!), not exceeding one page. The exact content will vary depending on the manuscript, your writing experience, and the agent’s personality, author list, and preferences, but generally, you should include an opening hook, a blurb, a quick overview of the target market and any comparables, and, if relevant, an author bio.

How to Structure a Query Letter

Don’t rush through your query letter. It’s a crucial part of getting your book out on bookshelves. If sending your letter by mail, use the same professional format as a business letter, meaning standard black 12 pt. serif font on white paper. Provide the agent with your full name, address, phone number, and email address, followed by the name and contact information of the agent you’re addressing.

If sending your query by email, you’ll likely wish to include your contact information under your signature at the end of the message, and you don’t need to include the agent’s contact information. Otherwise, the format of the query itself, discussed below, will be identical.

First Paragraph

It’s time to dive into the body of the letter. Start with a hook—something creative and unique to draw in the reader. For example, say you’ve written a book about a sassy detective dog who has to begrudgingly work with a feline detective to solve a major case:

Enclosed are three chapters of my middle-grade novel GOOD BOY (50,000 words). When a pet treat black market emerges in his hometown, experienced detective dog Spot has to abandon his anti-cat principles and collaborate with a leading feline detective to solve the case.

In general, your first paragraph should contain an extremely brief summary of your book that also highlights the more subtle themes of the story. In the Good Boy example above, the overt themes are detective work and dogs, but the deeper theme is overcoming biases and prejudice.

Query Publish Scrabble Tiles

Second Paragraph

In the second paragraph, you should outline the plot of your book. (Think of the book blurbs you see on the backs of novels.) Your goal is to entice the agent to request the full manuscript, so make it interesting without giving away the ending. Many authors struggle with this part because condensing an entire manuscript—your labor of love, no less—into a few sentences is difficult. Take your time. You may require several iterations to sculpt the perfect blurb.

The blurb, which is the most important and powerful part of a query letter, is also a good opportunity to show off your writing skills. Target clarity while emulating the tone and writing style of your manuscript. If your book is a comedy, add a few jokes and aim to get a laugh out of the reader.

Third Paragraph

In the third paragraph, discuss your target audience. For example, Good Boy is likely to appeal to middle-grade readers, especially dog lovers. Also consider mentioning any recent successful books that address similar themes or topics to yours to give the agent an idea of where your book might belong in the market.

The third paragraph is also the ideal place for your author bio. Don’t tell your life story! Keep it brief, like the rest of the letter, and mention only relevant information about yourself as a writer or subject matter expert. If you’ve previously published books or won any awards, be sure to mention those.

Closing Remarks

Close the query letter with a statement of appreciation for the agent’s time and consideration and state that you look forward to his or her response. If sending your letter by mail, also mention that you’ve enclosed a self-addressed, stamped envelope for the agent’s convenience (and actually enclose one).

How to Tailor Your Query Letter for Specific Agents

After writing the perfect query letter, you’ll need to personalize it for each agent you query. This involves more than changing a couple of details. Take the time to mention why you believe this specific agent is a good fit for your book or how your manuscript relates to previous books she has represented or is looking to represent. (Some agents discuss the types of books they’re looking for on social media, so keep an eye out.)

If you’ve met the agent before, definitely say so. It’s best to include these details at the beginning of your letter to establish rapport right away.

Professional Query Letter Help

Query LogoIf you’re struggling with your query letter, don’t be afraid to request professional help. At QueryLetter.com, you can find publishing industry professionals who will craft a compelling query letter, as well as a succinct synopsis and outline, to help you sell your manuscript. It’s a valuable resource for any author seeking publishing success.

QueryLetter.com is currently holding a blurb-writing contest, with a $500 prize for the winning entry. Consider submitting a blurb! This is a great opportunity to practice your writing skills and maybe even win a cash prize in the process.

 

James River Writers Annual Conference 2016

In his essay “Why Soldiers Won’t Talk,” John Steinbeck surmises that one reason a soldier can return to battle despite the traumas of war, and a woman can bear more than one child despite the ravages of labor and delivery, is simply because neither can

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Every October, James River Writers puts on their Annual Conference at the Greater Richmond Convention Center.

remember what the experience was like, rendering both incapable of experiencing the fear that might prevent them from entering into a similar experience again. “Perhaps,” he writes, “all experience which is beyond bearing is that way–the system provides the shield and removes the memory.” I think there is some validity to Steinbeck’s hypothesis. I see it evidenced in my own life, in at least two areas. The first is my husband’s willingness–eagerness, even–to engage in DIY home projects over and over again, despite the stress and anxiety they inevitably cause him. Not long after completing one painful project, he starts to get antsy for another–to the extent that we just purchased a second home, in part to help satisfy his craving for projects (and he is now completely embroiled in the pangs of a plethora of home projects). The second is my own experience with writing conferences, my favorite and the most accessible one to me being the James River Writers Annual Conference. I look forward to this three-day event with an enthusiasm approaching that of a young child’s at Christmas. But some years, I leave feeling defeated and discouraged: There are so many writers out there with so many stellar ideas, and we are all in competition for an agent, a publisher, a paycheck. I look around at the sheer number of writers in attendance at the conference and think: How can I possibly stand a chance against so many competitors? Frankly, it’s deflating.

 We come together as a community of writers to support each other, encourage each other, help each other. We have not gathered in the spirit of competition; we have gathered in the spirit of community.

But at Friday’s pre-conference Master Class, “How to Hook an Agent–From the Query Letter Through the Opening Pages,” literary agent Michael Carr said something that helped me realize at least one reason (there are many) I look forward to the conference every year: “It’s important to get motivation from events like this.” He went on to explain that so much of a writer’s work is done in isolation. And when we finish a piece we are really proud of, we send it off–most of the time only to face rejection after rejection. And yes, of course, that is a very defeating experience. But at a writing conference, we crawl out of our writing caves and come together. We are among people who take us seriously as writers. We convene as a community of writers to support each other, encourage each other, help each other. We have not gathered in the spirit of competition; we have gathered in the spirit of community. And it is in that spirit of the writer’s community that I share with you just a handful of highlights and takeaways from this weekend’s James River Writers Annual Conference.

For reference and in an effort to give credit where credit is due, here is a list of the sessions I attended:

Friday

Saturday

Sunday

On Revising

Sentence Structure

Be sure to vary your sentence structure. Reusing the same sentence structure can pull the reader out of your narrative, or, as Michael Carr explains it, can “wake him up from the fictive dream.” Two structures that Carr says are frequently overused, particularly by amateur writers are: 1) “Doing this, she did this” or 2) its inverse: “She did this, doing this.”

So much of a writer’s work is done in isolation. And when we finish a piece we are really proud of, we send it off–most of the time only to face rejection after rejection. And yes, of course, that is a very defeating experience. But at a writing conference, we crawl out of our writing caves and come together.

Tension

Each scene of a novel needs tension to hold a reader’s interest. Some ways to introduce tension can include giving the character a goal–and creating a character who actively engages in reaching this goal, as opposed to passively waiting for things to happen to him. Secondly, there must be some opposition regarding the goal. Something must impede the character’s achieving the goal he has set. Another tool in the writer’s belt is dramatic irony. The reader’s experience of knowing more than the characters about which she is reading is a powerful means of creating tension. Finally, be sure to ask yourself if there is enough at stake. What will the consequences be if the character achieves his goal versus if he does not achieve his goal?

The Opening Lines

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Bill Blume moderated the First Page panel Sunday morning. During this session, several writers’ page-ones are read allowed and critiqued by three literary agents.

At least three different experts at the conference exaggerated the importance of starting in the right place, which could be as simple as deleting the first line or first paragraph, or as complicated as rearranging the order in which your chapters appear–as was the case with my novel. Initially, Goodbye For Now opened with Marissa Donnoway working at The Beanery, serving a difficult customer. Several people mentioned that the book started a bit too slowly. In response, I wrote a new scene, one in which two brothers are looking out over Lake Huron. Still too slow. I deleted that scene, and opened the book with the emergency room scene. That didn’t work logistically, and the book currently begins with Scott Wilder’s suicide.

Feedback

If your published book receives a bad review, it’s not because your book was bad; it’s because the reader expected one thing, but got another.

Keep in mind that when beta readers, critique partners, critique groups, or other readers offer feedback, you are not obligated to take it–but deciding when and if you should follow someone’s advice can be tricky, and sometimes, so can not getting our feelings hurt. I thought Michael Carr’s comments regarding this issue were an insightful reframing of how to look at criticism. He essentially suggested that when someone responds critically to your work, it simply means he woke up from the fictive dream and didn’t “believe you.” It is not personal. It means you might want to revisit that part of your piece and consider how you can strengthen it. Sometimes, a reader might suggest a specific change to improve a piece–a change you disagree with. It’s important to keep in mind that you do not have to act on specific advice, but you would likely be wise to address the issue in some way, even if it is not the way your critic suggested. Carr also advised, “If the feedback resonates with you, address it. If it doesn’t, don’t.” Specific feedback itself might not be worth following, but reexamining each part about which a reader makes suggestions is worthwhile. In my case, the people who told me my book started too slowly only confirmed what I had suspected all along–so I addressed that issue (many times…).

I also appreciated what Natasha Sass of Busstop Press said about feedback: If your published book receives a bad review, it’s not because your book was bad; it’s because the reader expected one thing, but got another. More on this, in the context of tropes, below.

On Writing to Market and Finding Your Audience

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Master Class “Writing Smarter, Faster, and to Market,” led by Natasha Sass, delivered on its promise, living up to its title. 

Perhaps I should be embarrassed to admit it, but until attending Friday’s Master Class,
“Writing Smarter, Faster, and to Market: Game-Changing Tips for Indie Authors (and Writers who Want to Up Their Game NOW!”, I was unfamiliar with the term “trope.” Now I know a trope is essentially an expected element of a genre or subgenre. Tropes can include point of view, format, character types, themes, settings, plot devices, pacing, etc. In order to engage your audience, your writing has to deliver the promised tropes of your genre. The tricky part is that tropes change over time, so reading within your genre and subgenre can be an important way to keep up with what tropes are currently desirable in your area.
What does your audience want? What do they expect?

A trope is essentially an expected element of a genre or subgenre. Tropes can include point of view, format, character types, themes, settings, plot devices, pacing, etc. In order to engage your audience, your writing has to deliver the promised tropes of your genre.

On Inspiration

Two important notions occurred to me as I sat in a session today, the final day of this year’s Annual Conference. The first was that this year was quite possibly my favorite Annual Conference thus far (though they have all been wonderful). The second was that I would likely have never finished my novel, Goodbye For Now, had it not been for the 2014 James River Writers Annual Conference. The idea for my novel was born in 2006, when I was studying abroad in Germany–an ocean away from my then-fiance (now, husband). I began actually writing the novel in 2010 (I think) in a black-and-white Composition book. After a few weeks, I got busy and just stopped writing. I even lost the Composition book. Four years later, at a Master Class that was part of the 2014 Annual Conference, I read aloud the synopsis I composed in the workshop that day. The response I got from the instructor and my fellow attendees was so supportive, I came home and dug through my attic space until I found the Composition book. My desire to write the novel was reinvigorated, but it would likely have remained dormant, safely stored away in my mental attic, had I never attended the conference. Now, two years later, the sixth draft of my novel is complete, and I feel equally excited, motivated, inspired, and encouraged. And I already can’t wait until next year’s conference.

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When I returned home from the third and final day of the conference this afternoon, I spent over an hour nestled in my backyard hammock, snuggling with my whippet and reflecting on all I had learned–only the tiniest fraction of which I had the time to relate in this blog post.