Oh definitely going to query. There is no point in sending an unsolicited proposal I think. (Well there are some places that specifically say not to query - that want proposals straight out. But I'm not contacting them yet - waiting to see if I can get a solicitation for a proposal by querying those who do prefer queries. Cause an unsolicited proposal would have to be multiple with all the problems that implies. So definitely doing queries first.)

So If I have a name you think I ought to direct the the one page query to that name, not slush pile person?

The ideal thing would be to have an agent. But this stikes as very much a small press book - and I honestly don't think an agent is going to want to rep a first time small-presser. 15% of a small press advance is minimum wage, given what a good agent does. While obviously I'm not expecting to net money from a first book, if I think about agents then I do have to take that into consideration; an agent who worked for nothing would be unbelievable popular, and er living on catfood.

x-post: so send the query to the name, not the slush pile - even if the name is a bigwig?

Heh. See? Amy knows.

Yup. There is the one weird thing. Some small houses specifically do want unsolicited proposals and say NOT to send a one page query - they only look at full proposals. Don't know why they would take that approach - but if that is what they want....

so send the query to the name, not the slush pile - even if the name is a bigwig?

Sure.

What did the receptionist actually say about the slush pile? Because you certainly don't send stuff to "Slush Pile". It's probably an assistant or an intern who handles it, or you'd just address it to "Editorial Department".

Well there are some places that specifically say not to query - that want proposals straight out.

Yup. It cuts out that middle step, of you asking, and them inviting, and you sending stuff. The idea is to follow whatever guidelines a publisher makes known. And the trick is to remember that they're often as vague and unhelpful as possible, because no matter what, publishers always have about six zillion more queries/submissions than they want. The publisher I worked for always says on the phone that it doesn't accept unagented submissions. But they do -- always have, probably always will. It's just one more way to cut down the volume of mail.

And no matter what, with a mainstream house, the accepted wisdom is going to be that most valuable submissions come from an agent. And not just any agent -- people with experience and a track record in the business. Which is why I also tell people it's always better to have no agent than a bad one.

Is my guess right though that a book with a small market is not going to get an agent? I mean the title "Cooling It! No Hair Shirts Solutiosn to Global Warming" makes it sound like there is a bigger market than there really is - cause it makes the case by covering a lot of little things not a few big ones and goes into enough detail for each one to be convincing. I think there is still a market, but a small one cause not room for a lot of story telling or ancedotes. It is well written for what it is - a book that not only makes but proves a case. But am I right in thinking that this is definitely a small press book - which means unagented for a first time writer? Or would a good agent consider a book like this? It there a reasonable chance she would get paid if it is well executed - which it is.

(I just asked the receptionist who query letters should be directed towards. She named a person who I looked up and was the most recently hired associate editor.)

Is my guess right though that a book with a small market is not going to get an agent?

There's no definitive answer to that, although I will say this: Agents want to represent authors, not books. The difference? Authors will keep producing, and there's every hope they'll keep selling, which makes the agent income. One book, unless it's Tom Cruise's memoir or something, isn't usually going to be a smart investment.

Non-fiction is also a different animal than fiction. The buzzword here is platform -- as in what the author brings to the table as a built-in readership. Do you write a column for a big paper? Do you speak at workshops or conferences on your book's topic? Do you have a web site with a certain amount of traffic? Also considered are credentials for writing about the topic you've chosen.

It there a reasonable chance she would get paid if it is well executed - which it is.

If an agent signs you, and then sells your book, s/he will get a cut of the money. Doesn't matter how well-executed it is. Whether or not an agent would want to represent you is another issue, and unfortunately I don't have a lot of experience with non-fiction agents (as in names to suggest) because I edited mostly fiction (and mostly romance, at that).

Right the question is a cut of how much. If the advance is small then her cut is small.

The reference books said that if you aim at small publishers as first time writer you won't get an agent. The reference books don't always know what they are talking about - but it seems sensible. I do have a platform and marketing plan and a a second book. But do agents want to take on a first book where they won't get paid well for their time in hopes of a long term relationship? Wouldn't their attitude be "sell that first book and then we'll talk"?

Wouldn't their attitude be "sell that first book and then we'll talk"?

It shouldn't be, although it sometimes is. And certainly a small advance would garner a smaller cut, but the percentage is usually the same -- around 15%. If an agent works with small presses, then s/he knows what the advances are like anyway.

So it sounds like I might be better off trying to get an agent rather than approaching pubishers directly? I was doing the direct approach only because I assumde that I had essentially no chance of getting an agent. But you are saying that is not neccesarily so?