Most writers are concerned with what goes in the actual query letter and don't think about what they need to have before that point, aside from a finished story of course. Tom Brevoort, Executive Editor for Marvel Comics, recently blogged about what he looks for in a pitch. His comments on the three Cs—Characters, Concept, Creators—has launched an interesting discussion in the comment trail. I think it would be a good idea for none-comic writers to look, since much of it does cross genre lines and is applicable to those queries you're preparing.

These are things you need to at least consider before you write that brilliant, dazzling query letter and spend $40 on stamps.

Characters: In fiction other than comics, it’s not as much what are you doing with existing characters (though that is a concern sometimes) as what are you doing with new characters. Are these people we’ll like? Or hate? Or at least feel something towards? Do they change? What’s their potential? All of these are variations of questions editors will ask as they read your cover letter and (hopefully) sotry. Look at the story you’re working on right now. Is your main character interesting enough that we’ll keep reading about them? Notice I said interesting, not likable. There are some very likable people whom I would never want to read about. Your characters must be interesting, believable, and connect with the reader in some way.

Concept: What happens in your story? Does it work with your character? Is this something new, or just a retelling of the same story with different characters? It’s not enough to throw a divorced mom into a romance with her ex-husband’s divorce lawyer (hmm...that could be interesting); it needs to work with the character you created and entail more than “whoops, this was a bad idea.” Look at how well your concept meshes with your main character. Would changing one of them make the story stronger as a whole?

Creator: It’s a truth of any industry that the better you, and your work, are known, the more opportunities you get. As a new writer, you must prove that you have something that will work not just for this initial pitch, but that you have the skill to follow the project through to completion. You do this by building a reputation through short story publications, or by continuing your education, or by networking, or by a myriad of other ways to get your name out there in a positive way. Go to conferences and workshops and meet editors and agents and get a name for being professional and talented. These types of things pay off in the long run. Of course, improving your writing skills can only improve your chances of publication.

Let’s look at how Brock Clarke’s An Arsonist’s Guide to Writer’s Homes in New England (first new book I thought of, which isn’t surprising since I know Brock) fits the three Cs.

• Characters: The main character, Sam Pulsifer, is a naive bumbler with a wry sense of humor. After reading a few pages I care about this guy, and more importantly, I'm fascinated. I want to learn more.
• Concept: Sam burns down the Emily Dickinson House, and when writer’s homes start burning down years later, he’s the main suspect.
• Creator: Clark has written three previous books and is a professor at the University of Cincinnati; proven skills and credentials.

How can an editor pass that by? Oh yeah, they didn’t.

Now, you don’t have to get to this point to get published. Well, not in terms of the creator. That’s the area you have the most flexibility in. Characters and Concept, those you need to have down pat. Getting there takes practice. Once you get there, make sure these are the things you highlight in your query. With a little luck, who knows what may happen?

I was planning on posting a fabulous commentary today on the differences between novels and short stories, but the news that I am finally going to be an aunt has totally blown my concentration, so you'll get that post tomorrow.

Today, you get an excerpt from Jude Tulli's article "Writer Wanted: Partner Beware: Five Famous Teams Talk About Co-Authoring." Tulli starts by discussing different types of pairings before getting into his examples. The teams featured are: Julianna Baggott and Steve Almond; Jennifer Cruise and Bob Mayer; Jennifer Cruise, Anne Stuart and Eileen Dreyer; Hallie Ephron and Donald Davidoff; Lori and Tony Karayanni.

Here's a bit from Baggott and Almond:

These co-authors of Which Brings Me to You: A Novel in Confessions
(Algonquin Books, 2006) didn't know each other personally when they agreed to conspire to bring Baggott's novel idea to fruition. "We knew one another's work and had seen each other read," says Almond. Despite having rubbed elbows, they remained but literary acquaintances. Baggott deems it for the best. "We didn't have a friendship to burn," she explains.

The book is about a love affair that begins with a rendezvous in the coatroom of a wedding, and continues through an old-fashioned medium: letters. You know, the kind you write by hand. "We each wrote from the point of view of one character, alternating chapters," Almond explains, "We did offer comments on one another's sections, but steered away from interfering with each other any more than that."

But as with any partnership, there are sacrifices. When asked about the benefits of writing alone, both writers remain on the same page in perpetuity. "I like being God. The one all-powerful God, as opposed to the Greek god who has to share power," Baggott admits without a shred of apology. Likewise, Almond confesses, "As a control freak, I get to call all the shots." 

Indeed there were times when the pair considered packing up their characters' baggage and going their separate ways. Almond explains, "We did a lot of yelling at each other, mostly around revising the initial draft. We basically just battled things out. We considered quitting the project, but the book seemed too good to allow our bickering to bring it down." 

Baggott asserts that ultimately the conflict made the book better. Furthermore, she believes the characters are better off together than they would have been apart. Still, she found it "difficult . . . to let go of my character for the ending," as Almond wrote the end of the book. His greatest frustrations? "The second draft. And the third."

For wanna-be co-writers Baggott cautions, "You have to be willing to fight, and pretty loudly," while Almond admonishes, "Check your ego at the door." They both recognize the work as a life-long bond, and suggest taking that likelihood into account from the beginning. "It's not just writing the book, but revising it, selling it, marketing it, including potentially trying to adapt it for the screen," says Almond. Baggott concurs, "These books, they don't go away."