Eleanor Whitfield
Why Preparation Matters More Than You Think
Agents read hundreds of submissions a month, often in snatched moments between meetings and contract negotiations. The first few seconds are spent on instinct: does this look professional? A manuscript formatted with care signals that you have done your homework, that you understand the industry you are asking to join, and that your work will not be a nightmare to handle. That matters more than most writers realise. Sloppy presentation will not sink an extraordinary book, but it will not help a merely good one — and most submissions are merely good.
Before you send anything, be certain the novel is finished, revised, and as polished as you can make it. Agents do not want to see the first three chapters of a work in progress, unless the guidelines explicitly invite it.
The Standard Manuscript Format
UK agents generally expect a specific, old-fashioned presentation. It is not glamorous, but it is universal, and that is the point.
- Use a plain, readable font at 12 point. Times New Roman or a close equivalent is the safe choice. Double-space the body text.
- Keep margins at around 2.5 centimetres on all sides. Align text to the left, never justify it.
- Include a header on every page with your surname, the book title in capitals, and the page number. Something like SMITH / THE LAST FERRY / 47.
- Start each chapter on a fresh page. Type chapter headings consistently, and do not decorate them with symbols or fancy fonts.
- Indent the first line of every paragraph, and do not add blank lines between paragraphs. This is prose, not a blog post.
- Put a title page first: your name and contact details, the title, the genre, and a rounded word count. If your novel runs to 92,400 words, call it 92,000. Accuracy within a few hundred words is fine; "approximately 150,000" when it is 118,000 is not.
Most agents now accept submissions by email, so the same rules apply to your attached document. If they ask for the first three chapters in the body of the email, paste them in with formatting preserved, and do not send an attachment they did not request.
Writing a Synopsis That Actually Works
The synopsis is the document writers dread most, and the one agents use to judge whether you can tell a story at all. Unless the guidelines say otherwise, aim for one single-spaced page, or two at the very most.
Write it in the present tense and the third person, even if your novel is written in the first. Start with your protagonist and the situation that upends their life. Then follow the causal chain of the plot: this happens, therefore she does that, until the ending. Include the ending. A synopsis that trails off mysteriously tells an agent you do not know how your book resolves, or that you are hoping suspense will carry you. It will not.
Name only the handful of characters who matter, and keep a firm grip on the throughline. Cover the central conflict, the stakes, and the emotional arc. Resist rhetorical questions such as "Will she survive?" and resist clever stylistic flourishes. Clarity beats charm here. Read it aloud afterwards; if you stumble, so will your reader.
The Covering Letter or Query Email
Keep it to three or four short paragraphs. First, say why you are approaching this particular agent — a line about their list or a book of theirs you admire shows you have done your research. Generic flattery is transparent and tedious.
Next, pitch the book. One paragraph: title, genre, word count, comparable titles, and the hook. Then a brief note about you, especially anything relevant to the subject matter or any writing credentials. If you have none, say nothing rather than padding it out. Finish with a simple thank you and a note that the full manuscript is available on request.
Keep the tone professional and warm. Do not apologise for taking their time, do not explain that your mum loved it, and do not mention how hard it is to get published.
Submission Etiquette and the Waiting Game
Follow each agent's submission guidelines to the letter, even when they differ from the advice above. If they ask for a one-page synopsis and fifty pages, send exactly that. Most agencies allow simultaneous submissions, but check; if an agent asks for exclusivity, respect it and set a sensible time limit in your own mind.
Expect to wait anywhere from a few weeks to three months. Do not chase before the stated response time has passed, and when you do follow up, keep it to two courteous lines. A polite nudge after the deadline is perfectly acceptable. Weekly emails are not.
If you are submitting nonfiction, you will usually be asked for a proposal rather than a full manuscript: an overview, a chapter outline, sample material, a note on the market, and your platform. The same principles apply — clear, specific, and proofread.
Finally, keep a simple spreadsheet of who has what and when you sent it. Rejections sting, but a tidy record keeps you steady, and the next submission is always easier than the first.
