| Query element | Supported guidance | Planning use |
|---|---|---|
| Overall length | Three or four paragraphs, no more than one page, single-spaced; about 300-500 words | Write to the page limit first, then cut anything that does not sell the book. |
| Description paragraph | Under 200 words | Keep the plot summary short so the comps and bio still fit on the page. |
| Author bio | Short and limited to writing credentials such as publications, awards or an MFA | List only what supports you as a writer and drop everything else. |
| Salutation | A specific agent or editor name, spelled correctly | Recheck the name every time you adapt the letter for a new recipient. |
| Submission guidelines | Follow posted requirements, such as extra pages or a synopsis | Read them before you personalise the letter. |
These figures come from VCFA’s learning hub guide to query letters and Savannah Gilbo’s query letter guide.
Knowing how to write a query letter comes down to a short pitch: introduce yourself and your book in three or four paragraphs on a single page, address a named agent, and follow that agent’s submission guidelines.
Querying is one stage in the wider route covered in our guide on how to get a book published. This page stays on the letter itself, from the effect of each choice to a sample you can adapt.
What a query letter does and who needs one
A query letter exists to briefly introduce you and your work to an agent or editor. It is not a substitute for the manuscript. Its job is to give the reader enough reason to ask for more, so every sentence should either sell the book or establish you as the person who wrote it.
Whether you query a literary agent at all depends on where you want the book to land. VCFA’s guide says you do need an agent for the large New York publishers, while university, small and indie presses do not require one. That split shapes who you address:
- Targeting large New York publishers: query literary agents, because the agent is the way in. The letter must work as a standalone pitch to someone who sees many of them.
- Targeting university, small or indie presses: you can approach the editor directly, using the same letter addressed to that editor.
- Preparing a poetry collection: start with our guide on how to get poetry published before adapting any of the advice here.
Length and format decisions
A query is a one-page document, so length decides what you can afford to include. VCFA says most query letters contain three or four paragraphs and should run no more than one page, single-spaced. Savannah Gilbo puts the typical range at about 300-500 words and divides the letter into three sections: key book information (title, genre, word count, comps), the book description and the author bio.
Advice on the description itself varies. Gilbo describes a 2-3 paragraph narrative that reads like back cover copy, and Alyssa Matesic allows a plot blurb of two to four paragraphs in total. VCFA’s synopsis paragraph should be under 200 words. If an agent states no preference, the tighter version is the safer choice, because it leaves room for comps and a bio without pushing past one page.
Posted guidelines override all of these ranges:
- Read every requirement: VCFA tells writers to read all of an agent’s guidelines carefully, since some agents ask for extra pages or a synopsis alongside the letter.
- Keep one master letter: save your core version, then adjust only the salutation, the personal connection and whatever extras the agent asks for.
- Do not stretch the page: if an agent wants more material, send it as the guidelines request rather than lengthening the letter.
Addressing the agent
Address a specific literary agent or editor by name, spelled correctly. A misspelled or generic salutation tells the reader the letter was sent in bulk, and the name is the easiest detail to get right. VCFA also advises referencing a personal connection if you have one, such as a talk the agent gave or a writer you both know, and keeping that reference to a sentence in the opening paragraph.
Personalisation should come from the agent’s own submission guidelines and list, not from flattery. State plainly why this agent suits your book, then move on to the pitch.
The opening paragraph: overview and optional hook
The overview of your project is, in Alyssa Matesic’s words, simply the book’s title, word count and genre. Those facts let an agent judge fit in seconds, so place them where they are easy to find.
A hook is an optional alternative or addition to that opening. VCFA notes it is more common when querying New York agents. The Good Story Company frames the pitch around three questions: who is the main character, what do they want, and what stands in their way. A single hook sentence that answers all three is a strong opener, but it spends words you may need elsewhere. Use it when you can state the premise in a single clean sentence, and skip it when the description paragraph does that work already.
The description paragraph
The description is the part of the letter that carries the plot. VCFA calls it a short summary of the book and keeps it under 200 words. Gilbo adds that it should read like back cover copy, which means it teases the story rather than explaining every turn.
Build it from the same three questions the Good Story Company uses: the protagonist, the goal and the obstacle. If a detail does not help an agent understand those three things, cut it. Subplots, secondary characters and backstory are the usual casualties, and the letter is stronger without them.
Comp titles
Comp titles, short for comparable titles, are recent books that show an agent where yours would sit on a shelf. Both Matesic and Gilbo recommend two or three, published within the past five years or so. Matesic adds that they should ideally be traditionally published.
The Good Story Company warns that comps should be recent titles and not blockbusters, and says a couple is enough. A famous bestseller as a comp suggests an unrealistic expectation. A smaller, recent book in your genre shows you know the current market. Gilbo goes further and says that sending queries without clear comps or genre information will result in an immediate rejection, so treat them as essential.
The author bio
The bio is the shortest paragraph and the easiest to overwrite. VCFA’s rule is to keep it short and tie it only to writing credentials: publications, awards, an MFA. Matesic suggests about two to four sentences for a novel and recommends stating where you are currently based.
The Good Story Company welcomes a sentence or two about your life that connects with the manuscript. That sits slightly beyond VCFA’s credentials-only rule, so include it only when it explains why you are the right person to have written this particular book. Gilbo lists what to leave out: how many times you have been rejected, editors you have worked with and quotes of praise for your writing.
Annotated sample query letter
VCFA publishes a sample with instructions highlighted in bold for each paragraph. The version below follows the same idea, using bracketed placeholders so you can see what each paragraph must do. It runs four short paragraphs, within the three-or-four range VCFA describes.
Opening and overview
Dear [Agent’s full name],
[Protagonist] must [concrete action] before [cost of failure], but [obstacle] stands in the way.
I am seeking representation for [TITLE], a [genre] novel of [word count] words. I am writing to you because [specific connection to the agent’s list or to a book they represent].
- Name: spell it exactly as the agent does.
- Hook: the first sentence is optional. Cut it if the description paragraph covers the premise.
- Overview: title, word count and genre belong here, and the connection sentence works only if it is real.
Description
[Protagonist], a [role or situation], wants [goal]. When [inciting event], [protagonist] must [choice or action], but [antagonist or obstacle] stands in the way. If [protagonist] fails, [stakes].
- Content: it answers who the main character is, what they want and what blocks them.
- Length: keep it under 200 words, per VCFA.
- Tone: write it like back cover copy, in the present tense and with specific nouns.
Comparable titles
[TITLE] will appeal to readers of [Recent comp title A] by [Author] and [Recent comp title B] by [Author].
- Number: two or three comps, as Matesic recommends.
- Choice: pick recent books from the past five years or so, not household-name blockbusters.
Bio and close
I am [Name], [writing credentials such as publications, awards or degree], based in [location]. Thank you for your time and consideration.
Sincerely,
[Name]
- Credentials: only writing-related items go here.
- Location: a short note of where you are currently based completes the bio.
- Close: a brief thank-you is enough. Attach or paste anything the agent’s guidelines require.
Pre-send checklist and common mistakes
Revise the letter against each recipient’s guidelines rather than against a general template. Read it once as the agent, looking only for what the book is, who wrote it and why it fits. Then read it again for slips in names and details.
Before you press send
- Recipient: the agent or editor is named, spelled correctly, and the guidelines have been read in full.
- Extras: any requested pages or synopsis are attached or pasted as instructed.
- Overview: title, genre and word count are all present.
- Length: the letter fits on a single-spaced page and the description is under 200 words.
- Comps: each is recent and not a blockbuster.
- Bio: it holds writing credentials only, with no rejection tallies or praise quotes.
Mistakes that cost a read
- Missing market signals: Gilbo’s view is that a query without clear comps or genre information is rejected immediately.
- Plot overload: a description that runs past the short-summary limit pushes out the comps and bio.
- A padded bio: editors you have worked with or how often you have been rejected add nothing to the pitch.
- Ignoring the guidelines: VCFA stresses reading all of them, and a letter that skips a posted requirement looks careless.
If you are also wondering how copyright applies to a manuscript before it goes out, the guide How To Copyright A Book Or Song: A Clear 2026 Guide To Protect Your Work covers it.
Frequently asked questions
What if I have no writing credentials for the bio?
Gilbo says it is entirely fine to write that this is your debut novel and leave it at that. A short, honest line is better than padding the bio with unrelated details.
Should I state my word count if it falls outside the typical range?
Yes. The Good Story Company advises stating the number rather than withholding it in the hope of skirting expectations.
Which age category should I name in the query?
Adult is the default, according to the Good Story Company. If your book is not for adults, say so by naming young adult, middle grade or picture book.
What subject line should an emailed query use?
An expert quoted by VCFA recommends the agent or editor’s name, the title in all caps and the genre in parentheses. If the agent’s own guidelines specify a different format, follow the guidelines.
