School Reopening

My school district decided to re-open last week.

Last year, when the powers-that-be laid forth the myriad of hurdles and quagmires and golden-shower handshakes required before schools reopened, I boldly claimed that schools would never reopen. Like, not even related to COVID. If we were required to keep students six-feet apart in well-ventilated rooms, y’all best get used to Zoom calls.

In my defense, I was totally right about the failed educators and wannabe politicians in charge of the average district failing to get their heads out of their collective asses to make the changes necessary to meet those reopening metrics. What I failed to account for at the time was that Herr Commandant Newsom, who once thought the best COVID plan was to close every business in the entire state except for his hairdresser, decided to “slightly amend” it to, “Everything open, now and forever, because now the president is in my party instead of the other party, and this is looking bad for both of us.”

Okay, he didn’t really open everything. Not until June 15, at any rate. Not sure why a guy who “follows the science” knows, sixty days in advance, the exact date COVID will be beaten. Is Astrology one of those sciences he follows?

So his “school reopening” changed slightly. From “only reopen if your county has less than one COVID case per month, AND you can ensure social distancing in all classrooms, AND improve your ventilation, AND masks and desk shields and a rectal thermometer in every asshole!”

Sometime in late January/early February (again, TOTALLY not tied to a new presidential administration), his reopening criteria checklist switched to: “Here’s $6 billion. Reopen or you get none.”

It’s a subtle change. Did you notice it?

And to get this out of the way early, despite what you’ve heard from multiple “pundits,” that money is not required to be spent on anything relating to COVID or reopening. Nor is it “going to the teachers unions.” Sure, some districts might “share the wealth” with their employees. But that is not a requirement for the money. 

Nor is it a requirement that the money be spent at all. My district loves reminding its employees that they have $100 million in reserves. Part of that $100 million came from a cost-of-living adjustment the state gave them to pass along to us two years ago. Basically, the state gave them enough money to cover a 3% raise for all their employees and our district said, “Meh, how about we keep it in our bank account instead?” 

So it should come as no surprise that when the state, and then the federal, government waved another $100 million in front of them to reopen, their response was, “Teachers, get the fuck back to work.” Next year they’ll be touting having $200 million in reserves. They’ve gotta be the only school district who proudly proclaims that they DON’T spend money on your child’s education.

My union’s response to my district’s directive to return to work was, “Wait, you can do that? What about Herr Kommandant’s precious color-coding? What about this Memorandum of Understanding that we negotiated back in September? Have you thought about any of the logistics?”

Their response, in order of our questions: “1. We don’t care. 2. We don’t care. 3. Are you even listening?, and 4. We give absolutely zero fucks and/or shits about logistics. We’re getting $100 million, so get the fuck back to work.”

We responded with a futile, “Can we have some of that hundr…” but we couldn’t finish the question over their laughter. 

So again, the next time you hear that it’s the teachers unions preventing schools from re-opening, bear in mind that most of our contracts state that if school is open, we must report. Most school districts could order their teachers back tomorrow. But why would they do that when they can blame us for all the problems?

To be fair, there are some local unions that will strike, but in my district, it takes three weeks of voting just to decide if we want coaches to get a stipend. I don’t know how many unions can concoct a strike vote in the ten days we were given between announcement and reopening.

In all honesty, a lot of us were ready to go back. Distance learning is a monumental pain in the ass. Something that takes me five seconds to say takes me a couple minutes type out. Multiply that by forty asinine questions a day. Maybe you’ve heard that there are no stupid questions, but obviously you’ve never had to respond to “What are we doing?” two minutes after getting off a thirty-minute Zoom entirely devoted to what we are doing.

Or “I don’t understand the assignment.” To which I reply, “Where in the video instructions I posted did you get lost.” “Oh, I didn’t watch the instructions.” So glad I remembered to record that at 11:00 last night so that it would be fully rendered by this morning.

Grading digitally sucks, too. Twenty years into this profession, I can wield a red pen like the finest foil, swathing and slicing through a written test. Something as simple as a “-1” now requires me to highlight the text in question, hit the little “Comment” button. click on the comment space, type in “-1″,” then hit save.

Add in the fact that we’re all vaccinated and, sure, sign me up for a return to school. But should we maybe discuss the logistics of the transition? No? What about the students, who aren’t vaccinated and decide they want to stay on Distance? No plan? Cool, cool. And is it too late to ask about some of that hundre…

Ring the bell. Schools back in session, sucka!

And that’s about as fast as it happened. The Board of Education met on a Tuesday, we went back full time thirteen days later. 

Yes, full time. Did I forget to mention that?

For most of the past six months, we’ve been under the impression that if we went back to school, it would be in some funky hybrid scenario with only 30-40% of our students on campus at any given time. And by “we,” I mean everyone. The teachers, the students, the administration, the parents. The last week of school before the Board of Education made its ruling, they made the teachers return to school for a week, teaching distance learning in the morning and “preparing our rooms for hybrid learning” in the afternoon. Then the following week, they told us that, ha ha, just joking, we hope you didn’t waste too much time prepping your class for hybrid learning.

What’s the difference? Allow me to illustrate:

My second period class, has 42 students. 

I have 36 desks in my room, plus a couple of tables.

 I was supplied with 17 desk shields. 

If the maximum number of students I’m going to have in a particular class on a particular day is twenty, that’s doable. Instead of placing my desks side-by-side, I turned them toward each other in “pods,” with one desk shield (basically a three-sided partition like those old cardboard science project boards, only made of clear plastic) every other desk in a zig-zag pattern. So either you have a desk shield in front of you or you have the “outsides” of three desk shields surrounding you on all three sides. And while the desks to your left and right aren’t “socially distant,” only half of them will be used at a time.

Oops.

Unfortunately, we weren’t “given” (aka ordered) more in-class preparation time after the announcement that all 42 students would be coming into second period. I could have used my own time. I could have done my last week of distance learning from my classroom,  moving all my desks back to their original location. But honestly, if the district wanted to half-ass their decisions, why should I go out of my way to ensure it’s implemented well. If I keep polishing their turd, they’ll keep giving me turds.

The other problem with preparing to return is that I had no idea what the classroom setting would actually look like come Monday morning. This was now the fourth time they’ve “given us a week” to prepare (last April, the beginning of this school year, the week before the hybrid that never happened, and this 13-day period between announcement and student return).

 Each time, I’ve felt the optimal use of “prep” time would be to do it for a week, THEN take a week to adjust. Otherwise, whatever we prepare for won’t fit the reality. I’ve been teaching for twenty years and I can assure you they problems never arise where we think they will.

For instance, it might shock you to learn that, on that first day back, I did not have all 42 bright-and-bushy-tailed teenagers excited to reignite their passion for education. The real number of students in my class last Monday was in the low twenties.

To be fair, some of them weren’t  supposed to be there. The district allowed them to change their mind about distance learning. Big hearted, since the original designation was established back in August. A wee bit’s changed since then, yesno? Ya think some people might have changed their minds about the best options between then and now?

Oh, and when families made those designations back in August, they were talking about hybrid. Would your answer to whether you’d send your child back to school change if they were expected to be 42 in their class instead of 21?

If so, you obviously don’t have the “failed educator and wannabe politician” mindset, because my district expected “only a handful” of students to change.  

Instead, it was droves. Hundreds at each high school.

And of course, they all waited until the last minute to sign up. 

When I got the first email notice of a student going on distance learning, I figured no problem. I’d send her some packet work. 

Then a couple more dribbled in. My plans started to morph. 

Then on Friday… nothing. The calm before the storm?

Still not sure. I shit you not, here I sit, fully vested in my second week back, I still don’t have a great handle on who is supposed to be in my class on a daily basis. They don’t show up any differently on my role sheet. In some cases, I get a notice from a counselor or assistant principal. Other announcements come from the students themselves. 

Some of those student emails say they requested distance learning and are waiting to hear back. Others write me the much more amorphous, “I’ve decided to stay on distance learning. Please don’t mark me absent.” Umm… does anyone outside your house know of your decision? What about the other people in your house? Because that sounds suspiciously like a “Don’t tell my parents I’m not in school.”

And yes, I’m supposed to teach both the students in my room and at home the same content at the same time. If I can ever figure out who is who.

It continued after school restarted. Students have completely forgotten how to do the whole process. I get emails from students saying they don’t feel well so they didn’t come to school. I tell them they can bring a note the following day and have the attendance office excuse the absence. Y’know, like school’s been working your ENTIRE life. Last twelve months notwithstanding.

Another student emailed me that she wasn’t coming to fourth period. She came to the first three classes but decided to “do distance learning the rest of the day.” Um, okay. That’s called ditching. Thanks for the email.

We now have fun new debates like whether or not classroom doors should be open. On the one side, ventilation! But lockdown protocol has required them to be closed for the past few decades. Although on the plus side, we’ve gone over a year since the last school shooting!

And what about those precious desk shields? Twenty minutes into first period, the students asked if they could take them down. I allowed it as long as they put them back up when class ended. Second period: same process. By my afternoon classes, I was telling the students where the desks shields were if they wanted to grab one.

Just one more expensive paperweight throughout my classroom. All sorts of fancy wastes of money went into this ill-thought return. We have webcams to teach all the hybrid students at home, back when we thought we were doing hybrid. And a tripod! What the fuck are we doing, filming porn?

We also got electronic pencil sharpeners to replace the one I bought for myself a decade ago after I was told there was no way in hell the school would approve such a frivolous purchase. If you want sharp pencils, use the broken mechanical ones! 

Oh and we all now have alcohol-based hand sanitizer despite still taking annual trainings in the fact that those are not allowed in our classrooms. Too bad Glade air fresheners don’t kill COVID, because those are still verboten. And let me tell you, when you’re not allowed to open the door in a room full of 42 teenagers, it would be really nice to be allowed air fresheners.

But my favorite new waste of money is the electronic three-hole puncher. Every single classroom got one! Because we all know that those manual hole punchers are veritable Typhoid Marys. 

Do they think we push down on them with our tongue?

But hey, they spent some money! Not well, mind you, but at least a penny or two of that hundred million are going into some classrooms instead of the district coffers.

Anything to avoid giving the teachers a raise, huh?

Book Review: Kings of the Wyld

Last week, I posted about my nascent querying process. I made reference to Kings of the Wyld, by Nicholas Eames as one of my two “comp titles,” because every proper query must include two titles that your book is exactly the same as, but different from. It’s The Cat in the Hat mixed with Debbie Does Dallas.

Sorry, that wasn’t a very good comp. They have to be modern titles, you see. Other than that, the pairing works perfectly. Like Bordeaux and Kraft Dinner.

I struggled with my comp titles throughout most of the first two drafts of my work-in-progress. Part Star Wars, part Game of Thrones. Except it’s neither sci-fi nor epic fantasy. Oh, and set in the real world.

Can’t imagine why it took three drafts to figure out what the hell I was doing. 

I always had an idea for what I wanted to do with it, but when the words hit the page, I couldn’t make them go that way. 

Then I read Kings of the Wyld. Wow.

Forget comp title. This bad boy opened up my world as to what was possible in genre writing. I finally figured out how to fix that major ho-hum in my WIP. Turns out it was what I always wanted to do with it, but Kings of the Wyld finally gave me permission. 

Wait, is that why we’re supposed to find current books to comp? 

So consider this my book review, my book report a year or two late. And a desperate attempt to milk one more post outta that damned Work-In-Process.

Anything to avoid querying, amirite?

Kings of the Wyld and its sequel start with a simple premise that deconstructs an underlying trope of epic fantasy. You know that rough-and-tumble group of adventurers who put their differences aside and origins together to “band together” and save the princess/town/kingdom from the wizard/dragon/demon? Well, they’re basically rock stars. What if they were actually rock stars?

That’s the premise of the series: adventurers act like your standard classic rock band. The front man tunes his axe while the wizard in the background twirls his twin daggers a la drumsticks. The “band” at the core of this book, named Saga, goes through bards like Spinal Tap does drummers. They don’t even remember how certain ones died.

The trios and quartets and quintets go on tours, traveling from city to city to defeat the monsters, then sticking around long enough for the sex and booze before moving on to the next town booked by their agent. 

At least that’s how it used to be. But like our real rock gods, the members of Saga have aged. Retired, even. Nowadays, from their perspective, these glam-rock noobs stage arena shows predicated on flash instead of substance. They even use makeup! Imagine Duane Allmann showing up at a Twisted Sister concert. Or even better, Backstreet Boys.

Except there are manticores and walking trees and shit. 

The inciting incident occurs when one of the old dudes’ daughter joined a band of her own and now needs help. What more do you want from your epic fantasy than an opening salvo of, “Let’s get the band back together.”

So part swords and sorcerers, part music appreciation, with a healthy dose of us old farts adjusting to the fact that we can’t do what we once could. Of course, we have wisdom now, but is the increase in that attribute enough to counteract the loss of strength, dexterity, and constitution all at once?

Ugh, my constitution used to be so strong. The worst part about my school reopening is retraining my bladder and bowels. Ninetyminutes between pees, six hours without pooping.

Sorry, TMI? Well the good news is you probably won’t see that being discussed in Kings of the Wyld. It often toed the line, it often hinted it might go full camp, but it never does. Every time I thought they were going to abandon the fantasy element for the rock motif, it always steered back. 

One part that stuck out was a battle of the bands with one of these newfangled boy bands. The lead up felt about 70% Led Zeppelin vs. NKOTB” and maybe 30% “Roll a d20.” They went to a bar the night before, met fans of the new band, heard all the rumors of their own demise. Some of the patrons didn’t remember Saga, while others told rumors about the old band a la Ozzy Osborne. Pretty much nobody believes they are who they say they are until they damn near burn the place down. 

Do you think David Lee Roth has similar stories from, say, the mid-nineties?

When they show up at the arena for the Battle of the Bands, however, a griffin breaks free from its chain and almost kills everyone. All of a sudden, it’s standard sword-and-sorcery, battle-the-monster type stuff. The band works together like an experienced group of adventurers and save the day, all the while creating a new generation of fans. Even those young whippersnapper adventurers learned a thing or two about how shit was dealt with back in the day, when the circumstance presaged the pomp.

That’s what I meant by always choosing the straight path when given the option. Eames constantly approached the line between campy and serious, but he never crossed it. In fact, as the book went on, once the premise was laid, he didn’t lean into it as much. The second half of the book was maybe eighty to ninety percent something you’d read from Brandon Sanderson or Geroge R.R. Martin, although not quite as wordy. He’d established the premise, he’d hooked us onto the characters, now he was telling their story.

Aas I was reading it, I was continuously surprised at how dense it was. A lot of the fantasy I’ve read the last few years are in the vein of Critical Failures or NPCs, two series that don’t take themselves seriously enough to notice there was supposed to be a line between comedy and prose. They’re quick, fun reads. I kept expecting Kings of the Wyld to take on that pacing, but it didn’t. Two equally gratifying “fixes” to the glut of epic fantasy out there.

So how does this all play into my work-in-progress? I’ve mentioned this before, but it’s intended to be part alternative history, part low fantasy. It was intended to be more of the fomer than the latter, but as I wrote it, it felt more fantasy than history. Writing a “Middle Ages that never ended” lends itself to e Olde Tyme Language. I wanted to sprinkle in a bunch of modern references. The flash fiction from which it was born featured Zip-Lock bags, and while there were a handful of real-life people, as all proper alternative histories must, they were buried in the background. I was afraid to feature them.

As I was writing, the naive POV character trying to make sense of the world took over. When he’s knee deep in profound questions about the nature of feudalism and “the world is not what it seems” seems like a bad time to drop in a “Where’s the Beef?” 

Or maybe that’s the PERFECT time to drop in a “Where’s the Beef!” That’s what Kings of the Wyld taught me. Instead of toning down the tongue-in-cheek, I could lean into it and still not let it take over the narrative.

These toungue-in-cheek moments were always part of the plan, rarely in the execution. Among the first “scenes” that popped into my head, in fact one of the phrases in the original flash fiction, was turning the Prince lyric into olde tyme speeche: “Let us feast, frivol. Let us party like ’tis nineteen hundred ninety-and-nine.” 

But every time it came to dropping one of those into the writing, I got scared. The book must take itself seriously!

Except maybe it doesn’t.

I dabbed my foot into this Brave New World with a campy Spice Girls reference that I’d planned but shied away from. When I sent the first batch to a couple of beta readers, out of 10,000 words of introduction, with at least three bona fide characters to connect with and a myriad of worldbuilding mysteries, what was the one response that everyone had? “I really liked the Spice Girls part.”

Great. The only part they glommed onto was the throw-in that had little to do with the plot. Why should I bother writing the other 90,000 words if I could’ve just gone Spice Girls for 500 pages.

Except, of course, the Spice Girls only works as an accoutrement. Christmas ornaments only work if they’ve got a tree to hang on. 

Nicholas Eames did a great job of toeing that line. I knew when he was being funny and when he was being serious. At least, by the end I did. Early on, I thought there must be some jokes I was missing, and that feeling continued as he phased away from the rock references. In the second half, they became rarer as the conflict and the characters we’ve come to care about took over the plot. I find myself following a similar pattern. The first few drop-ins are lengthier, more developed. They need to hook the reader. In the later chapters they’re only there as a reminder. By then, the reader needs to care about the characters.

That’s what brought me to Kings of the Wyld. If it was reviewed as “old adventurers are forced to fight again when a daughter is in trouble,” I wouldn’t have sought it out. But “In a world where they are treated like rock gods, four retired adventurers decide it’s time to ‘get the band back together!’? Hell yeah! So if my book becomes known for the Spice Girls and nothing else… shit, I’d LOVE for my book to be known for something. Anything.

To be fair, I still worry when I drop in 1990s vernacular. Will the agent/editor/publisher/reader realize that a wee peasant lass dropping an, “As if!” is intentional, and not just the markings of a writer who doesn’t understand that modern parlances shall not grace Medieval literature. Not that “as if” is modern parlance, but you know what I mean. I’ve read far too many “period pieces” only to find myself diving for a dictionary to verify my assumption that that word didn’t exist until 100 years later. Sorry, your Civil War soldier isn’t worried that his life is going into a “tailspin” forty years before the first airplane.

But you gotta take some risks if you want to stick out of the slush pile, to say nothing of the thousands of published works that also found their own way out of it. 

The good news is I now know it can be done.

But it must be done well.

Shit. 

#amquerying (almost)

On this Easter Monday, perhaps I should chat about the Book Eternal.

No, I’m not talking about the bible. I’m talking about my Work-in-Progess that started somewhere in the Obama administration, and is still sitting in about twelve different files, four different versions, on my laptop.

Kinda feels like it’s been around since Roman times. All it’s missing is some divine inspiration.

When I first referenced this work-in-progress, it was a flash fiction I wrote that started a black hole of my brain. The following week, I posted the first draft of the scene in the book that correlated to that initial idea nugget. It was still in EXTREMELY first-draft mode. Not that I understood the difference between first and later drafts back then. I still don’t.

If I ever get an agent, and that agent okays me posting some of my content for free, maybe I’ll pair those with the “final draft.”

Is there such a thing as a final draft?

I’m currently on chapter five of my third work-in-progress (fourth, if you count my first aborted attempt at “autobiographical fiction”). I know it’s a normal reaction, opining how shitty it is compared to the one that’s on its third draft. When left brain takes over, I remember how often that first WIP felt like a smoking pile of dung-heap. All the characters were boring, but especially the main one. The action was plodding and predictable, the writing full of clichés and prone to use five words when two will do. 

Even worse, I think to myself, is that this new book is horribly dry compared to my lightning-in-the-bottle first book, and that first book hasn’t even been accepted by a literary agent, much less sold to a publisher.

Of course, I haven’t actually shopped it to any agents. I’ve heard that helps?

Damn you, publishing world! Why can’t you crawl into my computer whilst I sleep and see the brilliance that I’ve written? Maybe I should ask the dude I send a bitcoin to every month for the alleged pictures he took of me doing certain things on a webcam also get me place my book into a “to be published” folder at Simon & Schuster. Or Simon & Garfunkel. I’m not too particular.

Am I the only one who does this? One time, a writing podcast was reviewing ways to make progressions feel earned, character-driven instead of plot-derived. I’m looking at you, “How I Met Your Mother” finale. Yes, I’m still bitter.

While listening to the podcast, I thought to myself, might’ve even spoken aloud to the empty car, “I fucking did that! Why the hell aren’t I published yet?” Then I remembered I hadn’t actually finished writing the novel. It was still sitting at 60,000 words where I left it when I gave up on it six months earlier. Because it was boring and predictable and full of cliches. 

Damn you, publishing world! Why can’t you crawl into my computer whilst I sleep and finish my manuscript. Maybe I should get my friendly neighborhood hacker on that. Google keeps telling me all my passwords are hacked. All I have to do is make my passwords 100,000 words long and…

Anything to avoid working on that query letter.

I just spent a weekend delving into the querying process, and let me just say that rabbit hole is deeeeeeeeep! I’m talking Fantastic Mr. Fox level, needing a tractor to sift through all the bullshit that rabbit holed through.

My first foray came via Pitch Wars, a made-for-Twitter event where you condense your life’s work, your magnum opus, down to two-hundred-forty characters. Well, you need to throw a bunch of hashtags in, so it’s really more like two-hundred. I thought I had it down pat, at least until I saw it on my phone screen. Yikes! So I re-wrote it, and again, and again. You’re allowed to tweet your pitch three times in a day. My three pitches were as distant from each other as can be while describing the same book. Unfortunately, none garnered a like from agents, so I can’t figure out which one “worked.”

Next up: the query letter. The good news  could use more than thirty words. The bad news was I now had to introduce myself as well as the book. I had to greet the agent like she’s a real-live human being and not a simulacrum, a Twitter bot searching for a specific keyword.

And don’t forget that hook. Like my students do, with a rhetorical question. 

“Have you ever been king of France?” they often inquire. “Looking for a way to control the nobles, all the while owning a plot of land precisely twelve miles from the center of Paris?”

“Why no,” I respond, cursing English teachers for providing only one rhetorical crutch. “What an oddly specific question to ask of a position that hasn’t existed for a hundred and fifty years. Does one often respond yes to such a quandary?”

But what the hell. If a history teacher reading thirty essays gets tired of that hook, I doubt literary agents who get thousands of unsolicited drivel will mind.

“Dear agent,
Have you ever poured five fucking years into a hot pile of garbage and have finally whittled that steaming feces into something your mom describes as ‘better than what you wrote in third grade’?”

Hold on, I need to go check all those manuscript requests flooding my inbox.

I read plenty of how-tos and don’t-dos over the years, so I knew what to expect. I subscribe to Query Shark where we all laugh at atrocious query letters. I follow writers at varying stages of their career, listen to podcasts. I figured I had it dialed.

Until I sat down to write it, at which point I promptly became a third-grader learning to write for the first time. 

In a foreign language.

Seriously, I’ve written over a million words and now all of a sudden, I’ve lost all ability to communicate via written word. Stephen King says that once I pass a million, I’m a real writer. Do I have to write an extra million in business-letter format?

It shouldn’t be this difficult. All you have to do is be sincere, but not drab. Stick out from the slush pile, but don’t say anything outlandish. Follow the formula, but don’t be formulaic. Opaque much?

It doesn’t help that most of the “sample” query letters start with phrases like, “I’ve written seven previous best-sellers” or “I have 25,000 social media followers” or “You asked me for my manuscript at that one writing conference.” If I’d written a bunch of best-sellers, I probably wouldn’t be looking for an agent. And writing conferences haven’t existed for a year.

Ironically, I did write up a little “elevator pitch” for my book back when I was about halfway done. On its own, it kinda pops. Intrigue, a basic establishment of plot and character, a couple of non-rhetorical questions to whet one’s appetite. Yet when I drop it into the second paragraph of a query letter, I’m all of a sudden second-guessing myself. It’s too focused on the worldbuilding, the MacGuffin that sets my 90k words apart from all those other batches of 90k words. 

The query gods say I should focus more on the character, less on the setting. Also, it should read like the back of a book. But most of the book covers I’ve read focus more on inciting incident than on character. The characters are what keeps us in the book, but isn’t the setting what draws us in the first place? Star Wars starts with an imperial cruiser, not whiney Luke.

So let’s see if I got this straight. Introduce the character and the setting and the MacGuffin and the inciting incident. Plus the major plot progressions and other conflicts and themes. Maybe throw in the character’s social security number and mother’s date of birth. All in a sentence and a half. Got it!

With that out of the way, it’s time to find what lucky agent gets my speed dating salvo.

Holy shit! There are quite a few of them thar agents.

Time to pare this down. They suggest looking up the agents of books you liked. Or the books you’re going to use as comp titles. Because we all must have comp titles, published in the last five minutes because after you get your agent, it’ll still be seven decades before the book finds an editor and another three centuries before the traditional publishing houses will put it on the shelf. So you need to prove your book has a market right now. 

Fine. Kings of the Wyld is one of the books I’m comping. It came out in 2017, two years after I started writing my book, and its sequel came out last year. Zeitgeisty enough. Unfortunately, Nicholas Eames is Canadian, as is his agent and agency. Plus they’re not taking submissions. Maybe not the best place to start.

So I went to the “Manuscript Wish List” website to search for agents who liked Kings of the Wyld. Found two. Unfortunately, one of them cited the multi-character viewpoint as her main takeaway. Well shit, that’s not why I’m comping it. Come back next week to see why I’m comping Kings of the Wyld. My first book review in a while and yet another post milked out of the WIP That Will Not Die.

My other comp title is Ready Player One. It shouldn’t surprise that most agents who liked that book are looking for Sci-Fi, not alternative history. Strike two.

What about the agent that actually represented Ready Player One? She’s unavailable, unattainable. She left her old agency to start her own agency, but is taking no new clients. In addition to Ernest Cline, who got a seven-figure advance for his second book to say nothing of movie rights, she has one other huge client, which I imagine is enough for both workload and income.

That’s the problem with querying comp titles and “authors I like.” Those who come to mind are successful, and many an agent retire upon capturing their white whales. Let’s do a rundown of authors who’ve inspired me.

Check Wendig and Delilah Dawson have the same agent. She’s closed to queries.

Kevin Hearne has a private, part-timish agent who only represents him.

I’m not gonna bother looking at Stephen King’s agent. If I were his agent, I would spend all my time updating the lock on the safe that contains my four-leaf-clover-embossed, golden-rabbit-foot horseshoe. Except for the one day a month I get another 2,000-page best-seller from my one and only client.

Harry Turtledove is a prolific alternative history writer, and his agent is, at least in theory, taking queries. But after a gander at his rep list, ain’t no fucking way. There are like fifty names on there, some of which are whipper-snapper upstarts like Arthur C. Clarke, Philip K. Dick, Terry Goodkind, and Johnnie Cohcran. Yes, that Johnnie Cochran. 

On a positive, half those guys are dead, so I won’t have to worry about a huge influx of new material from this guy’s other clients. But sheesh. I doubt he’s devoting his time to explain publishing nuances to some wide-eyed noob.

I guess what I’m looking for is the sweet spot in the middle. A magical agent who has some, but not too many, successful clients. Whose authors I admire, but who I can write as well as. 

Once I find that agent, all I need to do is come up with a pithy sentence that tells him or her that I’m the perfect reincarnation of their best clients, totally worth the time they’d spend reading through my drivel, and that fits perfectly into the publishing world of today, being exactly like countless other books on the bestseller list no more than three weeks ago. But it’s also completely original!

Or I could spend the next few hours adding more agents to my spreadsheet and wait for the hackers to do their work.

Maybe Shakespeare’s agent is available.