Q: I’ve recently finished my first novel and have begun searching for an agent to represent me. Some of the agents ask for a writer’s bio. Could you please tell me exactly what information I should include in this bio? What should be left out?—Terrie Smith

A: Writers are often advised to write bios that read like jacket copy, but catching the eye of an agent is about convincing her that you’re just as marketable as your book is. You also need to clearly show why you’re qualified to write your proposed book. In any bio, you want to focus on your job qualifications.

“Your bio should highlight any features that will hook readers’ interest,” says Katharine Sands, an agent for the Sarah Jane Freymann Literary Agency. “The rule of thumb is to convey in one paragraph that you can be successfully published. Of course, you want an agent to fall in love with your writing but, to an agent, your query letter is actually your interview for the job of book author.”

According to Sands, there are four pressing questions you need to ask yourself before writing your bio:

1. How have you and your work been noticed up until now?

2. What professional achievements or personal interests serve to make you, along with your project, an intriguing package?

3. Does your background show special insider knowledge that would enable you to transport your readers to an interesting world, such as backstage in Hollywood, behind the scenes with Washington power brokers or a behind-the-headlines look at your subject?

4. How is your work informed by personal experience, such as meticulous research, surviving a catastrophic event, cherished family lore or travels to exotic lands?

“As an author, you must be an impassioned ambassador for your book,” Sands says. You should also consider including ways you can promote your book to readers (e.g., do you have access to mailing lists? Can you set up seminars or workshops to promote yourself?).

If you have blurbs from published writers, literary awards and/or reviews, include them. List your participation in readings, events and book festivals to show you’re not publicity shy.

While this sounds like a lot, most first-time novelists are lucky to have a few of these to include. If your bio is running a little thin, it’s best to leave it that way. You don’t want to include unrelated personal information, negative setbacks or rejections you’ve logged in your writing life.

“I don’t need to know that your aunt knew Elvis or you love cats or you make great lasagna,” Sands says. “Agents tend to short-circuit if too much information diffuses the message that this one work could work.”

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Q: When I cold-call someone to interview them, I feel like a fraud because I think they must be wondering what my real reason for calling is. I have a suspicion this is clear in my voice. Basically, I just seize up and try to rush them off the phone, which isn't doing my writing any good. How does a writer in this position—not having a clear assignment or impressive credentials—best approach this? —Liz A.

A: I've been in the same position several times and have found that cold calling for an interview isn't too different from picking up a stranger at a bar: To find success you must be prepared, open with your best line and hope your voice doesn't crack. Obviously it's much easier to land an interview when you have a contracted article—after all, offering exposure in "XYZ magazine" is a good selling point. But a query letter tenders no guarantee of publication, so you have little leverage.

"Because there's no guarantee, definitely keep the conversation short," advises Guide to Literary Agents editor Chuck Sambuchino, who's interviewed hundreds of sources. "Even tell the professional that you want to keep things nice and short to save their time."

In order to keep it brief, have your key questions ready to go. Be sure to get the must-haves—full name, official title, etc., and then go for the biggest questions.

It's also important to carefully word your questions. With limited time, you don't want to waste any of it on a question that doesn't help your cause. Prepare each question to lead your interviewee toward your desired response. 

"Guide them into saying what you want them to say by being specific, for example, 'I'm just calling because I want to talk to a professional who can tell me if the infant mortality rate is increasing or decreasing in the country, and point to the reasons why, especially the reasons people may not think about immediately.'" Sambuchino says. "Notice I'm not pushing the source toward a "yes" or "no" answer, but merely showing them how I want the question answered. Ideally, the next 60 seconds of them speaking should be filled with key information and solid quotes."

Also, be honest with the potential interviewee. Explain that you're putting together a proposal for "XYZ Magazine" and need to talk to an expert before you submit it. Mention that if you land the assignment, you'd like to call back and have a more in-depth interview. This way they'll give you some time now in the hopes that it helps you get the assignment, which will, in turn, help their chances of getting their name into print.

Keep in mind that even if you do everything right, you may still get rejected—and that's OK. Just like with the stranger at the bar, one rejection shouldn't deter you. There's almost always multiple sources for any topic; you just have to find them. If you're prepared and professional, you have the best chance to succeed.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Q: Once an agent wants to take me on as a client and sends me a contract, do I need to have the contract looked at by a contract lawyer before I sign?—Allen Reiling

A: Yes, it would probably be wise to have a lawyer who knows a thing or two about publishing look over the contract. Most contracts vary from agent to agent, and it’s important to know exactly what agreements you make by signing.

If you don’t read the fine print or understand the legal language, months down the road you could find out that you not only gave up the right to profits from international sales but also the naming rights to your firstborn child. Contracts can be tough to follow sometimes, but without an understanding, you could essentially sign away anything.

Another thing you may consider before signing a contract is asking for a reference list of the agent’s other clients. Call and ask the clients about their experiences with the agent. If the agent refuses to give you such names, maybe that’s because he knows his clients will say things like, “He’s a bad manager” or “She mishandled my contract” or “I found him sleeping under his desk during working hours.” And that should be taken into serious consideration.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.