Let’s Talk Comps

Ah, the ever-evasive comps. These used to stress me the heck out until I realized they can basically become your best asset if you know how to use them.

In this blog, I’m going to talk about what comps are (in relation to traditional publishing) and how I use them. I’m also going to share my epic fail of comps for my first book before I knew what I was doing (I mean, I still don’t always). But most importantly, I want to share why you shouldn’t let them stress you out. They’re meant to help, not hurt. 

And also, as a disclaimer, this is just my take on them which has worked really well for me so far. I’m sure there might be other opinions on how to use them or their importance, so take this blog with a grain of salt!

Let’s start with the basics.

What is a comp?

Comp is short for a “comparative title.” Typically, this refers to any book that holds some semblance to yours. When I first heard that, I was appalled. I went all, “Wow, my book is so unique there’s nothing like it out!” 

Well, that was a lie.

I’m not saying your book isn’t unique, but there are always going to be certain aspects that you can most likely relate to another piece of media. Does your book have enemies-to-lovers? You can find something published and draw that connection! I suggest starting with books in your same audience and genre, which is usually what I do. You can always branch out from there.

Why are comps important?

Many agents will want to see comps in your query. Even if it’s not said, they’re usually an unspoken query component. Back when I was convinced I was Picasso and no one had ever created anything like my famed work, I didn’t see the point of finding another book like mine to diminish its individuality. But the point of comps isn’t to say, “Hey look at this cool book that’s already published so you don’t need to publish mine!” It’s instead to gently inform, “Hello kind agent, here are two books that bear some resemblance to mine in departments x and z, and here’s why mine could fit on a shelf beside them.” 

That’s it! It’s to find your shelf buddy! And this is helpful to agents because now they know where they could potentially place your book in the market. Also, keep in mind agents are only seeing a pitch and a handful of pages. That’s barely anything to get the vibe of a story. Comps can help give them more intel on the book.

How do I pick good comps?

Well, you don’t do what I did, which is literally pick my two favorite books at the time (actually, they’re still two of my favorite books) and run with it.

Example taken straight from the first query I ever sent to one of the biggest agents in the game (a mistake to deconstruct in a different blog):

“[Redacted] focuses on identity themes similar to Victoria Aveyard's Red Queen and has elements of imaginative world building like that of Holly Black's The Cruel Prince, two of my favorite novels that led me to contact you. I believe my novel would fall under Young Adult fiction, specifically urban fantasy.”

I could write an essay on all the cringe parts of my first query, but this bit hit home. I was querying a YA portal fantasy, so in a sense, The Cruel Prince might have worked. But like, there were NO other parallels. My main character couldn’t have been further from Jude. There were no faeries. A hot mess, if you will.

And unfortunately, “identity themes” and “imaginative world building” are not incredibly unique. Looking back, I’m disappointed in myself. I’m a better bullshitter than that!!

But oh well, you live and you learn. And thus, I did. After getting some friends’ eyes on my query and lamenting that I had no idea how to find comps, one gave me the advice to go to my local bookstore or library and explain my book like it’s one I’m looking for that I forgot the title of. From there, see where you’re taken and if any books feel close to yours!

That was absolutely essential to me finally getting better comps. 

Another kind of unspoken comp thing is that you don’t want to use super big named books or books older than a few years. I’ll be honest, I’ve never been good at listening to these two. But I feel like it’s worth adding. I think it’s to show that you’re “with the times” in your genre, which makes sense! Agents like to know you’re reading widely. 

Okay, time to actually pick your comps.

So, I don’t know what your book is about (and that makes me VERY sad because I’m sure it’s awesome) so I can’t pick your comps for you. But I CAN walk you through how I picked my comps for my most recent book and how I used them. Let’s goooooo!

My most recent book is a YA thriller about a girl who’s grandmother passes away and her multi-million dollar inheritance goes missing so she has to form a reluctant alliance with three other teens to follow a string of clues that hopefully lead to the missing fortune. But as they’re hunting the clues, someone starts hunting THEM!

SO! One of the very first images that was planted in my head was when my friend Rachel read a brief pitch and said something like, “Oh, that’s like Knives Out meets The Goonies!”

Cue brain explosion. 

But those are movies! And classically, you aren’t supposed to use movies as comps (at least back when I was querying). I think it may have gotten more lax now, but I still stand by needing a good set of comps that are firmly rooted in publishing. 

However, using the movie “high concept” comps did help me pull out some key elements of my book: there’s essentially a treasure hunt, strong found family vibes, small town full of secrets, mansion setting, murder mystery. 

If you can pull out five components like that from your book, that’s a great place to start. 

Then I started looking at books within my genre which fit the bill. I ended up landing on The Inheritance Games by Jennifer Lynn Barnes and The Cousins by Karen McManus. Both relatively recent reads that are fairly recognizable to avid readers of YA mysteries. Here’s how I phrased it:

THE ROSEWOOD HUNT combines the adventurous mystery of Jennifer Lynn Barnes’ The Inheritance Games with the family secrets and small-town schemes of Karen McManus’ The Cousins.

So, those are my main comps.

HOWEVER.

Not everyone in my life is a reader. And the same probably goes for your life.

This is where I go off script, so stay with me at your own risk.

If I’m talking to, like, my aunt, she is not going to know either of those books. But she does love 80s nostalgia, so I whip out The Goonies comp with Knives Out, which is usually a solid combo. I just phrase it like “It has a murder mystery like Knives Out with the fortune hunting adventure of The Goonies.” If I’m talking to someone closer to my age, I’ll say Netflix’s Outer Banks instead of The Goonies! And sometimes, if I’m feeling frisky, I’ll swap in National Treasure for The Goonies. It’s a leap because there is zero history in my book, but it’s my party I’ll do what I want!!!

Obviously, those are all super varied plots and premises. But when you look closely, they do have some form of overlap. Now I have SIX comps to rotate between depending on who I’m speaking to, some super high concept (Knives Out) and others lower concept (The Inheritance Games). 

Comps can also change over time, so don’t stress if the ones you have don’t feel quite right. Keep talking about your book with trusted friends, because chances are that they’ll have some recommendations to bring to the table, too. And most importantly, don’t let this part stress you out. It doesn’t need to be a perfect puzzle piece fit. It’s okay to use some scotch tape to make it work, ya know?

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