You’re in the elevator, wondering how you’re ever going to turn one of those form rejection letters into an acceptance, when who walks in but the hottest power-agent in town! What do you do? What do you say? It’s already been seven seconds and all you’ve done is broken out in a sweat.
Baltimore Author Christine Stewart of the Creative Alliance and the Write Here Write Now Workshops paid big bucks and spend a weekend at a conference focused on perfecting your pitch and practicing on actual agents and editors.
But you don’t have to — because Chris likes to share.
Your pitch is what you need to sell your book (or story) to an agent, editor, or publisher. You don’t want to memorize it, but you do need to know it. It should be a natural part of you, as easy explaining as your love of writing.
It needs to consist of your name, platform (credits and readers), genre and title, comparables (which two or three authors are you like), and most importantly, the pitch itself.
The heart of your pitch should be 250 words or less. This is what you’d want on your back cover or book flap, the sales copy that will sell your book. Set the scene, introduce the characters, hook the reader, show rising action with a plot point, and end with a cliffhanger that bets the question — what next?
Finally (and in that elevator this may be the only thing you have time for) you need a log line — the clever motto on the movie poster that sums it all up. The log line should be no more than a sentence or two, 25-30 words.
The entire pitch should be no more than two or three minutes long. And the same copy can — and should — be used in your query letter.
You’ve written the novel, you’re ready to sell it. So what are you doing reading this? Go practice your pitch!
Learn more about Chris at The Real Writer.
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Eric D. Goodman, Books Correspondent
Eric’s column, Lit Bit, is published every Wednesday to Gather Essentials: Books. Featuring bits on writing, writers, books, and literature, Lit Bit will fulfill your literary longings.
Eric is a full-time, professional, published writer and editor. His work has appeared in local, national, and international publications, including stories in the current issues of The Baltimore Review, Coloquio,and To Be Read Aloud.
Listen to Eric read an excerpt from his fiction on National Public Radio on the WYPR website.
You can find all of Eric’s Lit Bit articles at www.gather.com/litbit. Keep up with Eric’s other postings and Gather activity by joining his Gather network -- just visit www.edgewriter.gather.com and select the orange “Connect” button on the left-hand side of the page.
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Comments: 37
A good idea for a pitch is to come up with a high concept line - "In Over Her Head is Dorothy Gale meets Jaws."
It intrigues the recipient, makes them go, huh? or smile, or ask for more info. Whatever, you want to catche their attention.
I've been to pitch sessions, both individually and in a group, and you can see editors'/agents' attention wander, as do the rest of ours, when someone doesn't have a perfected pitch prepared. Practice, practice and more practice. Give it to your spouse, your friend, your dog. Get used to speaking it aloud.
But, what you also need to have prepared are the plot points and characterization one-liners. Know your story inside and out; know what to focus on. I hit on GMC - goal, motivation and conflict (See Debra Dixon's book by the same name.)
And, above all, be enthusiastic. If you don't love your work, why should someone else?
-Judi Fennell
www.JudiFennell.com
Judi, you make some good points. You should never hand your manuscript to an agent or editor. But if you can naturally pitch your story without coming off as pushy, it can work.
I've been in situations a few times at coferences were I happened to be in the lunch line with or sitting next to an agent. In each situation, when I mentioned I was a fiction writer, they asked me about my book. THAT'S when to pitch. To just jump into your pitch is a bad idea. But if you can prompt the agent or editor to ask, perfect.
Also, at some conferences, pitch sessions are part of the deal.
The high concept line is more or less the same thing as the log line I mentioned.
And you're right -- it's important to know your plot points, characters, and story inside and out so you can easily and naturally talk about them -- if asked for more information. You want to give a little and have them ask form more -- not give a lot and have them wishing for less!
What is Point of View and How Do I Get One?
Writing A Synopsis
Writing a Fiction Query
Why Have a Website as an Unpublished Author
and, of course, you could always check out my website for other information:
www.JudiFennell.com
Are you entering the First Chapters Romance contest? Or have you had your fill for the year?
Thanks for asking, Eric!
Paul, it's actually easy to disconnect from other members. Only takes a moment.
Here's a nice big 10 for you!
LOL
Sorry, I couldn't resist! For those of you who don't know....I'm KIDDING.
This comes from Ms Snark regarding interactions with an agent. I'm not claiming to support it, just passing it along for discussion....
What to say after you say hello:
1. What are you reading now that you love?
2. How did you get started agenting? Do you love it?
3. Is this your first time here (if it's not in NYC)
Do you have a place you like to tell everyone to see here in NYC?
4. What was your favorite book as a kid?
5. May I buy you a drink?
Things NOT to say:
1. What advice can you give me?
2. Are you having a good time?
3. You look tired.
4. Can I show you my manuscript/query letter/pages?
5. I know I'm not supposed to do/say this but....
6. Can I have lunch with you?
7. You rejected me but...
8. I sent you a query/email. Do you remember...
9. Remember me?
<<thanks>>, Stephen. That's all we need...
Oh, Eric. Not you, too!!!
Tag Line: Dorothy Gale meets Jaws
Pitch:
When Erica Peck, one terrified-of-the-ocean marina owner, finds herself at the bottom of the sea conversing with a merman named Reel, she thinks she's died and gone to her own version of Hell. When the Oceanic Council demands she and Reel retrieve a lost cache of diamonds from the resident sea monster in return for their lives, she *knows* she's died and gone to Hell.
When they escape the monster and end up on a deserted island, she changes her mind - she's died and gone to Heaven.
But when Reel sacrifices himself to allow her to return to her world, she realizes that, Heaven or Hell, with Reel, she's In Over Her Head.
Judi nice twist, it seems like the adventure is also naturally funny and heroic... VERY ROMANTIC...hmmm, like She is really IN OVER HER HEAD....( like the story of a woman and the dragon and the woman is really a man or otherwise, kidding).
The plot is very timely...