You Have To Hook Us

I want to take some time today to talk about the first chapters of your book. Before I do, I want to stress once again that there is no right or wrong way of starting a book. Prologues, dialogue, narration, action and so forth all work in different situation. The key is to find the right beginning for your book. Do not (I repeat) DO NOT assume only one approach works.

As we all know, the opening pages of a story are beyond crucial for the success of a book. The reason is simple. Readers do not have patience to wait around for something good to happen. I don't know how many times I have received a comment from a writer I rejected after reading just the first part of their book complaining, "If I had read the whole book, you would see how amazing it is." Ahh, I love that line. Why? Because I know good and well that those complaining writers probably have a ton of books they haven't finished because the beginning just wasn't there for them.

The key is to find a way to hook the reader. You want the reader to have a "buy in" to the things you have to say in your story. This "buy in" can actually come from a lot of different things. Maybe you have a great scene that makes the reader think to something that has happened in their own life. Maybe you have some witty dialogue that makes you want to know more. Maybe it is a bit of an information dump that draws us into the situation and story. The key word here is "draw us in."

Your job as a writer is to find a way to suck the reader into the story. We want to be part of the story and not simply sitting on the outside looking in. By doing so, we will feel the pain and joy of the characters. When they are hurting, we hurt. The stronger the connection you make with the reader, the easier it is to convey the message of your story. Wordsworth once said, "there is an implied contract between [the] author and reader." In your case, the contract is a promise that you will entertain and make them part of your story.

I bring all of this up because honestly, the desire for any editor or agent to read more of your project, amid all of the other stories that cross our desk, relies on your ability to make that connection early on.

Now, does that mean we will give up every time? Absolutely not. There are times that I have read a beginning of a story and thought "maybe there is something there."  So I read the synopsis and see where things are going. If there is that "something" there I might ask for more. Does this happen a lot? Not really, and the simple reason is that the beginning of the story is just mediocre.

Find a way to go off the blocks with a bang! Make it good. If you do, you have increased your chance the reader will want to see more. Of course, with that said, you now have a new challenge. Make the remaining chapters even better.

Scott

Happy Release Day Stephanie Stiles

You've heard me talk about this before. TAKE IT LIKE A MOM is now available. Get your copy fast.

Also, make sure to visit Chuck's site, to learn more about Stephanie (give a way???)

http://www.guidetoliteraryagents.com/blog/Finding+An+Agent+A+Little+UnAdvice.aspx

Scott

Greyhaus Literary Agency Launches Quarterly Newsletter

Beginning in September, Greyhaus Literary Agency will launch a quarterly newsletter.

To subscribe, simply send an email to newsletter@greyhausagency.com.
In the Subject line, type SUBSCRIBE.

The newsletter will continue information about the agency, contests, critique opportunities, and certainly craft information.

If there is something you would love to hear about in the newsletter, make sure to contact me at the agency with suggestions.

Your contact information will not be used for any other purpose other than for distribution of the newsletter.

Scott

Answers to some writers on pitching

So here is what they wrote in the last blog post. I figured it would be easier to do it this way...

I was at the RWA Convention and my critique partner pitched numerous times. She actually snagged a few more appointments on Friday morning. They all requested either partials or fulls. So here's my question; is there really an advantage to pitching? Because frankly, it scares the bejesus out of me. I can't imagine that an editor or agent would appreciate me stumbling over my words or getting a really bad case of verbal diarrhea. The whole idea makes my stomach roil. I realize the whole purpose of pitching is to spend less time in the slush pile, but do I stand a chance with just a query?

AND...

Most newer authors don't know how to research an agent so it would help if the sponsoring organization would offer a a tip sheet on the attending agents before the event and during the event.


For both of these questions, I would simply argue to take your time. Far too many authors rush into this business and are not even close to being prepared. It is interesting though, I told an author this while in New York and their first answer was, "I know what you mean. That's why I want to read through my manuscript one more time before pitching."

Wait a minute!!!!

Taking your time and being prepared is not simply about having a manuscript ready. Again, I am going to remind you - this is a JOB INTERVIEW!!! When we apply for a job, we have taking the time to be educated in that career. I don't just apply for a teaching position without being trained. I don't apply to Microsoft without understanding the I.T. industry. The same goes for writing.

For that reason, the comment about someone providing a tip sheet... there are honestly a lot of resources out there. Still, it is a matter of common sense. We cannot continue to think the publishing industry is anything different from any other business.

Now, as far as the question on is pitching worth it. Sure. We know there is a great importance on showing the person behind the face. This is where human connection takes place. Sure, interviewing isn't something we all want to go out there and do, but again, with that research and being prepared element added into the scheme of things, that stumbling over your words will not be there.

As far as getting out of the slush pile... if you present yourself, and more importantly, actually have a story that isn't just a carbon copy of other things out there and is unique, when you pitch the story, it will make it out of the pile. I have heard editors and agents get very excited (and not just pretending) about a project and ask for it immediately. They tell their assistants to keep an eye out for it as well.

But, if your story is not all of that, will pitching get you around the slush pile? Absolutely not. You are there again. It doesn't matter if you pitch or send a query. Your fate will be the same.

Good questions.

Scott

What Is YOUR Story? Why Is THIS ONE Unique?

We're talking a little bi about high concept here. No, I am not talking about that catchy phrase you insert at the beginning of your query letter or pitch, I'm talking about the over-all concept of your story.

As all of you know, this is a very tough business to break into. There are a lot of authors out there and only so many publishing opportunities or slots. For that reason, you simply cannot have a run of the mill story. You need something that will stand out and make us take notice.

As I listed to authors pitcing stories to me in New York, I heard a lot that had some potential, but, for the most part, would probably end up with the comment in their notes on my data base of "same old, same old." In other words, there was nothing that special that made their story stand out.

When we talk about something special, we're talking about that unique spin to the things we currently see. In other words, keep your foot on the status quo but take us in a slightly different direction. I heard this over and over again from the editors. We don't want off the wall different, but something that gives us the comfort of something we know with that new spin.

As you think about your story, if all you can say is that these are different types of characters, or it is set in a city that has never been written about, then you don't have it yet. If your story sounds like something else you have read, then, in all likelihood, so have we.

Now, can you fix a story that has already been written? Probably not. For this reason, you have to begin from the beginning and start thinking about that uniqueness from day 1.

Scott

Pitching at Conferences - My Point Was Proven!

So, I just got home yesterday from New York and the National RWA Conference and I had to post this as soon as possible. This is, in fact, something I have said over and over again, but the conference certainly proved my point. I'm talking about pitching at conferences.

As you know, one of the biggest reasons agents and editors do not find many authors at conferences stems from how writers sign up for the sessions. As I have pointed out, most writers just grab any appointment slot they can get their hands on to sell their story. There is no ounce of research done. There is not thought to why they would pitch their story to a given agent or editor. They just grab. Needless to say, because their isn't that careful thought, writers will more than likely see a rejection later on. Sure, they may get a request but that doesn't mean anything. Remember, I have told you that many editors and agents will request from everyone regardless of whether they like the story or not.

In any case, I took my pitches on Thursday morning. This was my scheduled 2 hours of pitches. I will have to say, this year was the first when writers came in who actually did their research, read the blog, and knew what I was looking for. I requested from the majority of writers. As you know, if the story doesn't work for me, I have no problem saying no.

Following the session, as I walked out of the room, I saw the numbers of writers trying desperately to get any slot that opened up. So, I offered to come back on Friday morning and take another round of pitches. This is where the point was made. Since these were not scheduled, the only people who would have signed up were people just looking for any slot. They didn't research, they didn't know what they were getting into.

The results?

Out of that 2 hour block, I passed on over 75% of the stories. The simple reason? The authors were pitching stories I didn't even represent.

Do I know this was something happening time and time again? There is no doubt about it. I saw authors pitching up to 3 and 4 times. I also spoke to several authors that told me 2 or 3 editors, from vastly different publishing houses, requested full manuscripts. Knowing what the publishers put out there, and knowing that one story could not be that flexible told me writers were throwing darts again.

The point is, as a writer, you have to do your research. Your story does not fit with anyone. Along the same lines, just because an editor or agent is available does not mean you can pitch. Agents are available 24/7, 365 days out of the year to make a pitch to. And with editors, if the publisher doesn't accept unagented submissions, the odds are, even if you do pitch, they will pass on it because you don't have an agent.

I hate to say this but, "I told you so."

Scott