It's Time For The No Short Cuts Post Again

So, I got home last night and started scrolling through some social media and saw post after post of writing chapters and writing organizations with amazing pitch opportunities to agents. It was as if this was something brand new that no one had ever thought of. I mean, these people went ALL OUT. They put pictures (yes pictures) of the agents on the advertisement (probably done on CANVA) and hyped up how you could pitch your story to all of these people. 

THIS IS YOUR CHANCE !!!!!!!!!

Ok, now that we have that out of the way, let's get our feet back on the ground and get into reality for a bit. Let's look at a couple of facts.

First of all, pretty much every conference offers pitch sessions. Some conferences are virtual so "um, no duh, the pitch sessions will be virtual." This is nothing new so don't get overly hyped with this promo.

Secondly, they hype it up as if ALL of these agents are going to be fighting for your story. Sorry to say this people, but it is still going to come down to several factors:

• Is your story well written?
• Is that agent/editor actually acquiring your genre (in other words, did you even bother to research this person)? 
• Is your story something that is marketable?
• Is there a demand for your story?
• Blah, blah blah....

In other words, everything I always talk about here is still going to come into play.

Let me also say that trying to pitch at these shorter versions is actually harder because you cannot take the time to really craft a real letter that sells you and your project. Not only that, you and your nerves are going to come into play.

But the bigger point is this. You see this as a short cut! You think this is your way into the big time, just because of this special opportunity.

I hate to burst your bubble, but it won't.

Now, here comes the bigger thing you are forgetting... we are all available 24/7/365. You don't need to rush it in a situation like this. 

Pitching and Submissions - An Interesting Phenomenon

I haven't talked about this for a while, but after the last 4 conferences since June, it seemed like the right time to bring it up. It is actually something that I discussed with editor Leah Hultenschmidt early on when I started Greyhaus. We were talking about the number of authors who pitch to us and the number who actually submit their stories to us. I had noted, at that time, how shocked I was at how many never submitted their stories after I had requested more material. Leah had thrown out a percentage (which of course I cannot remember now) that was staggeringly high, that she had actually tracked that never do submit after pitches. 

Well that number still continues today. And that, my friends, is a shame on several levels. 

First, I think about the fact that so many authors fight for chances to talk to editors and agents, or at least they say so on social media and with their friends. Here is their chance to get their story in front of the eyes of someone who can make their career! Wow! They spend hours practicing that "elevator pitch" so when they meet them in a lobby, or are sitting at a table during a luncheon and are asked about their story, they can tell them all about it and get that request. This is their chance. 

And yet... they don't follow through. Let's talk first about the elevator pitch people. They avoid the editors and agents like the plague. "Oh, I can't bug them,'" they now say when given the chance, even though the editors and agents will say on their social media and on editor and agent panels, "come talk to us." At those luncheons, they don't invite the editors and agents. Only after they sit down at a table, will someone then say, "hey why don't you now pick up all of your things and come over and sit with us." Thanks for the after thought.

Now to another level. These authors signed up for a pitch session and are not ready to submit, or THEN they find out more about the editor or agent and decide not to submit. This, I am sorry to say, is not cool. You just took up a slot for someone who did want that slot and who was ready to pitch. You should have done your research and you should have been ready. 

But let me turn the tables and let me give you a view from an agent's side of things. We are looking for specific things. You sit down and pitch us a story that we are looking for at that moment. Maybe I just talked to an editor who told me to go and find something. I will tell you (HINT GEORGIA ROMANCE WRITERS) editors tell me to look for certain things and if I hear something, I will request a project because the editor wanted it. I you wait, I can promise you, that slot the editor had open is probably gone by now. Think of it this way. Have you ever seen someone post on social media of tickets to an event. You, however, decide to wait until you get home to discuss it with your significant other. Of course, when you do get around to reaching out about the tickets, they are long gone. Why? You waited.

OK, here is the last piece of the puzzle. It comes down to professionalism. If you change your mind, that is fine. Just let us know. At all four of the conferences, I listened to stories where I said I liked some things but I asked if they were either open to some things, or had some additional questions. What I told them to do was to submit the stories and in the email, let me know their thoughts. If they decided to stick with what they wanted to do, or if they decided to pass, just let me know and their would be no hard feelings. I just needed to know so I could "close the file" so to speak, on my end. 

Have I heard? No.

Editor Adrienne Macintosh sat with me on a panel recently and said something I think all of us say. We are not out to say no to projects. We WANT TO ACQUIRE! We ARE LOOKING for your stories. We WANT to work with you. 

But we can't if we don't hear from you!

What To Expect At A Pitch Session

Welcome to the summer of conferences... OK, I get it, conferences happen all year, but it seems like this summer, I am really busy, and of course, we have conferences. And, with conference, come pitch sessions. This is your chance to get your story in front of an editor or agent. This is your chance. And yet, this is, too often, the time when so many authors ruin that great opportunity, simply because they did not know what to expect and made HUGE errors in that small amount of time. 

First of all, I want to stress that a pitch session is a job interview. Being a professional writer means you are now entering a business world. Editors and agents view you coming to us as a business professional. This means you are coming to us prepared and trained. While you might have started writing as a hobby and simply crafting stories with your friends in your critique group, you need to change your thinking. You have to view this as if you have now graduated from college with a BA, MA, MS, MFA, or other degree and you are interviewing for a REAL CAREER. You took all of your courses. You earned great grades. You demonstrated to those professors you understood your material so that you could earn that degree. Now you are there to showcase that knowledge.

AND YET...

So many think this is just a casual chat about their writing like they do with their friends and family. They think the editors and agents are going to be there to teach them how to write and get their books sold. Although part of that is true and we are there to "guide" you through the process, we are expecting you have already become trained in your profession. 

We also see so many people show up to pitches and present themselves in a way that is far from professional. This may be a working conference, but when you pitch, you need to be in some form of business attire. It might be business casual, but it needs to be professional. One of the things I teach in my resume writing classes is that employers make a decision of saying no to you within the first 6 seconds of seeing you. That means from the moment you start walking to our table to pitch, we are already making decisions. Consider how you come across.

Let's talk more of what we expect...

If you are pitching, we are assuming that story is 100% ready to go right now. You should not even consider pitching a story to us if you are still working on the story or if you still have to edit it. We don't want to hear that you are going to send it to your critique group. End of story.

Along the same lines, you need to be prepared to answer any question we ask you. We might ask you about other books you have planned. We might ask you about themes or comparable books. We might ask you about where you see yourself in the next five years. We might ask you why you came to us. You need to know all of those answers. We don't want to hear, "I haven't thought about that." Show us you are ready!

Finally, we expect you have done your homework. You know who we are. You know why you and your writing fits with the publisher or the agency. You should not be guessing and just taking any open pitch slots. I am assuming, when you come to me, you know who Scott Eagan is and what Greyhaus Literary Agency is all about. If you don't, forget signing up. 

Again, this is a job interview. Treat it as such!!!!!

Pitching - Use Your Time Wisely

I get it! Pitches are tough. Pitches are those stressful situations that many introverted writers have to face to get their stories in front of an editor or agent. But understand that a pitch is absolutely no different than an interview for a potential job. In fact, that is what you are doing - applying for a job as a writer. Still there is stress, and that stress comes from the time constraints. You only have 5, 7 or 10 minutes to make that great impression. 

But here is the thing... too many authors screw up pitches because they simply use their time poorly. Wasting that time could be the difference between getting a request and getting a lukewarm response, or even an rejection.

Too often, writers spend much of their time talking about the conference, sharing their personal background in writing, or even making small talk. They think they are doing this to make the pitch personal and allow us to see who they are. Yes, this is important, but remember, we are also looking at the story. If we have very little to go on regarding your story, we are going to be less likely to be overly enthusiastic about your project.

Let's break down a basic 10 minute session. If you have shorter pitch sessions, just scale things down. So, let's start the clock.

30 seconds - Introductions and niceties - "Hi, my name is..." and "Hope your conference is going great" and the thank you for being here talk.

1:30 - During this block of time, you will give the editor/agent the basics of your story:

• Why you selected this editor or agent for your story. Demonstrate what it was in their bio, their talk during the editor or agent panel, discussions with other authors, or their information from the website that makes you the perfect candidate for submitting
• Title
• Genre - Be very specific using the language the editor/agent always uses
• Word Count
• High Concept - This can also include comparable titles, but if you do use these, make sure you state exactly what it was about those other titles that make your story similar

We're 2 minutes in with 8 minutes to go...

4-5 min (NO MORE THAN 5) - Talking about the story.

• Talk about the plot of the story. Give us the beginning, the middle and the end
• Make sure to talk about the conflict
• Give us a sense of the protagonists. Make sure we have a true sense of their GMC's. What are their goals in life, what are their motivations and what is potentially holding them back.
• Focus your attention on the central story arc and don't dive into all of the sub characters
• Make sure to describe your story to always target what the editor or agent likes in a project like your story. If, for example, they like strong heroines, or heroes with a crack in their façade, make sure to show that. 

We now have about 3 minutes left...

During this last block of time, be prepared for additional questions from the editor or agent. This is also your time to talk about the following:

• Where you see your career going
• If this is part of a series, tell us what the other stories are going to be about. Be really clear here such as "The second book in the series will focus on the brother who is faced with..." or "The next book will focus on a [insert character name] who will be having this similar theme]. 
• You can also talk about how this story has maybe won some contests or your other writing. 

1-1:30 left

Make sure that you leave enough time so that the editor or agent has a chance to give you the information on what he/she is interested in seeing, to get notes on how to send material, or to give them your card (ONLY IF THE EDITOR OR AGENT REQUESTS ONE!). 

Make sure that you say thank you, shake hands (or in this world, elbow bump) and make your exit. Remember that the editor or agent will want to get their notes in order because someone else is coming in right behind you.

Now, after the pitch, take the time outside of the pitch room to:

• Organize your notes
• Think about their responses and how you will shape the material you will be sending.

At the end of the day, or in your first moment you can get to a computer, email the editor or agent thanking them again and stating exactly when they should expect to see your material. It should be within 1-2 days and not weeks!

Honestly, this all comes down to using your time wisely, and more importantly, making a great first impression!

Tips On Pitching

I just posted a video on this over on my YouTube Channel (see the link on the agency webpage), but I wanted to post this here as well.

If you are heading to a conference, whether virtual or remote. are you truly ready to pitch? Too often, writers ruin a great opportunity to meet with editors and agents due to some pretty common mistakes. Let's talk about a few that might help you out:

1. PITCH ONLY MANUSCRIPTS THAT ARE 100% READY TO GO This is pretty simple. If you sign up to pitch to an editor or agent, that manuscript needs to be ready to go the minute you walk away from that table or that online session. If you are still writing it, or if it still needs to be edited, or sent to a critique group, you are not ready to go. We are often listening to pitches and thinking about a possible placement for that story. If you don't get that story to us for a month or two later, you have lost the chance. I would also add that we have likely forgotten who you are.
2. PITCH ONLY TO AGENTS WHO ARE REPRESENTING EXACTLY WHAT YOU WANT This means that you need to do your research. Every conference always posts what the editors and agents are looking for. Go a step further and do your own research. Go to their websites, review what they like, review what they hate and verify that information. I would also stress to attend those editor/agent panels where they openly tell you what they are looking for. Understand that we are not hiding anything. If, for example, after all of your "research" about Greyhaus, you show up with a non-fiction piece claiming you thought that the romance/women's fiction genres I spoke of were just some of the things I wanted. Um, no! Do your research. 
3. THINK OF THIS AS A JOB INTERVIEW This means when you come in, you have to think of this as interviewing for a job. You have to demonstrate to us why your book, and, more importantly, you, are the right person for this job. More on this in the next point.
4. PROFESSIONALISM AND ATTITUDE GO A LONG WAY I don't care if you are at a working conference, or working from home, this is a job interview. Dress the part. You don't show up to a job interview in sweats, do you? At least business casual, but dress the part. Be on time, Don't talk about things outside of the topic of your book. And always come in with a confident attitude. You want this job so show the editor or agent you are capable. Telling me you are nervous and you are still learning simply tells us you are not read.
5. DO NOT READ YOUR PITCH I have a lot of people who read their pitch because they think they will not remember their story. WHAT????!!!??!?!?!? You have been working on this pitch for how long and you don't remember your story? You're clearly not ready.
6. KNOW YOUR GENRE Do not try to constantly adapt your story in the middle of the pitch session to show that your story fits everyone. It doesn't. Pitch what it really is and stick to it. I have actually heard people pitch to me their story telling me it is a fictional romance, and then sit down with an editor or agent next to me claiming it to be a memoir, and the claiming it is some other genre to someone else. Nope. Not going to happen.
7. MAKE SURE TO INCLUDE... Title, genre, word count (not pages), high concept, brief plot.
8. DON'T THROW YOUR BUSINESS CARD TO US BEFORE THE PITCH You can have a business card, but we only use those when someone says, "I like what you have, do you have a card for me?"
9. DON'T ARGUE If I tell  you your story is not right, then it is not right. Don't try to tell the editor or agent that we are wrong.
10. FINALLY... IF WE DO TELL YOU NO, DON'T START GOSSIPING AND COMPLAINING THAT WE WERE UNFAIR OR DID SOMETHING WRONG This is a big one. If you get turned down, it is not an issue of someone not agreeing with your diversity stance, race, sexual orientation or any other social issue. This is a business about selling a quality product to the general public. It is about your story and whether or not that editor or agent can do anything with it. Let me also stress that if I turn down your story because it is nothing I represent, don't go running to other people, social media or the conference chairs saying that the editor or agent is not willing to look at your project. I have actually seen this where people complained that because "they paid for the pitch session, or the conference, the editors or agents HAVE to accept the story for review." Nope, we passed on it because it was not right.

Look, pitches are great opportunities, but, like job interviews, you have to do it right. Please, think before you pitch!!!!

Don't Throw Darts

As I get ready to write this, I have a feeling it is going to fall on deaf ears. I already hear a ton of authors saying that their approach is really the best, or they need to try it a different way or they will not succeed. And... I am already going to say, before I start, that I 100% disagree.

What I am talking about is the approach so many authors take to submissions or pitches to editors and agents. They simply throw it out to the wind and hope something sticks. This is easily seen at many conferences around the pitch room. If you really want to see this in its full form, observe the conferences that have that open format speed pitch. You know the type. You have a room full of editors and agents and lines available to pitch to anyone who will listen. In situations like this, you will see authors just running from one line to the next, cranking out pitches to their book and not having a clue who they talk to. You will hear them later proclaiming the great success they had with requests from ALL of the people they talked to. They are now "on the verge of being published."

Nope...

The odds are that none will be published or signed with any of those editors or agents. In those short sessions, we really don't have time to assess the story so we simply request from anyone who shows. up. The request generally sounds like this, "That sounds interesting. Why don't you send me something? How about a synopsis and a partial and I can take a better look. Here's my card."

Now, I don't want to spend the time trashing the whole speed pitch thing. The point of today is to focus in on the belief that these authors and those who just send their project to every editor or agent out there is the best approach. These people are throwing darts.

The reality of the situation is that your story DOES NOT fit with every editor or agent out there. You as an author DO NOT fit with every editor or agent. As an author, I would hope you want the best for your novel and your career. You want this relationship to last a long time and your career to be highly successful. You have to do your research to find where you and your story really fits best.

Please understand I am not saying that some of these people are not great places to work and I am not saying these people have no clue. They do and they are highly respectable professionals. What I am saying is that you should be finding the right person for you.

Getting this research is not hard! Editors and agents put a lot of information out there for new authors looking for a home. Go to their websites. Sit in on those editor and agent panels. Listen, talk and read.

Throwing darts like this is just going to lead to a lot of frustration. You get a ton of rejections and eventually, you start to develop the belief so many authors have of "Fine, I will self-publish because clearly those editors and agents don't know great writing when they see it." Sorry, we do see good writing. We reject you because your story did not fit with us.

Why Prepping Elevator Pitches Is A Waste Of Time

Once again it is summer conference season. And, once again, "experienced" writers are prepping workshops for their writing classes, writing articles and drafting blog posts on how to put together the "killer elevator speech."

And, as usual novice writers are buying into this myth the same was as many buy into that guy who calls from Microsoft saying you have a computer problem, or the U.S. general electorate bought into all of those informational posts on social media.

And, as usual, these authors are wasting their time.

The myth of the elevator pitch really is just that. It is a myth.

Remember, here is the way this is "supposed to work" based on those experts. You are at a conference and in an elevator, walking down a hallway to your next session, or just casually sitting in a lobby. Then "out of the blue" like some apparition in a paranormal or fantasy novel, your dream editor or agent appears. Now is the time to pitch that story. You have rehearsed this bad boy speech, you confront that agent or editor, you pitch it, and you immediately, right there get a request for a full manuscript.

I call Bull....(fill in the blank)… and here is why:

NUMBER 1 - Authors are too terrified
You fear rejection. You can talk a great talk, but when it comes the time to "pull the trigger" you have a ton of reasons why you cannot do that. I know that I have done this as well as a ton of other agents. We tell you at those national conferences where we are at and please, come and visit us. What really happens is that we spend the entire time talking to our editor and agents friends, or our clients, and watch you, sitting across the bar or the lobby looking lovingly at us, but cannot walk across the room.

NUMBER 2 - Authors don't know what the editors and agents look like
I don't often have this problem at the RWA conference since I am one of the only male agents who
show up. I know of some others, but they are very distinctive. I don't have a beard like Gordon Warnock and I certainly do not look like Steven Axelrod. The problem is that the majority of the editors and agents who are there accepting pitches are people who you only know in name only. Many don't even have their picture on their social media. (hint: This is me...). Add in the fact that most of us do not wear our name tags out in public and the only way you would potentially know we are in the industry is that we are carrying a bag from the conference.

NUMBER 3 - The editors and agents are on the way to somewhere important
Ready for this? We are generally booked from breakfast to post cocktail - bar time. If you did approach us, the odds are, we really are going to meet someone and will not have the time to chat. Good try, but this pitch is not going to happen. Look, we have a hard enough time scheduling time to meet with each other so adding in a random author is not going to happen.

NUMBER 4 - The editors and agents are hiding from you
Here is the deal. For most of us, this is a working weekend. If we have not meetings, we are back in our room, shoes off, Judge Judy on the TV and editing manuscripts. Good luck finding us.


So, the reality of the situation is this. Quit looking for the quick solutions to launching your career. IF the editor or agent you want to meet is at the conference, and IF that person is accepting pitches, and IF you are really ready to pitch, then sign up. If not, go through the regular channels. You might have better luck.

How to Pitch a Literary Agent at a Writers Conference

There are a lot of great things to read in this one. READ IT!!!!!!


How to Pitch a Literary Agent at a Writers Conference

Pitching To Agents and Editors - Bad Advice Out There

I was just online looking at some information being put out there about pitching to editors and agents.
There are some good things I found about things to remember, but there was one piece of advice I saw that was utterly horrible! This author said to sign up for a pitch session to practice and just to talk to the agent/editor.

"a pitch session is an opportunity to have uninterrupted time with an agent. Even if you’re not looking for an agent now, if you think you might one day, this is a way to get the inside scoop."

I am sorry to say this but I STRONGLY disagree with this person.

There are several things wrong with this.

First of all, conferences have a limited number of openings for pitching to editors and agents. If you have ever tried to get a pitch session at a major conference, you know how hard it can be. Now, I want you to think about this. You lost out on an opportunity to pitch a book that IS ready and YOU are ready to make the jump to professional writing. But nooooo, you lost out to someone who just sucked up your space to have a casual conversation.

Secondly, this author talked about this being a great way to "get the inside scoop." Does this author not do their research? Does this person not read?  Editors and agents are out there all of the time giving advice. Conferences even have editor and agent panels where we give you the inside scoop. I would also add that editors and agents are available to visit with your writing chapters, to do guest blogs, and to do workshops. At conferences, we are all out in the lobby available to "just chat."

Finally, this is a job interview. Do you go out, apply for a job "just to get a chance to talk to that employer" even though you aren't ready to really work there? I THINK NOT!!!!

Sucking up this time IS NOT professional.

Please, if you hear authors suggesting this is a great thing to do, please remind them of these other points to consider.

Is Your Book Pitch Blah?

As we all know, your query letter or your pitch needs to just rock! You have to, in a single page, or in that 7-10 minute pitch be so amazing that we want to buy your book right there. And yet, time and time again, people pitch stories that do nothing to amaze us as editors or agents. You need to

somehow stand out, and then you turn around and make yourself sound like a bologna sandwich on white bread. Boring!

Your job is to show us that your story is unique! You want to make your story stand out and show us that there is something special in your novel. Yes, we want a story that will fit in with the market, but even then, you have to bring in your special brand and style to it.

One of the biggest places where authors make this mistake is in that single sentence that describes your book. While your book might address one of the many universal themes in literature, you cannot just leave it at that. For example, if you tell me that your story is a "coming of age story that shows the value of true friendship" you did nothing. You just described millions of books out there. I would also add that if that is truly all your story is about, there is a reason why your book is not selling.

So, let's spin this a new way. "My story is about finding friendship in those that are your enemies who probably cannot be trusted." Now we have something that makes us stand up and take notice. We immediately start thinking of a ton of questions.

• Why would I want to be friends with someone I hate?
• If they can't be trusted, why would I now want to be with this person?
• Is this a situation where the enemies have a change in personality? Do they become nice?
• What situation would have to occur to put enemies together long enough to become friends. 

Another area that makes that pitch blah is when you start using cliche descriptions of the characters and plots. I really see this a lot in the synopsis writing. For me, here is one of my biggest pet peeve phrases - "Sparks ignite when..." I just want to hurl on that one!

The key here is to dump the cliches, and focus in on what makes that story stand out.

Your task today is to think about your story and think about how you can describe it in that single phrase. Make sure to get rid of the Vague, Boring and Over-used words and expressions. But let me also remind you of something. If your story really doesn't have something that makes it stand out and be unique, then you cannot just make something up. The problem here is not the pitch, but the entire story. 

Why Pitching At A Conference Is A Bad Idea

This weekend, I saw pictures of the Writers Digest Conference and authors lined up to participate in what looked like another round of Speed Pitching. This last month in Denver, RWA tried this approach. I know I have attended other conferences where this is the new trend. For those of you who are not familiar with this approach, authors are all in one room together and have 3 minutes (or so) to pitch to as many people as your can. At the RWA conference, writers were in the room with 14 editors and agents, and every 3 minutes rotated to the next person to pitch their story.

I get the idea. Conferences are trying to get more authors paired up with more editors and agents. The whole, sign up for a 8-10 minute pitch time approach just did not create the most connections. In the past, when I attended the RWA conference, in a 2 hour time block, I met with 10 or maybe 11 authors. That was it.

There is a lot to be said about a face to face connection at a conference. As an agent, I am able to sit down and really chat with a potential writer. Again, in Denver, I had the chance to talk with one author, between sessions for 15 minutes. Not only did I get to hear about her story, I got to know who she was and what her plans were for her writing career.

I have also heard a lot of editors and agents openly stating that they often do not sign new authors at conferences. It might be due to the things I am going to talk about here in this blog, but it might also be a mindset that they are not expecting greatness. I have signed people at conferences, but, I have to admit, I signed people at smaller conferences where we had the chance to talk as I did in Denver with that author. Or, we had already had discussions via emails or the blog prior to the conference, so that face to face time was an issue of just getting to know each other.

But in the end, I have to honestly say, authors would be better suited to skip the pitching at conferences and submit during other times out of the year. Let's talk about some of the reasons why.

AUTHORS PITCH TO EVERY EDITOR OR AGENT AT A CONFERENCE WITHOUT DOING RESEARCH
This issue really is intensified during the Speed Pitch approach. There is this belief that if they don't meet with that editor or agent, at the conference, they will never get a chance. So what happens? Authors dive at every "free" opening to pitch to any editor or agent without doing the research. The majority of the time, we hear pitches for projects we don't represent, or would never work for us at all.

At a recent PNWA conference, I passed on over 50% of the authors pitching to me because they had projects that were not romance or women's fiction. They simply did not know who I was. Along the same lines, I sat next to an editor from Harlequin, and I listened to people pitch single title projects, screen plays, non-fiction, and the like, to an editor who only acquires series romance.

Again, this does not just happen with Speed Pitches. I have seen over and over again, writers flocking around the Pitch Appointment Table, waiting for any spot to open up so they could pitch their story. Like the other situations, they had no clue who they were pitching to.

Yes, conferences make more than enough effort to get that information out to the writers. They produce bios before the conference. The produce grids and spreadsheets telling authors what the editors and agents acquire. Many conferences have editor and agent panels where these people stand up and openly tell you what they want or don't want.

But writers still do not listen. It is a feeding frenzy mentality that only produces a large number of rejections.

CONFERENCES DON'T ALWAYS BRING IN THE BEST EDITORS OR AGENTS FOR THEIR POPULATION
All conferences have a different population of authors who attend. Although I totally loved the Romantic Times conferences, I quit going because the population showing up and pitching often had projects that I did not represent. Conference coordinators, however, often do not get the right people for the job. They go out to get names that will bring in the numbers and the writers. Obviously, the more writers, the more money they can make.

However, many of these editors and agents simply may not be the best fit. If your population of authors all tend to like the self-publishing and indie approach to things, don't bring in the agents. Don't bring in the big traditional publishers. Find those boutique people and build on that.

Now, does this mean these editors and agents do not have something to offer. Absolutely not. I visited one writing chapter for an evening meeting and these people were all into self-publishing. The conversations we had, however, were important because we were able to discuss trends that they could potentially use in their writing careers.

But when it comes to pitching, if you have the wrong people, expect more rejections.

EDITORS AND AGENTS HAVE A HARD TIME SAYING NO FACE TO FACE
This is a tough one. Looking an author in the eye and saying their story is not going to be good enough is tough. So, the easy approach is to just tell everyone who pitches to send something. We all have to look a the manuscript anyway, right?

But here is the concern I have. Too many authors walk away with ideas that those editors and agents really did want to see their work. They really "were interested." Not necessarily.

Rejection letters are not fun to receive (and let me tell you, writing these letters is not fun either).

AUTHORS BLOW THE PITCH NOT BEING PREPARED OR TRYING TOO HARD
You have spent hours mastering that perfect elevator pitch. You have spent days wordsmithing that pitch to make your story sound incredible. When you sit there at that pitch session, you start into your "pitch" thinking those words are selling that project.

The reality is, you just blew it. You came across as fake. You came across as inexperienced. You did not convince.

If you could go back and watch a video of your pitch session, the odds are, you would not want sign yourself to a contract.

A lot of authors are introverts. Talking to people is a tough. Now you have the pressure of getting it all right in that short amount of time? The stress kills you.

By avoiding the pitch session, you stand a better chance of letting your story do the talking for you.

WE STILL NEED TO SEE THE MANUSCRIPT TO MAKE A TRUE DECISION
As we all know, we still need to see the writing to make a truly good decision. If that pitch is going to blow things for you, skip the step and go straight to the "send us your work" step.

There is another piece that really works well with larger publishers or agencies. You pitch a project to that one agent or that one editor, you are only getting the thoughts of your project just from that one person. While that project might not work for me, there is nothing to say it might not work for someone else in the agency. But, during that pitch session, we are already making a quick decision. Had you sent that project instead, during those morning meetings of the editors or agents, that work may end up in the hands of the right person.



Am I saying to get rid of the pitches? No. But before you as an author decide to pitch, ask yourself if going the traditional route might be better.

ONE FINAL NOTE... AND THIS GOES TO EDITORS AND OTHER AGENTS

I get everyone one of us has a different approach to the submissions we get. I understand that we get a lot of submissions. I also understand, submissions take time to respond to and we do have our own clients to work with. But... authors are pitching to us at conferences because they get no feedback or response when sending in submissions digitally.

Many are openly frustrated by the "no answer means no." Authors do not know, from the lack of a response, if this meant we hated it, we hate them, it got lost or anything.

Authors I have talked to said, even if it was a form letter it would be better than nothing. Maybe we too can step up to the challenge to change the climate of the submission process. I know we are all looking for the best stories possible, and if the conference pitch approach is not that effective, let's see if you can fix it another way.

Just a thought, not a criticism.

Questions To Be Prepared For In A Pitch Session

I want to take some more time talking today about conferences and certainly pitching to those editors and agents.

Most authors (and yes, this happens too with job interviews) spend their entire time thinking about the "me" in the conversation. For authors, it is all about the book. You have taken an amazing amount of time drafting the perfect face to face pitch and the elevator pitch. You and your critique partners have practiced hours on that pitch. You have it memorized. You have it nailed. You have the inflections in the right spot.

While having this information so perfect, most authors have completely forgotten that the person sitting on the other side of that table is a human. And...do you want to know something? That person may ask a question.

Are you prepared?

Probably not.

As someone who has listened to countless pitches, I want to take the time to tell you my approach to these and how I conduct a pitch session. I'll also throw out a couple of questions you might want to be prepared for.

First of all, when someone sits down at my table, and I see the author immediately pulling out their note cards or prepared speech, I immediately push it aside. I do not want someone to read their pitch to me. The reason for this is simple. I want to really hear what the story is about, and not the prepared marketing pitch of what the author thinks the story is about.

I had an author tell me that her story was not inspirational. OK. I am fine with that. However, once she was just talking, the story line could not avoid telling me it was inspirational. The thing was, she didn't want to pitch an inspirational, knowing that this was not a genre I represented, but wanted to pitch it as a contemporary. No, she was not trying to "pull one over on me." Subconsciously, she believed her story would fit with anything contemporary.

The second thing I will often do is, when I hear someone start into a memorized pitch, I will often find a place to "politely interrupt" and ask a question. Now, I know this sounds mean, but this pattern interrupt will often get that author again, just talking about his or her story. I will also add that when I do interrupt, it is truly because there is something I simply don't know.

Now that we are on the subject of those questions, what are some questions you might need to be prepared for:

1. What other stories have you written in this same genre?
2. Tell me about the motivations of the character?
3. Talk about the conflict. What is the driving internal conflict for the character?
4. If pitching to an agent - Which publishing house do you see  your story located at and why?
5. If pitching to an editor - Why do you believe this story fits with our particular publishing line?
6. On average, how long does it take you to complete a story from start to finish?
7. What do you see is the high concept for your story?
8. If your book was previously published - What were your sales numbers last year? For the last three months? Please note I am talking about sales numbers (this would be units sold not reviews).
9. If you were self-published originally, and now are looking to move into traditional publishing, why are you making this shift?
10. If you have tried pitching this story, who have you pitched to and what was their reaction Note - If you have already been rejected we cannot take that story back to that same editor.

Just a few things to consider. Be prepared for everything.

Are you prepared?

Who Are You Pitching To?

I try to post on something like this every year right around conference time. I think it is always a good reminder for those of you veterans who are pitching and certainly a great word of warning for you new authors.

Pitching is a tough thing. I am, in no way going to argue that this is a great experience. You have 8 to 10 minutes to convince that mean old scary editor or agent on the other side of the table that your story is the best thing ever. Not easy.

Now, many organizations such as the Romance Writers of America are trying to give more authors the opportunity to get their work in front of those editors and agents using a "Speed Dating" approach. Now you have 3 minutes and you just run from one editor to the next to pitch.

OPINION TIME... I am putting this in a color to really stress that this is just my opinion. This is the stupidest thing I have ever seen. 3 minutes is just not enough time to get names out title of book and a single log line. To add to this, ever time I have done this, we just see authors who run to any open spot and really have no clue who they are pitching to. And then they wonder why they get rejected???? Snort...

OK, back to the previously scheduled post...

The first thing to remind authors of is that a pitch is a job interview. This is your chance to sell your story and your writing. With that said, you need to treat this with the same respect that you would any other job interview.

Now, when you think of a job interview, you always go in prepared. You have taken the time to read all about the company. You know their slogans. You know their work models. You know where the company is heading in the future. You also take the time to know something about the person you will be interviewing with.

Why do we do this? To hit the right buttons. To be able to shape your work experience, your skills and your education into something that fits with the model of the company. You want to show that you are a component of the company.

With your writing, you do the same thing. You want to demonstrate that your writing and you, as an author are a perfect fit with the editor and agent.

I heard Deb Werksman from Sourcebooks describe her approach to finding authors in one of the best ways. She stated that she is signing the author and not the project. She wants a complete package and the book just happens to be the link tying it all together.

I really don't care if you are going to use the speed pitch opportunities, regular pitches, or planning on using the query approach, it is important to take the time to know who you are pitching to. If you have no clue who the person is you are talking to, or who you are sending that project to, you are doing nothing more than throwing darts.

Learning From Shark Tank

I fully admit it! Watching Shark Tank is a guilty pleasure of mine. No, I don't DVR the show, but if it is on, I love to swing by and watch these people up there pitching their products. What I find most appealing is how these people try to convince the Sharks as well as, listening to the reasons they end up with their decisions. I bring this up today, because I think it is important for authors to spend some time watching episodes of this show. Through this, they might be able to finally realize why everyone has passed on their project.

I watched one just a couple of days ago and there were several rejects that stood out as analogous to the things I see authors doing.

One guy had, what seemed to be, a lot going for him. Great back story! Great enthusiasm! Great product! And yet, he almost lost it, and frankly, I seriously doubt even the sharks will save him. He had several problems.

First of all, when he pitched his product, he spent all of his time talking about his personal growth story. He spent the time talking about the people he was helping through his work. He only spent a little bit of time talking about the product. So, what was wrong with that?

I see authors do this all of the time when pitching a story to me, either face to face, or through a query. If you are not showing us your story and showing why your story is the most amazing thing out there, you are missing the point. A frequent mistake I see in a query is the author spending over the first third of the query telling me all of the other stories their project is like (but never being specific). Then the spend a small paragraph giving me a back-cover blurb that really doesn't give me a sense of the character, the plot of the story. Then, the spend another large block of time telling me how they got into writing, the books they read and why their debut novel was a "labor of love." Mistake! Tell me about the story.

Now, here is where the guy on Shark Tank made another mistake. He had not done his research. He didn't know how the product would get made. He did not know how it would be distributed. And, what is worse, he had only made a total of $200 in sales.

For authors, we see the same thing. Authors write a story and immediately start shipping it out to agents and editors and not having a clue about the industry. I don't care what approach you want to take with publishing. you have to understand the business you are entering.

On a second level, there are a lot of authors who have been selling their stories independently, or simply getting feedback from others on their books, and tell editors and agents that a ton of people like their project. A Lot means more than just your extended family. Fantastic reviews mean much more than just your friends on Amazon and Good Reads. Show us objective review. Show us sales of 50K or more.

On that same show, their was another person pitching to the Sharks who had a pretty good product. The problem is that their product was not as big as they projected it to be. Look, you can be enthusiastic about your product, or a story for writers, but know the true potential of your story. Don't think your story is bigger than it really is. I am sorry to say this, but your novella is not likely going to be a movie that hits the big screen.

This same person on Shark Tank made another huge mistake. She argued with the Sharks. You can be persuasive. But remember you are coming to the editors and agents because you believe they can help you and you need their expertise. Telling them they are wrong is not a good political or professional move.

Take a look at the show Watch it and listen. But when you watch it, don't get hung up on the people or the products. Listen to the arguments and the pitches. Now go and think about your query letters and your pitches. Think about the books you have pitched and gotten no where with. Think about your critique partners who also may have gotten less than favorable responses. Do not think about the story or the catchy things in their story. Listen to the words. You may be find what you have been missing.

A Thought From The Video Game Community

I was listening to an article on NPR a couple of days ago about the inventor of the Atari Flop - The ET Game. He mentioned something that I think is worth considering.

He noted that in the video game creator community, the use the phrase "Greed Kills." As he describes it, think of when you kill off your characters in video games. It is when you start playing for those bonus points and when you start taking risks that are really not worth it.

I do believe this is something more and more authors need to consider in the publishing world. You will be risking your career if you start playing for those dangerous "bonus points" and "bonus targets." In other words, when you start focusing on the contracts, on the money, on the reviews, on the bonuses and raises, you are forgetting the one true thing that got you that first contract - your writing.

My wife's grandfather used to play blackjack. According to the family, he was good! But he also operated with a similar rule. The moment he started thinking, "If I can win this next hand, I can make back those loses" he would get up from the table. The reasoning was clear. He was thinking about the money and not the game.

I teach as an adjunct, English at the community college level. I tell my students the exact same thing. If you start into writing a paper only thinking about the word count, the page count, or what it will take to "get an A", the paper will end up being a flop. But, those students who concentrate on writing a great paper will find that the grades will follow. Why? Again the focus is on the writing.

So, as you work on your story, or if you are heading out to pitch to an agent at a conference, or if you are writing that query letter, quit thinking about what needs to be done to get the contract. Focus instead on what it takes to just tell a damn good story!

Why Conference Pitches Often Don't Get Agents/Editors Those Clients

It is conference time! You have registered for that conference and are all excited about going. Not only that, this is a chance for you to sit down, face to face with an editor or agent to pitch that story. You just feel that if they see your face, connect it to the story, you will be set and that contract is on its way to you.


Ahhh, but wait a minute. This might not be the best place for you. Let me explain.


Although I have signed authors from conferences, in many cases, the pitches I hear have me saying no before that person even left the table. You may be wondering why? If we hear the story and you have the chance to talk it out and skip the painful query letter and synopsis writing, you would think this would be the perfect situation. But when it comes down to it, the real reason the rejections will be coming your way is that you did not do your research. You were pitching a story that was going to be rejected, regardless of how much prep you put into the pitch.


Too many authors seem to believe if there is an editor or an agent there, they need to pitch their project. This is wrong. The research you theoretically would be doing before you send out a project via email is the same research you should be doing before you get that appointment with the editor or agent. Our names, bios, links to our websites and what we are looking for is ALWAYS in the conference information. READ IT! We reject your stories because you simply were pitching us a project we just aren't looking for.


I remember sitting at a pitch session where authors would simply line up for the panel of editors and agents sitting across the length of the ballroom. If there was an editor or agent with a small line, or with no one in line, the author just ran there and started pitching. They had no clue who this person was, or even what they wanted. This is not only wasting the time of the editor or agent, but it is also discouraging for you to hear "No" over and over again.


Now, let's take this to the next level. There are many authors who are pitching a story to that editor or agent BEFORE the story is even finished. Think about this... You wouldn't send that proposal out to the editor or agent if the story was not done. So why are you doing it here?


Oh, I know many of you say, "But this is a great opportunity!" To do what? To show the editors and agents that you are not professional? That you don't know the procedures for submissions? Probably not the smartest approach you could take.


Think of it this way. Those editors and agents are available 24/7/365 via email and their normal submission process. You can take the time to make sure that your stories are golden, that the query letters directly addresses what that editor or agent wants. Or, you can  blow that one chance with a pitch that is less than perfect, just because the person is there.


I would also add that too many of these writers, who are either unprepared, or who did not do their research, end up taking those pitch appointments away from people who could use the slot.


I love to meet with authors at conferences. I love listening to the stories and having the chance to ask questions after hearing the pitches. But I am also someone who is not going to have you send a project to me just because I don't want to tell you no to your face. I will say no right there and then.


So, do me a favor. Do your research. Pitch if you are ready. Pitch if the story is appropriate for that person. Pitch if you and your story are a right fit for that editor or agent. If not, take the time to network with other authors, take a couple of workshops or work on getting that story ready to send out. Your time will be better spent doing that.

Pitching Stories With Similar Characters or Settings?

So, here was the question...


If one wanted to submit several stories that have the same location or setting, or include several of the same characters, how does one go about describing what this group of stories is to an agent or publisher if they are not a series. Any advice will be appreciated!


This is a great question and the answer really isn't that complicated.


If you have a series of books that are linked, not so much thematically, but more with a similar character or a setting, then simply tell the editor or agent what you are doing. The key, however, is to somehow show why you are going to use the same setting or characters over and over again.


With stories that use the same characters, it is much easier. Maybe the stories are linked because we are going to see those characters in similar situations. For example, think of Janet Evanovich's Stephanie Plum series, or even Ian Fleming's James Bond series. The books all have similar plot structures but what the readers get to see is how the characters are going to react and behave in different situations.


Now, if the books are linked because there is an ongoing plot line (Think Harry Potter here), then you pitch the stories with the over-arching theme or plot and then show how each of the books are still meeting specific smaller end goals. In the case of Mr. Potter, the over-arching theme is the battle between Harry and Voldemort and working toward that final battle in the Deathly Hollows books. But when we look at each of the books, Chamber of Secrets is focused on  both introducing the characters but really emphasizing the mystery of what this Chamber was holding and how it is disrupting the school and putting so many people at risk. The story has a clear ending with the solving of that mystery.


Another twist to this would be the multiple series of Andrew Greeley. In his stories, he not only had several series based around a single character (his Nuala Anne McGrail series, his Blackie Ryan series), but he would often cross some of those characters over into the different series. Blackie Ryan shows up in the Nualal Anne McGrail series and so forth.


When pitching something like this, it is important to do several things. First of all, make sure the first series is fully established and is independent. Secondly, to fully justify why you are bringing in the character from the other book. It is important to note, however, that if you have crossed those characters over into another series, that readers are not going to have to know the whole backstory of that character. In the case of the Greeley series, when those characters show up, they just happen to be a name and a body. The surprise only comes when someone has read the other books and starts to see the genius of the author and smoothly making that move work.


When we look at stories around a similar location, such as Debbie Macomber's Cedar Cove series, the emphasis is not just about the individual stories and plots, but also how the town and setting also functions in much of the same ways as a character. Another great example of this would be Lake Wobegon and Garrison Keillor. We get to know the town and those same random characters that pop up from time to time.


In summary, there is nothing wrong with taking an approach such as this, but the key is to be able to justify why you are doing this as an author and what the "take away" is for the reader.

Pitching: It Is All About Word Choice

You have a great story. Your friends, family and critique partners have fallen in love with the project. And now you are out there pitching your story to editors and agents. But something is wrong. Now the excitement for this wonderful story may not be there at all. Editors and agents give you the "deer in the headlight" look and you are now concerned over the quality of the story. The reality is that it is probably all about the pitch and what you are including.

Pitching your story to editors, agents and booksellers is not easy for the simple fact that you have a limited amount of time and you have to convey a lot of information. However, it is really much more than the amount of information. It is how you are saying it. While editors and agents want to know the basic information about your book (plot, characters, conflict and so forth) what they really want to hear is something off the wall exciting. Something that makes them think, "Wow! This person is taking the normal and turning it into something special!"

Now, let me warn you, this is not something you can manufacture. Your story has to already have these elements. It is just up to you to convey this information. This is really the essence of that elusive HIGH CONCEPT.

I was talking about this to one of my clients just recently. She had the chance to meet with some editors while at the RWA Conference and in one situation, she felt that things were just heading in the wrong direction. She was saying everything she needed to say about the project, but the enthusiasm just wasn't there. Fortunately, she had two projects to present and, after realizing her error, she changed her wording. That was when the excitement came through.

Consider for example one of my other client's series. Bronwyn Scott's GENTLEMEN ESCORTS series can either be a flop when it comes to marketing, or something amazing. It is all about the wording!

She could simply say, "These are stories about men who are paid by women to be their companions at parties, only to find they have fallen in love."

or....

"These men are both despised and loved by the members of the Ton as they fulfill women's fantasies and bring out the inner beauty of those who they come in contact with. Their role is not simply sex, but to teach and guide women to find who they really are in the world. "

Now, while both are saying essentially the same thing, the first one is simply plot oriented. Sure, it gives us the information, but that is as far as it goes. The second, does so more eloquently and yet gives us a sense that this story is much more than escorts. It is about life lessons and learning about who we are in the world.

I should note that writing these descriptions is not a matter of just using your thesaurus and coming up with "pretty words." It is about drawing out the unique qualities of your story.

Consider also Harry Potter. We could simply say this is a coming-of-age story about a boy with magical powers who battles forces of evil...BORING!

Or we could say, this story shows how a boy who thought he was nothing becomes the ultimate savior of Hogwarts and all the good that it stands for as he battles what might be the greatest form of evil out there.

Again, while these might not be fully crafted and wordsmithed (I am thinking of this as I go), you can see how the second one has a bit more depth to it.

As you think about your story, what is the "take-away" you want your readers to leave with? What is the big message that makes this unique.

Follow Through After A Request

For some of you lucky writers out there, later this week, you will have a chance to meet with an editor or an agent at the RWA Conference. Congratulations! Considering there are so few appointments, you must have been living under a lucky start. Now, don't blow it.

I am always amazed at the number of writers who, after getting that coveted pitch appointment, never follow through with sending in the submission. You have begged for the chance to get your writing in front of these people and then you just don't send it. Oh, I have heard a ton of reasons, and frankly all of the reasons come back to one thing. You were simply not ready to be pitching and, unfortunately, you took that slot away from someone who was ready.

So, what have I heard? Let me respond to each...

My story wasn't finished. Then why in the heck did you sign up? The honest truth is that almost all of the editors and agents will request material. Many will do so because they don't want to tell you no to your face. Others really aren't sure what they are looking for and believe they will see it when they see it. Your story needs to be ready to go to print, right at that moment you pitch.

I had a chance to learn about the editor/agent and this person wasn't right for me. Then you did not do your research. These appointments were available months ago. You should have been signing up with someone you knew and someone you wanted to work with. If, however, you were like so many others out there just signing up for any opening, you are not ready for this business. This is the basics of economics. It is called market research. You had better know if this is the person you wanted to work with.

I wanted to send it to my critique group first. Again, why wasn't your story finished? I would also add that critique groups, although there are a lot of great things about them, these people can honestly destroy most manuscripts. This is often a case of the blind leading the blind. Eventually, the story you wrote becomes something that the others wrote.

I didn't feel I was ready. Again, why were you pitching. If a friend told you to pitch and you weren't ready, then this person is not a friend. They are setting you up for failure. I don't care if there was an appointment available, you have to be mentally ready to make this jump.



And then we have these people that believe sending in the project ANY time after the pitch is fine. Look, that story needs to be in the mail or sent in the email within 2 weeks of the conference. Sure, those people will likely take a break and maybe sneak in a vacation, but your story, will still be in their memory.

If it takes you months to get back to an editor or an agent, after you have received a request, you are clearly demonstrating you cannot meet deadlines. What will you do when the contract says your story is due August 31 and you can't get the story done? What about the 14 days to get revisions done?

Many of you get frustrated when editors and agents don't get back to you on projects. If you aren't following through with a request, then you have no business complaining. You are doing the same thing.

And, if you are someone who is in any of the situations I mentioned, then drop that appointment immediately when you get to San Diego. Let those who are ready pitch. You can always try in 2017.

You've Pitched...Now What?

After all of that hard work and sweat, it has all worked out for you. During that last conference you attended, you were one of the fortunate people to not only get an appointment with an editor or an agent, but you also got a request. The odds are, that evening, you celebrated with your friends over the request. "She asked for a full manuscript from me!" you proclaim.

Now what?

I know this seems strange that I might be asking that "now what" question, but you would be surprised as to how many people screw this part up. You would seem it is only obvious and guess what, it is that obvious. So let's talk about it.

If you got a request for a full manuscript from the editor or agent, you send it and you do so immediately. The one exception to this would be if the editor or agent told you to hold off because he or she was taking a vacation. In all other situations, you send that project as soon as you get home. You don't wait!

Here is the rationale - the editor or agent will likely remember your project being that close to the request. The longer you wait to send it, the more other projects will be in line before you and the person may forget who you are, or even worse, why they even requested this in the first place.

Secondly, waiting long periods of time imply that you were not ready to submit when you did pitch. That project should be 100% finished. There is no saying, "That's awesome! I just need to run this past my critique partners again and wrap up a few things." Really? You didn't do that already?

Next, if an editor or an agent requests with a lot of enthusiasm, the odds are they not only like the project, but might be thinking of a place for it already. Again, waiting means that something else may take that spot that you were being considered for. 

Now, when you do send that project, in that cover letter, you remind the editor or agent of not the just the fact that you pitched to them, but remind them of the conversation. If you pitched to me and I said I really loved that premise because of the marketability to the 40 year old soccer mom populations, then you need to mention that again. Remember that we are seeing a lot of different projects and we honestly cannot remember every one of the stories. Do that thinking for us. Remind us that they loved us the first time. 

OK, so let's say that you pitched to me, but then had a chance to pitch to someone else that you really wanted to be with more. That's fine. Things change. But professionalism is still key. Don't just ditch on me and not send something. What if that other agent says no? Do you come running back to me? That just implies you only view me as a fall back option. Send the project anyway and follow through. With the way this business works, burning that bridge may hurt you in the long run!

This was the opportunity you were waiting for. Don't blow it.