Now that I'm emerging from the pit of post-conference follow-ups and beginning my new work year, I'm looking forward to embarking on a steadier, more long-term schedule. With that in mind, I've had to consider what kind of pace I can reasonably keep with both "Notes from an Editor" and "Visual Writer" while also doing my other work. For now, I've decided to cut back to one post a month on this blog and one per week for the Visual Writer. VW posts will come out mid-week and NfaE mid-month, with specific dates for the latter still tbd. Of course, I would like to post more here, and if it turns out my time can handle it and the content demands it, I'll update my schedule accordingly.
Four of the internet's best tips for pitching to agents
Photo by Derek Thomson
I'm currently on the road, making my way to New York for this year's Writer's Digest Conference. In anticipation and celebration of this weekend (and because right now I am thinking more as a writer than as an editor), I thought I would share some of the best advice I've come across for pitching to agents and the places I found them.
But first, here's the information fiction writer's currently need to include in their incredibly brief 90-second pitch, per the Writer's Digest Conference guidelines:
Title
Word Count
Type of Book (mystery, memoir, self-help, etc.)
Comparable Titles (recently published successful books similar to yours)
Main Action (plot/big idea)
Emotional Impact (theme/promise to reader)
Unique Selling Proposition (USP/what differentiates your story in the marketplace)
That's a lot of information to cram into a minute-and-a-half. The following suggestions can help make the process of crafting such a miracle snippet a little easier.
1. From author and creative-writing coach Tomi Adeyemi's "How to Pitch a Literary Agent in 5 Easy Steps":
5 Questions You Should Address in Your Pitch
What is the title, genre, and word count?
What is the setting?
Who is the protagonist?
What is her conflict?
What does she have to do to overcome this conflict?
Here's my takeaway: Strip your story to its digestible essentials. The pitch is not so much about the grand ideas you might be trying to explore or communicate, but rather about boiling down your ms to the kind of description you might find on the back of a book or under the title of your favorite streaming show.
Why I love this advice: Tomi does a great job in her blog post of showing how a well-known story, The Lion King, could be described through these five simple questions. Even though my own ms shares little in common with the Disney film, just having a concrete example to look at and compare my work to definitely eased the process of drafting my first pitch.
2. From author and pitch-guru Jane Friedman's "How to Pitch Agents at a Writer's Conference":
Take the pressure off: it really isn’t a make-it-or-break-it moment.
...The truth is that in-person pitches have about the same success rate in gaining a writer representation as a cold query, less than 1 percent typically.
If you become overly focused on this mythic opportunity—and hearing that “yes” or “no” verdict—you might miss out on the biggest benefit of the pitch experience, which is getting instant feedback on your project. ... To the best of your ability, try to approach the pitch process as part of the business of being a writer.
Here's my takeaway: Embrace the fact that the chances of being signed with an agent are quite low by focusing instead on getting useful feedback and delivering the best, most professional pitch you can.
Why I love this advice: Part of what makes pitching so nerve-wracking is that, ultimately, we have no control over whether the people we talk to are interested in our projects. Here, Jane is telling us to take back some of that control by making our goals about pushing and bettering ourselves. Nothing has done more to decrease my stress than taking this advice to heart.
3. From writer and life-coach Tracey Barnes Priestley's "5 Important Tips on How to Pitch a Literary Agent In Person":
Practice, practice, practice!
...When you finally feel your pitch is ready, you must take ample time to practice. Aloud. ... Pitch to your family, trusted friends, your writing group...[or] haul yourself in front of a mirror.
Here's my takeaway: Actually, this one is pretty self-explanatory. The more you practice, the better your pitch will be. The better your pitch is, the better you will feel about it. The better you feel about it, the better your pitch will be.
Why I love this advice: While most of us don't really need to be told that practicing as much as possible is a good thing, sometimes hearing it from an outside source helps cut through all that inner noise and reminds us where our attention needs to fall. Especially if, like me, you would really rather not hear your words out loud.
4. From an interview between best-seller, cartoonist, and Writer's Digest editor Bob Eckstein and Hugo-nominated editor Diana M. Pho:
Writer’s Digest (WD): ...What ratio of the pitch should be solely about the book as opposed to selling yourself and expounding on your credentials?
Editor, Diana M. Pho, Tor Books: First and foremost, I want to be intrigued by your manuscript! When thinking about your pitch, I appreciate getting the stats, of course (title, genre, word count, comp titles), and then pull me in with some plot description. ... Personal information isn’t as important to me, unless it directly relates to your project or your writing career (for example, it is an #ownvoices story, or you are an award-winning author).
Here's my takeaway: The content of your pitch should be about about your manuscript, not about you.
Why I love this advice: Although it's always important to come across as someone who would be good to work with (professional, likable, knowledgeable, realistic, open to feedback), for me, getting permission to not actively try to sell my background as part of my book was a huge relief. As with the other advice on this list, knowing what to focus on (and what not to) takes away much of the uncertainty and anxiety involved in preparing a presentation, while also ensuring that the final pitch is as streamlined as possible.
All of the above are excerpts from longer essays, lists, or interviews. If you're preparing to pitch for the first time, or just want an update or reminder on what to do, check out the full articles for even more useful information. And best of luck!
Three ways to tell if an editor is right for you
Photo by Dave Ruck
Choosing an editor is one of the most important decisions you will make for your book. Not only is hiring a professional set of eyes a serious investment of money, but it also represents a significant investment in trust. You are handing your book-baby over to a stranger, after all, and you need to know that it will be treated with respect and properly cared for. You also need to know that you will be working with someone who communicates well and whose opinions you can trust. All of that can be difficult to ascertain, especially when you may never actually meet your editor in person.
Although there is a lot of good advice about choosing an editor floating around the internet, there is one common tip that always makes me cringe. It goes something like: "If you want to know whether an editor is good, check out the books they've already edited." The logic here is pretty straightforward and, on the surface, makes sense. However, it also ignores the crucial fact that most contract editors, especially editors of independent books, have no control over the final publication. Many, in fact, will have only been hired for a single revision, which is not enough for a publication-ready product. Just looking at the finished book, therefore, will not give you a clear picture of what the editor did for that manuscript or what he or she can do for you. Instead, here is what I would recommend looking for when you're looking for an editor.
1. Editing sample
Some editors will have a sample of their work to share with perspective clients. This is by far the best way to get a sense of whether they would be a good fit for your project. Be aware, however, that there are valid reasons to not have such examples on hand. The most obvious of these is the fact that, for editors, sharing a sample of their work necessarily requires showing their client's work at a vulnerable, pre-publication stage. Of course, most people don't want their writing distributed in this way, and an ethical editor won't pass along a client's work without permission. [This is also why, if you are able to obtain an editing sample based on a third-party's writing, you should dispose of it after looking it over and be careful not to share it with anyone else.]
If an editor doesn't have a sample on-hand, see if they would be willing to edit a couple pages of your work. They may charge a small fee for this, but it is better to pay an extra $25 to be sure you're getting the right fit than to spend hundreds of dollars and weeks of time on the wrong one.
2. Word-of-mouth
Ask other writers, particularly writers whose work is comparable to yours, who they would recommend. If those writers are close friends, they might even let you see the drafts their editors worked on. Either way, a solid recommendation from someone you trust is one of the best ways to narrow down your search.
3. Research and communication
Some editors may outline what clients can expect from them on their websites, so be sure to look carefully at whatever information is already readily available to you. Once you've done that, don't be afraid to ask follow-up questions. Also, be clear with prospective editors about your needs, and be honest with them about the state of your project. For instance, if they ask for sample pages before signing on, be sure to send them pages that are indicative of your writing. If you polish your sample but leave the rest of the ms in shambles, the editor will feel misled and may withdraw from your contract altogether. However, if you are honest from the outset, you will have a much better chance of hiring someone who fully understands and wants to take on your project.