Pitching to Agents: A Survivor's Story

We welcome back to the blog Shannon Messenger! She's got it goin' on, because well, just read what she has to say about pitching agents at a conference. Face-to-face. Yikes.

I went to my first writer’s conference in January, and because I was determined to walk away with as much feedback as possible, I signed up for five pitch sessions. FIVE. All to agents I was dreaming of querying in the near future. Yeah…it was terrifying.

I’ll end your suspense now and tell you that I ended up with page requests from 4 out of 5 of those pitches—believe me, no one was more surprised than me. And I really can’t take the credit. I did a lot of research before I prepared my pitch, and I found some pointers that were invaluable.

The first ones seem basic, but you’d be amazed how easy it is to forget them when you’re in the moment:

1) Always start by introducing yourself. Not only is it the polite thing to do, it helps you relax, and find your voice.

2) Smile. Most of us do not smile when we’re nervous. Try to find your smile.

3) Remember that the agent knows you’re nervous. Now, I can’t speak for all agents, but I can say that every agent I’ve met has been very nice. They know they intimidate us. So don’t freak out if your voice starts out squeaky or your first words come out like mush. Take a deep breath, remind yourself that they understand, and keep going.

As far as preparing your pitch, I followed these simple suggestions:

1) Keep it short. Just because you have ten minutes doesn’t mean you should talk for ten minutes. You want to give them time to ask questions. My pitch timed out around three minutes—and even though there was a big part of me that was panicking, wondering what would happen if they didn’t ask me any questions, let me put your mind at ease. They ALL asked questions.

2) Start with your title and main character. As fantastic as your plot may be, it doesn’t happen in a vacuum. It happens to your character. That’s what makes people care about your story. Sell them on your character.

3) Follow with two or three concise, captivating sentences and end on a cliffhanger. This is where you’re trying to catch their interest. Make it snappy. Push yourself to write some awesome sentences. And stop at a point that makes them have to know more.

Above all else, remember, you’re not there to get page requests (not saying they aren’t nice). You’re there to get honest feedback about your book so you can make the necessary adjustments before you query. Give the agents a chance to talk. I guarantee you’ll learn something. You may even meet your agent there. I did.


Shannon is represented by Laura Rennert of the Andrea Brown Literary Agency. She runs a popular blog you so should be following, or find her on twitter. She is amazing, and you'll wanna keep up with what she has going on.

Thanks for dropping by, Shannon!

Building Your Pitch

Dude, you guys, I recently attended a local conference where the fabulous Laura Rennert (Andrea Brown Literary) spoke. She was engaging and informative -- and so, so nice (and not to mention gorgeous!). When Suzette and I asked her if we could post about her class on the QT blog she said, "The more people who know about pitching, the better."

So here I am, passing along her notes to you. She gave five steps for building your pitch. I think this pitch can transfer to the written query letter as well as be used for verbal pitching at conferences.

Step One: Write down the following:
1. Title
2. Genre
3. Setting (where)
4. Protag (who)
5. Main Conflict (what)

Step Two: Write down the following:
1. One vivid detail that makes any of the above elements different. Part of Ms. Rennert's talk focused on what makes your story different. She called it the "Who, What, Where and Why Should I Care." It's this last part that you're focusing on here. Why should an agent care about your setting, protag or main conflict? What makes them different?

Step Three: Identify if your story has:
1. Credibility
2. Inherent conflict
3. Originality
4. Real emotional power

Step Four: Write down three "big" words -- evocative words -- that relate to your story.

Step Five: Set a timer for 5 minutes and write:
1. A one-paragraph pitch for your novel using what you've written in steps 1-3. In the last sentence, use one of your "big" three words to finish the pitch.

And now, something I've shared before, but what I think fits the formula of Ms. Rennert's pitch steps.

In a world where Thinkers brainwash the population and Rules are not meant to be broken (where), fifteen-year-old Violet Schoenfeld (who) does a hell of a job shattering them to pieces. When secrets about her “dead” sister and not-so-missing father hit the fan, Vi must make a choice: control or be controlled. (what)

CONTROL ISSUES, a young adult dystopian novel complete at 75,000 words, (title, genre, word count) addresses the topic of teens fulfilling their duty as citizens of society, along with how hard it is to grow up under the expectations of parents and other adults when they're trying to make their own choices. (why should I care? "Big" words: duty, choice)

Try it! Set aside some time this week to build your pitch using these steps and see how it goes! Special thanks to Laura Rennert, simply for being awesome and sharing such amazing advice.

Conference Etiquette Revisited

Writing forums are full of questions about conferences right now, so I tweaked and reposted this entry from last year.

It's conference season again. Whether you're in the middle of your project or have published your fifth book, attending a well-run, reputable writers' conference can be beneficial. Conferences offer networking opportunities as well as educational workshops. In most cases, the person who stands to benefit the most from a conference is the unpublished author in the query stage. Conferences can give writers access to agents who are not accepting queries except by referral or personal contact.

Now, I love conferences. I look forward to networking and am comfortable in group settings both large and small. Having performed on stage and been a teacher to 150 high school students a day, pitching my novel in person or talking to someone I don't know doesn't faze me. I get nervous, of course, but it provides a positive energy and I enjoy it. That doesn't mean I'm always good at it--it just means I'm more at ease than some. The idea of meeting the Great and Terrible Oz that is the literary agent face-to-face is terrifying for some writers. So terrifying, it ruins the whole conference for them and they end up spending hundreds of dollars for nothing more than a bad case of freak-out.

As with most things, the best way to succeed at a conference is do your research, be prepared, and be professional.

Do Your Research

Find out which agents and editors will be at the conference in advance. Many conferences allow for a brief one-on-one pitch session with an agent or editor of your choice. Research every agent or editor on the list and see if they represent the type of books you write. I know this is obvious, but if an agent only represents children's books, don't schedule a pitch session with her for your Vietnam vet memoir. You are wasting everyone's time. I saw this happen at the last conference I attended, and when the agent asked the writer why he was pitching a genre she didn't represent, he replied that he had registered late and she was the only agent that still had a slot open. If that's the case, let the session go and register earlier next time. All's not lost if you don't get to pitch to your first choice. In most cases, you'll have the opportunity to talk with the agent you prefer sometime during the conference whether it be at a meal or in the bar.

Research the workshops and speakers. Pick the ones that are most relevant to your genre and stage in the publishing process. Most conference coordinators post workshop information on the host website well in advance of the conference. If you have questions, email or call the listed contact for the conference ahead of time, rather than try to hunt her down at registration. Registration for larger conferences is like a trip into one of Dante's inner rings of Hell for some of these coordinators; the last thing they need is a question about which workshop would be more beneficial for you while they are trying to track down someone's AWOL registration paperwork or placate an irate attendee who wants blood for not getting her first choice of agents to pitch.

Be Prepared

Approach the writers' conference as if it were a job interview. If you're looking to catch the eye of an editor or agent at the conference, the number one thing you need to do is prepare a pitch. For a conference, I recommend having two versions ready. One would be the 30 second to 1 minute pitch to deliver at your pitch session. The other would be the one sentence pitch. You will use the one sentence pitch a lot. At most conferences, it is easy to engage agents and editors in conversation in social settings. You'll be surprised how many times someone will ask, "what is your book about?" Nobody wants to hear a writer launch into a 5 minute oration on her masterwork. If the one sentence pitch is effective, the writer will usually be asked to reveal more about the book. This makes for natural discourse rather than a memorized speech. If you don't have a brief oral pitch for your project, check out One Line Pitches (by agent Joanna Stampfel-Volpe) and Elevator Pitches.

Questions that most first time conferees have are: "What do I wear," and "What do I take?"

What you wear is a matter of personal taste. Most conferences consist of long days. 10 hours in heels is not a feasible option for me. Uncomfortable suit is out. As long as you look nice and are not wearing shorts or jeans with holes in them, you'll be fine. It's not a Sunday finest affair. Be yourself. Be professional.

Even though you will receive a goodie bag when you sign in at most conferences that includes a pen and paper along with promotional material, you should bring your own pen and paper so you can take notes during workshops or write down other authors' email addresses or websites.

If possible, bring business cards. I know this might feel pretentious if you don't already have them, but a simple card with your name and contact info is enough. You can get cards printed for very little money online. Some companies print them cheaper than you can print them yourself on Avery forms. If you don't have the time, money or inclination to print business cards, that's okay. I've had writers hand me a pre-printed slip of paper with their contact information on it. I rarely hand my card to an agent or editor at a conference. I use them to network with other writers.

If for nothing more than your own peace of mind, bring a copy of your synopsis, your first three chapters, and a copy of the complete manuscript. Chances are, you won't need these, but on the remote possibility you wow an agent on the first day of a three or four day conference to the point they want to read your work right away, it's good to be prepared. This happened at the last conference I attended and the writer was offered representation before the conference was over.

Be Professional

I think this one is the most important of all. Conference etiquette is pretty much the application of good manners and common sense. Be polite and aware of what is going on around you.

Be courteous during workshops and presentations. People pay a lot of money to attend these events. Agents, editors and authors take time off to teach the workshops. Turn off your cell phones and don't talk to the people around you during the presentation. It's better not to take notes on your laptop during workshops--it's noisy and distracting. Use paper and pen. Some workshop settings are okay for computers, like ones where writing is part of the curriculum, but there is nothing more annoying than listening to "tap, tappity tap" the entire workshop. Wait, yes there is! More annoying than the laptop tapping and whirring is someone munching chips right next to you. Workshops rarely exceed an hour. Go to the bathroom first. Eat your snack at another time. Talk on the phone and listen to music on your own time. Chat with fellow writers between sessions.

No agent stalking. None.

The agents usually go out of their way to make themselves accessible. Be respectful and pitch to them at appropriate times. If you are in the bathroom together, do not pitch your project. Do not follow them onto the elevator and corner them. It's called an elevator pitch, but refrain from using it there. You might think I'm going overboard with all this obvious blather, but look around at the next conference you attend. It happens all the time.

If a group of agents and editors are having a conversation, don't go up and interrupt. Sure, agents attend conferences in search of new clients, but honestly, they also do it to network. They get to talk to other people in the industry they don't see while doing their everyday job as an agent. They are there to make contacts too. Writers are not the only ones with agendas.

Some conferences have dinners or meals. Often, an agent will sit at a table with writers. This is a good time to mention your project if it appears the agent is receptive. They expect to be wooed at these meals. Do not usurp the conversation. Let the other writers talk. You want to be charming, not pushy. Ask industry questions. Intelligent questions. As long as you do not get personal, you can ask the agent things about himself/herself. Pets, favorite books. Think of some things you want to know ahead of time so that you come away enlightened even if the agent has no interest in your project.

Do NOT try to hand your manuscript to agents during a conference. Now, I know I said it was prudent to have a copy just in case. If you bring it for a "just in case" situation, leave it in your hotel room or car. An agent does not want to lug a hard copy of your manuscript through the airport. She will ask you to email your submission or snail mail it to her office if she is interested. I have a clever friend who put her manuscript on a usb drive and attached a laminated tag with her contact information and title/genre on it with the thought that if an agent wanted to read it on the return plane trip home on a laptop, this would be a good thing.

Conferences are a blast for me, but are not some people's scene. I certainly understand that. If it is a miserable, stressful experience, it is not worth the money, time or energy. But if you are going to put the time and money into attending a conference, do your research, be prepared and be professional.

All conferences are different. If you have any questions or anything to add regarding your own conference experiences or funny stories stemming from conferences, I'd love it if you'd comment below.

Have a great week!

Mary

Can YOU Query a Tune? A Query Contest!

Okay my little QT-patooties, it's contest time again!

The inspiration for this contest came when I inadvertently composed a query song.

I have a mock-up book trailer for my novel, The Edge of Memory. For the background music, I used the song with the lyrics snippet that inspired me with the novel idea. UMG has approved personal use of the song on youtube. However, if I ever published the book, I wouldn't be able to use Half Acre any more. Which has caused me to ponder on odd occasions what I would use instead.

A few weeks ago, a tune* popped into my head (This happens to me from time to time. Usually, I forget them.) When I have access to a piano keyboard, I plot them out and write them down. Sans keyboard, though, the only way I'll ever remember them later is to make up lyrics to them.

With lyrics, I'll remember the tune indefinitely. As evidence, I submit my full recollection of the pop tune I wrote in the 80's titled It's a Fantasy Which is GRIPPING, I tell you.

So I wrote lyrics to the tune. About my book. A musical query, so to speak.

In her hands unfolded is a letter unclear

The search for its meaning will take her from here

When she follows the train tracks to places unknown

She'll uncover dark secrets and make them her own.

Chorus:

As haunted now as haunted then

Still haunted by "Remember when..."

Truth doesn't always set you free

At the razor's edge of memory.

As someone who bursts into song without provocation, I love the idea of musical queries. And what better way to get musical queries than a QT query contest?

So here are the rules:

1. The contest will run for one week. Submissions will be accepted until 6 pm EST on 5-5-09
2. Your song should include at least one verse and a chorus.
3. An actual tune is optional (but STRONGLY encouraged)
4. Parodies are totally cool with me, so you can just say "To the tune of ___".
5. Since this is not an agent contest, query songs for unfinished (or completely imaginary) manuscripts are acceptable.

Post your query lyrics as a comment on this thread. If you have an actual tune of your own, you can upload it to imeem.com or similar and include the link. And I wouldn't discourage any youtube performances, either.

My favorite entry will receive a fabulous prize!

A copy of Agent Demystified by Authoress of Miss Snark's First Victim.

If you're feeling overwhelmed by the query process and the hunt for an agent, this is the book for you!

*Please bear in mind that the only music-writing education I had was a 4-week special lesson in third grade, so I wasn't able to transcribe the tune perfectly, and the timing is a smidge off in this sample.

Note from Archetype/Carolyn: Today's post is by fellow writer Michelle McLean. If you've been struggling all week to come up with a one-line elevator pitch, this article is for you!  Now, I'm the sort that likes worksheets to scribble on when I'm tackling something as important as this, so I created a worksheet to go with Michelle's article.  You can find it here in PDF format.  Once you're all finished, feel free to share what you came up with in the comments of Mary's Elevator Pitch post .

Writing a Logline/The One-Sentence Pitch

by Michelle McLean

In this article, we are going to discuss how to create a logline for a novel. It is important to remember that every story is different. Some will need a little more information, and others can get the point across in three words or less. Well…maybe a few more than three words, but you get my drift.

First of all, what is a logline?

A logline is basically a one line summary of a screenplay or script. Since we are creating these for a novel instead of a script, we’ll call them hook lines. They can run two or three lines, but no more than that.

Why do you need one?

Your hook line, like a logline, takes a story full of complex plotlines and high-concept ideas and breaks it down into a simple sentence that can be quickly and easily conveyed to a wide range of people. Your hook line is your first pitch in getting someone interested in your book. It can be used as the first line in your query letter, to help hook the agent into reading the rest of the letter and requesting information. And it is especially useful for those pitch sessions at conferences or lunches. When a prospective agent or editor asks you what your book is about, your hook line is your answer. Because it is a simple line or two, it is also handy for those family dinner parties when Grandma asks what your book is about.

How do you create a hook line?

This is actually easier than it sounds. You do not need to condense your entire book into one sentence. But you do need to give enough information that the agent/editor/curious acquaintance you are addressing gets the gist of your book and is interested enough to want more.

Elements of a Hook Line

• Characters – Who is the main character? What does that main character want? What is his/her main goal?
• Conflict – Who is the villain of the story? Or what is the main obstacle to the main character obtaining their goal?
• Distinction – What makes your book different then all the rest? What is the unique element of your story that makes it stand out? Is your book a romance between a young man and woman? What makes them different?
• Setting – for a novel, adding a little about the setting, time period, and possibly genre (if it’s not obvious) is a good idea. For example, the hook line for my book, which is an historical romantic suspense, could begin “A young woman in Victorian England…”.
• Action – Your hook line needs to have action, excitement. For example, which hook line catches your interest more?
  
  
  • A woman has an affair and runs off with her new beau.
  • A neglected wife and mother has a torrid affair with an ex-con and kidnaps her children as she flees across the country with her lover.

The difference is the inclusion in the second example of action and description words. The woman becomes a “neglected wife and mother.” She has a “torrid” affair. The beau is an “ex-con,” implying a world of danger and crime. She doesn’t just run off, she “flees,” kidnapping her children in the process.

Examples:

Here are a few examples of loglines from well known movies. (Yes, I know we are creating hook lines for a book, but the concept is the same, and examples of loglines are easier to find).

• When a Roman general is betrayed and his family murdered by an insane and corrupt prince, he comes to Rome as a gladiator to seek revenge. (Gladiator)
• In a future where criminals are arrested before the crime occurs, a cop struggles on the lam to prove his innocence for a murder he has not yet committed. (Minority Report)
• A 17th Century tale of adventure on the Caribbean Sea where the roguish yet charming Captain Jack Sparrow joins forces with a young blacksmith in a gallant attempt to rescue the Governor of England's daughter and reclaim his ship. (Pirates of the Caribbean)
• A young man and woman from different social classes fall in love, must outwit her abusive fiancé, and find a way to survive aboard an ill-fated voyage at sea. (Titanic)
• A comedic portrayal of a young and broke Shakespeare who falls in love with a woman, inspiring him to write "Romeo and Juliet. (Shakespeare in Love)
• An archeologist is hired by the U.S. government to find the Ark of the Covenant before the Nazis. (Raiders of the Lost Ark)

For your own hook line, you need to decide which elements best convey what your story is about. It is interesting to see how adding different elements affects a hook line. For example, take a look at these two movie loglines.

• After a twister transports a lonely Kansas farm girl to a magical land, she sets out on a dangerous journey to find a wizard with the power to send her home. (logline by Brian A. Klems, found at http://blog.writersdigest.com/qq/What+Is+A+Logline.aspx)
• Transported to a surreal landscape, a young girl kills the first woman she meets, then teams up with three complete strangers to kill again. (Log Line attributed to Richard Polito of the Marin Independent Journal, who writes humorously sarcastic briefs for the paper's daily TV listings)

Both of these loglines are for the film Wizard of Oz, but they each give the film a distinctly different tone. Personally I like the second one best :D but the first probably gives a better idea of what the film is about.
It might take a little while to get your hook line perfected, but if you stick to the main elements of your story (the main character, the villain or conflict, what is unique about your story, and spice it up with a little action), your hook line should almost write itself. Just to show you that ANYONE can do this, (because if I can do it, anyone can), the hook line for my book is below.

A young woman in Victorian England is swept into an illicit affair with a reformed thief and must find a legendary necklace to ransom her life and the lives of those she loves from a corrupt lord. 

Can you spot the elements?

• Characters – a young woman and her love interest who is a reformed thief.
• Conflict – a corrupt lord (the villain) is threatening her life and the lives of those she loves unless she can find a legendary necklace.
• Distinction – my story is not just a romance, but has a big dose of suspense and mystery thrown in. The love interest is not a typical man but an ex-thief, and while the romance comes in with the affair, it is an “illicit” affair (implying something out of the ordinary, something forbidden).
• Setting – Victorian England. And the description of the story gives obvious clues to the genre – Victorian England = historical; illicit affair = romance; a treasure hunt/mystery and lives threatened = suspense….Genre = historical romantic suspense.
• Action – instead of saying my story is about a girl and guy who fall in love and search for a necklace, I describe the love story as an “illicit affair;” the necklace is “legendary,” the lord is “corrupt,” the love interest is “a reformed thief.” All these little elements help make the hook line more exciting, more interesting. And that is what will help hook the interest of potential agents, publishers, and readers.

--

About the Author

Born in San Jose, CA, Michelle McLean is the oldest of five children. She has always been an avid reader and began to write at a very early age. She has a passionate love of learning, which led to earning a Bachelor's degree in History and a Master's degree in English. She currently lives in Utah with her husband, two young children, and one very hyper dog. Visit her website at http://authormichellemclean.com/index.html and her blog at http://www.michellemclean.blogspot.com/.

The Elevator Pitch

Greater than the anxiety of sending a query letter is the knee-dissolving prospect of pitching your book face-to-face to that uber-agent.

My advice?  Be prepared! 

One of the highlights of a writers' conference is getting to meet agents in person to pitch your book.  The workshops are great and so is meeting new friends, but the pitch sessions are why most writers spend hundreds of dollars to go to conferences.  

Mistakes writers make in the pitch sessions: 1) Not being concise, 2) not being prepared, and 3) failure to read the agent.

1)  Be concise: If you are pitching to an agent at a conference, it is understood that you have a completed novel or non-fiction proposal.  The pitch should be a brief, and I mean brief, summary of your project.  You get ten minutes with the agent usually, but ten minutes is a long time to listen to someone prattle on about their book.  Really.  Put yourself in the agent's shoes.  I've heard several agents say the same thing in workshops: Keep it short and let the agent ask questions.  This way, they are engaged and can find out things about your project or you that interest them.  

2)  Be prepared:  Distill your book into a pitch well before the conference.  Don't wait until breakfast the day of the appointment.  

I spent a great deal of time at the last conference I attended watching other writers pitch.  I was amazed how many were unprepared.  Some went on and on, speaking in circles about their project while the agent looked around the room trying to stay awake.  Others had memorized an intricate and detailed five-minute summary of their book.  While some made it through with robotic precision (yawn), others became flustered and had to start over several times, like a kid reciting the Preamble to the Constitution.  The pitches that had the greatest result with agents were the ones that were brief and conversational.  Some of these writers were more at home speaking to an agent, but most of them had a natural, conversational pitches because they had spent a long time preparing and practicing the pitch.

You can have the greatest pitch ever, but if you don't practice out-loud, it will sound stiff.  Find someone to practice with.  Have them ask questions about your book.  Practice! Practice! Practice!  

3)  Read the agent.  This is the hardest part.  You are so nervous you can hardly see straight, much less read someone's body language, but you need to be aware of your audience.  

I watched while agents politely endured ten-minute monologues about projects while shifting in their chairs, covertly sneaking peeks at their watches and gazing longingly at the door.  The writers didn't even notice--they droned on and on, oblivious to the reception their pitch was receiving.  In one case, the agent tried to interrupt a writer to ask a question, and the writer was so engrossed in his recitation, he didn't notice she wanted his attention until she tapped him on the shoulder.  

The pitch is about describing your project and having a conversation about it.  There is a live person across the table from you--take advantage of that.  A full one-sided description can be done in a letter.  

Okay, so why is it called an elevator pitch?  Because it should be short enough to deliver on a standard elevator ride.  Brief.  

Everyone should have an oral pitch for their book whether they plan to pitch to an agent at a conference or not.  

I'm asked all the time what my book is about.  I have several versions of my pitch that I apply in different situations. One is about a minute long, which would be good for a conference pitch.  I have a 30-second pitch I use in situations where I am with someone who is genuinely interested in my project. Another is a one-liner I use when someone is asking to be polite or trying to make conversation.  I call it my "party" pitch.  I love my books, but most people don't want to hear me go on and on about them.  The one-liner discharges the duty on both sides.   I recommend you create one.  

Now for an example of a 30-second elevator pitch!

Jessica Verday is a fellow QTer and one of the nicest people ever.  She was kind enough to let me use her elevator pitch for her book THE HOLLOW, which is coming out in October 2009 from Simon & Schuster.

THE HOLLOW is a modern day ghost story that follows sixteen year-old Abigail Browning in her struggles to deal with the sudden death of her best friend, Kristen.  A death that people say might not have been an accident.  When Caspian, a mysterious and gorgeous stranger, shows up out of nowhere at Kristen's funeral, he encourages Abbey to look further into the situation.  

Just when Abbey feels like she might be able to deal with everything, a hidden diary makes her question everything she thought she knew about her best friend.  Torn between her grief and anger, Abbey sets out to uncover the truth behind the secrets Kristen was keeping from her.  Along the way, she'll stumble upon the buried past of her famous town and learn that some secrets are kept for a reason, when she inadvertently comes face to face with the real Legend of Sleepy Hollow.

Now, if I were an agent across the table from Jessica, I'd be asking questions at this point, wouldn't you?  The oral pitch is concise, informative and intriguing.  I want to hear more. 

Here is Jessica's "party" one-liner:  

A dead friend, an old grave, and a local Legend haunt a sixteen year-old girl.

The challenge!  I'm going to post my 30-second pitch in the comments and encourage you to do the same.  It should be under 150 words.  Jessica Verday's word-count is 149 and my pitch in the comments is 119.  Feel free to post your one-sentence pitch also.  

Seeing other pitches helps us improve our own, which is what QueryTracker.Net is all about--helping writers improve their craft and make the quest for an agent less complicated.  

Mary Lindsey writes paranormal fiction for children and adults. Prior to attending University of Houston Law School, she received a B.A. in English Literature with a minor in Drama.

Mary can also be found on her website.