The Pitch
I just got a new three-book deal for Nocturne, as I blogged about yesterday. And that got me thinking . . . about pitches.
I know there are many ways to go about pitching your book. I know there are probably as many opinions about this as there are agents and writing gurus. But I thought I would share a few insights I've learned along the way--just me, in my experiences.
I sell on proposal. My usual proposal, if I am established with that editor, is five pages, max. It is, as my agent puts it, "the sizzle." It sounds a bit like marketing blurb, a bit like back cover copy, and includes enough of the plot to sound like there's action and movement. I describe the main character in fifty words or less.
I ALSO have a pitch that is 50 words or less about the ENTIRE novel. If I was a new writer, this would be what I would stick in my query. I do not use the "Da Vinci code meets Matrix" style pitches, because you can end up pitching to someone who a) hated those two works, or b) has such a build-up of that because they LOVED said two works so that you can't compete.
That said, I have to tell you something that was my pet peeve as an editor, and is the peeve of many of my editor pals. Unless I asked for it (and I never did), a 30-page detailed synopsis is just enough to make me scream. I'd rather read the friggin' book. AND if you cannot practice pitching--into a mirror, to a friend, to a critique partner--and get it down pat, I sincerely think you hurt yourself.
Why? In the six degrees of separation, and playing the convention and contacts game, you never know who your short, practiced, AWESOME pitch, if spit out at the right time, will entice. You never know. If you tell an editor, "My book is really hard to describe. Um . . ." you've lost. Why? Because if YOU as CREATOR can't decribe your book in terms that a commerical fiction editor can understand, then how can that person tell his or her team, marketing etc.?
When I go into my pitches, I nail my concept. The three-book pitch that got bought was turned in last Thursday. I had an offer yesterday. And let me tell you . . . I knew with conviction what my concept was. I'll tell you all about it later this year in anticipation of the series being released. But practice your pitch, folks. It's that important.
I know there are many ways to go about pitching your book. I know there are probably as many opinions about this as there are agents and writing gurus. But I thought I would share a few insights I've learned along the way--just me, in my experiences.
I sell on proposal. My usual proposal, if I am established with that editor, is five pages, max. It is, as my agent puts it, "the sizzle." It sounds a bit like marketing blurb, a bit like back cover copy, and includes enough of the plot to sound like there's action and movement. I describe the main character in fifty words or less.
I ALSO have a pitch that is 50 words or less about the ENTIRE novel. If I was a new writer, this would be what I would stick in my query. I do not use the "Da Vinci code meets Matrix" style pitches, because you can end up pitching to someone who a) hated those two works, or b) has such a build-up of that because they LOVED said two works so that you can't compete.
That said, I have to tell you something that was my pet peeve as an editor, and is the peeve of many of my editor pals. Unless I asked for it (and I never did), a 30-page detailed synopsis is just enough to make me scream. I'd rather read the friggin' book. AND if you cannot practice pitching--into a mirror, to a friend, to a critique partner--and get it down pat, I sincerely think you hurt yourself.
Why? In the six degrees of separation, and playing the convention and contacts game, you never know who your short, practiced, AWESOME pitch, if spit out at the right time, will entice. You never know. If you tell an editor, "My book is really hard to describe. Um . . ." you've lost. Why? Because if YOU as CREATOR can't decribe your book in terms that a commerical fiction editor can understand, then how can that person tell his or her team, marketing etc.?
When I go into my pitches, I nail my concept. The three-book pitch that got bought was turned in last Thursday. I had an offer yesterday. And let me tell you . . . I knew with conviction what my concept was. I'll tell you all about it later this year in anticipation of the series being released. But practice your pitch, folks. It's that important.
posted by Erica Orloff at 2:50 PM
20 Comments:
An informative post, as always. Not to mention timely. I'm still learning all the important rules in this game. Sometimes the ones you think of as small, are actually much bigger than they first appear.
I used to think a synopsis was difficult to write. Someone on the eHarl boards coined the phrase 'sucknopsis'. Just as I'm getting the hang of them, I learn I don't get 30 pages, but 30-50 words. Ack! I agree about the 'this meets that' tactic, I personally haven't heard it used in a manner that relates to the story its being used on. I think the word that got me most in this post was 'concept'. They don't want the entire story. Duh! Just the concept-good vs evil-love conquers all, etc. Man, knowing my concept, costly, nailing it in 50 words...priceless for a run on gal like me. Off to practice. Jeez, like the kids aren't already sick of listening to me talk to myself!
Nice job with the 3 book deal, Erica!
Sorry I missed yesterdays sad news. Was a tad bit distracted ;0) There are some nice strong voices in the Bombshell line up, I'm sure this is a blow to them, but ultimately, I think many of them may wind up better writers for being forced to explore their own versatility. Who knows?
oops, look at that! My techno-kid has been screwing around with my identity again. Not only am I no longer anonymous, I've got an entire name. Off to have words with the boy!
lainey:
My fifty-word pitches are pretty tight, and it took me a long time and lots of practice to get it. The other trick is having faith it sounds strong and not like crap. LOL! Took me a long time to get there, too.
Spanish Disco: A workaholic, alcoholic editor is assigned to edit the follow-up of America's most beloved literary classic, and when she's forced to live with the eccentric genius, it changes both their lives. (29 words)
The Roofer: The daughter of the Irish mob's most infamous murderer is forced to finally confront the totality of her family's violent ways when a movie is made about The Westies, in America's love of all thing mob-related. (36 words)
Now, are these books about much more? Redemption? Sacrifice? etc.? yeah. But for the pitch I have to get some of the plot and some of the "who" element down.
E
Here's one for the novel I started today:
In my thriller *One In The Corner*, Private Investigator Nicholas Colt searches the streets of Jacksonville, Florida for a runaway fifteen year-old girl and, for the first time, faces the dilemma of whether or not to take another man's life in his effort to rescue her from drugs and prostitution.
Okay, so I need more practice. But, I included the category, title, protag's name, setting, central problem, and a moral dilemma that makes the story stand out a bit. 51 words.
Hey Erica
I *sometimes* have a hard time describing what I write but only because I try to figure out what the person asking is looking for... for instance I might try to describe it one way to a family member and another to a writer friend... a few weeks ago I was listening to an interview blurb from Shinedown (my new fav band) and he was trying to describe what the song was about (I Dare You) and he just kept talking in circles, trying to give more and more information - it was just interesting, I think sometimes you can be too close to it, to see it !
Here's the one I am working on now:
Even before her first date with Marc, Molly had planned their future and it included 2.5 children. Unfortunately, almost two years later things aren’t working out as expected. When a sudden job transfer lands them on the quaint cul de sac of Meandering Trail, Molly realizes that not getting pregnant isn’t the worse thing that can happen. Her neighbors are. (60 words but could be pretty easily condensed down to 50)...
Congrats on 3 more books - yours are always awesome...
gina.
Gina:
I'd bite on that! Adorable--love the last line!
E
Jude:
The only thing I think is missing . . . three of four words that tell me more about him (grizzled ex-cop, former marine, burnout case, what?)
Other than that--fab!
E
Thanks, Erica. I'll add a few words about Colt.
Actually, I hadn't thought about a pitch before reading your blog post, but I think it'll be useful to look back on as I proceed in writing the book.
I start with a full-paragraph blurb, then condense to 50 or so words, tighten again to 30 words, then my final overview concept is boiled down to 15 words or less. (Talk about a challenge!) This technique has really helped me to get the story idea and concept in focus and on target.
I appreciate your helpful blog info!
30 page synopsis - omg - I can usually get up to 4 or 5 pages, double spaced! I always try to narrow it down to one sentence, then develop it into a 50 or so word blurb!
Kate:
Brilliant technique! Thanks for sharing!
E
Sara:
I think one reason a lot of pubbed authors do the 5-page one is not wanting to get locked in to precise plot points. we all know books morph and change in the course of the writing.
E
Kate:
Yes! That's my philosophy on writing in general. I'm a minimalist at heart. Start with a full pot of ingredients, simmer it down, kick it up a notch (to steal a phrase from one famous chef), simmer it down some more, more, more, until it reaches its essence.
Mmm Mmm good!
Excellent examples, Erica. I think I get it now. Nice job Jude and Gina! Wow, Kate 15 words. I'm impressed. The best I could do yesterday was 67, but I've simmered it down to 37 this morning: 'Crashing into Destiny'
A cynical commitment-phobe collides with a rich recluse willing to do anything for her. He thinks fate brought them together. She discovers he may be destined to be part of her life, whether she wants it or not.
Now to add the 'bam' factor and practice until I could spit it out to a stranger in an elevator. OMG
lainey:
Just think . . . that stranger in an elevator could be a top agent, an editor--one never knows!
E
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Okay, my turn.
ABSOLUTION: A burnt-out spy used by the CIA agent as nothing more than a prostitute exacts her revenge on the agency and then goes into hiding. But her mole-like existence doesn't last when a tsunami hits her small town and children begin to disappear. Should she help and risk discovery? Or should she turn a blind eye to the evil surrounding her?
====
Okay, too long. And it doesn't say anything about the HOT HOT HOT love triangle in the book.
Hey Karm:
It may not have the love triangle in it, but that first sentence is powerhouse!
E
ok, here's my fist shot, weighing in at 55 words:
Hancock James looses his leg in a robbery gone awry, and finds himself in a medical prison where they experiment on the inmates. The fight to save his life turns out to be a fight to save the multiverse. Falling in love with a beautiful witch along the way doesn't make his job any easier.
Ewoh:
Sounds good! And most definitely creepy!
E
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