How to Promote Your Work Without Being Pushy

For many, the primary goal at a writer's conference is to get their work in front of agents and editors. There are usually first-come-first-serve appointment slots available, and there are also more organic opportunities to meet these professionals, as well. Ashley wrote a fantastic post about pitching last week, but I wanted to expand on that fine line between promoting yourself and being pushy.

Now, I know all of our Alley readers are decent human beings with the best intentions. But sometimes nervousness and introvert overcompensation can cloud our judgment, and my hope is that we can find a healthy balance between the natural tendency to undersell ourselves and giving our work the visibility it deserves.

Allow me to demonstrate (pretty please).

At my first conference, before any of us were agented, some friends of mine and I approached an agent to thank him after a really informative panel. None of us even had the intention of pitching to him at that conference, but he ended up talking with us for at least thirty minutes at the bottom of an escalator about several different things, including what we write. It was such an excellent conversation!

And then this woman we didn't know approached, eyes zoned in on the agent, hovering uncomfortably close to us for a few minutes until he finally--reluctantly--made eye contact and she felt it okay to interrupt. This is not the way to get someone's attention. In fact, this is pretty much a surefire way to get an agent to tell you to email an assistant at best and flat-out reject you on the spot at worst.

In my experience at conferences, working commission retail, pitching authors to media outlets, and even what I learned mattress shopping tonight, there are better ways to promote your work than being pushy. Because I want you to be bold and own your talent without banishing yourself to no-man's land.

1) Form some kind of relationship before you begin to sell. Whether you get seated next to an agent at a conference meal or you're meeting the professional for the first time at your 15-minute appointment slot, briefly talk about something else to break the ice. A favorite book they edited, a client they represent, something he or she said in a class or panel. Anything to ease into the conversation and calm your nerves. Don't wax poetic and waste half of your allotted time, but don't immediately launch into your pitch without silently establishing that you respect this person as a human being and not just a means to accomplish your goals. Rule of thumb: remember to consider it a conversation.

2) If you have to be negative about something else to sell yourself, you're doing it wrong. Remember that authors, agents, and editors are often friends with each other even if they've never worked together. It's a very small world in publishing, so make sure your focus is on the positive aspects of your work and what you have to offer them. Make sure you're not stepping on someone else's face to get a leg up. Or else you're no better than the political candidates spamming your mailbox with hate mail every election season.

3) Use discernment. Pay close attention to nonverbal cues, tone of voice, posture. I'd venture to say that generally you shouldn't pitch to someone unless it's invited. Though chance pitches are successful occasionally -- my critique partner got a full manuscript request from her agent at the hotel bar -- it's best not to catch a professional off guard, engrossed in something else, or when he/she is clearly clocked out for the day.

4) Remember that your pitch sets the tone of what kind of person you'll be to work with. Be confident in your work and show them you're serious about publication without being arrogant. Take advantage of this opportunity to highlight the key, sellable aspects of your book with boldness. And make sure to keep it real. Agents and editors have heard about many life-changing, ground-breaking, sure-to-be bestsellers, so that aspect alone will not sell your book :)

A gracious, confident conversation will, on the other hand, give you the best chance for success!

Have you had successes or failures pitching to an agent or editor at a writing conference? Will this be your first time? Let us know in the comments!

---

Laurie Tomlinson is a wife and mom from Tulsa, Oklahoma, who is passionate about intentional living, all things color-coded, and stories of grace in the beautiful mess. Previously a full-time book publicist, she owns a freelance copywriting, editing, and PR consulting business. 

She's a member of the American Christian Fiction Writers and received the Genesis Award in 2013 (Contemporary) and 2014 (Romance). 

Her work is represented by Rachel Kent of Books & Such Literary.

You can connect with Laurie here:

Facebook - AuthorLaurieTomlinson

Twitter - @LaurieTomlinson

Web - www.LaurieTomlinson.com

Preparing the Perfect Pitch

I first wrote this post several years ago about my first ACFW conference. As the annual conference draws near, I thought it'd be fun to revisit this post. I hope it's helpful to those of you who are preparing pitches for those agent and editor appointments!

###

Be honest. In the middle of the night, during conference season, you've had nightmares of Chip MacGregor telling you he thinks your concept is totally dull and an impossible sell. Nooooo....

Face-to-face rejection. It's every writer's worst nightmare.

I vividly remember my first pitch. It was the 2010 ACFW conference, and I had an appointment with Ami McConnell. Yes, I've always had lofty aspirations. My appointment was the first one after lunch, and I made a point to leave lunch early to join the line of other panic-striken writers. Suddenly the ability to even remember your name had become an asset. "What do you write?" One of us would ask each other. "Who are you pitching to?" The answers were different, but the look in the eyes was (and is) always the same. I like to describe it as that feeling you got waiting outside the principal's office. Even if you knew you had done nothing wrong, he would find something. The assumption was, these people are waiting for us to fail.

That's problem #1.

Editors and agents do not want to see you mentally and socially flailing. Well, at least most of them don't. Just kidding! Remember that these people are in the book business. And the book business doesn't work too well without authors. There's no reason to be afraid. You're looking to enter into a partnership. That's all there is to it. I know it feels like they have your every dream in the palm of their hands, but really, those are in God's. And He has a much better idea who your book will best fit with anyway.

With that in mind, I've created three lists of three things that should help you get your pitch prepared for conference season. I hope you find them helpful!

3 Things to Do Before You Leave Home:

• Research. Nothing is more embarrassing than pitching your YA manuscript to a publishing house that is currently only buying Amish historicals. And believe me, editors don't like this. If you were them, would you? Do research on your target editors and agents before you leave so that your pitch comes across as intentional. Even just browsing through a publishing house's website and reading a couple of their books can go a long way.
• Practice in front of a mirror. Yes, I know this makes you feel silly. You will feel even more ridiculous if the first time you pitch is in front of your dream editor.
• Reread your book. If the appointment goes well, an editor or agent is likely to ask you more about the story, but there's no way to really predict what they will ask. In order to keep your answers as natural and eloquent-sounding as possible, before you leave, take note of your major plot points. If someone were to ask you about the major conflicts in the novel, the dark moment, or the character arc, would you be able to answer? What if they asked you what you ultimately hope readers will get out of your book? Why you are a good fit for their publishing house? If you are prepared, your answers to these questions can make you seem golden. 

3 Things to Do During Your Appointment:

• Be professional. Oh my goodness, I am always amazed by how many people ignore this one. You should treat your appointments as if they are a job interview, because--let's face it, they are. That means even if the appointment does not go as you'd hoped, you still have an opportunity to leave a good impression. Next year's conference might seem like a long time away now, but next year, you'll wish you hadn't burned a bridge.
• Take a deep breath and introduce yourself. Jumping into your pitch and rattling it off like a 10th grade oral book report project is not a good strategy. You want your appointment to be a conversation, a chance to get to know an editor or agent. Slow down, introduce yourself and maybe even tell them what you write or offer a one sheet before you jump into your longer pitch. Otherwise it's too much for them to process.
• Take cues from the editor or agent with whom you are speaking. Have you ever had a conversation with someone and politely tried to end it with nonverbal cues, only to have that person continue talking about themselves with no end in sight? Don't be that person in your appointments. Give the editor or agent a chance to think and ask you questions. Remember that your book idea is new to them. They need at least a few seconds to process it.

3 Things Your Pitch Should Include:

• Goals/forward motion. This can be anything from a new job to a heroic quest to save a princess, but it should be clear what your main character is working toward.
• Conflict. Conflict is usually the most interesting part of the story, so this is your chance to really "pack a punch" so to speak, with your pitch. Be sure you are very clear what your character has working against her, and don't shy away from using external conflict. "She feels hesitant about dating him," is not a strong enough conflict to sustain a book-long project. "He put a restraining order against her because he thinks she's stalking his children" is a different story. Got your attention, didn't it? (Side note: if any of you have written stalker romances, my apologies.)
• A compelling hook, using your writing voice. You need a wham! moment to stand out amongst the hundreds of other pitches these people have to hear throughout the day. Sometimes using a question works well. Other times it's just in the phrasing. I would recommend having someone you trust, like your critique partner, work with you on this. Ideally, you want your wham! moment to correspond with your biggest source of conflict. And even beyond that, be sure it reflects your voice. This is the first chance you get to showcase your writing voice, so make it memorable.

You also want to remember to keep these short. It's a good idea to develop both a short pitch and a longer pitch. And when I say "short pitch," I mean short. We're talking, 7 words, ideally. Your longer pitch should be around 3 or 4 sentences. The short pitch should be just long enough to really catch their attention, and then the longer pitch develops the main conflict a bit more. But even the long pitch should not tell your whole story.

What you want to happen in an ideal situation is for your short pitch to lead to your long pitch, which then leads to a one sheet or even a proposal request, and then to your book.

A note on pitching etiquette: Sometimes it can be hard to determine when it is and is not socially acceptable to pitch. Generally, most people tend toward one side or the other. If you're an introvert, you might have to get a little out of your comfort zone. If you are an extravert, you may need to tone it down a little. Remember that editors and agents are human, which means they all have different preferences and moods. If someone is on their cell phone engrossed in what looks like a very serious conversation, or an agent is having a one-on-one with one of their authors, please do not interrupt them. It's considered rude and will really work against you in the end.

That said, on the other hand, agents and editors know you have come to the conference to pitch to them, and some will deliberately hang out in public areas so they can get to know potential authors and clients. In some cases, it can bode well if you recognize your dream editor or agent because it shows you have done your research. You've paid a lot of money and put a lot of effort to come to this conference, so if a good opportunity presents itself and seems like it may even be a God-thing (i.e. you end up on the elevator at the same time), it may be best to seize the chance while you have it.

Here's a normal way to have that conversation: "Hi, I'm Delilah Dopplerfritz. Aren't you _______?" "Yes, I am. Are you enjoying the conference?" "Yes. I'm glad to run into you because I was hoping to have a chance to pitch to you this weekend. Do you have a minute to hear about my book, or are you in a hurry?" "Sure, tell me about it. But make it quick." (Insert pitch.)

It's always a good idea to ask if they have time to hear your pitch if you're not in a formal setting like an appointment or their appointed lunch table. And if they say they don't have time, don't be offended. It's not you. They are busy people!

Above all else, be yourself. You are selling yourself as an author just as much as you are selling your book. Remember that, and it will be easier. 

Your turn! Do you have any pitching advice or funny stories to share? Do you have a pitch you would like input on? Feel free to share it and get the group's feedback!

###

Ashley Clark writes romance with southern grace. She's dreamed of being a writer ever since the thumbprint-cookie-days of library story hour. Ashley has an M.A. in English and enjoys teaching literature courses at her local university. She's an active member of ACFW and runs their newcomer's loop. When she's not writing, Ashley's usually busy rescuing stray animals and finding charming new towns. You can find Ashley on her personal blog, Facebook, Pinterest, and Twitter. She is represented by Karen Solem.

Preparing Your Pitch

Today, I'm pulling one of my favorite posts from the archives as many of us get ready for conference season! I first wrote this post several years ago... little did I know the adventurous, challenging, dream-filled journey that would come ahead. With the ACFW Conference and others just around the corner, I hope this post helps you feel more prepared for what to expect when you go into those meetings with agents and editors, whether this is your first conference or your twelfth. We all get nervous, but it's how you channel those nerves that makes a difference. Let the agent or editor see the passion in your eyes for your story, and be on the lookout for other writers who may be even more terrified than you are. There's always an opportunity to encourage others if you look for it! -- Ashley

###

Be honest. In the middle of the night, during conference season, you've had nightmares of Chip MacGregor telling you he thinks your concept is totally dull and an impossible sell. Nooooo....

Face-to-face rejection. It's every writer's worst nightmare.

I vividly remember my first pitch. It was the 2010 ACFW conference, and I had an appointment with Ami McConnell. Yes, I've always had lofty aspirations. My appointment was the first one after lunch, and I made a point to leave lunch early to join the line of other panic-striken writers. Suddenly the ability to even remember your name had become an asset. "What do you write?" One of us would ask each other. "Who are you pitching to?" The answers were different, but the look in the eyes was (and is) always the same. I like to describe it as that feeling you got waiting outside the principal's office. Even if you knew you had done nothing wrong, he would find something. The assumption was, these people are waiting for us to fail.

That's problem #1.

Editors and agents do not want to see you mentally and socially flailing. Well, at least most of them don't. Just kidding! Remember that these people are in the book business. And the book business doesn't work too well without authors. There's no reason to be afraid. You're looking to enter into a partnership. That's all there is to it. I know it feels like they have your every dream in the palm of their hands, but really, those are in God's. And He has a much better idea who your book will best fit with anyway.

With that in mind, I've created three lists of three things that should help you get your pitch prepared for conference season. I hope you find them helpful!

3 Things to Do Before You Leave Home:

• Research. Nothing is more embarrassing than pitching your YA manuscript to a publishing house that is currently only buying Amish historicals. And believe me, editors don't like this. If you were them, would you? Do research on your target editors and agents before you leave so that your pitch comes across as intentional. Even just browsing through a publishing house's website and reading a couple of their books can go a long way.
• Practice in front of a mirror. Yes, I know this makes you feel silly. You will feel even more ridiculous if the first time you pitch is in front of your dream editor. I always give my students the same advice before their presentations. The more you say your pitch aloud, even if it's only to yourself, the more normal this process will feel.
• Reread your book. If the appointment goes well, an editor or agent is likely to ask you more about the story, but there's no way to really predict what they will ask. In order to keep your answers as natural and eloquent-sounding as possible, before you leave, take note of your major plot points. If someone were to ask you about the major conflicts in the novel, the dark moment, or the character arc, would you be able to answer? What if they asked you what you ultimately hope readers will get out of your book? Why you are a good fit for their publishing house? If you are prepared, your answers to these questions can make you seem golden. 

3 Things to Do During Your Appointment:

• Be professional. Oh my goodness, I am always amazed by how many people ignore this one. You should treat your appointments as if they are a job interview, because--let's face it, they are. That means even if the appointment does not go as you'd hoped, you still have an opportunity to leave a good impression. Next year's conference might seem like a long time away now, but next year, you'll wish you hadn't burned a bridge. Don't have a temper tantrum or start arguing with an agent or editor. Not a good idea. And chances are, though it may sting at the time, they are right about what they're saying. Show them respect.
• Take a deep breath and introduce yourself. Jumping into your pitch and rattling it off like a 10th grade oral book report project is not a good strategy. You want your appointment to be a conversation, a chance to get to know an editor or agent. Slow down, introduce yourself and maybe even tell them what you write or offer a one sheet before you jump into your longer pitch. Otherwise it's too much for them to process, after they've just sat through hours of other pitches.
• Take cues from the editor or agent with whom you are speaking. Have you ever had a conversation with someone and politely tried to end it with nonverbal cues, only to have that person continue talking about themselves with no end in sight? Don't be that person in your appointments. Give the editor or agent a chance to think and ask you questions. Remember that your book idea is new to them. They need at least a few seconds to process it.

3 Things Your Pitch Should Include:

• Goals/forward motion. This can be anything from a new job to a heroic quest to save a princess, but it should be clear what your main character is working toward.
• Conflict. Conflict is usually the most interesting part of the story, so this is your chance to really "pack a punch" so to speak, with your pitch. Be sure you are very clear what your character has working against her, and don't shy away from using external conflict. "She feels hesitant about dating him," is not a strong enough conflict to sustain a book-long project. "He put a restraining order against her because he thinks she's stalking his children" is a different story. Got your attention, didn't it? (Side note: if any of you have written stalker romances, my apologies.)
• A compelling hook, using your writing voice. You need a wham! moment to stand out amongst the hundreds of other pitches these people have to hear throughout the day. Sometimes using a question works well. Other times it's just in the phrasing. I would recommend having someone you trust, like your critique partner, work with you on this. Ideally, you want your wham! moment to correspond with your biggest source of conflict. And even beyond that, be sure it reflects your voice. This is the first chance you get to showcase your writing voice, so make it memorable.

You also want to remember to keep these short. It's a good idea to develop both a short pitch and a longer pitch. And when I say "short pitch," I mean short. We're talking, 7 words, ideally. Your longer pitch should be around 3 or 4 sentences. The short pitch should be just long enough to really catch their attention, and then the longer pitch develops the main conflict a bit more. But even the long pitch should not tell your whole story.

I repeat, the pitch does not need to tell your whole story. That's what a synopsis, and even a chapter-by-chapter summary is for. The goal here is just to generate interest and questions.

What you want to happen in an ideal situation is for your short pitch to lead to your long pitch, which then leads to a one sheet or even a proposal request, and then to your book.

A note on pitching etiquette: Sometimes it can be hard to determine when it is and is not socially acceptable to pitch. Generally, most people tend toward one side or the other. If you're an introvert, you might have to get a little out of your comfort zone. If you are an extravert, you may need to tone it down a little. Remember that editors and agents are human, which means they all have different preferences and moods. If someone is on their cell phone engrossed in what looks like a very serious conversation, or an agent is having a one-on-one with one of their authors, please do not interrupt them. It's considered rude and will really work against you in the end.

That said, on the other hand, agents and editors know you have come to the conference to pitch to them, and some will deliberately hang out in public areas so they can get to know potential authors and clients. In some cases, it can bode well if you recognize your dream editor or agent because it shows you have done your research.You've paid a lot of money and put a lot of effort to come to this conference, so if a good opportunity presents itself and seems like it may even be a God-thing (i.e. you end up on the elevator at the same time), it may be best to seize the chance while you have it.

Here's a normal way to have that conversation: "Hi, I'm Delilah Dopplerfritz. Aren't you _______?" "Yes, I am. Are you enjoying the conference?" "Yes. I'm glad to run into you because I was hoping to have a chance to pitch to you this weekend. Do you have a minute to hear about my book, or are you in a hurry?" "Sure, tell me about it. But make it quick." (Insert pitch.)

It's always a good idea to ask if they have time to hear your pitch if you're not in a formal setting like an appointment or their appointed lunch table. And if they say they don't have time, don't be offended. It's not you. They are busy people!

Above all else, be yourself. You are selling yourself as an author just as much as you are selling your book. Remember that, and it will be easier. 

###

Your turn! Do you have any pitching advice or funny stories to share? Do you have a pitch you would like input on? Feel free to share it and get the group's feedback!





Ashley Clark writes romance with southern grace. She's dreamed of being a writer ever since the thumbprint-cookie-days of library story hour. Ashley has an M.A. in English and enjoys teaching literature courses at her local university. She's an active member of ACFW and runs their newcomer's loop. When she's not writing, Ashley's usually busy rescuing stray animals and finding charming new towns. You can find Ashley on her personal blog, Facebook, Pinterest, and Twitter. She is represented by Karen Solem.

A conference prayer

It’s almost here! ACFW 2013! I posted this prayer prior to conference last year, and want to share it again today in the hope that it will speak to someone as they prepare for the biggest event of the Christian novelist's year. 

So many hopes and expectations converge over these next few days. Let’s pray that God will be at the center of it all.

For those who are travelling… Lord, keep them safe. We ask for itineraries to run smoothly, for timely flight connections, for safety on the road, for time to reflect and relax and mentally prepare.

For those who are anxious… Lord, give them peace. In all the hurry and busyness, let them turn their minds to you and find a place of calm. Take away all anxiety and worry, pressure and expectation, and fear of the unknown. Replace these things with your perfect peace. May they rest in you.

For those attending conference for the first time… Lord, may they have the time of their lives. We pray for new friendships to be formed, for eyes and ears wide open to soak everything in, for hearts willing to learn and the confidence to go after their dreams.

For those who’ve been before… We thank you for friends old and new, for fun and laughter, for morning coffee-runs and conversations that last late into the night. We ask for eyes to see those who are lonely or in need of encouragement, and the generosity of spirit to reach out beyond themselves and help someone else along the way.

For writers who are feeling burnt out… Lord, give them fresh inspiration. Fresh ideas. Fresh joy in the craft and a renewed passion for their calling. You know those who need a little extra something this year. Those who’ve pursued their dreams for so long they’ve grown tired and discouraged along the way. Please bless them with a song in Praise and Worship, a light-bulb moment in a workshop, a word of encouragement from a respected mentor, the divine connection they so desperately need, the open door they’ve been longing for.

For writers who are pitching… Lord, please gift them with peace and clarity. Help them articulate the essence of their story with passion and heart. Give them the confidence to believe in their ideas and the grace to understand that not every editor or agent will be a perfect fit for them. We pray for a spirit of calm over the appointment tables, for great conversations between writers and industry professionals, for writers to leave their appointments feeling satisfied that they represented themselves well.

For the editors and agents… This is such a busy time for them. Amid the clamor of voices, pitches and ideas, please give them the discernment to recognize the people and projects that would be a great fit for them. Keep them sharp and alert to what your Spirit is saying. Give them the ability to filter through distraction – a noisy lunch table, an imperfect pitch from a nervous writer – and catch the heart of each idea that is offered. May they consider each project with open-mindedness, honesty and grace. When they are tired, please refresh their spirits. We pray for blessed times with colleagues, valuable professional connections, and exciting new projects to acquire.

For those who can’t go to conference… Lord, help us to trust in your good plans for our writing journey. Renew our spirits. As we hear good news and exciting stories filtering back from our writer friends at conference, may we rejoice with them whole-heartedly. We thank you for how far you’ve brought us and give you praise that the best is yet to come.

Amen.

How can we pray for you this week? Please share your prayer requests in the comments section so we can lift each other up in faith!

Images courtesy of freedigitalphotos.net

Karen Schravemade lives in Australia. When she's not chasing after her three preschool-age kids, she spends her spare minutes daydreaming about the intricate lives of characters who don't actually exist. Find her on her website and Twitter.

The Perfect Pitch: Hook, Line, and Sinker

In a lot of ways pitching your book is like fishing, casting a line and hoping for some bites. Okay, let’s be honest, we’re not really looking for bites so much as we want to hook a BIG FISH!

 

But if you’ve ever gone fishing you know that it’s not always as easy as it seems.

Whether your six-pound bass is that superstar agent or your dream publisher, you’ve got to go in with a game plan because we all know when we start talking about our book, well . . . lets just say we have a tendency to ramble. And with so much pressure and competition, and very little time to cast the lure, how can you be concise and still utterly unforgettable that ten minutes will have your big fish catching the vision?

Here are a few tips on how to make a splash:

1. Prepare your tackle box in advance.

Do your research on all those fish and go in armed with knowledge. Read their bio. Know what they are looking for. Who they represent.

If it’s an agent, read their blog, get a feel for their personality so you know how best to present your story. Mention things you like or respect about their blog or their authors so they are confident your meeting was intentional and not a blind cast with the wrong bait.

If it’s an editor, research the author’s they’ve worked with, better yet, read some of the books they’ve edited. Then you’ll have a point of reference.

Be armed with sample chapters, a one sheet, a business card, and a short synopsis, just in case they want a nibble. Be prepared.

2. Be some tasty bait.

We know underneath that squirmy worm or flashy spinner there is a nice sharp hook. We’ll get to that in a minute. What I’m talking about here is the thing that gets them swimming along a bit faster, tempts their mouth to start chomping.

So, how’s your presentation? Have you rehearsed your elevator pitch--in front of a mirror, then in front of another human being? Do you sound robotic or conversational? Have you considered what types of questions they might ask you and how you might respond? You won’t be doing all the talking, so are you prepared to answer questions about your story?

Have you chosen an outfit that is both professional and portrays your style? Your personality will be something that is slathered (in one way or another) on every page of your novel as if imbedded with your fingerprints. But before they crack open your pages (if they ever do) YOU are the open book they get to read first. You wouldn’t show up to a job interview in your Thanksgiving pants, a wrinkled shirt, and with bed head, would you? As much as we hate it to be true, our first impressions are generally visual—Ahem! We all sometimes judge a book by its cover. Moral of the story here: Don’t wear something that makes you look like everyone else. Wear something that looks like you! The best version of YOU you can put forth. Something that makes you feel confident, and just as unique as your story they should publish!

Smile! This one seems so elementary but when we get nervous, often times our baser instincts skip town faster than the pitch that just flew out of our head while standing in the elevator with Agent X. Take a deep breath, remember the joy of writing your story, think of how your book could touch the lives of so many readers, and waltz in with that enthusiasm.

Make eye contact. Don’t be that weird introverted writer that only converses with imaginary people. J Sometimes these things don’t come naturally. Don’t panic. Agents and editors are people with nerves and flaws and feelings just like you. Take a deep breath, look into those beady fish eyes, give them a firm finn-shake, a smile, and a cordial introduction. See that, you are some tasty bait! All those fish will be circling.

-Hook ‘em!

Writing a book is no easy task. Boiling it all down to a few compelling and eloquent sentences is even harder! You may have written a great story, but even if it’s there, you may struggle to figure out exactly what the hook is. (Read Ashley’s post yesterday for some great hook tips!)

Your story might be a romance, but there’s definitely more to it than that. Think about your main conflict and how it relates to some kind of irony. For example: A woman running from the law under an assumed identity falls in love with an undercover cop. Your hook lies within those parameters. Then think about the theme of your story. Is it redemption, forgiveness? Does the main character have a hobby or passion that characterizes the way they think or act on the page? Draw those words out and weave them into your hook. That way you will not only get a sense of the plot, and conflict, but a sense of the “feel” and takeaway as well.

If you’re still drawing a blank, start with a story question. Beth Vogt is great with these! For Wish You Were Here the question was something like…Can the wrong kiss lead to Mr. Right? Use yours as a spring board to toy with hook ideas.

Alright your turn! Anything to add? What are your greatest fears about pitching? Your greatest pitfalls? Need some help? Let’s get you ready to reel ‘em in! Cast a question, the lines are open!

Preparing the Perfect Pitch

Be honest. In the middle of the night, during conference season, you've had nightmares of Chip MacGregor telling you he thinks your concept is totally dull and an impossible sell. Nooooo....

Face-to-face rejection. It's every writer's worst nightmare.

I vividly remember my first pitch. It was the 2010 ACFW conference, and I had an appointment with Ami McConnell. Yes, I've always had lofty aspirations. My appointment was the first one after lunch, and I made a point to leave lunch early to join the line of other panic-striken writers. Suddenly the ability to even remember your name had become an asset. "What do you write?" One of us would ask each other. "Who are you pitching to?" The answers were different, but the look in the eyes was (and is) always the same. I like to describe it as that feeling you got waiting outside the principal's office. Even if you knew you had done nothing wrong, he would find something. The assumption was, these people are waiting for us to fail.

That's problem #1.

Editors and agents do not want to see you mentally and socially flailing. Well, at least most of them don't. Just kidding! Remember that these people are in the book business. And the book business doesn't work too well without authors. There's no reason to be afraid. You're looking to enter into a partnership. That's all there is to it. I know it feels like they have your every dream in the palm of their hands, but really, those are in God's. And He has a much better idea who your book will best fit with anyway.

With that in mind, I've created three lists of three things that should help you get your pitch prepared for conference season. I hope you find them helpful!

3 Things to Do Before You Leave Home:

• Research. Nothing is more embarrassing than pitching your YA manuscript to a publishing house that is currently only buying Amish historicals. And believe me, editors don't like this. If you were them, would you? Do research on your target editors and agents before you leave so that your pitch comes across as intentional. Even just browsing through a publishing house's website and reading a couple of their books can go a long way.
• Practice in front of a mirror. Yes, I know this makes you feel silly. You will feel even more ridiculous if the first time you pitch is in front of your dream editor.
• Reread your book. If the appointment goes well, an editor or agent is likely to ask you more about the story, but there's no way to really predict what they will ask. In order to keep your answers as natural and eloquent-sounding as possible, before you leave, take note of your major plot points. If someone were to ask you about the major conflicts in the novel, the dark moment, or the character arc, would you be able to answer? What if they asked you what you ultimately hope readers will get out of your book? Why you are a good fit for their publishing house? If you are prepared, your answers to these questions can make you seem golden. 

3 Things to Do During Your Appointment:

• Be professional. Oh my goodness, I am always amazed by how many people ignore this one. You should treat your appointments as if they are a job interview, because--let's face it, they are. That means even if the appointment does not go as you'd hoped, you still have an opportunity to leave a good impression. Next year's conference might seem like a long time away now, but next year, you'll wish you hadn't burned a bridge.
• Take a deep breath and introduce yourself. Jumping into your pitch and rattling it off like a 10th grade oral book report project is not a good strategy. You want your appointment to be a conversation, a chance to get to know an editor or agent. Slow down, introduce yourself and maybe even tell them what you write or offer a one sheet before you jump into your longer pitch. Otherwise it's too much for them to process.
• Take cues from the editor or agent with whom you are speaking. Have you ever had a conversation with someone and politely tried to end it with nonverbal cues, only to have that person continue talking about themselves with no end in sight? Don't be that person in your appointments. Give the editor or agent a chance to think and ask you questions. Remember that your book idea is new to them. They need at least a few seconds to process it.

3 Things Your Pitch Should Include:

• Goals/forward motion. This can be anything from a new job to a heroic quest to save a princess, but it should be clear what your main character is working toward.
• Conflict. Conflict is usually the most interesting part of the story, so this is your chance to really "pack a punch" so to speak, with your pitch. Be sure you are very clear what your character has working against her, and don't shy away from using external conflict. "She feels hesitant about dating him," is not a strong enough conflict to sustain a book-long project. "He put a restraining order against her because he thinks she's stalking his children" is a different story. Got your attention, didn't it? (Side note: if any of you have written stalker romances, my apologies.)
• A compelling hook, using your writing voice. You need a wham! moment to stand out amongst the hundreds of other pitches these people have to hear throughout the day. Sometimes using a question works well. Other times it's just in the phrasing. I would recommend having someone you trust, like your critique partner, work with you on this. Ideally, you want your wham! moment to correspond with your biggest source of conflict. And even beyond that, be sure it reflects your voice. This is the first chance you get to showcase your writing voice, so make it memorable.

You also want to remember to keep these short. It's a good idea to develop both a short pitch and a longer pitch. And when I say "short pitch," I mean short. We're talking, 7 words, ideally. Your longer pitch should be around 3 or 4 sentences. The short pitch should be just long enough to really catch their attention, and then the longer pitch develops the main conflict a bit more. But even the long pitch should not tell your whole story.

What you want to happen in an ideal situation is for your short pitch to lead to your long pitch, which then leads to a one sheet or even a proposal request, and then to your book.

A note on pitching etiquette: Sometimes it can be hard to determine when it is and is not socially acceptable to pitch. Generally, most people tend toward one side or the other. If you're an introvert, you might have to get a little out of your comfort zone. If you are an extravert, you may need to tone it down a little. Remember that editors and agents are human, which means they all have different preferences and moods. If someone is on their cell phone engrossed in what looks like a very serious conversation, or an agent is having a one-on-one with one of their authors, please do not interrupt them. It's considered rude and will really work against you in the end.

That said, on the other hand, agents and editors know you have come to the conference to pitch to them, and some will deliberately hang out in public areas so they can get to know potential authors and clients. In some cases, it can bode well if you recognize your dream editor or agent because it shows you have done your research. You've paid a lot of money and put a lot of effort to come to this conference, so if a good opportunity presents itself and seems like it may even be a God-thing (i.e. you end up on the elevator at the same time), it may be best to seize the chance while you have it.

Here's a normal way to have that conversation: "Hi, I'm Delilah Dopplerfritz. Aren't you _______?" "Yes, I am. Are you enjoying the conference?" "Yes. I'm glad to run into you because I was hoping to have a chance to pitch to you this weekend. Do you have a minute to hear about my book, or are you in a hurry?" "Sure, tell me about it. But make it quick." (Insert pitch.)

It's always a good idea to ask if they have time to hear your pitch if you're not in a formal setting like an appointment or their appointed lunch table. And if they say they don't have time, don't be offended. It's not you. They are busy people!

Above all else, be yourself. You are selling yourself as an author just as much as you are selling your book. Remember that, and it will be easier. 

Your turn! Do you have any pitching advice or funny stories to share? Do you have a pitch you would like input on? Feel free to share it and get the group's feedback!

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Ashley Clark writes romantic comedy with southern grace. She's dreamed of being a writer ever since the thumbprint-cookie-days of library story hour. Ashley has an M.A. in English and enjoys teaching literature courses at her local university. She's an active member of ACFW and runs their newcomer's loop. When she's not writing, Ashley's usually busy rescuing stray animals and finding charming new towns. You can find Ashley on her personal blog, Facebook,Pinterest, and Twitter. She is represented by Karen Solem.

Conference Pitching: A Nitty Gritty Workshop (Part Two)

If you're headed to the ACFW Conference in a couple weeks, you're probably busy polishing up your manuscripts and your pitches. Two weeks ago, I dissected Alley Cat Angie's elevator pitch--that short blurb for when an editor or agent asks you in passing, "What's your story about?"

If you have an appointment with an editor or agent, however, you may want your pitch to be slightly longer (although some agents and editors still prefer the short pitch in these appointments).

So today I'll do more dissection. I feel like I'm in 10th grade biology with a dead frog staring me down. :-) This time I'll analyze Angie's longer pitch, which doesn't resemble a dead frog in any way.

We worked on her pitch in two waves, so I'll start from the beginning. Here's what she had to start, with my comments interspersed.

Chief Vio has chosen three men to fight for Yana's hand in marriage—savage beasts who assure her nothing short of a life of misery. [Wow, fascinating premise!] But when an unusual crew [I'm unsure what the term "unusual crew" means. Is there another way to phrase?] steps foot in their Amazonian village, her heart begins to beat for the first time at the sight of the coiled-haired [Okay, I'm getting uber-picky here, but "coiled-haired" reads a little awkward to me. I'm wondering if a different description would work...I'm not sure I can picture what coiled hair looks like. Is it curly? Is it a certain color?] man, Andres Garcia. Yana resists her forbidden attraction to Andres, a foreigner in faith and blood [love this phrase!]. Yet when she indulges in her heart's desire [This is sort of broad. What exactly is her heart's desire and how does she indulge in it? Are you talking about falling in love with Andres? If so, I'd maybe state it more clearly.], and admits faith in his God, Yana finds herself trapped between two worlds [How so? I'd love to see you show the stakes here].

Her village's fury is soon kindled by the deceit of the pale-skinned men [I'm a little lost here. Who were the pale-skinned men and how did they deceive the village?], and Yana and Andres find themselves in a dangerous pursuit [Would love to see some specifics here in place of "dangerous pursuit"]. Just as the villagers have reason to claim Andres' head, Yana escapes with him beyond her world. [This feels sort of vague. Is there a short phrase you can use to provide a clear picture of where they go?]

But danger is not lost in the jungle. It waits for the couple, like a jaguar hunts its prey, ready to attack from the hills of Andres' Spanish home. Is Yana's newborn faith strong enough to endure what lies ahead? [Nice ending! You've resisted the urge to spell out the ending of the book, which leaves all the right questions in my mind.] :)

A few weeks later, Angie sent this revised version:

Yana's father, chief of an Amazonian tribe, has chosen three men to fight for her hand in marriage—savage beasts who assure her nothing short of a life of misery. But when a crew of Spanish explorers steps foot in their village, her heart begins to beat for the first time at the sight of the pale-skinned man, Andres Garcia.

Yana struggles with her forbidden attraction to Andres, a foreigner in faith and blood. And when she discovers his commander has crafted a plot to steal the chief's medallion, she must choose between her loyalty to her people and protecting Andres' life. She succumbs to his love and warns Andres about his commander's dangerous pursuit. Disease strikes the village, and Andres and Yana assume the plot is abandoned when the Spanish crew chooses to depart and avoid its spread. They bid farewell in secret. Yana once again faces a future with a ruthless warrior, without love or happiness.

The villager's fury is kindled when the medallion is found missing the morning when the crew sets out. After days of man hunts and deaths from illness, Yana finds Andres upon the road to her village, with the medallion cradled in his hands. Danger is inevitable, even in his noble quest to return the treasure, and Andres must escape to save his life. Yana cannot bear to say goodbye again, and chooses to follow him and His God across the seas.

But danger is not lost in the jungle. It waits for the couple, like a jaguar's eyes upon its prey, ready to attack from the hills of Andres' Spanish home. Is Yana's newborn faith strong enough to endure what lies ahead?

I really liked the clarity that Angie provided in this version, but I felt like she almost went the opposite extreme and got a little too bogged down in the details. I sent her a revised version, in which I condensed about a third of her pitch and jumped straight to the last paragraph (which I loved!).

Yana's father, chief of an Amazonian tribe, has chosen three men to fight for her hand in marriage—savage beasts who assure her nothing short of a life of misery. But when a crew of Spanish explorers steps foot in their village, her heart begins to beat for the first time at the sight of the pale-skinned man, Andres Garcia. Yana struggles with her forbidden attraction to Andres, a foreigner in faith and blood. And when she discovers his commander has crafted a plot to steal the chief's medallion, she must choose between her loyalty to her people and protecting Andres's life.

Disease and threats push Yana and her lover to escape the village in secret, and while Yana cannot bear to say goodbye to her home, she follows Andres and his God across the seas. But danger is not lost in the jungle. It waits for the couple, like a jaguar's eyes upon its prey, ready to attack from the hills of Andres's Spanish home. Is Yana's newborn faith strong enough to endure what lies ahead?

This pitch sets up the conflict and motivation for Yana at the outset--the arranged marriage, followed by foreigners and her attraction, and then the fact that Andres's commander is plotting to steal her father's medallion. Then by scrunching down those other details, we've given a brief glimpse of what the story holds while also leaving a powerful story question at the end. Some editors or agents might prefer that this be trimmed even more, which would allow you to have more of a two-way dialogue in your appointment.

But no matter what she goes with, Angie's job is to practice saying her pitch so many times that she'll sound natural when her mouth goes dry and her knees start knocking against each other. :) I know she'll do great!!!

Are you preparing a pitch for conference? Any questions you have about the changes we made to Angie's pitch? If you're feeling brave, share your pitch with us in the comments!


*Sponge photo by nuchylee / FreeDigitalPhotos.net
**Keyboard photo by Gregory Szarkiewicz / FreeDigitalPhotos.net

Conference Pitching: A Nitty Gritty Workshop (Part One)

If there's one thing that can make a writer shake until they fall out of their chair, it's the idea of pitching their story to an agent or editor face-to-face. But if you craft a killer pitch before you arrive at a conference, you'll be one step ahead of the game.

A couple months ago, my fellow Alley Cat, Angie, asked for feedback on her elevator pitch and query blurb. And weird old me jumped at the chance. Call me crazy, but I get a kick out of this stuff. Apparently the other Alley Cats found my comments helpful enough that they convinced me to turn it into a blog post. So here we are.

Just to clarify, I'm going to get into the details of wording choices and plot points to emphasize in a pitch, not necessarily how to deliver it effectively in person. So let's get started.

Here's Angie's original elevator pitch along with the comments I sent back to her.

In the Amazon basin in 1546, a tribal chief's daughter dares to love a Spanish explorer, ultimately facing a choice between her heart and her people.

[My comments: I love the unique setting! In general, this description feels a little broad to me. It's really close, but I think you could punch it up an extra notch by giving more specifics. What's her external goal throughout the story? I'd present that first, then tell how this forbidden love inhibits the goal.]

Without knowing her full story, here's the example I developed based on the longer elevator pitch she had also provided.

Desperate to escape a pre-arranged marriage to a savage beast, an Amazonian princess indulges in a forbidden love. But will the Spanish explorer who has captured her heart pull her from her home, only to lead her into a dangerous trap?

In this revised pitch, I changed the following elements to give it more kick.

1) Mentioned the marriage to a savage beast. I did that for a couple reasons. One is to give her motivation and goal in a short snippet, but it also explains the stakes (the phrase "savage beast" has a startling quality to it and gets the listener's attention).

2) Eliminated the need for a phrase describing the setting and time period. By putting the terms "savage beast" and "Spanish explorer" in there, it gives the listener a sense that it's a historical piece in a unique setting, while utilizing every word choice possible to convey the plot.

3) Mentioned the forbidden love. This clearly sets the stage for conflict no matter what she chooses. Instead of saying she's facing a choice between her heart and her people, we've now rephrased it to clearly show that conflict (marriage to a savage beast versus forbidden love with an explorer).

4) Ended the pitch with a question to increase the stakes even more. Now we're not just talking about forbidden love anymore, but forbidden love that could lead to a dangerous trap. (By the way, putting "dangerous trap" at the end is a Margie Lawson technique of backloading...putting a power word or phrase at the end of the sentence to draw the listener in and propel them to want more.) I didn't word that last sentence very well (has lots of "her" in it), but hopefully it gives you an overall sense of where to provide the specifics.

This type of pitch would be effective for those super-short snippets of time when an editor or agent says, "What's your story about?" You'd probably want a slightly longer pitch for a one-on-one appointment. I'll be dissecting that type of pitch in two weeks when I present part two.

Do you have any sort of method you use when developing an elevator pitch? If you're stuck on your elevator pitch or want feedback, share it with us in the comments. We love to brainstorm around here! :)

*Nervous photo by africa / FreeDigitalPhotos.net
**Elevator photo by Gregory Szarkiewicz / FreeDigitalPhotos.net