Tag Archives: agents

5 Shockingly Easy Ways to Create a Successful Pitch

Fiction-Zone: Leaps in Fiction Mastery by Diane Holmes, Chief Alchemist of Pitch University

In my other life, the one where I wear my “evil genius” costume and am secretly a billionaire, I help writers with their verbal pitches.

It’s rather addictive.

Mwuhahahaha!

evil_genius_tshirt

Today, I share 5 secrets that I usually guard with my life.  No, wait.  Make that your life. (Cue evil laugh.)

1. Tell us how to listen to your pitch.

Assume we’re expecting to hear a pitch for something that is not remotely like your book.  Perhaps we expect an a story about an alien love-child’s secret trip to corporate America where she falls in love with a janitor?  Yes, why not.

Now, correct our expectation.  This is your opening.

Examples:

  • This is a young adult, fantasy romance about a 16-year-old high-school student who falls for an exchange student from the North Pole.
  • This is a literary mystery about two murders that happen 300 years apart but are unfolding in parallel timelines.
  • This is a non-fiction book about the inconsistencies in courtroom testimony and how to correct that during a trial.

2. Talk about people.

Most books involve people or characters (fake people) doing things. 

Coincidentally, that is how readers think about books, too. 

So even if you start out with an epic situation, setting, or high concept, tell us about the most central players and their initial actions (the big thing that really gets the plot going).

Examples:

* This book is about the Gold Rush.  When Mira’s husband dies, she takes her 5 children to California to pan for gold.

* An asteroid is headed to Earth.  Arnold is a boy of 7 whose believes he’s an alien, and his missing family will be on that asteroid.  He sets out to the projected Ground Zero to make sure they’re able to find him.

*  Set across war-torn Europe during World War II, Jim searches for his younger, disabled sister, who is missing after their town is bombed.

3. Tell us only the stuff that makes up important scenes.

We listeners think everything you tell us equals “a whole lotta important scenes.” 

  • Sean, a comic book writer… (Oh, good, there will be lots of scenes where Sean is drafting a new comic book!)
  • Terry, an Admiral in the Navy… (Yes!  This is a story set in the world of the Navy, and we’ll get to see Terry fulfilling the role of Admiral!)
  • Jauny, the wife of a serial killer… (Cool!  This will be a story about a woman who is married to a serial killer… and that life.)

Imagine our confusion when we find out that…

  • Sean is on vacation in Costa Rica and never references writing comic books.
  • Terry’s story is about his ancestral home which is haunted, and the whole story is set there, not on the High Seas.
  • Jauny left her husband before he was caught 10years ago, and now she’s a chef on a cruise line, who wants to sing.

4. Take out every generic description and cliché.

Tempted to say things like “she must learn to trust again,” or “he’s handsome and sexy”?

Don’t.

This tells us nothing about how your book is special.  Instead it tells us that your book is like all the others.  Pass.

Example:

Instead of  this: “A jaded cop doggedly pursues a serial killer before he kills again.”

Tell us only what makes your story unique: “Tom Mallory, A rookie patrol officer, gets involved with a homicide detective obsessed with the work of a famous serial killer—a killer who might be her twin brother.”

5.  Don’t tell us the end.

In most cases, it will only sound underwhelming.

And disjointed.

And a big, fat let down.

(Or so obvious we roll our eyes.)

Examples:

  • And they do find gold after an earthquake and a stampede.
  • But the asteroid misses Earth.
  • He looks for a long time and finally finds her.  She’s okay.

BONUS

And notice, nowhere did I tell you the number of words your pitch needs to be or any other silly rule. 

Also, no formulas to fill in. 

And certainly no threats that you’ll fail if you don’t follow everything I said in this column.

You don’t have to be perfect.  Just be the best and most interesting you can be today.

clip_image004Diane writes two alternating columns for Freelance-Zone:Fiction-Zone: Leaps in FictionMastery and Marketing-Zone:Marketing-Zone: Marketing Yourself and Your Book.

Avoiding Negative Responses To Your Book Pitch: Part 3

It’s time for the next edition of our seven-part series on pitching your book with Diane Holmes, where she helps talk you through some of the potential issues you may run across when trying to bring your work to print.

Today’s issue:

#3 “You’re putting lipstick on a bulldog.”

Translation: “You’ve gone to a lot of effort to pretty up a bad idea, make a blue-collar idea seem hoity-toity, or take a meat-and-potatoes idea and make it into caviar.   And I am not fooled.”

Reality: Your efforts to make your book’s hook, idea, or premise (the bulldog) exciting and BIG are transparent.  Agents and Editors are on to you, and it’s kinda insulting that you think they’d fall for that.

Solution:  What’s wrong with a plain ol’ bulldog?   By trying to take something and fool people into thinking it’s what it’s not, you miss out on both accounts.  At this point, the listener doesn’t want the plain bulldog or the fancy bulldog.

You must be passionate about what your book is really about.  And when you look for your book’s unique hook, look for something that is essential, captivating, and authentic.

Diane Holmes
Diane Holmes

Diane Holmes is the Founder and Chief Alchemist behind Pitch University, an online website where writers learn to pitch from the literary agents and editors (and maybe even sell their book in the process).  http://www.pitch-university.com/

And yes, she was born in Texas.

Avoiding Negative Responses To Your Book Pitch: Part 1

I’m excited to announce that we are going to have a seven-part series here on Freelance-Zone.com about how to pitch your book. Diane Holmes, founder of Pitch University, has signed on to share some great tips on avoiding the negative response to your book pitch. Today we have a short intro to what she will be sharing with us, along with the first tip–enjoy!    – Catherine

Listen up.  I’m gonna tell you How the Cows Ate the Cabbage….

As founder of Pitch University (and Texan, which explains colorful expressions), my goal is to help writers (and I am including myself in this!) become excellent at answering the hardest question people ask us: “What’s your book about?”

“Heck, if we could sum it up,” we writers want to snap, “we would’ve written a Post-It Note, not a book!”   (We’re just witty that way.)

What we don’t say is that, after we’ve written hundreds of pages, and poured our heart and soul into the complexities of our stories and topics, there simply are no easy answers.

Yet, without the ability to answer this basic question, we can’t sell our books.

This is called pitching our books.  And it’s the same skill we use when we answer the question for anyone, including agents, editors, readers, friends, family, the media, librarians, booksellers, truly anyone at all.

So it’s important to our careers.  Knowing this, we feel the stress of getting it right.   Frankly, most writers don’t, and they really don’t know what went wrong.

When you look closely, there are really two hurdles when pitching:  ourselves and others (let’s call them agents and editors).  Today, I’m taking a humorous look at the firsts of 7 possible responses that agents and editors can give us when our pitching misses the mark.  There are other tell-tale signs your pitch isn’t working, but understanding these 7 will give you a leg up on your next pitch..

Read on to see if you recognize yourself. Continue reading Avoiding Negative Responses To Your Book Pitch: Part 1