Conference Lessons: Pitching Agents

Hello, internet friends! I hope you’re having a lovely fall. Mine is so far suuuuuper busy. It’s like the closer we get to winter, the more frantic I get. I’m the white rabbit running around with a pocket watch shouting, “I’m late! I’m late!” Seriously, everywhere I look is DEADLINES ABOUNDING and I’m going a little crazy.

But I have managed to cross one big thing off my list: the annual AWG Fall Conference! *blows party horn* For those of you who haven’t heard my spiel yet, the Alaska Writers Guild puts on an annual conference (in conjunction with the Alaska chapters of SCBWI and RWA) which is small and a little quirky and all around delightful. It’s low key and friendly and I just love these folks.

For one of the breakout sessions, an agents was slated for a pitch session, but it was unclear whether the session was supposed to be about pitching or an opportunity for pitching. And since there were like ten of us in there, the agent posed it to us which one we would rather (although in the end there was really time for a bit of both).

What came out during the very casual Q&A was very comforting to me. Like many writers, I am an introvert. Socialization takes a lot of energy, even when I enjoy it. I get nervous around strangers, particularly around adults. Pitching terrifies me.

Don’t get me wrong. I do all the things I’m supposed to. I have a succinct elevator pitch for every book I’ve ever written. I come prepared to conferences with my pitches printed out and in hand. But Heaven help me, I can’t ever remember them. As soon as the big moment arrives, I can’t even remember what genres I write, let alone my cleverly honed pitches for specific books. Assuming I don’t lose my nerve completely, I either rattle off something completely unprepared or read what I had worked out earlier. I always figured cold pitching was just something I’d never be able to do, something I’d just have to learn to work around in my career as a writer.

But I’ve since learned that that might not be the end of the world I was led to believe it was.

Some agents expect you to be able to cold pitch on the spot in any given situation, at any given moment, like a first responder ready and waiting to save lives. (First responders: you are boss. Carry on.) But a lot of agents don’t. In fact, a lot of agents would rather you didn’t.

So what’s the best way to approach an agent? Like a human!

Be friendly. Don’t just run up out of the blue and drop a pitch in their lap. Strike up a conversation first. Chat about something besides your book for a minute. And if it feels right, maybe ask them about their manuscript wishlist and then pitch. But don’t forget that they’re a person before they’re an agent.

The agent we were talking to confessed that she actually hates unsolicited pitches, especially if they show up without warning. She told us about being pitched in lunch lines, in bathrooms, and outside her hotel room, and it was clear that just remembering them made her uncomfortable. This isn’t true for some agents. Some agents probably really prefer just getting down to business. But for a lot of them, pouncing tactics is a big turn off. They’d rather have a chat and then you can just ask if you can query later after the event is over.

Honestly, I like that course better, and not just because I can’t remember my own pitches worth beans. If I’m to interact with humans, I really prefer unscripted, inconsequential chitchat. It puts me at ease and it’s nice to know that it puts the agent at ease too. Plus, I feel like I’m much cleverer on the page than in person, so being able to send in a polished query instead of having smelly garbage pouring out of my mouth is just better for everyone.

And it seems to work! The two agents I chatted with both told me I should query them after I got home. So, one conference off the to-do list, and two submissions on.

Happy writing!

Getting Publication Ready with Jane Friedman

First off, this woman looks eerily like my sister-in-law. I had to get that off my chest. It’s like future Annie has come back to the past to tell me about books.

Second, Jane Friedman is a publishing beast. Co-founder of the Hot Sheet, former editor of Writer’s Digest, Ms. Friedman has a bio that makes me want to curl up under a blankie and weep at all the majesty. She managed to pack one metric tonne of information into the three hour class. There’s no way I’m going to be able to fit it all into a single blog post, so I’m only going to talk this week about just getting your book ready for publication. I will come back to address the other topics- the five categories of publishing and how to go about them- in more detail in later posts, so fear not. Start looking for those toward the beginning of next year, maaaybe a little sooner if I get an unexpected hole in my schedule.

But if that’s too long a wait, I came across this class, How to Publish Your Book, with Jane Friedman, while perusing a catalog for The Great Courses. It looks like it might cover some of the same information, and is massively on sale until 26 October. You know, if you’re the impatient type.

However! being the impatient type is not the best way to be when hoping to publish a book. Slow down, cowboy! Let’s talk about the steps you must go through to successfully get your book ready for publication, whether that’s traditional, indie, or somewhere in between.

The first step is to make sure that your book is its best possible self. This includes drafting, self-editing, beta editing, rewriting, maybe even professional editing, the works. This is a very long process, and it can be hard to tell when you’re really done here. The yardstick I’ve been using is that I am a) stupidly proud of the work, and b) feel like my eyeballs are going to fall out of my head every time I open the file again. It’s a strange balance. But after your manuscript is the absolute prettiest it can be, then you can turn your mind to preparing for publication, and that means market research.

The earliest parts of research can be done from within the comfortable confines of your very own story- you have to know what you’re selling. Know whether you’ve written fiction or nonfiction, know what your intended age group is, and know your category.  For fiction, have you written mainstream, literary, or genre? For nonfiction, is the MS narrative, prescriptive, or inspirational? Each of these groupings will point toward a different target audience and, if you’re traditionally publishing, a different submission target.

Be aware of the different age categories and try not to straddle them. (I am so bad about straddling age categories, ugggggh.) Also, never claim that your project is “hard to categorize”. Nobody likes that and it doesn’t give potential readers any information. Instead, say that it’s “multi-genre” or has “crossover appeal” and mention just two specific categories.

Once you have your book all neatly categorized, do some market research. Your goal here is to understand the commercial viability of a project, which is important whether you plan to enlist the help of traditional publishers or to go it alone. But just for general reference, I’m going to list some of the positive and negative signs a publisher will look for when deciding whether a book is marketable or not.

Positive Signs (do this stuff)	Negative Signs (avoid this stuff)
Uses standard lengths (wordcount) Written in a commercial genre Author has a solid platform (for nonfiction)	Wordcounts that are way outside of norms (<50k, >120k, etc) Tough sell categories (cookbooks, picture books, travel books, short story complication, etc) Memoirs without a high concept or publicity angle

If you find that your book has some of those negative signs, maybe give it a closer squint before moving past this point. (Huge books by unknown authors are a hard sell, no matter which publication route you choose. Most cookbooks are sold by celebrity chefs. Keep these things in mind when figuring out your own market viability.)

For traditional publishing, this is where you start getting your submission packet ready, which probably includes something like a query, sample pages, and a synopsis; know ahead of time whether you want to query agents or publishing houses directly, because you’re not supposed to do both at the same time, and follow submission guidelines exactly. Novels and memoirs must be finished, edited, and polished before beginning the submission process. For nonfiction, write the book proposal first, including a business plan; since publishers don’t have the finished materials, you have to convince them that this book will sell.

If you’re going the indie route, you don’t need a proposal or query, but you still need a lot of the bits and pieces that would go into them, including a business plan, sales copy, and a finely polished project. In addition, you’ll also need to work out your book design, including formatting, cover design, blurbs, etc. If you’re not a professional [editor/book designer/artist/etc], pay for one like any other book publisher would.

When putting together back cover blurbs/pitches, business plans, and author bios, feel free to pick the brains of your friends, family, and neighbors on the bus to work. This stuff is hard to write, but having extra eyes on it can help you pick out the pieces that aren’t clear, or that sound strange, or whatever the problem may be. Just as you wouldn’t try to publish a work that hadn’t been beta read and closely edited, don’t try to do that with this stuff either. These things make up the sales pitch of your book, whether you’re addressing it to agents, editors, or readers. Give it the same care that you have given the rest of your book.

After you have all these scores of little duckies in a row, it’s time to get your rhinoceros-thick skin on. You’re ready to step into the publishing ring! Good luck!

Conference Lessons: Age Categories

It’s pretty easy to tell what your age category is, right?  So imagine my embarrassment when, at this year’s AWG Writers Conference, I was mid-pitch and the lady stopped me to ask, “Wait- what did you say your age category is?”

“Young Adult.”

“But… how old is your main character?”

“Twenty-two.”

Her brow furrowed in concern.  “Hm.”

Twenty-two-year-olds aren’t young adults?  Apparently not!  My pitch quickly turned into a brief run-down of the upper age categories in the hunt for mine.  Then the pitch continued, and she was very gracious and asked for a partial, even though I’m clearly an idiot.

So to spare you similar mortification, let’s talk age categories!  This is a really important aspect of your book and your pitch.  In fact, pitches often start with this information right up front.  (I’m querying a MG urban fantasy about… Ochre Skies is a YA historical romance about… etc. You get the idea.)   So let’s take a look at some of the common features in each of the main age categories.

	Target Audience Age	Main Character Age	Typical Content	Word Count (varies by genre)
Board Books	0-3	Varies	Simple, familiar kinds of stories of everyday life, or concept books (colors, numbers, vocabulary, etc).	0-300
Picture Books	3-8	Varies	Revolving around a single character that embodies a child’s viewpoint. Can be mirrors of child’s world, or windows into how others live.	0-1000
Early Reader	5-8	6-10	Simple sentences and words. Story mainly told through action and dialog, with setting left mostly to pictures.	200-2000
Chapter Books	6-10	9-12	More complex stories and structures, and typically run in a series.  Pictures are not relied on to tell any part of the story.	10k-12k
Middle Grade	8-12	10-13	Focus on friends, family, and immediate world. Little introspection and not super dark.  Little to no pictures.	20k-55k
Young Adult	12 and up	14-18	Focus on finding place in world beyond family and friends. Profanity, violence and sexuality acceptable for older target audience.	55k-75k
Adult	18 and up	25+	Varies by genre. Profanity, violence, and sexuality acceptable.	75k-110k

As you can see from these age divisions, children tend to “read up” by about two or three years; a twelve year old tends to read about middle teens, a seven-year-old would likely read a book with a plucky pubescent protagonist, etc.  Another defining feature is the content- is there swearing? sex? violence?  Any of these features can bump a book up in category.

You may notice that I didn’t put New Adult on the chart.  This is because we were told at the conference in no uncertain terms multiple times by literary agents that this is no longer a thing, that it was a blip on the screen that quickly turned into subcategory smutty romance, and we can move on now.  Which is a little disappointing for me, because I feel like, age- and point-of-life-wise, that NA would have been perfect for my books.  (I ranted about this before years ago in Writing an Utterly Unsexy New Adult.)

As far as overarching adult themes go, there’s very little written about it, at least that I could find.  (It’s actually really hard to find anything about the adult age category  right now because it’s so drowned in all the bazillion articles about young adult or even new adult. *whines*)  But it seems to largely come down to the genre.  Each genre will have its own specific themes and goals that are expected within that classification.  If I handed you a mystery, you could probably guess what it’s about.  Likewise for a rom-com or a thriller or a western.  Speculative fiction (sci-fi, fantasy, alt history, etc) can vary quite a bit thematically, though.  (Seriously though, trying to research this age category was like expecting to see a forest and instead finding yourself on the lip of the Grand Canyon.  This might merit a more specific tons-o’-research blog post later.)  So, while other age categories seem to have broad themes found throughout genres, adult literature seems to be more of a mixed bag.  (For reals- I’m gonna research this more, this is driving me crazy.)

There are, of course, exceptions to the generalities presented in my pretty, pretty chart.  For example, Neil Gaiman’s fabulous The Ocean at the End of the Lane, which has a seven-year-old boy as the main character, but is definitely not a children’s book.  If you think you might be one of these exceptions, remember that content and target audience usually trump character ages, and then check, and double check, and ask around for second (and third and fourth) opinions before you start flaunting your exceptionality.

So!  I’m sure you all know exactly what age category you’re writing in now so you can present a pitch that doesn’t make someone interrupt you to tell you gently that you’re an ignoramus.  In case you’re not totally sure (because this is a super basic chart about broad generalities), there are a few links at the bottom of this post with more details.  Good luck, and happy writing!

More resources:

Categories by audience age http://www.dummies.com/education/language-arts/getting-published/age-levels-for-childrens-books/

Categories by ages, pages, and content http://www.right-writing.com/genres.html

Standard wordcounts by genre and age category http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/word-count-for-novels-and-childrens-books-the-definitive-post

Promotion Commotion

In case you missed it (although I’m not sure you how you possibly could have, since I’ve been screaming it at the top of my lungs for a week and a half), I am currently running a crowdfunding campaign to cover printing and shipping costs on Advice for Beginners, a book that came about when I started asking children what advice they would give newborns about living a good life. So you can understand that promoting this campaign has been on my mind lately.

Having never run a crowdfunding campaign, or even tried to sell anything more interesting than peach pies with rugby ball crusts and “bruise” jam (‘Cause black- and blue-berries. Get it? Ha!), I wasn’t sure how to go about this. My presence on Twitter was fairly steady, but my Facebook page has been known to go neglected. Suddenly bombarding both with desperate, hourly pleas to throw money at me didn’t seem particularly classy. Fortunately for me, I surround myself with wise friends. After much brain pickin’s, I reached the following conclusions about that all important question:

How much is too much?

The general consensus seemed to be that two, maybe three, a day is the sweet spot. Once a day is fine, but won’t be seen by many. More than that just gets annoying.

This is a bookmark I made to hand to random people everywhere I go. So I can hassle folks in real life, too!

But between those few promo tweets (or posts, or whatever, depending on your venue of choice), be sure to reemphasize that you’re a living breathing person who isn’t there just to shove your product at anybody with a nickel. In a world where people are increasingly skilled at ignoring advertisements, interaction keeps you on people’s minds in a positive way. (You know, assuming positive interactions. Now may not be the time to go pick a fight with the rival team.)

Another thing that will make you less likely to be written off as annoying and tacky is perceived usefulness. Usefulness can be straight up utility, whether for the consumer or for the good cause you’re trying to support, but it can also be entertainment. Figure out exactly what it is that makes your product special- it will change lives, it will make you a better cook, it will keep your dog safe in a car wreck, you will laugh until you pee your pants- and center your pitch around that. If you can’t come up with what makes your product special, or don’t have it front and center in your pitch, then don’t expect anybody to bite.

Ideally, your promotions will be so wonderful, so interesting, so genius, that you can get others to spread them around for you. Retweets, mentions, shares, etc, are gold, spreading your reach to new audiences. You trumping your own horn is alright in small doses. Getting others to toot it for you is worlds better.

A few other things to consider:

Vary your pitch. Sending out the same ad, over and over and over, isn’t going to catch anyone’s attention. Sending out slightly different ads are more likely to pique the interest of a broader audience. Another thing to vary? Timing. Try to spread your promos over multiple time zones. Even though you live in Guatemala, there may be someone in Australia just dying for what you’re trying to sell.

Go easy on the hashtags. Nothing will make your tweets look more like irritating spam than a solid block of blue. Hashtags can be useful tools for specific searches, but nobody I talked to used them regularly, and then only when they knew exactly what they were searching for. Although one or two thoughtful and accurate hashtags can broaden the audience of the promo, an excess of hashtags tends to do more harm than good. (Same goes for all caps. Less is more.)

Be clear. This should go without saying, but if it isn’t crystal clear what the link leads to, people aren’t going to click on it. Make sure that it is perfectly obvious what you are promoting and where the link will take people, and for pity’s sake, no bait and switch.

Use images. 120 characters only gives you so much room to play. Add a link and you come up even shorter. But a picture says a thousand words. Even on platforms that don’t limit your posts, try attaching pictures, images of text excerpts, videos- anything that gets your message across in an engaging, easily digestible way.

Follow these tips and, at the end of your promotional campaign, you just might have a few friends left! Haha, but do remember that I’m no expert. If you can think of any tips that I’ve left off the list, please let us know in the comments below. Sharing is caring! And happy writing!

Writer’s Conscience (and an Announcement!)

Sorry we’re up a bit late today. (And what a day! Hardly nine in the morning and I’ve been super busy- no spoilers for now, but more on that later.)

I have a pair of quick announcements for you!

Since Pitch Party was so popular, I thought it might be fun to try a similar fête from a different angle: Bio Bash! Although arguably less important than a pitch, your author bio can nevertheless take a query letter from interesting to I’ve-gotta-get-this-person-on-the-phone lickety split! But for me at least, bios are probably harder to writer than the pitch- probably because I can’t just make things up and bragging feels so… blech. So get your friends to help you brag effectively! Like the original Pitch Party, Bio Bash will have a short version and a long. Short versions take place on twitter (Date and time TBA shortly), and long versions will be posted here on the blog by February 16th. All participants will help critique one another’s bios, with happy happy postcards sent out for the best short bio, best long bio, and most helpful critiques. Come join the fun and spiff up your query letter!

Any fellow writing bloggers, this one’s for you! I’m putting together a collaboration/idea-generator/get-to-know-each-other’s-blogs/get-more-people-to-your-own-blog thing that can be found here. If you’re interested in participating, dust off the archives and find your most popular post (or posts- the more the merrier!) to share.

Party like a Pitchstar

Some time ago on this blog, I hosted what we lovingly dubbed the First Annual Pitch Party. ‘Annual’ turned out to be a bit of a lie, since we’ve had like four since then and it’s been less than a year. I guess we’re just impatient.

The most recent Pitch Party happened last week, hosted over at The Write Hobby under the careful hostessing of the ever-lovely Melanie Francisco (@blacklily_f). (Seriously, you should go check it out to read some awesome pitches and critiques.) Like its previous incarnations, participants were allotted a hundred words or less to pitch their manuscript, and then the whole pack descended like wolves to tear each other’s tender pitches to shreds. The best pitch critiques I have ever received always come from these advisory free-for-alls.

In the midst of all these glorious Pitch Parties, I find certain elements usually worm their way into the pitches. Those that don’t have all these elements don’t usually win. (Spoiler alert: I never win. *sad trombone*) What are these elements, you ask? Let me tell you.

Protagonist Who’s eyes are we seeing through? Who are we rooting for? Who are we piggy-backing on this wild adventure?

Situation What’s going on with the protagonist at the beginning of the story? What’s his/her cozy little situation that we’re about to blow up? (Not that he/she should necessarily be happy in this situation- just that it is. We’ll be sure to make it better by the end of the story, after dragging the protagonist through all the horrible garbage in between.)

Disaster What changes the initial situation? What awful thing forces our hero to leave the cozy situation and ply the deeper waters?

Motivation What is the hero’s objective? What is he/she willing to take up arms for?

Antagonist Who (or what) stands in the way of the hero achieving his/her goals? Who is going to make life miserable?

Conflict What happens as the hero opposes the antagonist in pursuit of his/her goals?

That may seem like a pretty long list for a pretty short pitch, but all of these elements are vital to a full-bodied pitch, and really don’t take up all that much space. Here’s my hundred word pitch as an example:

Dying is a terrible way to start an adventure. Not that Timmy (protagonist) had much choice. One moment, he was enjoying a quiet life of avoiding responsibility, and the next, he’d been assigned a Haunting- whatever that meant (situation). But Timmy’s plan to ignore the assignment derails when he discovers a disease of undying (disaster), with his duplicitous family at its core (antagonist). Harassed by a wise-cracking opportunist, an angelic caseworker, Death himself, and, worst of all, his conscience, Timmy takes action for the first time in his unlife. But saving the world (motivation) is tricky business, especially when victory could cost his very existence (conflict).

See? Not so bad, eh? Okay, maybe the pitch is, but cramming all that stuff in there wasn’t so difficult. I bet you could do an even better job. All these elements, taken together with a solid hook and some snazzy linguistic wizardry, just might help you stitch together a handsome little pitch. And that pitch just might snag the eye of an agent/editor/reader.

UPDATE: Oh my goodness, I actually won the thing this time around! Woo-hoo! Now if I could just snag some internet good enough to allow me to post my comments on the other pitches, we’d really be onto something…

A Year in Review

Back in February 2013, and at the gentle urging of my much beloved NaNoWriMo, I purchased my very own copy of The Essential Guide to Getting Your Book Published at just over ten dollars. With it came the right to a twenty minute session with the authors to discuss my pitch. I mark that moment as the first upping of my game.

Another such moment came when I signed up for Twitter, which I had been resisting for years, mostly for pride’s sake, and began connecting with a larger writing community. Almost immediately, I tumbled headlong into the loving arms of what would become my core cadre. These folks, most of whose names have appeared on this blog multiple times, began wheedling, cajoling, teasing, and threatening me into taking the next step. And I owe them endless thanks.

I finished a final draft (for reals this time) of my book, finally embracing the idea that eventually, a baby must grow up and go out in the world to seek its fortune. I set aside the red pen that had been semi-permanently affixed to my right hand and started writing the second book. Meanwhile, I secured and regaled a group of fantastic beta readers to tell me everything that was wrong with my book. Then I wrote a novella. And finished another novel. And another one.

But my focus didn’t stay fixed on just writing novels. I started a writing blog. (And here you are. Hello!) I filled it with all my wishes, tips, and crazy adventures in the literary world. Hopefully, readers were able to find something of value on here (and I’m always open to questions and suggestions). I wrote bunches of short stories and, full of terrified misgivings, even sold a few. I began entering writing competitions. I even went to a writing convention.

Then I queried agents. (Gasp.)

It’s been a pretty productive year, I think, as far as productivity goes for the struggling wanna-be author without a dollar to her name. I didn’t make much money or sell any books, but I covered a lot of ground in networking, writing, and learning about the publishing game. Maybe some day I’ll make enough money at this to buy a cheeseburger. And I’ll definitely consider that a win.

As far as the upcoming year goes, my writing plans are few and simple. I want to complete at least two more books. And I plan to keep querying agents until my book finds its one true love. That is all. But really, that involves a lot, probably everything I did this year and more. And I’m very excited to continue this amazing literary odyssey I’ve set out on. Who knows where I could end up?

So how about you? What are your plans for this new year in writing? Lemme know in the comments below! Happy New Year and welcome back!

PS- Back in December, I declared January Beta Appreciation Month. Go hug a beta reader. It’s good for you.