Pitching Your Novel to an Editor/Agent
Are you preparing for a conference but your knees get shaky at the thought of an editor/agent appointment? Be prepared, not scared. Begin your ten minute pitch session by offering the editor or agent a handshake along with your name. If you have a business card, hand it over. Sit down and smile and state your story’s genre and word count. Mention which imprint at the publishing house you are targeting. Then continue with the following.
Do not bring your manuscript. Do not ramble on with plot details. Do have a completed book ready to submit. Do hit these high points and then let the editor do the talking.
LOG LINE: When planning your pitch, think in terms of Key Words and Hot Premises for a one line summary of your work. Look at TV Guide for examples of log lines. Examples of key words are “humorous cozy”, “legal thriller” or “courtroom drama.” Be prepared to compare your work to movies or other authors in the same genre.
Facials Can Be Fatal: Salon owner Marla Vail’s new day spa hits a snag when a client dies during a facial in this killer cozy mystery.
Warrior Lord: A fantasy wedding in Las Vegas turns into a nightmare when contest winner Erika Sherwood realizes she’s married an alien.
CHARACTERS: Don’t crowd your pitch with too many character names. In a mystery, stick with the sleuth, victim, and killer. In a romance, just the hero and heroine count. Identify your main characters by means of an adjective and a noun. i.e. sassy hairstylist, scandalous socialite, shy schoolteacher, reckless ranger, dashing detective.
OPENING HOOK: Describe the initial set up or how the story opens.
Permed to Death: Hairstylist Marla Shore is giving her client a perm when she goes into the back room to get some clean towels. She hears a loud crash, rushes back into the salon, and finds her client dead in the shampoo chair.
Warrior Prince: Mythology student Nira Larsen receives a summer job offer she can’t refuse—to act as a tour guide for a team of warriors from another planet.
MOTIVATION: In a romance, this is the internal conflict that keeps the couple apart. In a mystery, this would be why the sleuth feels compelled to get involved.
Hanging by a Hair: Marla’s husband is implicated in the murder of their neighbor. A police detective, he’s removed from the case. She means to find the killer, clear her husband’s name, and make the neighborhood safe again.
Warrior Lord: Magnor is a Tsuran swordsman who has been shunned by his tribe. Evidence pointed his way when his brother-in-law was found murdered. He took the fall for his sister, who lied him to gain his property. He doesn’t trust women who might betray a man, nor does he consider himself worthy of love since he lost his honor.
RESOLUTION: How will your characters grow and change by the end of the story? In a romance, what compromises will each person make to bring about a HEA ending? In a mystery, what insight does the main character have about herself by the final chapter?
UNIQUENESS: How is your book different from others in the genre? What special knowledge or fresh angle do you have to offer? Does the theme deal with any issues in today’s news?
SERIES OR SINGLE TITLE: If this is meant to be a series, give the overall series title and brief blurbs for the next books. If you have an overall arc for your main character, here’s where you can mention your protagonist’s inner journey.
If the editor or agent shows interest, you can briefly mention the continuing characters that will populate your stories. In the Bad Hair Day Mysteries, these include Detective Dalton Vail, who becomes Marla’s love interest. There’s her mother and other relatives, her salon colleague Nicole, and her friends Tally and Arnie. These people are part of the world you are creating. They’ll become friends to your readers.
MARKETING: What is your series marketing hook? i.e. “It’s Murder, She Wrote in a beauty salon with a South Florida slant.”
Do you have a platform? A niche audience? How do you plan to promote the book? When I was starting out with my series, I might have said: “Besides appealing to mystery lovers who like humor and a touch of romance, I’ll target people in the beauty business such as hairstylists, manicurists, and salons owners. Plus, Florida is a popular site for mysteries. People who’ve visited here or who live here like to read about familiar places.”
Are you set up with a website, blog, Facebook page, Twitter? Are you prepared to do a virtual blog tour, book trailer, and more? Show that you’re willing to work hard as a partner in marketing your work.
SELL YOURSELF: Ultimately, it’s your energy and enthusiasm that count. You have to be someone the agent or editor wants to acquire as a client. Be professional and courteous at all times. It may even be that you speak about something else you have in common, i.e. trying new recipes or touring the city sights. Then when you send in your proposal, your cover letter can state: “I enjoyed our discussion at the XYZ conference about seafood. If you recall, I’d mentioned my book….”
Restrict your pitch to the above essentials. Avoid descriptions of plot details, physical character traits, and your own personal history unless it relates to the story.
CONCLUDING THE INTERVIEW
Thank the editor or agent for their time. If they request you send them something, ask if they want to see a query letter, proposal, or the full manuscript. Also, do they prefer an email or snail mail submission? Ask for their business card before you shake hands again and depart.
FOLLOW UP: At the editor or agent’s request, mail your work to them afterward. If it’s via snail mail, which is unusual these days, mark the package “Requested Material.” If it’s an email, be sure to put in the subject line a reference to where you met, i.e. SleuthFest Conference Author. Then cross your fingers and hope for the best!
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Did you miss my earlier posts on Getting an Agent? Go here for Part 1 and Part 2.
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Tag: book marketing
Getting an Agent – Part 2
In Getting an Agent – Part 1, we discussed how to find a literary agent. Let’s say you’ve made the connection. Here’s what to do next.
Questions to ask a potential agent
How many agents and staff work in your agency?
How many clients does the agency represent? How many clients do you handle personally?
How long have you been an agent? Are you a member of AAR?
What is your particular area of interest?
How many new authors have you sold in the past year?
What is your average response time for a completed manuscript?
Do you prefer emails or phone calls?
How long does it take for you to return a phone call or email inquiry?
How do you feel about multiple submissions?
How long do you wait after sending an editor a manuscript before following up?
Do you give your client an update on the status of their projects, or do they have to contact you?
How many rejections would it take on a manuscript before you stop marketing it?
Do you handle subsidiary rights, such as translation, foreign sales, film/TV, audio?
Do you offer a written or verbal contract?
What percentage do you charge? (15% is standard for domestic sales)
What happens if you die or are disabled?
Do you deposit money received into an escrow account for clients?
How soon do you pay clients after receiving a royalty check?
How do you keep track of submissions?
Do you submit to digital first publishers?
Do you allow an author to do indie projects separate from the work you represent?
What do you expect from your clients?
Contracts
Not all agents offer written contracts. If you do get one, be careful to read the terms before you sign. See if the agreement covers only this project or everything you write. You may request changes, such as to specify novel-length works of fiction only. If you want to do indie projects on the side, make sure the agent is agreeable and that you’re not obligated to pay him any part of this income. The agent should get paid only for rights he sells on your behalf.
Be careful of committing yourself for more than a year, and make sure you can disengage with a written notice. If you terminate, you should have no further obligation to the agent except for works which the agent has submitted or sold.
Beware of “interminable agency” or “perpetual agency” clauses in your publishing contracts. This clause grants the agent the exclusive right to represent your work for the length of the copyright. Terminology like “agency coupled with an interest” is also to be avoided. Do not commit for sequels or subsequent works or the length of your copyright. Also examine the clause an agent puts into a publishing contract when the time comes. Some of the professional writing organizations have sample contracts online, so get involved in the writing community and ask experienced authors your questions after you’ve done your own research.
How to tell if your agent isn’t working out
A. You never hear from him.
B. He doesn’t answer your calls or emails.
C. You don’t receive copies of rejection letters if you’ve requested them.
D. The agent turns down your new ideas.
E. He claims to be busy with more important clients.
F. You find out he never submitted your manuscript to an editor as promised.
How to switch agents
Send your current agent a letter or email and say your relationship isn’t working out as desired, and you wish to move in a new direction. Thus you are terminating your agreement. Keep a printed copy of his acknowledgment. Keep in mind that you remain under obligation to this agent for any work he has submitted or sold for you. To be clear on the termination terms, check your agency agreement. Once you are free from your previous relationship, you can seek a new agent.
Author/Agent Etiquette
- Be prepared to suggest markets to an agent to show you are savvy about the business and have done your research. It’s hard to keep up with all the changes in the publishing industry. Consider your relationship as a business partnership where you each contribute.
- Don’t accost an agent in the restroom at a conference or if they are in a deep discussion with another author.
- Leave your manuscript at home. If an agent agrees to see your work, follow up with an email and ask for his submission requirements. Remind him where you met.
- Don’t hound your agent. Responses from editors can take months. If you need someone to hold your hand, join a critique group. Remember that you are not the agent’s only client.
- Always be courteous and professional. Keep producing new work at a steady pace. Listen to your agent’s suggestions even if you agree to disagree. Maintain a social media presence and keep up to date on industry news.
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Coming Next: Tips for the Hot Pitch
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Getting an Agent – Part 1
How do you get a literary agent? Here are some tips to start your journey from writer to published author. First, complete your manuscript in the proper format. Look online at literary agent sites for submission requirements.
Where do you find an agent? Sign up for writers’ conferences with editor/agent appointments. If your group runs a local event, volunteer for the editor/agent committee. Enter writing contests where agents are the final judges. Note the acknowledgments to agents in books by your favorite authors to find people who represent your genre. Search the Guide to Literary Agents or Writer’s Market at your local library.
Follow agents on Twitter. Look for the hashtag #MSWL (manuscript wish list). You can get more specific for a particular genre (i.e. #MSWL Mystery). Also check out #Pitchmas, #AdPit, #Pit2Pub, #PitMad, #AgentsDay, #Carinapitch, #PitMatch for online pitches. Also use #AskAgent if you want to find agents who might be interested your story. Here are some places that might hold online pitch sessions:
http://cupidslitconnection.blogspot.com/
http://www.savvyauthors.com
http://www.brenda-drake.com/pitmad/
http://www.soyouthinkyoucanwrite.com/
Also follow blogs by well-known agents and publishing industry professionals. You’ll learn who these people are by getting involved in the writing community.
Do Your Research
http://aaronline.org/
http://absolutewrite.com/forums/activity.php
http://accrispin.blogspot.com/
http://www.agentresearch.com
http://www.agentquery.com
http://www.literarymarketplace.com/
http://www.manuscriptwishlist.com/
http://mswishlist.com/
http://www.publishersmarketplace.com
http://www.querytracker.net
http://www.sfwa.org/other-resources/for-authors/writer-beware/alerts/
http://www.writersmarket.com/
http://www.1000literaryagents.com/
Follow the guidelines for submissions on the agent’s website. Write a snappy query letter introducing yourself, giving the word count and genre for your book, your writing credits, and a few sentences about your story. Make it read like back cover copy. Include a hot premise or marketing hook that makes your story stand out. This letter should be no longer than one page. DO NOT describe your life history or any personal details that do not relate to your writing career. DO include if you belong to a critique group, have won writing contests, or if you’ve attended writing workshops and conferences.
If you hear nothing for a couple of months, send a follow-up email to ask if the agent received your query. Be courteous and respectful of the agent’s time. Be aware that some agents won’t respond at all, and this can be taken as a rejection. But follow through at least once to make sure your email was received. As an alternative, you can request a return receipt for when the agent opens the mail.
If you receive a rejection letter with detailed suggestions for your work, write a thank you note. Remember, an author-agent relationship is a two-way street. Just as you want to hire the ideal agent, the agent wants to land the ideal client. Be courteous, professional, and savvy about the industry. Never pay an agent any fees. The agent will receive a commission on sales.
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Coming Next: Getting an Agent – Part 2
You’ve found an agent who interests you. Now what?
Pricing and Discoverability
Session Two: Yo! Here I am! Buy Me!
Novelists, Inc. Conference St. Pete Beach Oct. 2014
The general reader mindset changed with the advent of lower-priced, self-published books. One speaker encouraged higher prices than $.99. For that low price, he feels readers aren’t as vested and are more likely to give a lower rating. Also, the reader may not stick around to read a $.99 book as opposed to a higher priced book. Customers like lower prices, but that doesn’t mean they won’t pay more for what they perceive as value. Millions of customers are willing to pay as much as $15 per book. Traditional publishers can price lower and indie pubs can price higher. These two have to come together.
You can use pricing as a discovery tool. Price lower for your backlist titles or for one day as a marketing promotion. BookBub is where readers download free or cheap books to discover new authors. If a reader likes the book, they will buy other books by that author. The audience who subscribes to BookBub trusts them to offer books of a certain quality. Multi-author box sets can also drive discoverability. [Author’s Note: Also check out The Fussy Librarian]
So the $.99 deal is a great way to meet readers and get acquainted. Don’t feel you have to price every book as low as $2.99 or $3.99. You must have a pricing strategy. For example, make the first book permafree and price the others at a higher rate. Making the first book in your series free helps all your sales.
Kobo promotes the first free in series. They say an average of 54% of people who finish reading a book will go on to read more books by that author. Kobo curates the front-page material for their website.
Books in a series will sell better than standalones. But you don’t have to have books in a series per se if you can link them in a smart way. For example, one author had “the first kiss club” for clean, teen romance although each book is a standalone.
Your e-book is a living document, so put links in your new books to your backlist titles. The back matter is very important.
An average of 18 audio books is consumed by Audible subscribers in a year.
One speaker feels that subscription readers (for services such as Kindle Unlimited, Oyster, or Scribd) are a different market than readers who would buy your book.
It’s not easy for librarians to find indie authors on Overdrive. But another speaker said profits from the library market are relatively small compared to the retail market for successful indie authors. The following services were mentioned regarding libraries: Overdrive and BiblioBoard.
Lunch was served next, tempting us with deli sandwiches and an array of desserts. We had time to schmooze with friends before moving on to the afternoon panels.
Here I am with Ann Meier from Florida MWA and there’s Leanne Banks at the dessert table.
See all of my Photos in the Ninc album on my Facebook Page
Note: Any errors in this article are due to my interpretations. As many ideas flew back and forth during each session, I will mention what I gleaned from the panels, and you can take from it whatever serves your needs.
The Future of Publishing 2014
Novelists, Inc. Conference St. Pete Beach Oct. 2014
The Novelists, Inc. (Ninc) conference is the only writers’ conference focused solely on the business of writing. To become a member, you must show proof of two published novels. This is not the place to promote your work, pitch to agents or pick up new fans. It’s primarily a learning experience. You go here to learn what’s new in the business, what’s to come, and how to approach the many aspects of running a small business in the publishing field.
Of course, meeting old friends and making new ones is the benefit of any conference and this gathering was no exception. People came from across the country, enjoying the perfect Florida weather and beachfront setting.
Photo 1: Nancy J. Cohen, Annette Mahon, Carole Nelson Douglas, Laura Resnick
Photo 2: Nancy J. Cohen, Terry Odell, Karla Darcy
Photo 3: Donna Andrews, Carole Nelson Douglas, Nancy J. Cohen
Photo 4: Sophia Knightly and Nancy J. Cohen
First Word Thursday: The Future Of Publishing, Part 1
Any errors in this article are due to my interpretations. As many ideas flew back and forth during each session, I will mention what I gleaned from the panels, and you can take from it whatever serves your needs.
Nine industry guests discussed the partnerships between authors, publishers, and agents. Journalist Porter Anderson moderated.
A partnership is a power relationship. Consider where the power lies in each transaction. Ask yourself what your skills are, what partners have complementary skills, and who has the scale to utilize these skills to your benefit. Partnership implies equality, but at the end of the day, it’s your business and what you, as the author, have created. You want partners who can connect your book with a wide audience in new ways. Also, know the financial health of your potential partners.
One speaker was concerned that companies with enormous “scale” had their own agendas. They focus on profits rather than on promoting each title in a sustainable way. Publishers are making more profits today and more margin on e-books even when they say they’re hurting. Incumbents like the Big 5 are the least likely to innovate.
As an author, try to retain as much control as possible. Allow for new avenues to explore but examine them from all angles. With the advent of new technologies, look for shorter terms in your contracts so these new models can be tested and evaluated.
The key to partnership is mutuality. Traditional publishers must be more willing to let their writers go, because once your titles go backlist, you lose the mutuality. Print on demand and e-book publishers should not keep a book in print unless the author is making real money.
Competition drives innovation. Google could become a viable competitor to Amazon.
The most important relationship an author has is with his readers. What you write has to connect with your readership. Write consistently. Target your audience and determine how to reach them. Continuance between the author and reader is important whatever the distribution route. Unfortunately, often authors talk to other authors and sell to other authors. Focus on your readers.
Bringing back the mid-list has been the biggest benefit of digital publishing. However, there’s a glut of writers out there, so the solution is to increase demand. Society and culture need to make reading a valuable pastime. Let kids read fun books instead of classics in school. Every one of us should be involved in turning people into readers. How to sell books in a sustainable way is a critical issue.
One of the keys to self-publishing is for bookstores to open to indie authors. The recent deal between bestselling author Barbara Freethy and Ingram is encouraging.
BookLamp analyzed the contents of a book and gave recommendations to readers based on the text. (This startup has been bought out by Apple.) Authors collectively have power and should ask more questions about their data.
A discussion came up on the pressure for authors to produce more and faster in the digital age. Quantity should not be versus quality.
The author on the panel spoke about how iBooks is her number one retailer. She is totally self-published. After taking years to write her first few books, she put them all up at once. Now she’s a self-sustainable, bestselling author. She has an international Street Team that helps spread the word about her books. Her encouraging words: “You can make a living without being a household name.”
What do international readers want? Amazon is starting to look at the translator marketplace.
Coming Next: Yo! Here I am! Buy me!
See all of my Photos in the Ninc album on my Facebook Page
Promotion Checklist
Have you sold a book and now you’re panicking about what to do? Does the thought of book promotion strike terror into your writer’s heart? Here are some guidelines to get you started on the road to self-promotion. Always remember to be courteous, to avoid clogging the loops/tweets with your constant pronouncements, and to comment on other people’s posts in return. Don’t feel obligated to do everything mentioned here. Pick and choose what works best for you.
IMMEDIATELY UPON SIGNING CONTRACT:
Send press release to local newspapers and trade magazines. Copy any feature articles that result to editor and agent.
Send notices to alumni newsletters and professional organizations.
Solicit advance reviews/quotes from other authors.
Get professional photo taken or update photo.
Reserve your domain name or the domain name of your new series.
Announce the news on your website, blog, listserves, and social networks.
Send an email newsletter announcing the sale to all your mailing lists.
Post excerpts to raise interest.
4-6 MONTHS PRIOR TO PUB DATE:
Send galleys/ARCs/pdf copies to reviewers after making personal contact.
Reserve ad space in online or print sites.
Offer to write articles in trade magazines for issues matching pub date.
As soon as you get your book cover art, order business cards, printed promo materials, and swag.
Design video trailer.
Solicit booksignings and speaking engagements at writers groups, community clubs, conferences, and libraries.
Add cover and blurb to your online sites.
Design contests for the next few months leading up to Release Day.
Solicit blog tour hosts and determine topics.
Look for niche marketing opportunities.
2 MONTHS AHEAD:
Send press release with signing dates to local newspapers.
Load video trailer and add links to all your sites.
Update mailing lists. Send email newsletter to booksellers and librarians.
Write all the blogs for your virtual tour and match topics with hosts. Post your schedule online.
Determine upcoming contest prizes and giveaways.
Decide what to do for a book launch party.
Send promo materials to conferences for goody bags or promo tables.
1 MONTH AHEAD:
As soon as the book appears for pre-order online, add the buy link to all your sites.
Add the book to Goodreads and post giveaway.
Create a “Meet the Author” poster for book events.
Set Google alert for title.
Verify dates with booksellers/conference organizers for events and check that books will be in on time.
Send email newsletter to readers, including signing dates.
Send copies of book reviews, feature articles, and promo schedule to editor/publicist. Remember to promote yourself to your publisher.
RELEASE DAY!
Have a party, run contests and giveaways, offer a Q&A session, and celebrate!
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Time, money, and energy are considerations when planning your promotional campaign. Choose what’s reasonable for you to accomplish, and remember that family takes priority, writing comes next, and all else is a bonus. The above suggestions aren’t written in stone. Some items you may be able to do sooner and some may come later. You’ll eventually work out your own rhythm. Do as much or as little as is comfortable at your level, and good luck!