I think it was the great Ray Bradbury who said a story has three parts – the writer, the story itself and the audience.
A story has not fulfilled its function until someone has read it.
The final session at the Michael Hauge workshop held by the New Jersey RWA was on pitching your work to an agent or an editor.
I don’t know a single writer who enjoys a pitch. But we all have to do them… and it never stops. Just because you have an agent or a publisher, you still have to sell you next book. And the one after that… and so on.
So we best get pitching right!
According to Michael, the most common mistake writers make when they pitch is trying to tell the story. Don’t do it, he says. Give the listener just the key elements that promise an emotional reaction – because after all, emotion is what it is all about. Think about it – can you imagine telling the whole Titanic story in a pitch? No way.
He gave us an eight step approach to a good pitch – four parts preparation and four parts presentation.
Before you do the pitch…
Review your work to make it the best it can possibly be.
Write the pitch – get it perfect in every way. Make sure you can sum up the key points in just two minutes. Make it exciting and emotional.
Rehearse it – no editor is going to be bothered if you are not word perfect, but you have to be able to get it across well.
Research who you are pitching to – make sure it’s the right editor or agent for the style of work you do.
When you start the pitch…
Try to establish a relationship with the person you are pitching to. That can be as simple as saying something about another author who works with that agent or editor… tell her why you like that person’s books.
Reveal your story in the same way that you might write a story – building to a climax. Start with how you got the idea… “I started thinking what if…” then tell the key points of setup – ending with the shout line. Then put in into the marketplace… Readers of author XX will like this.
That should take only two minutes of your five minute pitch… but don’t just stop and leave an awkward silence. This is the request moment – your request.
You ask if she has any questions. If she does – listen carefully and answer succinctly – Michael says 10 seconds at most. Do not ramble on about side issues. If an editor asks do Jack and Rose get their happy ending – the answer is simple – “No. Jack dies.” There’s no need to give details about how he dies, we just need to know he’s gone leaving Rose the take charge of her life alone.
If she doesn’t ask a question – you ask a question – ask if she would like to see your work.
The response is the final part of the process. Either they will ask to see the manuscript – or they won’t. If they do want to see it, don’t pitch a second idea unless they ask you to. Just get the details of how to send it, say thanks and leave. You have had a successful pitch so leave on a good note.
If they say no – don’t try to change their mind, you won’t. If there is time you could try pitching something else, or ask what in particular they do want to see and if you could send something later.
Michael went on to say not to worry if you are nervous when doing that pitch. Nobody cares about your nerves. Nobody is going to reject a promising book because the author is nervous. Remember – they are taking pitches because they are looking for new stories and new authors. So just accept that you’ll be nervous, and get on with the job of doing your book justice!
I had heard some of this before but it never hurts to hear it all again. Michael had such a great way of making it all seem so clear. Pitching is never going to be easy – what we are all looking for is for our pitches to be successful.
That was the final part of the workshop. I have to say it was one of the best I have ever attended. I can’t recommend him highly enough. It you get a chance- do go to one of his workshops. You won’t regret it.