By Kathy Carpenter, publicity
The San Diego chapter of Romance Writers of America has over twenty-five published authors. But you do not have to be published to join. We encourage visitors. And whether or not you write romance the San Diego Romance Writers is a great place to learn to write non-fiction. After all good writing is good writing.
What I would like to do here is introduce you to our authors one at a time. I will tell you a little about them and feature a craft article or bit of advice written by each one.
Okay, so you've decided to sign up for one of those agent or editor
appointments. Are you ready? Are you really ready?
As you read these words and think about the story you have in mind to
pitch--do you already have that feeling in the pit of your stomach that
makes you want to ensure several types of antacids are on your list of "must
pack" items?
Good. Read on...because I'm going to give you some advice and let you in on
a few of the secrets. And the nice part is that you have time to organize
now so you'll be truly prepared to make a pitching appointment the best
possible experience.
One thing to remember: no matter what happens, an appointment doesn't make
or break your career. Repeat after me: it's the writing that really counts.
CONFERENCE ETIQUETTE and ADVICE-DOs and DON'Ts
* DO keep a smile on your face (you never know who's watching-could be
your new agent- or editor-to-be)
* DO talk to strangers (you might strike up a conversation with your
new agent- or editor-to-be)
* DO sit with new people at meals and events (you never know if that
person will become your new agent- or editor-to-be) . Do you see a trend
here?
* DO wear your badge (tip: put all your meal and event tickets behind
your name in your little plastic name badge holder so you'll always have
them with you)
* DO be cheerful, be polite, and avoid clumps of gossiping writers
like the plague. Keep any down and dirty conversations about agents or
editors inside your hotel room.
* DO remember you are creating an impression at conference. You don't
have to wear a suit all the time if it's not comfortable for you, but do be
neat and pressed.
* DO be early for your pitching appointment. Hang out in the
appointment area and eavesdrop for any helpful tidbits ("oh, she was so
nice" or "she loves Scottish historicals" or "he's really
quiet and let me
talk the whole time-not what I expected at all")
* DO be prepared at any time to be able to pitch your story...IF you
are asked to do so. You may have an opportunity at lunch, waiting in line
for an event, while on a long elevator ride, or sitting at the bar. You'll
need at least three pitches prepared: a one-liner, one the equivalent of a
short paragraph, and something longer.
* DO target the right agent or editor - do your homework and I mean
it! Know what types of stories the editor buys and the "culture" of
the
publishing house. For an agent...who are his/her clients? Do your
research. How? Study the Market Updates in the RWR. Google their
names-it's amazing how many agent and editor interviews are on the Web.
Check author websites for editor/agent gushing. Look inside books on the
shelf for authors' acknowledgement pages for agent or editor names, then
check author websites for more information.
* DO look for agent and editor panels and workshops at the conference
so you can get a look at this person before your appointment- there's a
certain power in knowing ahead of time what she looks like and a little
about his/her personality.
* DON'T SOLICIT AN AGENT OR EDITOR IN THE RESTROOM. There is a story
circulating still about how a writer followed an editor into the bathroom
and actually slid her manuscript to her while she waited in the next stall.
Sounds ridiculous, but it's been done. You don't even want to bring your
manuscript with you to the conference. I know you're excited but, believe
me, you can put it in the mail when you get home! Editors and agents do not
want to haul pounds of paper to their rooms or onto the plane home.
* DON'T be a no-show for your appointment. If you decide you really
can't go, cancel it so someone else can.
* DON'T necessarily cancel your appointment if you've just discovered
what you intended to pitch is exactly what they're NOT looking for. You
have some choices, here. You can simply say you've just heard he/she hates
(regencies or time travels, or whatever), and you could pitch something
else-always, always, always have another story in mind. Or, you could ask
for feedback on a new idea you're just working on. You can take the time to
ask specific questions about what he or she has just purchased or rejected,
likes and dislikes. You could pitch the original story anyway. Guidelines
are funny things-I've heard tales of writers pitching their stories anyway,
even though they'd heard "they're only looking for ______." And, after
the
pitch, they were asked to submit. You'll have to decide what feels right
for you.
* DON'T go past your allotted time. Individual appointments are
easier because they're monitored-bells ring, announcements are made (though
more than once I've stood behind someone's chair for a minute or two as I
politely waited for them to stop talking and leave). In a group
appointment, if you are asked to take a minute for your pitch, take a
minute-and only a minute. Believe me, it is remembered by everyone if you
are the rambling writer who hogged all the time at a group appointment!
* DON'T shove your business card at the editor or agent. You may
offer it to them, or, better yet, wait to be asked. From what I've heard,
though, most don't want them-more pieces of paper to keep track of!
* DON'T monopolize your roommate's time by really explaining ad
nauseam what your story is about. Most will be polite as you share the
nuances of your plot, but realize that her attention span will be like most
agents or editors-short! Negotiate with her if you want to use her as a
sounding board...the secret, in my opinion, is always to communicate
clearly. Ask her if she'll listen and give feedback about your practice
pitches, but settle on a time period first. Don't assume she has nothing
better to do.
GROUP vs. INDIVIDUAL APPOINTMENTS
In a group appointment, you may or may not be asked to pitch at all. Often
the agent will simply talk about how their agency works and what they're
looking for. It's fairly typical for the agent to assume that because you
signed up for an appointment, you're serious about what you're doing, and he
or she will ask everyone to send in a proposal (cover letter, short
synopsis, the first three chapters, and a self-addressed- stamped envelope).
An editor may talk about their publishing house, the different lines or
types of stories they publish and, again, invite everyone to submit a
proposal. If you are asked to pitch, you'll typically only have a minute or
two at the very most, sometimes less than that. My advice: try not to be
the first one. Listen to the first few pitches and watch for the agent's or
editor's reactions. Learn.
At an individual appointment, think in terms of seven minutes, not ten,
because you have to allow time for the shuffling of people in and out of the
appointment room and perhaps a little small talk as you settle into your
chair for your agent or editor appointment. And remember to breathe.
Often, the person across from you is as nervous as you are! Help them say
'yes' to you by being prepared. Pitch something appropriate. But, what if
your pitch goes well and you're asked to submit and you realize you have
five minutes left? What do you do? Have some questions in mind-ask if the
editor might share what's just been purchased by the house that is exciting
or different... ask if she has a favorite hero or heroine (or ones she's
tired of seeing). Ask the agent who her favorite houses or editors are.
Try to use the extra time for fact finding.
Don't be disappointed if you have a group appointment instead of an
individual appointment. Group sessions are much less nerve-wracking and the
results can pretty much be the same.
"I've heard writers have made a sale at conference-is that true?"
Not likely. It's probably more accurate to say that a pitch went well at
conference and the editor asked to see the manuscript-maybe the complete
manuscript right off the bat, which saves tons of time-and they later sold
it. This happened to me, and, yes, the editor did end up buying the book!
So, technically, I "sold" at conference-but what really happened was
I
pitched the type of story the editor could say "yes" to. I just can't
imagine an editor being able to offer a contract at a conference-there are
so many details that have to be ironed out. Now, it's possible that a deal
was already in the works, maybe, and everyone involved was at the conference
and all agreed...at the conference. But, again, I don't call that "selling
at conference" - it's kind of a timing thing in my opinion.
PREPARATION IS POWER
The real secret to pitching is knowing what your story is inherently about.
Sounds simple, right? It isn't. Preparing a pitch can be a grueling
process and most writers hate it! The process forces you to find a way to
verbalize the heart of the story...and the heart of the story has to do with
the conflict and the lessons learned.
The sequence of events (the plot; what happens) is not as important as you
think - it's the concept and the story arc that you need to get across.
Think: character and the character's dilemma. Too much detail loses the
listener. Don't tell the story, sell the story.
And don't be afraid to tell the good part first--give away the ending,
especially if there's a twist (in a pitch you always tell the beginning,
middle, and ending). Giving away the good part right at the beginning helps
the listener know what to pay attention to during the rest of your pitch.
But, what if you're so nervous you can hardly talk? Be honest, say you're
really nervous, and then read your pitch if you absolutely have to. Some
agents or editors will roll their eyes because they hate this, but most will
understand.
PITCHING OPPORTUNITIES. ..WITHOUT AN APPOINTMENT?
Imagine you're standing in line for the restroom and you sneak a peak at the
badge of the nicely dressed woman in front of you. She's an agent or an
editor you'd love to meet. What do you do?
Resist the urge. If she doesn't initiate the conversation by asking you
what you write, it's just not polite to assume she wants nothing more than
to hear a summary of your latest manuscript. After all, you are both in the
bathroom line, remember?
Just smile. She'll realize how nice you're being by NOT saying anything to
her, which gives you automatic brownie points and builds good conference
karma. She may sneak a peek at your badge...maybe she notices your first
sale ribbon or your PAN ribbon or notices you're from a city she
loves...just wait. If she wants to ask you a question, she will. If she
doesn't, there's a good chance she'll remember how quiet you were (and how
bright you were to NOT accost her in the bathroom line).
Okay...imagine you're in the elevator...again, sneaking peeks at who's
riding along with you. Same rules apply: for the most part, wait until a
conversation is initiated. And you'd be surprised how often that agent or
editor WILL say something like, "So, what do you write?"
And there are always exceptions to the rule. But I can't even come up with
an example of when I've heard about someone jumping into a pitch, uninvited,
and then getting a request for a proposal. I'm sure it happens, but my
advice is to play it safe and wait to be asked to dance.
TO GUSH OR NOT TO GUSH
But, what if you really, really want to meet that agent or editor and
they're just standing there at an event, looking lonely, looking bored. If
you can rein yourself in a little, get yourself under control, why not? If
you're gonna do it, fully commit. Introduce yourself: "Hello, my name is
______. I love the books you edit (only use this line if you really have
done your homework and have something specific to say about her authors)."
...or... "I've heard such nice things about your agency, I've been dying
to
meet you. _____ is a client of yours and I write something similar-are you
taking on any new clients right now?" ...or, if you simply want to start
a
conversation, hoping you'll be asked about your work, just be sincere.
"Have you been to any outstanding workshops?" (This also works well
to
break the ice at that lunch table when you've been separated from all your
buddies and you don't see a familiar face.)
Any of these scenarios could work quite nicely - be genuine, don't be pushy,
say something appropriate, don't monopolize their time.
Be ready. You never know what kind of situation will present itself! Have
that short and sweet pitch ready. And be prepared to tell more about your
story if asked.
AN AGENT/EDITOR NEVER FORGETS
What if you see an agent or editor that you've met before, or maybe had an
appointment with (during this conference or in conferences past)? It's
likely they'll remember you...these people have amazing powers of
recollection! Again, fight the urge to run over to stand in their glow -
simply smile, nod, and if there's no invitation to join her-just enjoy the
fact that you were recognized.
You've just spotted an editor who has your manuscript. You want desperately
to say something. What do you do? Is one of their authors someone you
know? Have her introduce you-smile, say "it's nice to meet you" and
gently
mention the name of your manuscript.. .something like: "Oh, and you have
(title) on your desk." Don't add any pressure or expectation. Smile and
leave. You have planted the seed. You've shown your party manners. That's
about all you can hope to accomplish. Hey, maybe you've just met your new
agent- or editor-to-be!
FEEL THE FEAR AND DO IT ANYWAY
Just do it. Everyone has to pitch. Some are better at it than others, some
actually enjoy the challenge of telling their story in a few perfect
sentences. We all hate them. And we envy them.
What are the advantages to pitching?
* Puts a face with a name/title/project- they will remember you and
your story.
* You get a chance to feel the "click"-chemistry can be important.
* Saves time (query letters can be at a house or an agency for
months...did someone say years?).
* Practice makes perfect. You will improve the more you pitch.
* Shows you're willing to do it (and swim with the sharks). I think
we all need "I pitched" ribbons!
* Forces you to boil your idea down to something short (do you really
know what your story is about and what makes it worth printing?).
* Gives you an opportunity to show you are serious about what you're
doing.
So, lastly, before and during this amazing conference, keeping reminding
yourself: Editors and agents come to conferences actively looking for
talent. Do your homework, prepare your pitches, and give them a chance to
discover you!
BACHELOR FOR SALE June 2006 Thorndike Press (large print)
SWEET ON YOU January 2006 Thorndike Press (large print)
DREAMQUEST May 2004 Dorchester Love Spell
Need proofing? line-editing? E-mail me for more information.