ADVICE FOR ALL YOU PITCH VIRGINS

You’ve most likely read more than one article about deciding which editors and agents might be interested in your story; crafting an impressive short pitch, long pitch and (the all-important) elevator pitch; what to wear, what to say, and what not to say; how to relax, how to take notes, and the importance of practice—and more.

I decided to share something new: Lessons Learned from my ‘disastrous’ First Pitch. Ever. 


I attended the 2008 RWA National Conference with my sister, who is also a romance writer. We were both Pitch Virgins. We ended up assigned to pitch to an agent we’d never heard of because…okay, I forget why. Stuff happens at conferences.

Anyway, we looked up our pitch target, Nathan Bransford. Turned out he worked for Curtis Brown, a reputable agency that’s been around forever. And he’d been writing one heck-of-a-funny industry blog for a couple of years. He was looking for all types of romance. We both relaxed a little after getting familiar with him through his blog.

When the time came for me to pitch, a Writer Who Will Not Be Named came unraveled all over the Conference Volunteer because somehow we’d both been slated for the same time slot with Mr. Bransford. I suspected  WWWNBN would see blood on the floor before she'd give up her spot.

I figured that mistakes happen, and no single pitch appointment is going to make or break my career, because I won't let it.  The mistake wasn’t the poor volunteer’s fault. So I smiled and told her to give WWWNBN my spot. After thanking me profusely, the volunteer promised to make sure I got a chance to pitch to...someone.

I waited with my sister for her pitch appointment. A few minutes later, the WWWNBN exited the Pitch Room with tears streaming down her face. Apparently the appointment she’d wanted so badly hadn’t gone well.

The volunteer who’d dealt with WWWNBN's tantrum approached me with a smile on her face. She was so grateful that I’d defused the situation that she’d spoken to Mr. Bransford, who graciously volunteered to give up part of his lunch break to hear my pitch.

I thanked her for her kindness, then bought Agent Bransford a roll of Lifesavers candy from the hotel gift shop (in case he was starved for lunch) as a token of my appreciation.

When the time came, we laughed together over my choice of candy. I pitched my not-yet-finished book to him and he asked me to query him when the book was complete. He told me to jog his memory in my query letter that I was the writer who brought him Lifesavers when he was starving, because he’d never forget that.

He forgave me for pitching an unfinished book; he learned I’m no diva; and he remembers me in a good way!  Who could ask for more from a first pitch?

So relax! Stuff happens.
Could be good news, could be bad news. You never know!

Theme/Premise/Pitch

I’m emulating my good friend Danita today. She likes to rehash hooks, while I have IMMENSE trouble understanding/getting- Theme/premise. The current WIP doesn’t have murder, mayhem, kidnappings, chases, or even fights (well unless we have a barroom brawl, but that isn’t in the picture at this time). It is a purely emotional book. The characters and their pasts are the catalyst of the whole story.

On the blog about pitching CJ Lyons wrote , she said to start with your theme or premise to begin writing your pitch. Okay, but I feel like I've already failed because of my denseness when it come to this particular topic.

These are the theme/premise I came up with: Learn to love again; Conquer your past. They’re kind of weak. How do I build something around that? I like the second one the best. Not so syrupy sweet, something that I can maybe use to draw in readers with a hook or high concept.

Then she says boil it all down for your high concept which should be: “one and only one unique concept--whatever it is about your story that will create an immediate emotional connection or spark interest.”

CJ says this about finding the hook: “This is the unique spin that you have put on your story. This means narrowing your search to one small part of your story. Start with your blurb, usually the hook will be apparent there. If not, keep looking.”

My blurb: A workaholic ER nurse with plans to build a camp for sexually abused children finds herself drawn to a rodeo cowboy and his art. Has she found unconditional love or will her past tear them apart?

What I came up with for high concept is: High emotions and high stakes or Can your past dictate your future?. Both tap into emotions; the first with the high stakes, which could mean anything from monetary to emotionl, the second tells you something about the past is going to come into play, and who hasn't wondered "what if I'd done this differently?".

What is the unique spin on your WIP? Can you boil it down to a high concept statement? If so, please share maybe it will flip the light bulb on for me.

Pitch Paragraph

I’ve been lurking on several agent blogs preparing myself to pitch to agents at Nationals. And I don’t just mean an agented appointment. I’m hoping I can get up nerve to talk to any agent I see. You know, casually at first, then hoping to edge into a short, succinct discussion about my WIP.

Kristen Nelson of the Nelson Literary Agency has been posting pitching info on her blog. And the one thing she said that finally rang a bell with me was to make your pitch sound like the back cover blurb with your plot catalyst.

And she says these are the three different ways you can build the paragraph around the plot catalyst.

1. The back story that sets the story and creates the context

2. Contributing plot elements that will broaden the story

3. Character elements that are imperative to the story.

Or she says you can do a combination of these to write up a pitch and back cover blurb.

So here goes. This is my pitch paragraph.

Mae Simon is on her first assignment as a Pinkerton operative and nothing will stand in her way; neither conventions nor a righteous U.S. Marshal. She’s also determined to find the traveling actor who fathered her and disappeared, leaving her mother pining for the man.

U. S. Marshal Beck Harlan can’t afford to get close to anyone . Not with a vengeance seeking outlaw killing off his intimate acquaintances. However, he finds himself falling for the French prostitute he persuades to become an informant, not realizing, she is a Pinkerton operative after the same man.

Show us what you would use for your pitch of back cover blurb of your WIP.( And I'll take any all suggestions on mine)