A manuscript is an extension of you. In a way it's like a child---you create it, play with it, train it, and hope to share it with the world. But remember, you love your children like no one else in the world. You also love your manuscript more than anyone in the world.
You SHOULD love it, but. . .
It's easy to get too attached to your manuscript. After all, you've spent countless hours working to make it perfect. You've sacrificed time you could have spent with family and friends writing your masterpiece. You've weighed every word, deleted and reinserted the same scene several times, rewritten dialogue for weeks at a time. And now it's finished. And it's perfect. And YOU'RE NOT GOING TO CHANGE A DARN THING.
If you feel this way, you're too married to your manuscript. After you've spent months, or years, with the same story, it's impossible to see your own work. You need the advice of other writers, agents, editors. Change can be a good thing. Don't resist. Listen, weigh, and go back to your masterpiece. Usually you will see that at least a few of them are right.
When writers are too married to a manuscript, a red flag pops into the heads of publishing professionals. If you're unwilling to change a single word, a single scene break, they're going to think you're high maintenance. And you know what that means, right? In the words of my mother, "Don't throw the baby out with the bathwater." If a few changes could make the difference in whether you get published, consider making those changes. Consider listening.
Here's the disclaimer: If the suggested changes mean you have to compromise a theme or change the whole concept of the book, think long and hard before you decide.
On the other hand, if the changes are mostly window dressing, maybe you should make them. After all, it's better to improve your manuscript for your readers than to get your way.
Showing posts with label agent. Show all posts
Showing posts with label agent. Show all posts
Thursday, September 3, 2009
Thursday, July 16, 2009
The Literary Equivalent of The Dog Eating Your Homework
Let's say your wish comes true. You meet with Mr. Dreamagent (or editor or publisher) at the conference and he requests a full manuscript. If you're finished with the book---and it's polished and gleaming and ready to grace his desk----no problem, right?
But, what if. . .maybe you said it WAS finished, and you'd love to send it, BUT. . .
"I'm leaving for Bangladesh (or some other place with unreliable wi-fi) as soon as I leave this table and I won't be able to send to you for six or eight months, it's monsoon season, you know and . . . "
"I need to fine-tune it a little. Can I send it to you next spring. . ."
"My computer crashed right after I printed theses pages and it might be a while before (insert Best Buy, Tech Support, etc right here) can recover my manuscript. The whole thing was lost and . . ."
These are all EXCUSES or BIG, FAT LIES, depending on how honest you are with yourself. Finished means FINISHED. Not just your story has a beginning, a middle and an end, but done. Finito. Mr. Dreamagent has heard all these lines before, and more besides. He'll be asking himself why you can't send it from the hotel before you leave on your whirwind world tour, why you didn't back up your work, how come finished means not really, completely finished. You are not getting anything past Mr. Dreamagent and in the long run you're only hurting yourself and your reputation.
Agents, editors and publishers are looking for something to sell. They can't sell a book that isn't finished. If your book is still in the works, admit it. Be honest. Tell Mr. Dreamagent where you are in the process and see if he's still interested. Be realisitic in your timeline. Don't promise to mail it next week if you know that's an impossibility. If you tell Mr. Dreamagent you'll mail it next week, and for some REAL reason you can't, email and explain. (NOTE: I'm NOT telling you to write a two page email re: your loved one's entire medical history, including the juicy parts---more like "A family health crisis prevented me from mailing the manuscript as planned. It will be posted on Monday.")
Lying to a person that you hope to develop a professional relationship with, right off the bat, is not the way to go. If you snag Mr. Dreamagent, you want to create a relationship that's honest, open and cordial. In order to create a good relationship with Mr. Dreamagent, you need to make sure you live up to your word, meet deadlines, and deliver as promised. Hopefully, he'll do the same. It's kind of like a three-legged race---you're in it together.
But, what if. . .maybe you said it WAS finished, and you'd love to send it, BUT. . .
"I'm leaving for Bangladesh (or some other place with unreliable wi-fi) as soon as I leave this table and I won't be able to send to you for six or eight months, it's monsoon season, you know and . . . "
"I need to fine-tune it a little. Can I send it to you next spring. . ."
"My computer crashed right after I printed theses pages and it might be a while before (insert Best Buy, Tech Support, etc right here) can recover my manuscript. The whole thing was lost and . . ."
These are all EXCUSES or BIG, FAT LIES, depending on how honest you are with yourself. Finished means FINISHED. Not just your story has a beginning, a middle and an end, but done. Finito. Mr. Dreamagent has heard all these lines before, and more besides. He'll be asking himself why you can't send it from the hotel before you leave on your whirwind world tour, why you didn't back up your work, how come finished means not really, completely finished. You are not getting anything past Mr. Dreamagent and in the long run you're only hurting yourself and your reputation.
Agents, editors and publishers are looking for something to sell. They can't sell a book that isn't finished. If your book is still in the works, admit it. Be honest. Tell Mr. Dreamagent where you are in the process and see if he's still interested. Be realisitic in your timeline. Don't promise to mail it next week if you know that's an impossibility. If you tell Mr. Dreamagent you'll mail it next week, and for some REAL reason you can't, email and explain. (NOTE: I'm NOT telling you to write a two page email re: your loved one's entire medical history, including the juicy parts---more like "A family health crisis prevented me from mailing the manuscript as planned. It will be posted on Monday.")
Lying to a person that you hope to develop a professional relationship with, right off the bat, is not the way to go. If you snag Mr. Dreamagent, you want to create a relationship that's honest, open and cordial. In order to create a good relationship with Mr. Dreamagent, you need to make sure you live up to your word, meet deadlines, and deliver as promised. Hopefully, he'll do the same. It's kind of like a three-legged race---you're in it together.
Tuesday, July 14, 2009
Guest Blogger: Scott Eagan, Greyhaus Agency
Today we have a great guest blogger!
Scott Eagan is an agent with the Greyhaus Agency. He represents romance and women's fiction. If you want to see what he's currently looking for check out this link to his submissions page:
http://www.greyhausagency.com/About_Us.html
Is it all about the writing?
The submission process to an agent is always a weird and bizarre process. When you stop and think about it, the relationship you have with an agent is about personalities. It is all about teamwork and how the two of you will work together to get those books of yours on the NY Times Best Seller list and for you to have a long and fruitful career. And yet…
The submission process begins not with the personalities but with the writing. You submit a partial or a query and we work from there. This is an interesting dilemma because frankly, you might be just the person an agent would want to work with, but if you really mess up that submission, that chance is lost forever. Ugh. Not what you wanted to hear.
Today I wanted to take some time to talk about some of the things that we look at, as agents, when we are selecting clients to join our line-up. Remember that this is just one agent’s approach. Other agents may do things differently, but I do have to say, we all start from the same place.
STEP 1 – The Initial Submission – So this is where we start. You have hopefully done your research and have fired off the required submission packet to the agent. It arrives on our desk and we log it into our computers and then will eventually read the submission. At this point, we are simply looking for 2 things:
1. The quality and marketability of the writing.
2. The professionalism of the writer in the submission.
Now, obviously, if the story is not something we are interested in, for what ever reason, the process will stop here. In the case of Greyhaus Literary Agency, I am specifically looking for romance and women’s fiction and the stories must be in specific sub-genres. Along the same lines, unless the writer is specifically targeting the category houses, I am interested in only 75,000 word manuscripts.
As we look at the stories, we consider a lot of different things. Is this a story that will sell? Is this a story that I love so much that I have to push it to the top of my “to do” stack? Is this a story that I know a specific editor is looking for? We even consider if this is a story that, although might not be there now, will be something that we can do something with after a little work. The key is, we are still simply looking at the story by itself. At this point, we are examining the story from a FORMAL CRITICISM point of view. As Eugene Nassar points out that the success of a piece of writing is “in its uniqueness, its contextual pattern, its complex of attitudes which is like no other."[1] In other words, we are looking for that story that stands out amid the piles of other submissions we are working our way through, as well as the authors we already have in our agency and those already in print.
Assuming you make it past this point and we request more from you. It is at this point that agents start to move from the writing to the writer. It is now that we start to examine whether you have what it takes to move to the professional realm of writing.
Before we move any further, I should note that we do start this process when we receive your manuscript in the mail. The cover letter, the submission packet are all representative of you as the writer. As the Head and Shoulders ® commercial states, “You never get a second chance to make a first impression.” If you fail to follow the guidelines we have set for the submission process, or you fail to show you can be professional, I don’t care how good you are as a writer, you will be rejected. If you come across as egotistical, or difficult to work with, you have shown us a lot. Remember, we are looking for the team player and that is seen so well in the submission process.
Some examples I have seen of writers really blowing it at this step have included:
· “I’m sending you the full manuscript even though you only wanted the partial.”
· “I decided to send you another project that is really better than this one.”
· Sending an email or note stating, “I want to hear back from a couple of other agents before I send this to you.”
· Sending a project that really isn’t what you pitched in the query.
· Sending an email or note stating, “Really my project isn’t finished yet but I should have it done in the next several months.”
I have a ton more I could throw at you here but for the sake of the conversation, we can keep it to this, just so you can get a feel of the problems we see. The point is, the message you sent to the agent at that point is not one that will lead you to “the call.”
STEP 2 – MOVING ON – So, let’s say you make it past the first cut. We love your story and now it is time to talk. At this point, many agents will take some time to call you and discuss what they are looking for in a writer. Although this may sound like an informational interview, this is a time to see how you react to the questions and the discussion we are having.
For myself, I am looking to see if this person is in it for the long haul. I have said this before but agents are not making money off of your first book sales (with the exception of some rare cases.). We make money from your later sales when we have numbers to show an editor. So, in my case, I will be seeing if you are a writer that has a vision (and a reasonable vision) of where he or she wants to be in the next 5 years. I have actually turned a few people down after I have really fallen in love with their story when I hear they plan on retiring after this first book. Really? In which reality?
Another thing we look for is someone that we can shape and mold. We are not looking for someone that has already reached, what I refer to as “DIVA STATUS”. You know the type – they already walk on water? We are looking for someone that can adjust to the demands of the climate, the editors, and the needs of the writing audience. This is when personality comes into play. Do you know your place in the food chain? Look, until you reach the top of the food chain, you still have to play the game.
At this point, we are really looking at the writer from a psychological perspective. Yes, this becomes subjective but it is crucial. Simply put, we have to work together.
Now, I should note that listening to pitches at conferences moves us directly to that phase. From the moment you walk in that room, we are watching you. We see how you approach the table. We see how you act before and after the pitch. And yes, we do watch throughout the conference. For example, when I am at a conference, I spend a lot of time “people watching.” I see the people that I think are giving off a bad impression as a writer. Unfortunately, if they end up pitching to me, that first impression has already been locked into my head.
Now the question, “Are there writers you would never want to work with?” You better believe there are. But before this comes across as sounding too harsh, for writers there better be agents that you wouldn’t want to work for. I have had the chance to meet a lot of writers since opening Greyhaus Literary Agency. For the most part, I like them all, but there are many that have made career and professional choices that I do not believe are part of the Greyhaus Literary Agency Philosophy. If those were to come to me with a 6 and 7 figure contract, yes, I would actually consider passing on those people, despite the fact that I may be passing on a lot of money. This is someone I just don’t want to work with, although I may like their writing. Again, we are back to the agent-writer relationship. We have to trust one another.
Remember though, this question should also be something that you as a writer considers. There should be agents and editors that you wouldn’t want to work for. It always comes across as a shock to writers when I state that really, there are probably only 3 agents out there that match your personalities. The same goes for publishers. Your story just doesn’t fit at every house. The voice has to match.
I think I have talked a lot now and hopefully have given you something to chew on. What questions do you have for me?
Scott Eagan
Greyhaus Literary Agency
www.greyhausagency.com
[1] Nassar, E. (1970). Lycidas as Pastique found in The rape of Cinderella: Essays in literary
continuity. Indiana: Indiana University Press pgs. 16-27
Scott will be checking in today to answer questions throughout the day so post your comments and questions.
Scott Eagan is an agent with the Greyhaus Agency. He represents romance and women's fiction. If you want to see what he's currently looking for check out this link to his submissions page:
http://www.greyhausagency.com/About_Us.html
Is it all about the writing?
The submission process to an agent is always a weird and bizarre process. When you stop and think about it, the relationship you have with an agent is about personalities. It is all about teamwork and how the two of you will work together to get those books of yours on the NY Times Best Seller list and for you to have a long and fruitful career. And yet…
The submission process begins not with the personalities but with the writing. You submit a partial or a query and we work from there. This is an interesting dilemma because frankly, you might be just the person an agent would want to work with, but if you really mess up that submission, that chance is lost forever. Ugh. Not what you wanted to hear.
Today I wanted to take some time to talk about some of the things that we look at, as agents, when we are selecting clients to join our line-up. Remember that this is just one agent’s approach. Other agents may do things differently, but I do have to say, we all start from the same place.
STEP 1 – The Initial Submission – So this is where we start. You have hopefully done your research and have fired off the required submission packet to the agent. It arrives on our desk and we log it into our computers and then will eventually read the submission. At this point, we are simply looking for 2 things:
1. The quality and marketability of the writing.
2. The professionalism of the writer in the submission.
Now, obviously, if the story is not something we are interested in, for what ever reason, the process will stop here. In the case of Greyhaus Literary Agency, I am specifically looking for romance and women’s fiction and the stories must be in specific sub-genres. Along the same lines, unless the writer is specifically targeting the category houses, I am interested in only 75,000 word manuscripts.
As we look at the stories, we consider a lot of different things. Is this a story that will sell? Is this a story that I love so much that I have to push it to the top of my “to do” stack? Is this a story that I know a specific editor is looking for? We even consider if this is a story that, although might not be there now, will be something that we can do something with after a little work. The key is, we are still simply looking at the story by itself. At this point, we are examining the story from a FORMAL CRITICISM point of view. As Eugene Nassar points out that the success of a piece of writing is “in its uniqueness, its contextual pattern, its complex of attitudes which is like no other."[1] In other words, we are looking for that story that stands out amid the piles of other submissions we are working our way through, as well as the authors we already have in our agency and those already in print.
Assuming you make it past this point and we request more from you. It is at this point that agents start to move from the writing to the writer. It is now that we start to examine whether you have what it takes to move to the professional realm of writing.
Before we move any further, I should note that we do start this process when we receive your manuscript in the mail. The cover letter, the submission packet are all representative of you as the writer. As the Head and Shoulders ® commercial states, “You never get a second chance to make a first impression.” If you fail to follow the guidelines we have set for the submission process, or you fail to show you can be professional, I don’t care how good you are as a writer, you will be rejected. If you come across as egotistical, or difficult to work with, you have shown us a lot. Remember, we are looking for the team player and that is seen so well in the submission process.
Some examples I have seen of writers really blowing it at this step have included:
· “I’m sending you the full manuscript even though you only wanted the partial.”
· “I decided to send you another project that is really better than this one.”
· Sending an email or note stating, “I want to hear back from a couple of other agents before I send this to you.”
· Sending a project that really isn’t what you pitched in the query.
· Sending an email or note stating, “Really my project isn’t finished yet but I should have it done in the next several months.”
I have a ton more I could throw at you here but for the sake of the conversation, we can keep it to this, just so you can get a feel of the problems we see. The point is, the message you sent to the agent at that point is not one that will lead you to “the call.”
STEP 2 – MOVING ON – So, let’s say you make it past the first cut. We love your story and now it is time to talk. At this point, many agents will take some time to call you and discuss what they are looking for in a writer. Although this may sound like an informational interview, this is a time to see how you react to the questions and the discussion we are having.
For myself, I am looking to see if this person is in it for the long haul. I have said this before but agents are not making money off of your first book sales (with the exception of some rare cases.). We make money from your later sales when we have numbers to show an editor. So, in my case, I will be seeing if you are a writer that has a vision (and a reasonable vision) of where he or she wants to be in the next 5 years. I have actually turned a few people down after I have really fallen in love with their story when I hear they plan on retiring after this first book. Really? In which reality?
Another thing we look for is someone that we can shape and mold. We are not looking for someone that has already reached, what I refer to as “DIVA STATUS”. You know the type – they already walk on water? We are looking for someone that can adjust to the demands of the climate, the editors, and the needs of the writing audience. This is when personality comes into play. Do you know your place in the food chain? Look, until you reach the top of the food chain, you still have to play the game.
At this point, we are really looking at the writer from a psychological perspective. Yes, this becomes subjective but it is crucial. Simply put, we have to work together.
Now, I should note that listening to pitches at conferences moves us directly to that phase. From the moment you walk in that room, we are watching you. We see how you approach the table. We see how you act before and after the pitch. And yes, we do watch throughout the conference. For example, when I am at a conference, I spend a lot of time “people watching.” I see the people that I think are giving off a bad impression as a writer. Unfortunately, if they end up pitching to me, that first impression has already been locked into my head.
Now the question, “Are there writers you would never want to work with?” You better believe there are. But before this comes across as sounding too harsh, for writers there better be agents that you wouldn’t want to work for. I have had the chance to meet a lot of writers since opening Greyhaus Literary Agency. For the most part, I like them all, but there are many that have made career and professional choices that I do not believe are part of the Greyhaus Literary Agency Philosophy. If those were to come to me with a 6 and 7 figure contract, yes, I would actually consider passing on those people, despite the fact that I may be passing on a lot of money. This is someone I just don’t want to work with, although I may like their writing. Again, we are back to the agent-writer relationship. We have to trust one another.
Remember though, this question should also be something that you as a writer considers. There should be agents and editors that you wouldn’t want to work for. It always comes across as a shock to writers when I state that really, there are probably only 3 agents out there that match your personalities. The same goes for publishers. Your story just doesn’t fit at every house. The voice has to match.
I think I have talked a lot now and hopefully have given you something to chew on. What questions do you have for me?
Scott Eagan
Greyhaus Literary Agency
www.greyhausagency.com
[1] Nassar, E. (1970). Lycidas as Pastique found in The rape of Cinderella: Essays in literary
continuity. Indiana: Indiana University Press pgs. 16-27
Scott will be checking in today to answer questions throughout the day so post your comments and questions.
Thursday, July 2, 2009
Agent or Editor?
Lots of you are trying to decide whether to pick an editor, publisher or an agent for your critique at the conference. This isn't always an easy question to answer because it depends on a lot of different factors. Let's consider the scenarios below.
Q: I intend to sell my book to a small press. Who should I choose?
A: Most small presses will accept unsolicited manuscripts. Since you likely don't need an agent to work with these publishers, consider meeting directly with an editor or publisher from a small press. It's always a good idea, whether you're coming to the SCWW conference or another one, to check out the publishers website before you pick them for your critique. Make sure your work fits into the parameters of what they publish.
Q: My book is commercial fiction and I think it would appeal to a large publishing house like Random House. Who should I pick for my critique?
A: Most of large publishers don't accept unsolicited manuscripts. By unsolicited, I mean non-agented. They prefer your agent send your manuscript to them. It's not a bad idea to meet one of their editors because it's a unique opportunity to introduce them to your work. If your work is polished and revised to the point that it's sellable, this is one viable option. Keep in mind, though, most editors representing large houses prefer to work with agented writers. For most writers in this spot, it's likely best to meet with an agent. Agents often work with the writers they represent to make a manuscript ready for the editor's eye. If you think you've got a great story, but it needs some revision, you might want to consider meeting with an agent.
Q: I have no idea where my manuscript would fit into the market. It needs a lot of work---especially when it comes to craft. Who should I meet with?
Q: I intend to sell my book to a small press. Who should I choose?
A: Most small presses will accept unsolicited manuscripts. Since you likely don't need an agent to work with these publishers, consider meeting directly with an editor or publisher from a small press. It's always a good idea, whether you're coming to the SCWW conference or another one, to check out the publishers website before you pick them for your critique. Make sure your work fits into the parameters of what they publish.
Q: My book is commercial fiction and I think it would appeal to a large publishing house like Random House. Who should I pick for my critique?
A: Most of large publishers don't accept unsolicited manuscripts. By unsolicited, I mean non-agented. They prefer your agent send your manuscript to them. It's not a bad idea to meet one of their editors because it's a unique opportunity to introduce them to your work. If your work is polished and revised to the point that it's sellable, this is one viable option. Keep in mind, though, most editors representing large houses prefer to work with agented writers. For most writers in this spot, it's likely best to meet with an agent. Agents often work with the writers they represent to make a manuscript ready for the editor's eye. If you think you've got a great story, but it needs some revision, you might want to consider meeting with an agent.
Q: I have no idea where my manuscript would fit into the market. It needs a lot of work---especially when it comes to craft. Who should I meet with?
A. It might be best to schedule a meeting with an editor because he/she can tell you what is and isn't marketable about your manuscript and what flaws or bad habits that need to be addressed.
I hope this helps. A little. It's a big pond out there and you need to make good decisions at each step of your writing career. Thinking honestly about your work---where you are, what you're willing to commit to writing, and how far you have to go to make your work publishable---will insure you get the most for your money when it comes to choosing a faculty member for your critique.
Friday, June 26, 2009
Who do I pick to Critique my Novel at the Conference?
Who do I pick to critique my novel at the conference? That was the question that I faced when I registered for the conference. Figuring out the answer took more time than I anticipated. I bet that I’m not alone in this struggle so I’m going to share my process and the key questions that I asked myself to make the decision.
What do I write?
This one is easy. I write what I love to read – romance. Specifically, I write historical romance. The person I picked to critique my novel needed to know something about what I was writing. They needed to represent, write, or edit romance. This leads to the next set of questions.
What genres do the agents attending the conference represent? What genres do the authors critiquing write? What genres do the editors edit?
These are three related questions. The list of faculty from the conference is available on the facebook group and google is my friend. I googled the names of all the faculty to see what they represented, what they wrote, and what they edited. I picked three faculty members that said they represented historical romance or wrote historical romance.
If I pick an agent, who do they represent? If I pick a writer, have I read their books?
Knowledge is power. You want to pick a faculty member that is a good fit for you. If you look at the list of books that they have sold or written and love the books, then you probably have found a good match for you. If you look at the list of books that they have sold or written and you dislike them, then you should move on to the next person.
Ok, I know that the faculty member that I pick to critique my book is under no obligation to request my work, but I want them to. Picking someone that represents what I write, gives me a better opportunity than picking someone that doesn’t represent what I write.
How did you pick your faculty member?
What do I write?
This one is easy. I write what I love to read – romance. Specifically, I write historical romance. The person I picked to critique my novel needed to know something about what I was writing. They needed to represent, write, or edit romance. This leads to the next set of questions.
What genres do the agents attending the conference represent? What genres do the authors critiquing write? What genres do the editors edit?
These are three related questions. The list of faculty from the conference is available on the facebook group and google is my friend. I googled the names of all the faculty to see what they represented, what they wrote, and what they edited. I picked three faculty members that said they represented historical romance or wrote historical romance.
If I pick an agent, who do they represent? If I pick a writer, have I read their books?
Knowledge is power. You want to pick a faculty member that is a good fit for you. If you look at the list of books that they have sold or written and love the books, then you probably have found a good match for you. If you look at the list of books that they have sold or written and you dislike them, then you should move on to the next person.
Ok, I know that the faculty member that I pick to critique my book is under no obligation to request my work, but I want them to. Picking someone that represents what I write, gives me a better opportunity than picking someone that doesn’t represent what I write.
How did you pick your faculty member?
Thursday, June 11, 2009
Sunday, May 24, 2009
Pitches: Sliders, Curveballs, and The Infamous Wild Pitch, Part II
Yesterday we talked about the basics. Now onto the more advanced stuff.
What are the possible outcomes of a pitch session? Today we'll talk about the Slider, the Curveball and the Infamous Wild Pitch
1. The Slider---If you pitch to the agent or editor, they may ask for a partial or even a full manuscript. This means you've gotten them interested enough in your work to ask for more. This is a GOOD thing. It means you were professional, you had a good pitch, and they saw something they liked. If you're lucky enough to get a SLIDER, keep several things in mind.
A. Send exactly and only what the person asked for--if they want a partial, DO NOT send a full.
B. Don't hound the agent or editor during the rest of the conference. They've met with you and asked for more work. Don't ruin it by being a pest.
C. Stay professional. A request is by no means a guarantee of representation. It's important not to burn bridges. If you're successful in the business, YOU WILL see this person again.
2. The Curveball---If the agent or editor liked you work, but thought an element of it needed to be reworked or revised, or maybe you need to add or delete a character, you may feel a little overwhelmed. But remember, this too, can be a GOOD THING. It means your story was interesting enough for them to suggest changes. If you're thrown a curveball, here are a few ideas on what to do next.
A. Consider the suggested changes. Do you agree with them? Or do they make you feel you would be compromising the work? Are you committed to the changes? Take the time to make your own decision and make sure you don't commit to anything you can't deliver on.
B. Research the person's sales, acquisitions, etc. See what they like and what they don't. Maybe your match was not a good one and maybe another agent or editor would like your story just as it is.
C. Follow up. If you agree to make the changes, especially if you give a time frame, make sure you honor this. Most agents keep detailed databases of contacts with potential clients. You don't want to promise them something and then do a disappearing act. Even if it's not THE BOOK for them, you might sell them on another manuscript in the future and you don't want to ruin your chances by being unprofessional. And again, if you are successful in publishing, YOU WILL see this person again. Somewhere. I promise.
D. Don't argue with their opinion. It's their OPINION. Be gracious and accept it for what it is: constructive criticism.
3. The Infamous Wild Pitch---This category covers several possible outcomes: the agent or editor didn't like your work, you weren't prepared and/or professional, you chose to meet with someone who doesn't handle your type of book, or your story wasn't marketable. Now you think I'm going to say this is a BAD THING, right? Nope. This too is a GOOD THING. But how could it be? I mean, I crashed and burned in there. This is a HORRIBLE THING and it means I'm not good enough to ever make it. I should burn all my work and take a knitting class, right? WRONG. STOP THAT NEGATIVE THINKING! Let me tell you, now that you've calmed yourself, how this too is a GOOD THING.
A. You faced a professional, a real live bona fide agent or editor, and you survived. You realized that they're just people, too. Not fire-breathing dragons with red pens and menacing brows. And now, you know just what to expect the next time. You're not a rookie anymore. And now you'll know how to better prepare.
B. You saw things about your work that may prevent you from succeeding and now you have a chance, before you've sent out a million queries netting a million rejections, to FIX IT.
C. You've learned there is no market for your book. If your goal is to get published, this is a good thing to know. Before you spend hundreds of hours on a manuscript and then face the heartbreak of widespread rejection. This doesn't mean you have to junk the whole story. With your new outlook on marketablity, you may be able to make changes now that will make it more sellable in the future.
D. Don't give up! This is your dream, remember? And one pitch session is not the end of the world.
What are the possible outcomes of a pitch session? Today we'll talk about the Slider, the Curveball and the Infamous Wild Pitch
1. The Slider---If you pitch to the agent or editor, they may ask for a partial or even a full manuscript. This means you've gotten them interested enough in your work to ask for more. This is a GOOD thing. It means you were professional, you had a good pitch, and they saw something they liked. If you're lucky enough to get a SLIDER, keep several things in mind.
A. Send exactly and only what the person asked for--if they want a partial, DO NOT send a full.
B. Don't hound the agent or editor during the rest of the conference. They've met with you and asked for more work. Don't ruin it by being a pest.
C. Stay professional. A request is by no means a guarantee of representation. It's important not to burn bridges. If you're successful in the business, YOU WILL see this person again.
2. The Curveball---If the agent or editor liked you work, but thought an element of it needed to be reworked or revised, or maybe you need to add or delete a character, you may feel a little overwhelmed. But remember, this too, can be a GOOD THING. It means your story was interesting enough for them to suggest changes. If you're thrown a curveball, here are a few ideas on what to do next.
A. Consider the suggested changes. Do you agree with them? Or do they make you feel you would be compromising the work? Are you committed to the changes? Take the time to make your own decision and make sure you don't commit to anything you can't deliver on.
B. Research the person's sales, acquisitions, etc. See what they like and what they don't. Maybe your match was not a good one and maybe another agent or editor would like your story just as it is.
C. Follow up. If you agree to make the changes, especially if you give a time frame, make sure you honor this. Most agents keep detailed databases of contacts with potential clients. You don't want to promise them something and then do a disappearing act. Even if it's not THE BOOK for them, you might sell them on another manuscript in the future and you don't want to ruin your chances by being unprofessional. And again, if you are successful in publishing, YOU WILL see this person again. Somewhere. I promise.
D. Don't argue with their opinion. It's their OPINION. Be gracious and accept it for what it is: constructive criticism.
3. The Infamous Wild Pitch---This category covers several possible outcomes: the agent or editor didn't like your work, you weren't prepared and/or professional, you chose to meet with someone who doesn't handle your type of book, or your story wasn't marketable. Now you think I'm going to say this is a BAD THING, right? Nope. This too is a GOOD THING. But how could it be? I mean, I crashed and burned in there. This is a HORRIBLE THING and it means I'm not good enough to ever make it. I should burn all my work and take a knitting class, right? WRONG. STOP THAT NEGATIVE THINKING! Let me tell you, now that you've calmed yourself, how this too is a GOOD THING.
A. You faced a professional, a real live bona fide agent or editor, and you survived. You realized that they're just people, too. Not fire-breathing dragons with red pens and menacing brows. And now, you know just what to expect the next time. You're not a rookie anymore. And now you'll know how to better prepare.
B. You saw things about your work that may prevent you from succeeding and now you have a chance, before you've sent out a million queries netting a million rejections, to FIX IT.
C. You've learned there is no market for your book. If your goal is to get published, this is a good thing to know. Before you spend hundreds of hours on a manuscript and then face the heartbreak of widespread rejection. This doesn't mean you have to junk the whole story. With your new outlook on marketablity, you may be able to make changes now that will make it more sellable in the future.
D. Don't give up! This is your dream, remember? And one pitch session is not the end of the world.
Also, no matter what the outcome of you pitch session may be, keep in mind that there is no implied guarantee of representation or acquisition. It's simply a chance to introduce someone in the business to your work.
One of the agents who will be on our faculty in October, Scott Eagan of Greyhaus, has some great tips on effective pitching. Check out his latest "pitch blog" using the link below. I know I mentioned this yesterday, but it's worth a second mention.
http://scotteagan.blogspot.com/search/label/Pitching
Good luck to all of you in the preparation and presentation of your pitches. This may just be YOUR YEAR!
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