So what do I know? Not much more than the rest of you. I'm just a struggling writer. Being a vocal supporter of Algonkian Writer Conferences, in part because my pre-history novel manuscript (DAUGHTERS OF THE DREAMING LAND) was discussed, dissected, and requested by a total of four editors and three agents at two different events (NYC Pitch and SF Write and Pitch Conference), I can't help but compare that experience, face-to-face, toe to toe, full of verve and great interaction, to the dull and feedback-less process of sending out query letters. At least with the live pitch to an editor or agent I know they are receiving it, whereas with the query letter, I know from experience that most likely, especially with the larger agencies, an assistant or intern on the other end is thumbing through my submission at light speed with a pink slip mentality because they have hundreds to get through before the end of the day.
Not good odds, not at all, and very frustrating.
I cannot deny I've known a couple of writers who have done well that way, yes, but few and far between, and I know lots of great writers who cannot get a fair hearing. IF you write the great query and IF the intern is paying attention and IF Jupiter comes close enough to Uranus then ... Well, all this is great, but even in a best case scenario, guys and gals, it presumes ONE THING IN PARTICULAR: that you already have a great novel capable of producing a great query in the first place. Do you? Are you sure? I know I wasn't sure (after I had stopped kidding myself), and this is where the professional help of Algonkian Writer Conferences came in very handy, at least for me. And I know it doesn't work for everyone, especially those looking for praise only, setting themselves up to leave very embittered and looking for revenge on Internet chat boards.
Nevertheless, I have picked up vibrations, here and there, from those who don't know better or who trip over themselves in ignorance and contradiction, that "pitching" itself might be considered a pointless skill. That reminds me of the idiot (let's call him BOB or JANE) in my last writer workshop who proclaimed that flashbacks were a no-no. Wrong! Just as wrong as anyone who claims pitching is pointless. It's like saying a query is pointless. It's a form of communication a writer must master, not only to look and sound professional (because every agent and editor out there assumes you're an ignorant amateur till you prove otherwise--God, I've learned that lesson!!!), but to properly communicate the most vital fictional components of the novel premise and plot that in turn will make your story sound like a product someone will purchase. As I've been told, and I've witnessed, you have basically 20 seconds to make an editor or agent believe you know what you're talking about. Once they get past that 20 seconds, you're on a roll, or you're dead.
But back to having that great novel. What does the "pitch" have to do with it? At the conferences I attended (under the pseudo Kathleen Vargas), the pitch model was used by the workshop leaders to dig deep into the novel and characters, to make certain all was working, and to ascertain whether or not the premise itself sounded commercially viable and market-wise.
Bottom line, folks, if you cannot conceive the major fictional elements of your novel and premise sufficiently well to write a short punchy synopsis, 150-200 words, with a cliff-hanger that makes someone interested in either reading or possibly buying your novel, then you don't have those elements in the novel.
If it's in the manuscript, you can fit it into the pitch. If not, no way. You can't kid yourself ... Well, you can, but you lose.
So write and pitch, explore that novel down to the core. Good luck out there, and special thanks to New York editors Hilary Teeman and Emily Griffin for their help in setting me on the rewrite course!
Love you all. Comments welcome!
Not good odds, not at all, and very frustrating.
I cannot deny I've known a couple of writers who have done well that way, yes, but few and far between, and I know lots of great writers who cannot get a fair hearing. IF you write the great query and IF the intern is paying attention and IF Jupiter comes close enough to Uranus then ... Well, all this is great, but even in a best case scenario, guys and gals, it presumes ONE THING IN PARTICULAR: that you already have a great novel capable of producing a great query in the first place. Do you? Are you sure? I know I wasn't sure (after I had stopped kidding myself), and this is where the professional help of Algonkian Writer Conferences came in very handy, at least for me. And I know it doesn't work for everyone, especially those looking for praise only, setting themselves up to leave very embittered and looking for revenge on Internet chat boards.
Nevertheless, I have picked up vibrations, here and there, from those who don't know better or who trip over themselves in ignorance and contradiction, that "pitching" itself might be considered a pointless skill. That reminds me of the idiot (let's call him BOB or JANE) in my last writer workshop who proclaimed that flashbacks were a no-no. Wrong! Just as wrong as anyone who claims pitching is pointless. It's like saying a query is pointless. It's a form of communication a writer must master, not only to look and sound professional (because every agent and editor out there assumes you're an ignorant amateur till you prove otherwise--God, I've learned that lesson!!!), but to properly communicate the most vital fictional components of the novel premise and plot that in turn will make your story sound like a product someone will purchase. As I've been told, and I've witnessed, you have basically 20 seconds to make an editor or agent believe you know what you're talking about. Once they get past that 20 seconds, you're on a roll, or you're dead.
But back to having that great novel. What does the "pitch" have to do with it? At the conferences I attended (under the pseudo Kathleen Vargas), the pitch model was used by the workshop leaders to dig deep into the novel and characters, to make certain all was working, and to ascertain whether or not the premise itself sounded commercially viable and market-wise.
Bottom line, folks, if you cannot conceive the major fictional elements of your novel and premise sufficiently well to write a short punchy synopsis, 150-200 words, with a cliff-hanger that makes someone interested in either reading or possibly buying your novel, then you don't have those elements in the novel.
If it's in the manuscript, you can fit it into the pitch. If not, no way. You can't kid yourself ... Well, you can, but you lose.
So write and pitch, explore that novel down to the core. Good luck out there, and special thanks to New York editors Hilary Teeman and Emily Griffin for their help in setting me on the rewrite course!
Love you all. Comments welcome!
6 comments:
http://www.youtube.com/watch?v=NtVFhjTAlnU
The above is of writers being interviewed at Algonkian's New York Pitch and Shop. I thought the "shop" meant as in shop it around, but it's short for workshop.
Duh.
Love this film. I almost made it into the shoot but my group finished early and I went to dinner. I echo those comments precisely. I replaced southern Georgia with northern Thailand, if you know what I mean.
Tina L.
Just a few links here:
• YouTube Algonkian: Media Starlets
• Suite 101 Review Starring Tina and Roberta
• Algonkian Amazon: Basics and Selections
• WB Posted Reviews: Links and Palaver
Don't forget this one!
http://www.publishersmarketplace.com
Not as entertaining as the film, but factual and stamped.
Julie
The whole "pitch" thing was making me itch, and as one writer put it somewhere on the net: "while suspecting exploitation"--especially after I'd read a couple of bad but illogical sounding posts on an Internet board; but the Algonkian Writer Conference events were recommended to me by my writer's group and I attended the one in New York. I hate to sound cliche, but it broke my back in more ways than one. It took me weeks to realize I'd never really had a good novel to begin with. Finally, I'm working on the good novel.
Great post. I think it has a lot to do with the maturity of the writer. They learn from experience but perfecting the pitch, project and plan is only a piece of what is out there. Rejections do not necessarily mean judgement on quality. It's also about marketability and available slots.
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