Q&A with The Lit Coach

Happy Friday, Writers!


Because this is kind of an oddball month with no virtue focus, but an awesome post on high concept fiction by author Darynda Jones this Monday (The Charley Davidson series) and an exciting announcement later in the month, there will be few Flashback Fridays. So today, I'm doing a quick Q&A culled from some questions a writer had sent me recently. Which brings me to my latest announcement!

If you follow me on Twitter or Facebook, you may have seen my shout outs to LitReactor. LitReactor is a new literary website launching October 1st, brought to you by the cool folks who created Chuck Palahniuk's The Cult. I'll be writing a bi-monthly Q&A column for LitReactor (among other things which I'll announce later this month) and I'll be sharing a lot more about what LitReactor aims to do soon. This month, you'll have an opportunity to hear from some of the amazing crew and instructors who are behind the curtain there. In short, I am beyond thrilled that literary writers (and not just Chuck Palahniuk fans) will have a place that's designed for their needs and their aesthetic with plenty of opportunities to learn craft from some of the best literary authors and pros out there. Check out LitReactor on Facebook and Twitter. Sign up for their newsletter and you'll receive a lovely welcome note from our Educational Director, Mark Vanderpool (who happens to be one of the smartest people I know), along with some exceptional writing advice created especially for LitReactor from Chuck Palahniuk, Neil Gaiman, Bret Easton Ellis, Holiday Reinhorn, Amy Hempel and more.  

Ok, on with the Q&A!


Q: How does the emerging mainstream novelist get noticed until he or she gets published (if you know what I mean)? Attempting the short story would be sending one down the wrong alley, I would think, as they are two quite different forms and the market for the short story seems to be evaporating anyway. Anon

A: The only way you're going to get notice is by getting involved in a literary/writing community (your choice) and finding appropriate venues to pitch your work. It's all about building your author platform and your expertise right now - all of which take time.

I don't think short stories are going anywhere. Yes, they're hard to sell, but they've always been hard to sell - they have literary leanings and many traditional publishers would rather publish something from a writer who enjoys, or could enjoy, a far reach, a big fat market (and there's nothing wrong with that). I adore short stories as much as I enjoy a quick page turner and don't feel the shorts are going anywhere. When is the last time you heard of a major literary journal going under? In fact, I've just been made aware of a refreshing new LA based lit journal, SLAKE, that popped up in 2010 to counterbalance all this "quick" reading we're doing. Anyway...I digress. 

That said, short stories aren't every writer's medium or market, so don't feel you have to write and submit short stories just to get your work out there and read. Many mainstream novelists write newspaper, magazine and e-zine articles and columns; blog contributions are another opportunity for you. Think about what's timely about your novel - are there any major themes in your novel that reflect what's going on in the news? Maybe your novel is about a sticky family issue - what's at the heart of that issue? Does it echo what's going on in our world? There's your article! Now, learn how to pitch to the appropriate news editor and you're in business. 

Or you could write an essay or personal narrative, find the appropriate market for your piece and pitch that. Maybe your blog is your creative outlet outside your novel and you begin to build your readership that way. 

There are many opportunities for you to get your work shown. With a little creativity, focus and of course some time investment, you'll be heard.

For more about platform and experience, check out this article I wrote for Pitch University.

Good luck!

Q: I have just read about an "excerpt contest." I am not sure what that is and where one can find more information. Do you have any specific recommendations for submitting while you are writing your novel? Is it wise to send out excerpts when one is still bumping around in the dark? Anon

A: Excerpt or manuscript contests are usually largely supported by genre or literary writing organizations, literary journals, specialty or trade journals and magazines. The judging panel, usually comprised of like-market literary and publishing professionals, will read and judge the incoming submissions, choose a winning submission and usually a runner-up. The winners are awarded a prize of some kind - sometimes cash, sometimes serious consideration from an agent and/or an editor at a large publisher, among other things. And of course, if it's a major contest, the acclaim is prize enough.

I'm sure there's opportunity online for this, but I'm less sure about the who/what/when/where/why with this avenue - my advice there would be to stick with the big, reputable names who also have a legacy in print. 

As far as timing goes, if you feel you have an excerpt from your novel in progress that's as polished as it can be, send it in, but I would rather you wait until you have the manuscript finished and fully edited - you never know how it'll change in the editing process. Sometimes the prize for these contests is literary representation and/or a review from some Big 6 publishers. It's best to put your most polished foot forward with a finished piece of work. 

Good luck!

Thanks for your questions.

Darynda Jones!

TLC

Focus and Today's Writer: The Long Pitch

In my most recent article for Pitch University, I discuss the difference between what I consider the "short" pitch - the air tight, expertly crafted query letter or face to face pitch that allows your foot in the door (partial or full manuscript read) and the "long" pitch, the foundation upon which your craft is built and how all that experience appears on paper. 

Expertly crafted pitches will only open doors for you if your work is great and you have the platform to back up the work. You could have a fabulous query letter that's been hand crafted for you by an expert but if the actual writing of your book doesn't live up to that query, it's over. I see this happen more often today than I did as an agent nearly 10 years ago. Why? Does it have to do with all the new resources and services focused ONLY on pitching? Perhaps, but those resources aren't the problem - they're a GREAT tool available to writers when the time is right. I feel it's because more and more people are pulling up to the writing table wanting to write but don't want to take that oh-so-necessary time to learn the craft, build on their skill and get their work seen before they approach an agent or publishing house.  

Writers, there are no short cuts. I don't care if you want to self-publish or go the traditional route, if you're just starting out, if you've just been at this thing for a few years, you must learn to write well and begin to make your work public in some form or another before you approach the publishing world. This track record of success becomes your platform - the thing you desperately need to really get your foot in the door of a publishing house or as many would say, into a reader's hands. But the process is not the same for all writers.

Fiction Authors

It might help, but you don’t need an MFA to write a brilliant, compelling, thoughtful, kick-butt novel. However, you do need a track record. It could be built on the shoulders of a career in journalism as with Tom Wolfe. It could be built in the wordsmithing operation of an advertising firm, or it could be built on nothing but the natural ability of being a keen observer. The point is that you have to start somewhere, baby steps if you like, but you’ve got to get your work out there. It needs to be seen, critically evaluated and someone other than your mother needs to see its value. If you’re not building on a track record, you are nowhere as a writer.  I’ve seen writers without any talent go on for years deluding themselves, believing all they needed was a break, and what they really needed was someone to tell them the truth. You need to be part of a writing community that speaks to your genre and supports your ongoing education as a writer.

Many literary writers submit their work to literary magazines or journals. Some enjoy contests and the vigor of competition. This work is all very time consuming and emotionally taxing. You’re earning your spurs. For most it’s a full time commitment, but no one ever said your passion was going to be easy.

Agents and editors expect to see a track record of previous publishing success from newly acquired writers. Does that mean you need to be published in The Iowa or Paris Review? It doesn’t hurt, but there are many reputable literary journals, magazines or other outlets to place your work. What about a blog with ten thousand subscribers? As with anything, you’re only limited by your own imagination. You need an outlet that suits your genre and voice. That’s a beginning. Join organizations that support literary authors and their work. Build your community - learn, contribute, share and submit. Work the process but most importantly, get it in print. Your track record will not only help you get your foot in the door. It will help you assure you have something to offer once you do.

For commercial fiction writers, the same generally holds true – find the outlets and contests that best suit your work and start submitting. If you’re a hard-core genre writer, joining appropriate writers’ organizational chapters is a must! There you will find the resources to help you fortify your craft, thereby strengthening your platform and approach to publishing.

Another good platform builder that helps put food on the table is the freelance article. Can you find an outlet to showcase your subject matter? Is there a newspaper or magazine hook that will fit your needs?  What topics or concepts are explored in your novel? Consider developing an article about those elements. Did you learn anything in your process? Do you have advice for someone? Most magazines for writers offer a section for authors to share a little bit about what they know about writing. How about personal essays? How did you find an agent? What do you have to offer?  What do you care about? I know one author who built a reputation writing letters to the editor and was asked by the paper to write a weekly column. Get creative, it’s your stock in trade.

Blogging is not right for everyone, but if you feel you have the time to develop a solid blog that will serve as a showcase for your writing, it’s an effective way to build a fan base and community. If you can demonstrate numbers to a publisher, there’s nothing more persuasive.

Nonfiction Writers  

Memoir and Essayists: Blog, contribute to blogs, submit to literary journals and magazines, develop your own column and pitch to appropriate newspapers, magazines, websites, etc. Let your perspective be known – find your voice and sell it!

Prescriptive “how to” experts/advocates/specialists:  Consider blogging as a feature to your website. People come to you for advice – you’re the expert – so open the lines of communication and develop your faithful following - extra credit if you offer your community an opportunity to submit material to you - questions, pictures and their on-topic experiences). Build value in your platform and fortify your base. Keep a regular blogging schedule and you will underscore your credibility and professional integrity.

Freelancing is a great experience builder for prescriptive writers. Submit to appropriate journals, magazines, websites, blogs, etc. Put your short pitch game to work by constantly pitching to editors, television and radio segment producers and anyone who might have interest in your services.   Hold workshops and seminars. Get noticed and find success.

Special Topic Writers: The same rules apply if you write about specialized areas of interest like sports, military, religious, history, pop culture and so on. Blog when and if appropriate; submit your work to journals, magazines, newspapers, websites, other blogs; develop new story ideas; pitch to segment producers; pitch to radio; sit on event/lecture panels, etc.  Be seen, be heard and be read.

Remember: The Long Pitch is all about preparation. If you're truly passionate about what you do, there will never be enough time in the day and before you know it, you'll have a platform worth pitching. 

Pitch Perfect Proposal and The Length of Brilliance

Two new Lit Coach columns this month!

Over on Lisa Rivero's Everyday Intensity blog, I consider marketing guru and publishing pioneer Seth Godin's take on the length of brilliance, what that means to someone like me who has trained my ADHD brain (for 30 years!) to focus and what that means to writers in general. Stick around on Lisa's blog - she never fails to deliver something to chew on.

Also, for you nonfiction writers ready to craft your nonfiction book proposals, check out my latest column for Pitch University about how to hook an agent with a clean and thorough Markets section. If you haven't had an opportunity to thoroughly check out Pitch U, I encourage you to find the time - a fantastic free resource for writers.


Happy Summer, all!

TLC

Avoiding Book Pitches that Mislead - A blogshop with Pitch Alchemist, Diane Holmes

I hate to lead this post with a bummer of a statement, but there's nothing worse than being "sold" by a pitch (query letter) that promises a particular reading experience only to be delivered something you totally didn't expect (not in a good way) or a piece of work that felt slightly off from what was promised in the pitch or that flat lined altogether. It's a let down. Agents, editors and all their submissions reader bees experience this every day.

And we know you're doing all you can to capture lightning in a bottle with your pitch. Pitch crafting is hard! I hear this from a lot of you. But it absolutely can be taught, writers. Fortunately we've got Diane Holmes, chief Pitch Alchemist and the woman behind the curtain at Pitch University, an online everything-book-pitch resource for writers, here to help you understand the difference between a pitch and a synopsis and also, the importance of pitching your book accurately.

You've got one opportunity to hook an agent or editor - capture them with the right pitch!

DH: There are a lot of things we writers worry about when struggling to create a pitch (or write a query letter) for our books. We worry that it won’t make sense. We worry the editor or agent won’t like it, because we didn’t say the right thing. We worry that our manuscripts will never even get the chance to be rejected, because our pitches get a “no.”

But no one worries that we’ll get a “yes” for the wrong reasons. That in our best efforts to say something interesting and hook the agent and condense hundreds of pages into a couple sentences and find the “hookiest” details, we’ve totally mislead our audience.

Sometimes, in our best effort to capture the essence of our book, we create a pitch that lies.

“Wait!” you say. “Every single detail in this pitch is true!” And I know it is. That’s why we don’t realize that we’re even lying. The only one who catches the lie is the person who believed the pitch, expected a book based on the pitch, and then read the manuscript presented to her. That person knows the story she’s reading isn’t at all what she expected.

Okay, let’s look at what happened.

The word we need to understand is “imply.” Pitches (and query letters) don’t just tell the reader what’s included in the book, they imply…

· what the entire book will focus on and

· how it will unfold from beginning to end.

Let’s look at an example:

Here are 4 pitches for the book Tell No One by Harlan Coben.

Pitch 1:

Eight years ago, Beck’s wife was abducted and murdered by a serial killer while the couple swam together at a secluded lake. Except now he begins to receive emails from here, saying things that only she could know.

Pitch 2:

A doctor who works in a free-clinic is pursued by the police when a serial killer’s victims are discovered on his family’s land… the same serial killer who supposedly killed his wife 8 years ago.

Pitch 3:

A billionaire must stop a man from digging into the death of his wife.

Pitch 4:

An inner-city doctor at a free-clinic must rely on a drug dealer to stay alive as he tries to find out who framed him for murder.

---

These pitches contain accurate information in the sense that you can find these detail in the novel Tell No One. In fact, they’re even essential details. But each pitch is implying a completely different book and setting different expectation for the reader.

Even more critical, pitches #3 and #4 do not match how the book opens (first 50 pages). In fact, if you read the first 50 pages, you’d feel irritated and misled, because “this is a completely different book from the pitch.”

And if you’d read the first 50 pages, you’d feel that pitch #2 really missed what was most essential and exciting in those pages (the emails from his dead wife).

Only the pitch #1 seems derived from what’s important about the book… from the point of view of a reader who has picked up the book and begun to read.

Wait, didn’t I say that pitches tell what the entire book is about from beginning to end?

What’s all this about the first 50 pages?

Answer: You’re not trying to pitch everything the book is about. That’s re-telling your story. Remember, you’re implying your story in a pitch, and you imply by getting the reader started in the excitement of the story (what’s crucial, what turns the engine, drives the character, and must be resolved at all costs), as well as sharing the trajectory of the story.

Oddly enough, this is also what the beginning of your book does.

Your Takeaway: If an agent says, “Yes,” to what you pitch, it’s because she believes the book will be a match for her tastes, her agency, the market, and all the other variables. If what you deliver seems to be a different book, then that ‘yes’ you thought you heard was a ‘yes’ for the pitch only. Not the book.

Perhaps you’re hoping the agent will love what you’ve sent even more than what she expected. But few people enjoy getting excited about receiving one thing only to have it swapped out with something else. In sales, this is called “bait and switch.”

The best strategy is to fulfill every expectation, and then blow them away by giving them more.

Get an agent excited about your book by creating a pitch that accurately implies the project, then fulfill those expectations with your manuscript and dazzle them with your writing chops. Get a yes that’s really a yes.

TLC: Now, my dears, here's my one addition to Diane's message - not only do you need to ensure you're delivering what you pitch, but you need to ensure the writing you're pitching is spectacular! Your pitch could be well crafted, but if the writing isn't "there" you've wasted your time. Ultimately, the writing has GOT to grab that agent, that editor, that reader and not let go until they finish reading the manuscript. Promise me you'll craft your perfect pitch after you've crafted your best work.

Your Action: Questions? Solutions that have worked for you? Share them with us!

Here's to a fruitful week, writers!

About the Contributor:

Diane Holmes is the founder and Chief Alchemist of Pitch University, the first online, no-cost resource where writers who "suck at pitching" can learn to pitch their books from the agents and editors who make their living doing it.

Diane brings her background in marketing, writing, and community building to Pitch University.

She’s founded writers’ groups, co-owned a small press, had plays produced, written novels and scripts, run writer's contests, held offices in writing organizations, taught writing… and just like you, she sucks at pitching her own books.

Pitch University is the only website devoted to learning how to verbally pitch your book and answer the question, “What’s your book about?” in a way that actually sells your book. And the best part? You learn from the experts who pitch books for a living: agents, editors and experts. Learn. Pitch. Sell.

Next on The Lit Coach's Guide - Diane Holmes from Pitch University

Does your pitch promise something that's not in your book proposal or novel? This is one of the biggest reasons agents reject proposals and novels - the work fell flat compared to the pitch. Stop by next Monday when my guest poster, Diane Holmes, founder and "pitch alchemist" of Pitch University, a fabulous everything-book-pitching related resource for writers, shares how to craft the perfect pitch.

Holmes has culled an impressive line-up of lit experts to help writers learn and master the art and craft of pitching. Industry experts include: Jennifer Wilkov, consultant, author and host of Your Book is Your Hook; literary agents, Michael Larsen, Christine Witthohn and Katharine Sands; bestselling and notable authors CJ Lyons, Marcus Sakey, Darynda Jones and more...

A few weeks ago I announced my partnership with Pitch University as a monthly columnist. It's soon time for my new column this month, but if you didn't check out my last post on getting your audience hooked on your nonfiction book's concept, you can read it here.

Hope you're all enjoying your week!

TLC

The Lit Coach and Pitch University

I'm happy to announce I've been selected as a regular columnist for Pitch University, a new, valuable resource for writers centered on all things pitching! Lead by the totally lovely authoress and sales guru, Diane Holmes, Pitch University was created to serve as a thorough resource for writers who need help getting around this big, intimidating, daunting idea of crafting "The Big Pitch." Rather, Holmes says, "what we will be doing here at Pitch University is learning how to 'speak our story.'"

My weekly column, "Pitch Perfect Proposal: Crafting Your Nonfiction Book Proposal From Concept to Pitch," will post every Thursday on Pitch U. The column will educate writers on how to craft the perfect book proposal by examining each element of a well crafted book proposal and later, how to pitch your concept to:

* Agents
* Collaborators
* Editors
* Your Audience

I urge you to check out the site - lots of great info for novelists and nonfiction authors!

Other faculty include:

Jennifer Wilkov, Author, Creator and CEO of Your Book is Your Hook
Katharine Sands, Literary Agent with the Sarah Jane Freymann Literary Agency
Michael Larson - Literary Agent with the Elizabeth Pommada Literary Agents
Christine Whitthohn - Literary Agent, Book Cents Literary Agency
...and many more experts in the publishing, marketing and publicity industry.

Thanks for reading. Let me know what you think of the site!

TLC