Reclaim Your Most Powerful Tool - The Query Letter

At a recent Pitching with The Pros workshop I was invited to participate in I met one attendee whose entire experience with the querying process so far could be summed up as confusing, exhausting and frustrating. As we sat listening to her dead-end, maddening attempts to query certain agents in the way they like to be queried or as per the instruction given in one magazine as opposed to a particular book...you get the idea - it underscored the reality that there is SO much advice on writing and pitching and how to get published, etc. - how does a writer know when to follow their gut or follow all the advice that's piled high on the shelves, online or via agents and other industry pros at conferences, and workshops? Like us.

As the writer broke down in tears, frustrated by all the conflicting advice on how to communicate what her novel was about, I wanted to cry right along with her. Here she was, an articulate, smart woman who completed a novel (how many people do that?!); had great reviews of the novel from her peers (success!); yet she couldn't get her foot in the door of an agency because her query wasn't to code and she didn't know what else to do.

After she practiced her pitch with us (and by the way, delivering your pitch verbally in front of industry people can be a little intimidating, so big bravo to her for putting herself out there!), we helped her hone her pitch. Not with don't begin your pitch this way or always include this in your pitch or else an agent will reject it advice, but by simply helping her gain clarity on the heart of her story by listening and asking questions, and then by providing her with a general frame of a query letter most agents would be happy with (which she already knew about from all her research).

The attendee later wrote to me expressing that through this process of gaining clarity, she reclaimed that important piece in a writer's arsenal - the query letter -  by not feeling bound by all the conflicting advice out there.  

So here's a boiled down version of what we shared with her:

1. You can't control how an agent is going to read your query letter. You could write the best query letter ever and it still might be rejected because the agent was in a bad mood that day, didn't have enough time to read it thoroughly or more likely, they can't take on another author like you (they already represent several authors in your genre and they don't want you to compete with them), or they just don't think they're the right agent for you. There are myriad reasons. Don't over analyze them.

2. You ARE in control of how your story is presented. If you're having a hard time narrowing your novel or nonfiction project down to a paragraph, boil it down to the most salient action points, then boil it down again and present that beating heart in a professional-looking query letter. I like query letters that begin with the conflict and then draw me into the resolution and a lot of other agents do, too (I'm no longer an agent).

3. THERE IS NO SUCH THING AS THE GOLDEN QUERY LETTER. There is no perfect query letter, no perfect pitch formula, just variations of a theme. So...

4. After you've researched the basics, follow your gut on crafting the letter. Don't be afraid to grab someone's attention! Never apologize for taking up a busy agent's time with your work. Be confident and most of all, clear about what you've created. Claim your craft!

5. Send out your query knowing you're going to get rejected. A lot. Get more query letters ready to send out in their place. Always, always keep those queries cycling.
   
I feel for you, writers. And I'm calling you to action. So, here's your action this week and for as long as you want:

Action: Confident queries come from confident writers, and confidence comes from clarity. So be clear about your story or nonfiction project and pitch that baby with the passion you used to write your book! What an amazing accomplishment! And most importantly, remember it's people like you who keep us reading. You keep the publishing industry afloat. Reclaim your confidence. You know what you're doing. 


Have a fruitful week, my dears! I'm rooting for you.

TLC

image: "A Broken Soul" by crazer9.deviantart.com

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. 

Promoting your Book through Passion, Relationships and Collaboration

The last decade in publishing has truly been a wild whirlwind and authors have had to evolve from lone, brilliant artists to super social creators, marketers, publicists, event coordinators, social media strategists and major book sellers in a matter of minutes. Well...when you consider the overall history of publishing.

And even though you writers are expected to evolve as quickly as the newest iPhone, selling your book is still an icky thing you guys don't like to do. I get it. It feels a little used car salesman-y. A little disingenuous because yes, you want them to love it and tell their friends all about how awesome it is...isn't that what writing is all about? The affirmation? The public acceptance? And yet, you really want, need to make a few bucks off your gem to pay the bills - is that so wrong? Oh, the portrait of the artist as a tortured salesperson!

The act of sales is not icky. And it's not necessarily about you putting your book into someone's hands and saying, "Buy this!" either. Rather, book sales flow from concentrating your energies on the following three actions. So let's think a little more creatively about how to sell your book in this new age of publishing.

Selling begins with passion

The most successful salespeople are passionate about their product (whatever it is) and aren't afraid to put themselves out there to spread the word about it. They don't look at selling as selling - they look at it as, "hey, you gotta check this out!" and mean it. Think about the last time you told a friend they absolutely had to drop everything to read a book you just fell in love with. That was you sharing your love for a book through your enthusiasm. That's just the kind of energy you need to get out there and tell people about your book.

Selling is all about building trust and forming relationships

There are no shortcuts with this step - building trust and forming relationships takes a lot of time and commitment on your part. You build trust by being authentic. You can smell a disingenuous sales person a mile away, right? Your reading public will have the same reaction if you put out an image that is something other than your most authentic self. It's like your writing - you don't think about your voice, or your writing style, it just flows. If you over thought your style, your prose would be self-conscious and unoriginal. Sure you craft, edit and polish your manuscript just as we all use social filters (mostly)...but your core is there and that's what people are drawn to.

You'll never build relationships or trust if you don't put yourself out there in your own neck of the woods and online. If you're just starting out on this path and have just a few writer buddies, start slow and allow yourself plenty of time to connect with others. Seek out and join local writer and/or professional organizations that are right for you, your writing style and/or your professional association. Take this action online and start building relationships by blogging (if it's right for you and you're able to seriously commit to this); by commenting on other blogs thoughtfully and frequently; by contributing entire pieces to other blogs (if you have a story or tips to share); and by creating and being active on a few select social media platforms, for starters. Freelancing articles in your area of specialty or interest is also a very worthwhile way to build trust and readership.

Success can be found through collaboration

Today's author is not threatened by their creative neighbor on the book shelf. Instead of seeing an author within their genre as a competitor, they look at them as a possible collaborateur. I'm seeing a surge of co-hosted collaborative author blogs, multi-author book signings and other literary events, and now online twitter, LinkedIn and other social media groups. Readers don't just read one author. Writing is a solitary enough endeavor; promoting and selling your book shouldn't be. You know the saying, it takes a village.

Your Action: If you're still crafting, just make friends and connections. There's no need to have an agenda (nobody likes a hard pitch). Your main focus should be on writing. You'll have time to consider your events when you have something to sell.

Authors who have a finished project, work on these three things: nailing your pitch; continuing to connect and share; and getting creative about collaborating.

Share what's worked for you or other authors you know!

Have a fruitful week, writers!

TLC

*The image used in this post is titled "It takes a village to raise a child."

Priming The Passion for Your Pitch: A blogshop with bestselling author Jennifer Wilkov

Have you ever been sold on a product or an item on a menu because the person doing the talking captured your attention with such authentic enthusiasm? You could tell they really loved and believed in what they were selling - they gave you all the pertinent info, answered all your questions, maybe gave some compelling statistics. If they were really good, they not only made you like the product, they made you like them, too. Now think about a time when you were met by a salesperson who had a great product to sell but failed to close the deal because she lost your attention and interest by offering lackluster service, not enough or the wrong information - her energy, flat lining. And what about the salesperson who wouldn't shut up? You politely and maybe even a little awkwardly walked away, right?

It doesn't matter if you're selling sweaters, tires, kitchen gadgets...or your book, sales is all about a successful pitch and building a good rapport with your "customer". Maybe you've never worked retail...I bet you have suggested a book to a friend, though. You told them they absolutely had to read the book you just finished because XYZ happened and you loved how it made you think/laugh/cry/stay up all night to finish it. The common denominator here is Passion translated into enthusiasm.

Selling your book comes from the same source of Passion as creating it did.

Bestselling and award-winning author and radio host, Jennifer Wilkov shares more:
It’s a fact: enthusiasm is contagious!

When it comes to books and book professionals, the writer’s passion for the project is an essential ingredient that goes into the decision about whether or not they want to work with you.

Books and publishing are not a solo endeavor. As a writer, you’re going to have to learn the pivotal skillset needed to pitch your work.


In order to prepare for this sometimes overwhelming endeavor, plug into your passion for the project. It’s your highest and best starting point.

Think about it: if you’re not passionate about your own work, why should anyone else be? Furthermore, why would anyone else want to champion it?

Book industry professionals have an inner sense for writers who are genuinely excited and engaged in their projects.

It is this pure joy that makes you and your working engaging to…

literary agents

editors

publishers

publicists

bloggers

booksellers

speaker bureaus

and, most of all, readers!

When you present your work with an authentic smile and take pride in it, it shows – and this can often tip off the person whom you are pitching that you are a good candidate to collaborate with and represent.

Be aware of your passion level. Your excitement, while contagious, can sometimes be a bit “over the top” for others so find the delicate balance to present your passion in a way that is palatable.

When in doubt, err on the side of being “over the top.” Practice with others and listen to feedback. Consider the source. Ask, “Is it too much for you?” and “Is my passion for the project present and noticeable?”

The best way to prime your pitch is to remember to use your book as your hook. Your passion for it will inevitably catch the eye of all those you want to attract to join you on your team.

And that passion will do wonders to open a lot of doors for you and your book!

You can do it!


TLC: Your Action: Don't think about your book for a day or two. Go shopping. Head to your local bookseller (or library) and ask them for their recommendations. How do they sum up the book? Take note of the language they use, their energy and enthusiasm. Were you comfortable talking with them? Did they make you feel at ease but also excited about the book? Did they capture your attention? How and why?

Then when you're back a your desk, practice pitching your book as if someone else wrote it (someone you admire and think is a good writer, ideally!). Write it down. If you were that bookseller, how would you sell your book to a customer?

Have a fruitful week, writers!

For more helpful pitch-related topics, check out Pitch U, an online everything pitch crafting resource (I also happen to write monthly columns for them).

TLC

About the Contributor:

Jennifer S. Wilkov: Media personality, host and producer of the #1 radio talk show “Your Book Is Your Hook!” on WomensRadio. Jennifer is a best-selling award-winning author who has been published five times, an award-winning freelance writer and a respected book business consultant in her business by the same name, “Your Book Is Your Hook!” She has both self-published and been published by a traditional publisher. Jennifer has been called the quintessential writer and teacher for the 21st century. She supports first-time and seasoned authors in their book writing, publishing and marketing endeavors through coaching and training in her “Your Book Is Your Hook!” consulting practice. http://www.yourbookisyourhook.com/ http://www.jenniferswilkov.com/

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