Monday, July 12, 2010
A Primer in Pitching From Agent Scott Eagan
We have a killer day in store for our Pirate Pals today. I won’t say this is the best guest we’ve ever reeled in, cause we’ve had some really cool guests, but this one is a doozey. Today we have a bona fide industry insider for the first time ever. If you read this man’s website, you may come away with the impression he has some sort of super powers. That’s what I thought anyway.
He’s a writer with more degrees than I have socks (okay, that might be a stretch), a literary agent and champion of the Romance genre, and dabbles in acting when he’s not teaching, wrangling kids, or officiating pool side. Straight out of Puget Sound, mastermind behind Greyhaus Literary Agency, I give you, Scott Eagan.
I want to thank you so much for visiting with all of you today. Hopefully the things we talk about will give you something to think about before you head out to Nationals. If you aren’t going, then keep these things in mind before you do pitch at later conferences.
I want you to think about the concept of opportunities. Successful writers in this business not only take advantage of opportunities, but they find a way to make opportunities. Along the same lines, writers that are successful make sure not to blow those opportunities when placed before them. Unfortunately, I see far too many writers that blow those chances when they pitch to editors or agents. They have waited for a chance to get their writing in front of these people and in those few short minutes, that chance is ruined. Why? They have forgotten one simple rule.
This is a job interview.
For some reason, writers seem to believe that what they do is somehow different than working in the real world of business. This couldn’t be further from the truth. If you approach pitch sessions the same way you approach any other job interview, you will have an increased chance to being successful (assuming you have strong writing skills).
BE QUALIFIED
Do you apply for jobs you aren’t qualified for? Probably not. Yet many writers are applying for coveted writing slots with editors and agents and are not qualified to do so. No, I am not talking about their writing ability, but the simple fact that their writing doesn’t fit with that editor or agent. Every house has a specific style and voice. Each editor is only looking for certain things and your writing has to be that fit. It isn’t a matter of it being well written, it has to be right.
Just because a publisher says they take romance writing does not mean they take it all. They have limits, obviously, on the genres they take, but there is a bigger issue here. They have specific voices they are looking for. I always say that vampires at Grand Central Publishing are certainly far different than those you find at Harper Collins. The voices are different.
Your job, before you even think about pitching is to make sure your writing really is what they are looking for. This isn’t a guessing game. Do your research.
BE PREPARED
For a job interview, you take the necessary time to get ready. You review your qualifications. You have projects that are finished. You have researched the person you are pitching to and know their likes and dislikes. You are aware of the business and know how things work with the business.
Being prepared means that you could be ready to start that day. This means that you should never be pitching projects that are incomplete, and this includes projects that you still want to send to your critique group for consideration. The story has to be finished. No exceptions.
When we talk about being prepared, it also involves knowing the answers to all of the questions you may be asked. Before an interview, you take the time to think through how you would answer questions about your experience and so forth. Why not for a pitch? There are a lot of times that I will ask authors questions about their story and they really don’t know the answer. These are simple questions about characters or plots. If you don’t know these answers, what does this say about your readiness?
PROFESSIONALISM
What is the image you want to give to that editor or agent? For many authors, they seem to think it is only an issue of their story being good. Unfortunately, we want to know you are someone we can work with and want to work with.
When you go to an interview with a company, do you start off by telling the person you are far from qualified? No. If this is the case, why would you start a pitch session by telling the person you are terrified and this really is the first thing you have ever done, or to tell the person you really don’t know what you are doing?
Let’s try this one. When you interview, do you dress to impress? Sure! And the same goes for pitching. Care enough to show you are the person we want.
Another element to consider goes back to being ready. You shouldn’t be reading your pitch to an editor or agent. Think about job interviews again. Do you read your resume? Then don’t read your pitch.
WHAT DO WE WANT TO HEAR?
This is really simple and straight forward. Your job is to keep things simple and to the point, but at the same time impressive. If you are going to Nationals, you need to know that we will be listening to pitches for 2 hours. You have to stand out in the crowd. I always try to break this down into THE 3 B’s. THE BASICS, THE BOOK, THE BIO
The BASICS include the information we would log into the computer. Author name, title, genre, and word count. Don’t forget all of that.
The BOOK includes the high concept and a brief summary of the book. Make sure to hit the main characters, the conflict and the solution. In this case, the key is to nail that high concept. In other words, what is it that makes your story different from everyone else out there?
The BIO is a bit about your writing career. What other projects do you have going? Where do you see yourself at in the future? Do you have prior publishing credits? Again keep it simple.
You only have 10 minutes. Make the time count and impress us.
I’ll be checking in every now and then today. Send me your questions and comments and I will see what we can do.
Scott
He’s a writer with more degrees than I have socks (okay, that might be a stretch), a literary agent and champion of the Romance genre, and dabbles in acting when he’s not teaching, wrangling kids, or officiating pool side. Straight out of Puget Sound, mastermind behind Greyhaus Literary Agency, I give you, Scott Eagan.
I want to thank you so much for visiting with all of you today. Hopefully the things we talk about will give you something to think about before you head out to Nationals. If you aren’t going, then keep these things in mind before you do pitch at later conferences.
I want you to think about the concept of opportunities. Successful writers in this business not only take advantage of opportunities, but they find a way to make opportunities. Along the same lines, writers that are successful make sure not to blow those opportunities when placed before them. Unfortunately, I see far too many writers that blow those chances when they pitch to editors or agents. They have waited for a chance to get their writing in front of these people and in those few short minutes, that chance is ruined. Why? They have forgotten one simple rule.
This is a job interview.
For some reason, writers seem to believe that what they do is somehow different than working in the real world of business. This couldn’t be further from the truth. If you approach pitch sessions the same way you approach any other job interview, you will have an increased chance to being successful (assuming you have strong writing skills).
BE QUALIFIEDDo you apply for jobs you aren’t qualified for? Probably not. Yet many writers are applying for coveted writing slots with editors and agents and are not qualified to do so. No, I am not talking about their writing ability, but the simple fact that their writing doesn’t fit with that editor or agent. Every house has a specific style and voice. Each editor is only looking for certain things and your writing has to be that fit. It isn’t a matter of it being well written, it has to be right.
Just because a publisher says they take romance writing does not mean they take it all. They have limits, obviously, on the genres they take, but there is a bigger issue here. They have specific voices they are looking for. I always say that vampires at Grand Central Publishing are certainly far different than those you find at Harper Collins. The voices are different.
Your job, before you even think about pitching is to make sure your writing really is what they are looking for. This isn’t a guessing game. Do your research.
BE PREPARED
For a job interview, you take the necessary time to get ready. You review your qualifications. You have projects that are finished. You have researched the person you are pitching to and know their likes and dislikes. You are aware of the business and know how things work with the business.
Being prepared means that you could be ready to start that day. This means that you should never be pitching projects that are incomplete, and this includes projects that you still want to send to your critique group for consideration. The story has to be finished. No exceptions.
When we talk about being prepared, it also involves knowing the answers to all of the questions you may be asked. Before an interview, you take the time to think through how you would answer questions about your experience and so forth. Why not for a pitch? There are a lot of times that I will ask authors questions about their story and they really don’t know the answer. These are simple questions about characters or plots. If you don’t know these answers, what does this say about your readiness?
PROFESSIONALISM
What is the image you want to give to that editor or agent? For many authors, they seem to think it is only an issue of their story being good. Unfortunately, we want to know you are someone we can work with and want to work with.
When you go to an interview with a company, do you start off by telling the person you are far from qualified? No. If this is the case, why would you start a pitch session by telling the person you are terrified and this really is the first thing you have ever done, or to tell the person you really don’t know what you are doing?Let’s try this one. When you interview, do you dress to impress? Sure! And the same goes for pitching. Care enough to show you are the person we want.
Another element to consider goes back to being ready. You shouldn’t be reading your pitch to an editor or agent. Think about job interviews again. Do you read your resume? Then don’t read your pitch.
WHAT DO WE WANT TO HEAR?
This is really simple and straight forward. Your job is to keep things simple and to the point, but at the same time impressive. If you are going to Nationals, you need to know that we will be listening to pitches for 2 hours. You have to stand out in the crowd. I always try to break this down into THE 3 B’s. THE BASICS, THE BOOK, THE BIO
The BASICS include the information we would log into the computer. Author name, title, genre, and word count. Don’t forget all of that.
The BOOK includes the high concept and a brief summary of the book. Make sure to hit the main characters, the conflict and the solution. In this case, the key is to nail that high concept. In other words, what is it that makes your story different from everyone else out there?
The BIO is a bit about your writing career. What other projects do you have going? Where do you see yourself at in the future? Do you have prior publishing credits? Again keep it simple.
You only have 10 minutes. Make the time count and impress us.
I’ll be checking in every now and then today. Send me your questions and comments and I will see what we can do.
Scott
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36 comments:
Welcome, Scott! I'm originally from the Puget Sound area, so it's always fun to see someone else from there. :)
This is great information, especially the "3 B's". I think that will make things a lot more helpful for those giving pitches, and I'm sure it's better for those HEARING the pitches!
Hello Scott and welcome aboard. :)
I also like the three "B's." I was wondering if there was a particular order you like the three B's in? Do you want to hear about the book first or the basics first? This goes for queries as well.
Thanks for stopping by and helping us out.
This is great information. Thanks for visiting and sharing your knowledge!
Thanks again for joining us today, Scott. As one who is pitching in *gulp* less than three weeks, I appreciate all the help I can get.
What do you give for a bio when you don't have much on your resume yet? I've been at this for three years, but with one finished MS and nothing pubbed even in a newsletter, I'm not sure what to throw in there.
My stories are character based which leaves me struggling with the high concept idea. No vampires or jet-setting CEOs, and no one saving the planet from an alien invasion. How do you approach the high cencept when you're writing about everyday people dealing with everyday issues?
Thanks for having me.
Marnee, in answer to your question, I don't think it really matters that much (at least according to some other agents). For myself, I always believe having the Basics first. In many ways, it's kind of like a thesis statement. Knowing the title, genre and wordcount gives the reader a chance to put the story into a context. For example, if someone says it is a 70,000 word paranormal, I would immediately think of it not simply as a story, but where I would potentially send the project. Something like this might be a perfect fit for the Nocturne line. If I don't have that, I am just reading a general story premise. I might think the project sounds perfect for a single title house, and then I see the word count. Woops. Not going to work! Now the author is trying to do too much in too small of a space.
Scott
Bo Sun,
I think you have two things to consider. If you don't have anything in terms of a career yet, which is where every writer started, then simply state that. This is my first book but I am really excited about it.
As far as the high concept, it doesn't have to be something extreme. Even if an author writes a contemporary love story about every day people, I am hoping that the author found a unique twist or angle to it that makes it stand out. It doesn't matter if it is character driven, tell us what makes it unique.
Hello Scott! Great information! I'm wondering if you have any advice for pitching a series. Is it preferable to pitch the completed first book on its own and make known it is part of a series? Should the second and third books also be complete or, as I've heard more often recently, should the second or third books not be written until the first has sold?
Thank you!
I was afraid you were going to say that. I know it's all a matter of perspective. My characters aren't saving the world, but what they are facing is just as important in their minds. I need to get that across.
Hi Scott, thanks for visiting with us today. It seems pitching always seems to involve a level of confidence so few writers I know have. Most writers I know apologize if they reach for the same donut as another person, or if they get to the elevator first...or basically everything. They'll apologize for everything, then they'll shuffle out of the background like a Prufrock crab. It's one of the weird ironies of being a writer that clearly we write so we can be noticed, but then we spend so much of our time trying to blend into wallpaper so we don't call attention to ourselves.
Comparing a pitch to a job interview breaks me out into hives. I've had the same job for 10 years mostly because I loathe interviewing for jobs. I usually have enough common sense NOT to tell the person interviewing me that I'm not the best person for this job, I'm just trying to find a new job because I'm desperately unhappy. And yet I'm pretty sure whether I say it or not, we both know it. Why else would I be here if I weren't desperate?
Is there a market right now that people are simply not buying? (Not that I write to market, but I was just curious if there is a buzzword that is a kiss of death. Like if I said, "I have a 100,000 single title chick lit novel"--is that an automatic No Way or do I need a more current buzzword?
Melissa,
IMHO if an author is pitching a first book, I would not pitch a series. I think you let the editor or agent know the book could be expanded to a series of necessary. I think you can give the image of a stronger writer if you can show me you can do several projects in the same genre that aren't connected. Also, remember if the first book is not signed, the later books that relied on it are now dead.
If you pitch the stories as stand alones, but know you can tweak the stories a bit to connect them then you are in great shape.
Again, just my opinion.
Bo'Sun
AGREED!
Scott
Hellion,
I think you have two issues here.
In terms of the fear of interviews and being in public, this is simply something you (and the other authors with this fear) have to deal with. Being a published author is a public business and to make your sales, you have to be out there. It's just the way it is.
As far as things not selling, or I should say, people aren't buying, I don't think I can pinpoint anything. Really, if you have a great story, a unique premise, great writing and a great concept, the book will sell. Sure, people say westerns are a tough sale right now, but that doesn't mean it won't sell. The problem is that people are pitching stories that aren't unique.
In the past, in order to calms the nerves of my friends about to face a pitch appointment, I reminded them that they are not the only one interviewing for a job. They are also interviewing the agent to see if he/she would be something they are willing to work with.
Do you ever go into pitch appointments feeling that way? As if you are also the interviewee as much as the interviewer?
If you pitch the stories as stand alones, but know you can tweak the stories a bit to connect them then you are in great shape.
Thanks! I think this is a "compromise" I can live with. LOL Your advice makes a lot of sense.
Greetings, Scott. Even the word "pitch" fills me with terror, but I do think knowledge is the best means of easing my fears. Thank you for all the information.
Concerning the BIO: If a writer is pitching a first novel with no credentials such as publication of short fiction or contest wins, is it helpful to include publication in other genres? What about blogs?
Bo'Sun,
That is an interesting perspective. I hadn't thought about it, but I do know I am pretty aware of what I say. Even if the story doesn't work for me, I try my best to provide some reasons why, or concerns I might have. Who knows, the person might come back with an even better story next time.
Scott
Janga,
Putting what you have done in different genres is OK but again, think of a resume. When you put one together, you include the material that fits the job you are applying for. Showing you have been writing in other genres does demonstrate your ability to write, but it might not reflect your sense of the genre you are pitching.
You might not need to list everything by title. Just state that you have written other things.
Scott
Since I know Janga has an extensive background in teaching Literature and Writing, is that something that helps in the bio? Does having the degree give weight in your judgment? I wonder since I have a Business degree instead of an English or Creative writing focus. Though I've found the Business degree comes in just as handy in this industry.
Also, I know this is about pitching, but for those of us attending Nationals, would you talk a little about Query Fest?
Welcome aboard, Scott! I'm so glad the crew is treating you kindly. None of the mayhem we normally stroll the deck with. Nice to know we can be civilized!
I just signed with an agent last month and will be meeting her at the Nationals to discuss career planning, queries, etc. I have an impressive number of books I'd like to someday see her take on but at this point, I don't want to scare her off by handing her a list.
Any suggestions on when to raise the topic of By the way, I have this other book, oh, and this one...and this one...and...
I certainly understand that this first book, the one she signed me for, takes precedence. When would you want to hear an author you took on has a dozen, or two...or more...on the computer shelf?
And I so agree it's a job interview and tweaking the resume is paramount. My husband is presently doing that and slaves over making sure each resume pinpoints the skills appropriate for the job he applies for.
Thanks for visiting today! ;)
Bo'Sun,
As far as the degrees go, it isn't going to make or break your pitch. Now if you write historicals and your degree is in the time period you write, that would be important.
Scott
2nd Chance,
It is important you let your agent know EVERYTHING! The more we know, the more we can guide you with projects that would work better now and those that we should hold off on.
Scott
REGARDING QUERY FEST
We have brought together 5 agents: Paige Wheeler, Jessica Faust, Miriam Kriss, Christine Whithohn and myself to discuss query letters for 2 hours. The first block of time will be spent discussing queries people bring with them to the conference. These are cold reads with the honest truth coming out right there and then.
During the second hour we will be breaking up into small groups to work with writers on their query letters and to chat further.
That's the plan in a nutshell.
Scott
All that time worrying about not having the English degree and there was no need. Ha!
That is a powerhouse panel of agents. I know where I'll be first thing Saturday morning. I hope they set you up in a large room becuase that one is going to be standing room only.
What made you choose the Romance genre and what's the most exciting thing you see in the near future for the industry?
Will begin work on list to present to agent...
Yes, I always have multiple issues. *grins* I don't mind the public, per se, but it depends on what side of the public. Publishers and agents, et al, intimidate me, but fellow book lovers--I can understand them. (Ironically I don't think of publishers and agents as book lovers. Go figure.)
As for the second issue, about standing out from the crowd: just how unique is unique? I think you're asking for a fine line here. My definition of unique might be a can of squirrel poo to you--so how does an author present their work to be unique but not so obscure only a handful of people would be interested in it? (I.e. like my mother and her bridge club.)
Bo'Sun,
I decided to focus on the romance and women's fiction genre for several reasons:
1) Supply and demand. I felt that this genre needed someone that would focus all of his or her attention on one genre only. I didn't believe in spreading myself out thin.
2) Just keeping track of romance and women's fiction is tough.
3) It's a great genre with great writers and stories that really are emotion based.
Scott
Hellion,
Unique is really something that is not out there now. This does not mean over the top strange, but a new look at something we haven't seen before.
Take Michele Young's NO REGRETS. Great traditional regency romance but with the twist that the heroine is not your bomb-shell heroine. She's over-weight, wears glasses and the hero falls for her for who she is, not what she looks like.
Scott
Bo'Sun,
I'm equally as excited about QUERY FEST. When I organized it, I wanted to find those agents that were really out there acquiring and are also out there really trying to teach writers.
I too am hoping they have a large room!
Scott
Great information! Thanks so much Scott for coming aboard!
I'm nowhere near ready for pitching and querying but this is nice to read and kinda keep in the back of my mind for when I'll need it. I especially liked the input on the pitching a series. Makes sense.
Thanks!
Hi Scott.
Its fascinating to get the view from the other side of the fence.
Unlike most of the pirates here, I write for fun and don't really want to go through all the rigmarole of pitching and being interviewed. If I complete something that I think is good enough to publish, is it sensible to just write directly to a publisher?
I'm thinking of the famous scientist Fred Hoyle who wrote some science fiction in his retirement. I think that his fame in astronomy helped to sell his books and I can't believe that he went to much trouble to get them published.
Do you think that well known people generally receive special treatment if they turn to writing fiction in later years?
With everyone using pseudonyms on the web, you never quite know who you might be talking to! :lol:
Those are definitely the right agents. I have a pitch appointment with Christine the day before, which wasn't easy to get since I was one of the last in line to sign up for appointments.
I've followed Jessica on her blog for a while. I recommend to all aspiring authors to follow at least one or two agents. Those blogs (including yours) are filled with priceless info you really can't get anywhere else.
I like the sound of this new twist on a Regency. And I would have never believed an editor would go for that, mostly due to what we hear in Romanceland and the books we see getting published.
I'm guessing this is one of those prime examples of what Deb Dixon is always saying - You can write anything if you write it well enough.
The Query Fest sounds like it will be an amazing experience. (And since Christine is my agent, I will confess to being a bit partial. LOL In fact, I was away from the blog this afternoon working on some edits she recently suggested.)
I also have the NO REGRETS book but it got packed away when I moved, so I have to find it so I can read it!
I'll send you my notes, Donna!
Thanks to Scott for taking the time to give us these tips on pitching and answering all our questions. I'm still nervous, but at least I have a plan!
Looking forward to meeting you in Orlando. Still can't believe it's only two weeks away.
Quantum,
Yes, there is a lot to be said about reputation.
Scott
Glad I could be here today. This is a great group. If you are going to be in Orlando, make sure to say hi!
Scott
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