Many authors find pitching scary, whether they’re talking to editors and agents or to readers. Sometimes, this fear (or nerves, if you prefer) is responsible for the pitch running far too long and becoming convoluted. Often, authors think they need to read the pitch off a card or “cheat sheet,” to keep themselves from forgetting critical elements. Nervousness, the “need to read” and stress-induced over-complication of pitches are symptoms of the same problem, and today we’ll talk about how to overcome it. Tip #1: Write a Strong, SHORT, Pitch That Can Be Delivered in a Single Sentence. If the pitch is too long, too complex,
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Crafting Elevator Pitches, Part 2
Last week, we took a look at the elements of a winning logline-style elevator pitch. Today, we’re looking more closely at how to apply them and craft the pitch itself. To recap, the elements you’re looking for are your novel’s protagonist, active antagonist, stakes, and high concept. And remember: the high concept might or might not make it into your pitch, but you need to keep it in mind. Remember, also, that a logline pitch is merely the start of a conversation with an editor, agent, or reader. For that reason, it shouldn’t be long – a single sentence, or a single
Read moreElevator Pitches: If You Build it, They Will Come.
Last week’s Wednesday post took a look at the four elements that build a winning elevator pitch. This week? We’re mushing them together and creating the perfect lasagne er, pitch. (Perfect lasagne has four elements too, but that’s a different post.) To recap, the elements you’re looking for are your novel’s protagonist, active antagonist, stakes, and high concept. And remember: the high concept might or might not make it into your pitch, but you need to keep it in mind. I’ll continue using my novel Claws of the Cat, as an example, primarily because the pitch worked exactly as intended–it found
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