Showing posts with label pitches. Show all posts
Showing posts with label pitches. Show all posts

Monday, March 22, 2010

Juggling Act

What I'm reading: Original Sin, by Allison Brennan

Yesterday, I sent the last of my submissions off to the editor who requested it. Working on three projects, even though they're all completed means being able to switch mental gears. I confess, it's not a skill I'm particularly proficient at (although the hubster would claim that my brain can't follow a straight thought for more than ten seconds before it veers off down a side road). I have to deal with one at a time, or I start mixing my manuscripts.


The projects:

1) Where Danger Hides. This is the "sequel" to When Danger Calls, and is in the early stages of the editing and production process for its June, 2011 release from Five Star. A long time in the future, to be sure, but the manuscript was finished two years ago, and I've written 3 other books since then, so my memory of the details and characters is dim. Once I get the actual manuscript with editorial comments, I'll tackle it, but in the meanwhile, I have what the publisher calls "Ancillary Materials" which include coming up with things like jacket blurbs, synopses, and some beating the bushes for authors willing to do cover blurbs. That's an entirely different topic, to be sure, with pros and cons on both sides, and something to be discussed another time.

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2) Rooted in Deception. This is a romantic suspense, one I finished at least a year ago. It's another book featuring Blackthorne, Inc., but it's written as an independent stand alone. I had put it on the back burner while I dealt with Where Danger Hides, but decided it made more sense to try to find it a home rather than wait for the publisher of the other two books, as their schedule is more like an 18 month to 2 year gap between releases. While I was at Written in the Stars, I realized that because this book was a romantic suspense, I ought to be pitching it.

I made a quick search through the files I had with me (remember, we were in transit at that time) and found some draft synopses, and what I hoped was a relatively recent version of the entire manuscript to familiarize myself with the characters and plot. And the folks I pitched it to requested either 3 chapters or 50 pages. I updated the draft synopsis, re-read and tweaked the partials and sent them to 2 of the 3 people who'd requested them. The third wanted hard copy. This had to wait until we found our rental, hooked up the PC and the printer. Before I mailed it, I wanted to take one more look. And when I did, the inevitable typos and other glitches appeared. I can only hope they're minor enough to be overlooked by the first two. Doing a full-manuscript edit in case I get a request for the full is definitely something I should be doing.

3) Deadly Secrets. This is my newest work, my first venture into straight mystery. It's the book I'm most familiar with, and the one I prepped myself to pitch at SleuthFest. Most requests were for partials, but I had one for the complete manuscript, and after what happened with the other manuscript, I didn't want to send it off without reading it again. My technique, which I've discussed here before, is to do edits on hard copy, and to make it look as different as possible from the on-screen version. I print in a different font, and format it in columns, which gives it an entirely new look and 'fools' my brain so I can catch repeats and possible plot issues. Reading it quickly, like a real book helps keep the plot points on track. I didn't find too many things that needed tweaking, thank goodness, and sent it off. I wonder what gremlins will attack it as it zips through cyberspace.

Now it's waiting. And wondering what to do next. Both new projects are part of a larger whole. At least I'd love to have that be the case. Because if I can focus on an established character set, it's like working with old friends. But if neither gets picked up, there's not much point in writing the next book in the series, which is frustrating, because I'd love to throw another case at Gordon, or write Grinch's story.

Do I start a brand new project, totally unrelated to anything I've done before? And in which genre?

I suppose the smart thing to do first will be to put anything new aside and wait for the edits, and tackle the Ancillary Materials. And it'll be a lot more fun than doing taxes, which is the other project I'm juggling.

And speaking of submissions, you'll want to come back tomorrow when my guest, Galen Kindley shares his preferences for the query process.

Monday, February 09, 2009

What Agents Are Looking For

What I'm reading: Nothing to Lose, by Lee Child.
My last RITA entry, 9 of 9.

Our RWA chapter hosted a literary agent at its last meeting. She was kind enough to share some of her hints for making your query stand out among the hundreds that cross an agent's desk.

Some of these are so basic, you'd wonder how in the world anyone could screw up something as simple as reading the submission guidelines and following them. Yet she gets a significant number of those who don't. This is a red flag, because the agent/author relationship has to be one of trust.

She told the story of an author who offered an exclusive read to agent A. Only trouble was, he'd also sent the same offer to agent B. And put the wrong cover letter with each, so agent A got the one intended for agent B. The literary community is small. Agent A called agent B and said, "Shall I decline for both of us?"

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What's attractive to an agent? Your voice. The story concept. Your hook. All of these are necessary because an agent has to get your work to an editor, right? Right. But it doesn't stop there. The editor sends the manuscript off for at least 2 or 3 more reads. It has to be presented to the marketing department, the sales department. There are a LOT of people on board, and they work in sound bites.

Things to consider:
Style and Flow. Read your work aloud. Hear what it sounds like. Polish to the point of minimal distractions. Nobody expects perfection (or editors would be out of a job), but it should be as close as you can get it. There's not much time anymore for taking a diamond in the rough and fixing it. You need to get it beyond that stage before submitting it.

Plotting and Pacing. Don't dump the entire problem at once. Layer in conflicts. Escalate the tensions. You need to up the stakes in every chapter. It can be related to character development, the plot, or in a romance, the relationship.

Her advice for queries.
Paragraph 1: Introduce your work. Genre, word count.
Paragraph 2: A brief summary
Paragraph 3: Any relevant information – bio, writing credits, platform, awards.
The tone of your query should reflect the tone of your book.

Turnoffs:

Oversized manuscripts – "A 250,000 word novel that is part 1 of a series."
Mislabeling. She's seen many queries saying, "this isn't science fiction," etc. Agents need to know where they can sell something.

And, back to where we started – not following submission guidelines.

From here, we divided into groups and were given 3 words to work with and about 15 minutes to come up with a pitch. The 'catch' was that the immediate response to the words would be the mundane, been-there-done-that story. She recommended taking the 1st three reactions to the word and throwing them away, because they would be the obvious, and would lead to a 'stock' story – and to the rejection pile.

Our words? Riot, Wing, and Poison. Feel free to leave your pitch in the comments!

Tomorrow. L C Hayden is my guest. She's going to tell us about how she gets to cruise for free. Be sure to check in.