Pitching at a Conference-the Wind-up and the Delivery
 By Terri Brisbin


 As we near the season of conferences, I've been hearing bunches of writers talking about pitching to editors and agents and thought this might be
helpful if you are planning to have an editor or agent appointment at either RWA or another upcoming conference.

 About pitching -- you only have about 5-8 minutes in an appointment, so you need to condense your whole story to a few sentences and then answer the editor's or agent's question. The main thing to remember is that they know everyone is nervous and most, if not all, are nice about helping you through. I worked the appointments at the NJRW conference a few years ago and thought I was cool and calm until I sat down and my mind went blank! All I could think of is I've written a romance...."!! The editor helped me through with a few questions.

 A few suggestions to get ready for that important meeting-

1,  Write a few 'triggers' on an index card or two to take with you -- the only thing you should have other than a business card.

2.  Condense your story into a few sentences --a couple of ways to do that:

            * Donald Maass suggests using the basic four elements -- setting, protagonist, problem(s), and the/a colorful detail. For a romance: setting would be where and what type -- 'time travel/historical romance set in Elizabethan England'; protagonist would be the hero and heroine-use their names and their occupations -- 'Richard, 
an illegitimate nobleman, and Sharon, a museum curator'; problem is the conflict - touch on the internal and external conflicts  in a sentence -- 'Richard wants to be king but can't prove his claim. Sharon has the proof but it could be deadly to both of them and change history'; colorful detail would be what sets your story apart or makes it appealing-'a time travel set amid the intrigues and splendor of Elizabeth's court'.

            *  Debra Dixon suggests one sentence about the setting and type, then describe the hero and heroine in a few sentences that cover the basics of who, what, why and why not (otherwise known as conflict, goals and motivation).

EXAMPLE:
            *  My example, based on Deb's workshop and GMC book, begins "Richard Granville is the illegitimate son of Henry VIII who wants to be king of England, but who cannot prove his claim without evidence. Sharon Reynolds is a museum curator who finds proof of a legitimate male heir to Henry  VIII and travels through time to find him. When she does, her love keeps her from giving him the evidence that could be deadly to both of them as well as the sister and country he loves." Then add a final sentence about how things turn out (aka the resolution).

SAMPLE PITCH:
 So, my whole pitch would be something like this:

 "Set in the splendors and intrigue of Elizabethan England, The Queen's Man
is a time-travel, historical romance. Richard Granville is the illegitimate son of
 Henry VIII who wants to be king of England, but who cannot prove his claim
 without evidence. Sharon Reynolds is a museum curator who finds proof of a
 legitimate male heir to Henry VIII and travels through time to find him.
When she does, her love keeps her from giving him the evidence that could be
deadly to both of them as well as the sister and country he loves. When she
discovers his true identity and realizes that she loves him, Sharon gives Richard
the evidence even though it means she will lose him. Richard knows that in
claiming the throne, he will lose the love he's found with Sharon, and chooses her
over his quest. The story ends with them together in present-day England. "


 The editor/agent might then ask about the length, the time-travel device,
and other details, but I've given enough info to grab their attention and let
them know the basics. The main goal of a pitch is to get a request to submit
your work, not to sell your book. The writing has to do that.... And now, with
more of the 'print' publishers going to "agented only" status and agents being
even choosier about taking on new clients, a conference request for your work
is sometimes the other way to get your work on that editor's (or agent's)
desk. An editor or agent is looking for new stories and new authors and is
listening to find out if something appeals to them or if the story is completely wrong
for them/their publisher/their line. (For example, completely wrong would be
pitching your steamy hot BLAZE-ing story to Multnomah Books that only
publish Christian, inspirational books!)



 Group appointments are usually a little different -- the agent or editor will tell you what they want to hear and either of the above suggestions should fit into that. Most times -- they ask the type of book, give you their card and tell you to submit it, unless it completely wrong for them. Don't bedisappointed in this -- you still get to write REQUESTED MATERIALS in big red letters on the envelope when you send it in and that's the goal!

 I hope you've found something in these suggestions that you can use to
prepare for an editor or agent appointment at a conference. Good Luck!




_____________________________________________________________
 Terri Brisbin is the author of 7 historical and time-travel romances with
 another 5 novellas and novels in the writing/production process. When not
being a mom to three, a wife to one or a dental hygienist to hundreds, she is
active in her local NJRW chapter and her national dental hygienists' association.
Visit  her website at www.terribrisbin.com to find out more about her and her
books