Pitch and Tell – Avoiding Story Stumbling

By Kathleen Freeman, Critique Coordinator for NCWA and Renewal Volunteer

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They ask about our story—editor, agent, fellow writer, the guy slicing the beef. We freeze. We panic, and what could have been a fun and meaningful conversation, and possibly begun a friendship, turns to disaster.

If someone asks what we love about our spouse, kids, or pet, we don’t panic, don’t get tongue-tied or fearful. Confidence oozes as we tell strangers and friends alike about little Lucy’s first steps carrying Tolkien’s The Hobbit. We confess that our face might be purple because we spent the last two hours helping our son write an essay.

People don’t ask about our work to measure or judge us. Okay, some do, but they are the exception. Most ask because of burning curiosity. They want to know what fills us with the passion to neglect other things in our lives and write when we know the pitiful publication odds… let alone the chances of writing a NY Times best seller. What is our story about, and why is it so important? If we can articulate the answer in five words, thirty-two words, or 100 words of eye-sparking passion, it’s a powerful jump-start to the most flagging confidence. If we can’t, we’re not ready for a pitch—plain and simple.

We neglect other things in our lives and passionately write despite pitiful publication odds.

Unfortunately, passion, even articulated well, only goes so far. If asked about Bible verses pertaining to the deity of Christ and we’re not prepared, Bible fumbling and umming will ensue. We have to have pages marked, words highlighted. In the same way, when someone asks about our kids, pictures go a long way toward reminding us why we love them despite struggles.

Whether telling our story to the book table lady, or pitching to an editor or agent, a picture of our “baby” can help break the ice. A One Sheet, writing sample, and story proposal make a great snapshot. A One Sheet is an introduction to us and our story using artistry and character representative of our book. It’s a business card and photo rolled into one page. A transparent, gem-colored, $2.99 Rite Aid plastic folder makes a great showcase and will also hold writing samples and our proposal. Some have a place for a business card, as well.

In addition to making a great conversation starter, a folder looks professional—a step in the right direction beyond one-line zingers, elevator pitches or thirty-two word summaries. If we stumble, trip on our words, or develop rubber lips, we still look like a player.

Organization isn’t always a writer’s greatest gift. Receipts and napkins often carry our inspirations home. But failure in this can undo both preparation and passion. If our artistic, stream-lined folder is shoved in a bag among schedules, a pile of magazines, a semi-melted Hershey’s Kiss, a hairbrush, and receipts from the bookstore, our mind may feel like the chocolate is melting through it. A horror story of great proportion may ensue as we reach in and pull out our Arm and Hammer Essentials deodorant. While such a blunder might lead to a new friendship founded on mutual anti-aluminum beliefs, it’s more likely to make an editor flag down the time-keeper, eyes pleading for Calgon. No. We’re better off leaving anything extraneous in the car if we have an appointment.

Though due respect and admiration, editors and agents seek what anyone does—something excellent to read, and maybe a new friendship or two. To help him or her feel welcome and appreciated, we might do some internet research before the appointment. If we know her company switched from Prairie Romance to Steampunk Murder Mysteries, we can leave And the Bluebells Ring in our bag and dust off It Goes Whir, Thud. If horror terrifies him, we shouldn’t pitch ours. If she just lost her dog, we might be sensitive to that and not tell our story about Fido gifting the new neighbors with our bloomers.

We pitch, tell our story with proud passion, and then we’re done. Whether she wants us to send her something or not, we need to maintain an air of thankfulness. A “thank you for your time” is always appreciated. Beyond that, a no is not by any means the end of the story… unless we spin in angry circles and vanish in a puff of blue smoke.

When we pitch, we tell our story with proud passion.

As chairs are stacked and conference attendees stare into space, smiles stiff, brains overflowing with information, we might ask the editor sitting alone if it was a good conference for him. We could ask the agent if she has a place to worship on Sunday, or offer coffee or a cup of water. Grace. Love. A bit of kindness. It may even help her move past our blunders and ask, once again, to hear our story.

It could happen.

 

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(Your next opportunity to pitch!)

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Kathleen Freeman serves on the Board of Directors for the Northwest Christian Writers Association as the Critique Coordinator. She’s also a member of American Christian Fiction Writers (ACFW) and she’s been writing and critiquing for enough years to be told she’s been around the block a few times. Her work appears in Raising Small Souls, the NCWA Newsletter, Vista Journal for Holy Living, and Clubhouse Magazine. She was the 2012 winner of the Genesis contest in the YA category, 2013 semi-finalist in the Mystery category, and the 2013 3rd place  winner of the Category 5 contest, Contemporary category. You can find her at www.findinghopeinhardtimes.com.