Get a Literary Agent: The Complete Guide to Securing Representation for Your Work by Chuck Sambuchino Read Free Book Online Page B

[including me] that dismisses you because they don’t handle your genre, ask if you can practice your pitch or ask their general advice. I suggest every writer take advantage of agents at conferences, even if your work isn’t ready; this is good practice, and an agent may ask to see your work when it’s ready. Many of the writers I have signed I have met at pitch sessions. My best advice is to practice and hone your pitch well before you attend the conference. Practice out loud [and] in front of people, and practice a shortened version in case we meet in the elevator. A composed, professional-appearing author will live on in my mind. Focusing your pitch on plot, themes, and premise will help you communicate it effectively. Never pitch an agent in the bathroom, and avoid it at lunch and dinner tables if you are seated next to one at a conference—unless asked. For those conferences where they work me hard, meals are my downtime. Be mindful of personal boundaries, and try not to monopolize an agent’s attention in a group setting.”
    —Elizabeth Kracht (Kimberley Cameron & Associates)
    “Don’t read from a page in your notebook! If I ask you what your book is about and you can’t tell me the plot in a concise, compelling way without reading word for word from your notebook, then don’t bother.”
    —Jennifer De Chiara (Jennifer De Chiara Literary)
    “First, some authors don’t seem to understand their true ‘hook,’ or [the] most interesting aspect of their work. One writer I met spoke about his young adult fantasy novel, but it wasn’t until the end of his pitch that he mentioned how his book was inspired by Japanese folklore and myths. How cool! That is what I would have wanted to hear first. Until then, it sounded like just another young adult fantasy. Second: Some authors overpraise their work. Some people told me how wonderful, great, amazing, funny, etc., their projects are. Coming from the author, such statements make me a bit skeptical. Of course the writer thinks his or her own work is amazing, but what is it about your work that makes it so fabulous? Why is it wonderful? I want more concrete information about an author’s work so I can really think about where the book might fit in the market.”
    —Taryn Fagerness (Taryn Fagerness Agency)
    On what not to do at a conference: “There’s sort of a running joke between agents about writers who will pitch you at a conference while you’re in the bathroom. It’s funny, because no matter how many times you hear about it happening to someone else, you always think, That really won’t happen to me. Then it does.”
    —Suzie Townsend (New Leaf Literary and Media)
    “I love when someone meets me with a big smile. Always take a deep breath before you approach an agent—and smile. This makes me feel relaxed and in turn will make the author feel relaxed—and that is the only way you are able to really connect and share your story. I’ve had authors sit down with something to prove or even with a bit of anger or defensiveness. This does not work. I spend most of my time trying to deflect this energy, and it takes away from the purpose of the meeting. Keep in mind that we are here to meet you, and we are hoping to find a match.”
    —J.L. Stermer (N.S. Bienstock)
    “Relax; make it conversational … . Try to condense your pitch into the equivalent of a pitch letter or jacket flap copy. Anything longer is unnecessary for the limited time. Leave time to discuss.”
    —Stacey Glick (Dystel & Goderich)

CHAPTER FOUR
THE SUBMISSION PROCESS: WHAT TO EXPECT AT A GLANCE
    The time has come. Your novel or memoir or book proposal (we’ll talk more about book proposals in chapter eleven ) is now complete. Not only is it complete; you’ve revised it several times and incorporated the critical ideas of peers and editors to make it better. You’ve developed a list of agents to target and researched each one.
    You’re ready . It’s time to start the submission