Novel Pitching Notes

Snark alert! I thought I would say this up front so those of you who don’t want to read snarky comments from an editor can find something else to read.

Still here?


Here’s the deal. I want to publish your novel as much as you want me to publish your novel. Pitching isn’t hard, though you might be nervous about doing it. Most authors are lovely, and, even if their pitch is less than stellar, or their writing isn’t spectacular, I can usually tell that they are genuinely doing their best. I love authors like this.

Occasionally, though, and much more often than I’d like, there are oblivious people who send me things which aren’t ready for publication. There are people who send me exactly the same submission that I rejected last week. C’mon people, really? Do you think I won’t notice? Especially after the third time?

There are also people who apparently think the pitching process is not worth their effort, and somehow they seem to expect me to comb through their crap and extrapolate the necessary information I need to make an informed decision about their work.

I won’t.

I just delete these at this point and don’t bother to respond. Anything else is just a waste of my time, and my staff’s time. If they don’t take their work seriously, why should I?

Now, if you are still reading, then you must be one of the lovely authors. So let’s talk about the pitch. Okay?

Why do pitches matter? They matter because acquisition editors, publishers, and agents get tons of emails. The submission process is designed to allow the recipient to get to the important stuff quickly. If all the submissions are set up the same way, the reader has an easier time of it. A clean, well written pitch written by someone who followed directions is a good sign, and the agent or editor will pay more attention to that well-written pitch.

Note that each publishing house has different requirements. Read the directions on how to submit to them. That’s half of it. Seriously. Just follow the directions, and alter your submission according to the requirements of each publishing house.

Tell the recipient of your submission things like: the title, the word count, the genre, and a bit about you. Include your actual pitch. Include whatever pages are listed in the directions. Say thank you. Send.

It’s not hard.

Well, waiting for the response is hard. Yeah, but get used to it.

The most important part of submitting your novel for publication is making sure your pages are the best they can be. A good story, is a good story, and it is the main thing I look for. The second most important part of submitting is coming up with the pitch.

What’s the pitch?

The pitch is a two to three sentence summary of your novel that includes whowhatwhy, and why not. The pitch includes just enough information to intrigue the decision maker. Note that a pitch is not a synopsis which contains all the action, plot, main characters etc. and includes the ending.

There is no specific formula for creating a pitch, but the following may help.

When [1] happens, [2] wants [3] because [4], but [5] must first be overcome before [6].

1 = inciting incident

2= protagonist

3= story goal

4 = motivation of main character

5= obstacle / conflict

6 = Ending

Here’s an example from the Wizard of Oz:

When a tornado deposits a girl in the Land of Oz [1], Dorothy [2] needs to find the wizard who can help her get back home [3] because her aunt is sick [4], but first Dorothy must defeat the wicked witch who wants back her magical shoes, which Dorothy is wearing [5]. When the wizard can’t help her, Dorothy discovers she has the power to get back home, where she has everything she’s ever wanted [6].

You should know your novel well enough to come up with a pitch. If you don’t, then it’s not ready for publication, and not ready to be submitted. Don’t send it. You are wasting your time. More importantly, you are wasting my time.

Next week I should be over my snarky moment and we’ll get back to genre specific topics.


Science Fiction Notes

As we continue our exploration (no pun intended, or maybe it is…) of genre specific topics, our focus this week is science fiction.

SF usually deals with topics and ideas set the future, such as science, technology, space travel, time travel, extraterrestrials, and the like. The ability of the writer to create a world which allows the reader to suspend their disbelief is paramount, but like all fiction, writers must infuse writing craft elements or readers will put down the book.

Take special consideration of point of view, description and scene setting, tone and mood, character and motive, plot and structure, and dialogue when plotting out your novel. The SF novel should be about something that happens to someone somewhere, otherwise what is the point?

What makes for good science fiction? This is a tough question to answer, but I will throw some ideas out there for consideration.

A good SF writer creates a world that seems authentic. This may require research into technology and science. Don’t be scared. If you look for it, you can find cliff notes on all kinds of topics. But do your homework. The technology in the created world should seem plausible and realistic. I am not saying that writers shouldn’t or can’t invent some technology for their story, but if they do, it is best to take the time to figure out the details of the technology so that it seems real. The technology may need some explanation so the reader can understand it, but this should happen without coming across as a humongous information dump. No information dumps, please. Info dumps are boring.

The use of magic in SF should be limited, if it is used at all. Magic is for fantasy. Technology and science are for SF. This is my opinion and I’m sticking to it.

The SF fictional world should also be complex and multi-layered. It should have a history and culture all its own. The world might or might not include non-human entities, but if non-human entities exist in the world they should be well-crafted. Each character should have a backstory even if the writer does not use that information in the novel. The backstory will help the writer to create characters with more depth. These characters can be human-like, or completely alien, but each character needs their own motivation and reason for being on the page. If the world is future earth, the writer should communicate the differences between the now earth and the future earth. But again, no information dumps. Info dumps are boring.

The plot should by dynamic and intriguing. Conflict must happen. Something must move the characters forward through the story which pushes the characters to grow and change.

SF, like other genres, has plot tropes. When in doubt, do some research and learn the tropes. Unlike romance for example, SF tropes can become cliché and overused. Readers want innovation. If you are not sure which plot tropes are cliché, take a wander around Google and look for SF plot tropes. You will find long lists of tropes. Clichés are not necessarily bad, mind you. Tropes are there for a reason. Just find a trope you like and twist it into something new and unexpected.

Find a theme. Speculative fiction lends itself well to exploring themes, and SF especially so. Theme in SF is usually hidden beneath the story elements and structure, but is important for pulling off a great novel. Think artificial intelligence, or the end of the universe, religious ideas, gender issues, or the effect that technology has on us as a whole, or whatever is important to you as a writer. The possibilities are endless. Infuse the theme in the story.

SF is a complex genre, and there are sub genres of SF. Regardless of what genre you are writing, take the time to learn all the elements writing craft. Writing craft is the thing that makes readers turn pages, and buy more books. And that’s not boring at all.


Fantasy Novel Notes

I was chatting with fantasy author Carol Berg earlier today. I asked her about issues that new fantasy writers have.

The thing I see new fantasy writers do a lot is spend so much thought on world building that they ignore adding any depth or logic to their characters. When I am critiquing for writers workshops, I see lots of stock characters, who demonstrate little emotional variety or depth. (They are always angry, always brave, or always evil.) These characters’ actions seem unrelated to personal goals or motivations, and thus demonstrate no internal logic.

This comment reminds me that writing craft is writing craft regardless of genre.

The fantasy genre usually includes some magical or supernatural elements set in imaginary worlds. Usually, the characters in that world are beings from mythology, or they possess the ability to perform magic, or have some supernatural talents.

Fantasy, though, is not just about the world, or about the magic. The fantasy novel is about the overall story, the characters, and the plot. And like other stories and other genres, writers have to consider the story as a whole and ask themselves questions like:

• What is the story about?
• Whose story is it?
• Who is the protagonist?
• Who is the villain?
• Who is the viewpoint character?
• Where does the story begin?
• What is the inciting incident that propels the story forward?
• How does the inciting incident relate to the end?
• Where does the story end?
• What happens in the middle?
• Who is this book for?
• Are there expected tropes with this story type?
• Does the world make sense?

When writing fantasy, it may be best to plan out your plot, and create your magical world before you start writing. You will need to know all the details in advance. The magic should also have some limits to allow for conflict and suspense. Yes, these rules of magic are important and should be communicated to the reader. But, don’t focus so much on the rules that you exclude other important story elements like story arc, and internal and external conflict.

It is easy for new fantasy writers to get caught up in world creation. Fantasy writers create histories, geographies, customs, creatures, and rules of magic. But, they also must make something happen on the page. Characters have to grow. Bad things should happen to create conflict. The story has to be about something.

In other words, it’s not all about the world. It’s about the characters and what happens to them, just like any other novel in any other genre.


The Writer’s Bag of Tricks

Speculative Fiction

Speculative Fiction is a marketing category that includes the genres of science fiction, fantasy, horror, alternative history, dystopian, apocalyptic, post-apocalyptic, and superhero fiction. Speculative fiction asks what if reality were different? This is the common story question that runs through the genres, though the focus of each genre is different.

Note there is some debate about magical realism and whether or not it should be under the umbrella of speculative fiction. I choose not to include it here, and may discuss in a later post if time permits.

Speculative fiction accounts for approximately 8% of adult fiction book sales, and has been trending downward since about the mid-2000s. It’s not a huge selling genre, especially when compared to romance or YA, but SFF readers tend to be voracious followers of authors they love.

Speculative fiction genres have many subgenres. For example, urban fantasy is a subgenre of fantasy, while steampunk is a subgenre of science fiction, and we will get into the subgenres at a later time.

What is the central concept of the speculative fiction genres?

  • Fantasy often includes creatures/beings/people from mythology, and magic, and uses these or other supernatural elements as a main plot element, theme, or setting. Fantasy often is set in imaginary worlds where magic is common.
  • Science fiction is based on some future scientific or technological advances (real or from the author’s imagination), major social or environmental changes, and often portrays space, time travel, and/or life on other worlds.
  • Horror focuses on some negative aspect of the world, real or imagined, and transmits these ideas to the reader. Works are intended to frighten, disgust, or startle.
  • Alternate history (sometimes called alternative history) focuses on some historical time period or event and presents them as happening a different way.
  • Dystopian novels tend to focus on some failed society or political structure, and often presents the resulting life as difficult or negative. Themes often include poverty and oppression.
  • Apocalyptic stories take place during a disaster and involve global catastrophic risk.
  • Post-apocalyptic stories tend to focus on the survivors after some global disaster.
  • Superhero stories center on a hero with extraordinary powers who fights evil forces.

Next week we will dig deeper into speculative fiction.


The Writer’s Bag of Tricks

When is it YA?

I was scrolling through a Twitter pitch fest a while back where I favorited pitches I liked. If I favorited the tweeted pitches, then the authors knew to send me their pages. There are several of these pitch parties on Twitter, including #PitMad* and #Pit2Pub*.

My point, though, is if you scroll through the pitches, you might notice that the largest percentage of pitches seem to contain #YA in the pitch. #YA means that the writer believes their completed manuscript is a Young Adult (YA) novel. We discussed last week that YA is big business, and this may or may not have anything to do with the inordinate amount of YA pitches. It’s just an observation.

After so many questions from last week’ post on YA, I thought we could all use a little more clarity.

First of all, YA is not a genre. It’s a marketing category. YA includes all the books that are written for, and marketed to young adults. Genres for YA include romance, scifi, mystery, dystopian, fantasy, and everything else. There is no specific YA trope. The trope of a YA mystery should be a mystery trope.

The main thing for YA is that your protagonist should be a teenager who suffers from teenager issues.

Another clarification. YA is not easier to write than adult novels. Writing YA requires the same amount of skill and craft as writing adult fiction. I am not suggesting that people are writing YA because they mistakenly feel it is easier, but if they are, let me reiterate. Just because the readership is geared for young adults, does not mean the writing craft is easier to master. YA novels are complex, often written about touchy subjects, and tend to be written with a very close point of view, all of which can be very difficult skills to master.

When you write YA, you have to think about your audience. YA readers are moody teenagers, most likely. Or readers who identify with moody teenagers.

Consequently, point of view (POV) is of utmost importance in YA.

YA novels are immersed in the teenage protagonist’s point of view. The protagonist usually doesn’t have much awareness of an adult perspective, but they have a very clear POV of their own. YA typically is written in first person, present-tense, and is heavy on dialogue. Narrative is intimate yet casual.

Plot and pacing should be strong, and language should be tightly written. Long paragraphs of exposition tend to be boring, and that is not a good thing.

Writing YA novels is about writing stories that speak to teenagers, so the topic, the voice, the feel of the novel is important. The protagonist should be intelligent and have wit, because teenagers are intelligent and witty. Your characters are still teenagers, however and should act like teenagers, but it’s important that they are not so snarky that they are not likable. Readers need to like the protagonist.

Young adults have raging hormones, and sex, drugs, and alcohol are part of their reality. This is true whether you like it or not. Teenagers don’t want to be preached to. Did you at that age? Handle the touchy subjects with aplomb.

Endings are not always happy-ever-after. Endings are not even always happy for now. Sometimes they are not even hopeful, but the ending should be powerful.

All of these things are important when writing YA. But here is the most important thing of all. A good story is a good story regardless of marketing category or genre. Writers of good stories learn the craft elements of how to write good stories. They read in the genre they write in. They read other genres. They read everything. They write, and re-write, and they edit, and they revise, and they write some more.

Writers write the story they write because that is the story they have to tell, not because the the genre sells well. If  you are going to write a story, write one that you love because you most likely will be working on it for a while.

*#PitMad and #Pit2Pub are scheduled opportunities for authors to pitch their completed manuscripts to acquiring agents, editors, and publishers. See and for more details.


The Writer’s Bag of Tricks

When is it YA?

We’ve been talking about genre-specific tropes for the last several weeks. Tropes, or story patterns, are an important concept to learn if you write genre fiction.


  • Because writers need to know how to market their books.
  • Because booksellers need to know where to put books on the shelf
  • Because readers have expectations that what they purchase a specific genre of book, that is exactly what they are getting

This week I want to shift to young adult (YA) novels, which are stories written for, and marketed to young adults.

Student, Confusion, Exam.
When is it YA?

YA Stats (includes sub-categories)

  • Current paperback book revenue for YA is $4.84 billion
  • Revenue grew 20.9% in 2014
  • 55% of YA books are purchased by adults over eighteen
  • 28% of YA sales are from readers aged 30 to 44 years of age
  • 40% of readers of YA use an e-reader, an increase of 3.8%
  • Over 510 million YA e-books were sold in 2014
  • 71% of readers will buy the book in print if it is not available as an e-book

What are all the acronyms? Aren’t they all children’s books? Isn’t it all YA?

Absolutely not.

  • Board books (BB) are books for children aged 0 to 3
  • Picture books (PB) are books for children aged 4 to 7
  • Early readers (ER) are books for children aged 5 to 7
  • Chapter books (CB) are books for children aged 6+
  • Middle grade books (MG) are books for children aged 12+ and are 25,000 to 45,000 words
  • Young Adult books (YA) are books for young adults aged 14+ and are 40,000 to 60,000 words
  • New Adult books (NA) are books for college aged (18 to 30) people and are 60,000 to 85,000 words

Some people confuse YA and MG, but it breaks down something like this:

  • Is the main character a child at the end of the book? If yes, then the book is MG. If no, then the book is YA.
  • The inclusion of sex or the topic of sex makes the book YA.
  • The age of our protagonist also determines the category of your book. The protagonist should be approximately two years older than your readers.

Next week we dig deeper into YA tropes.

The Writer’s Bag of Tricks

Tropes DAMMIT!

So What the Hell? Who cares about all this shit?

I was asked this the other day in reference to why I have been focusing on genre tropes for the last several weeks.

Here’s an example of why genre and trope matters.

I was recently approached by a person who wrote a book.

This person’s friends told him that his book was great, that he should publish it. Keep in mind that none of these people had ever written a book before, had ever studied craft before, and had no idea about marketing, or any of that other publishing business stuff. This writer then paid A LOT of money to a “publishing company” to publish a print run of his book, and make an ebook. A LOT of money.

The writer came to me because no one was buying the book, no one. It wasn’t selling on Amazon, indie bookstores declined to sell it even after the writer stopped by to coax them to carry it, B&N wouldn’t carry it. There were zero purchases on Smashwords. And this writer didn’t understand what the problem was. He believed that this thing should be flying out of bookstores and funding his retirement based on his friends’ opinions and the work that the “publishing company” did.

I took a deep breath, and looked at the book. I asked the writer some questions. I looked at the book. I took another deep breath and got a cup of coffee and did my best to explain.

Here’s the deal.

This writer is passionate about history and wrote his book based on a historical reference. He believed the book to be historical fiction. Fiction is the key word for this writer, and it was the only thing he considered when categorizing his book. In this writer’s mind, books are either fiction or non-fiction, and since there is an historical reference in the story, it must be historical fiction. He spent money marketing this thing as historical fiction. He spent time. He worked hard at selling his book, which he believed to be historical fiction.

Except it isn’t.

Historical fiction is a genre where the setting is the most important literary element, so the time period must be accurate and authentic. The plot revolves around some factual historic event, or the plot is fictitious but revolves around an historical time. Readers expect something like the oversimplified explanation above when they buy historical fiction.

This book is speculative fiction.

What’s the problem with speculative fiction?


The problem is that the author is peddling his book as historical fiction, and any historical fiction reader browsing the back cover would know immediately that the book is not historical fiction. Historical fiction doesn’t have time travel, dream sequences, and is not alternate history. Speculative fiction is all well and good in and of itself, but this particular reader is looking for historical fiction. The reader puts the book down. No sale.

Booksellers won’t carry the book because they know that genre matters. Trope matters. The reader expects what they expect. If the bookseller were to put the book in the historical fiction section, it won’t sell because the reader is expecting historical fiction, but the book is not historical fiction. If the bookseller were to put the book in the speculative fiction section it wouldn’t sell, because it is packaged as historical fiction and the reader will pass it by because the reader is looking for speculative fiction and this book is disguised as historical fiction. No sale.

Because readers buy books based on expected tropes, the book must be inclusive of the trope. The bookseller has to know where to put it on the shelf. The marketing person has to know which readers to entice. If the book doesn’t fit the category the reader is interested in, then the reader won’t buy. No sale. It is that simple.

Granted, there are crossover books and there are also books the defy trope. This book is not that, and so the author is left with several boxes of books which are both unmarketable and unsaleable. All because he didn’t understand trope.

So that is why trope matters, dammit! The book has to go someplace on a shelf to be found by a reader looking for that kind of book.

That is what the business of publishing is all about.

So learn your tropes, people. Learn your tropes.