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You know I thought as much (about editors and agents not wanting to reject you to your face). Doesn't that then reduce the importance of pitching at conferences?

Paid-for pitches at conferences...waste of time and money?

I did 2 last summer locally and won't do it again.

The 1st: I didn't have a big enough platform for mommylit (MOPS leader and a mommy blog in the Rocky Mountain News). She told me she wasn't taking on any new clients anyway, unless they are big time. I wondered why she was taking pitches. Plus that hurt, but looking back I totally appreciate the honesty.

The 2nd (an editor at an indie press) requested a full of my women's fiction on the spot. He even mentioned changing the title and how well the book would fit with another on his list. I emailed it and never heard from him again.

My new approach: Even if you are DYING to pitch, be helpful without brown-nosing. Water, food, drink, compliment on something they have edited. BE NORMAL. Make casual contact at some point during the day and save my money by sending a good old-fashioned query AFTER the conference. Of course mentioning any conversation in passing.

Why pay to humiliate myself? I can do that for free!

I always figured it was a crapshoot and since agents (and even editors) are human, dependent on an amazing load of random factors. Well, gotta keep trying!

I've known this for quite some time, but I'm careful never to burst the bubble of a writer who runs out of a pitch session squealing, "She wants to see the first 50 pages of my manuscript! AAAAAHHH!" Congratulations are in order. This is one of the best parts of being a writer: the anticipation, the excitement, the high-energy that results from the conference pitch session.

Perhaps I'm jaded, but that's okay. I still think pitch sessions are extremely valuable. It loosens up new writers to banish their fears of the all-powerful editors and agents who are real people doing their jobs. Yes, they have the power to make dreams come true, but it probably won't happen during the weekend of the conference you attend. Listen to the questions they ask during your pitch, pay attention to their comments, and remember everything they said, then work on that to improve your story. Send the partial and keep up your hopes because that's the fun part. But be prepared if you're answered with a rejection. The experience is both sweet and sour, and it validates you as a writer.

I don't pitch to agents at conferences any more because I know I can query them with better results. I pitch to the editors. IMO, that's the greatest benefit of pitching at a conference because most editors require a writer have agent representation. If you don't yet have an agent (and even if you do), this is the way to go.

Heh, it occurred to me that if all authors began to take this information to heart, you would likely spend most of a conference drunk and/or hungover. Though if we could then catch you at the appropriate time, we might garner a full ms request.

It must be completely exhausting to have to deal with that many people trying to get close to you just to see what they can get out of you. I just don't know how you and Paris Hilton do it! :D

Jduncan: You might get a request that way...but would she remember it when it arrived. :D I guess it depends on JUST how many drinks people had bought her at the time you ask. hehe

I'm still trying to wrap my head around the "fifty pitches" thing. Sheesh.

Scheduling an agent to do fifty pitches in one day is just...rude? Absurd? Crazy? I know that many authors go to conferences with the main purpose of being able to pitch their proposals, but what was the conference committee thinking? There are numerous sources out here in the blogosphere about how agents/editors just kind of glaze over on the pitches after a while. It's a blur, one monotonous droning query that goes in one ear and out the other. So, how is it they thought it would be in any way helpful to agent or author to have soooo many? It's a disservice to both. Jessica, did you know it would be so many going into the conference? If you did, that is WAY accommodating of you.

Personally, if I knew ahead of time that I would be number 40 something out of 50 pitch sessions, I would have said thanks but no thanks and then hoped I could run into you under more casual circumstances in the normal course of things at the conference. You know, like offer you a drink or something :-)

That said, I'll be at RWA national and hope to get to run into you at some point among the massive throng of people and at least say hello and thank you for creating such a respectable and informative blog for us aspiring writers.

At the San Francisco Writers Conference they had three sessions of Speed Dating for Agents with ten minute breaks in between. Each writer had three minutes to talk with agents in the ballroom in a fifty minute time frame.

I was able to speak with three agents, but other attendees may have had more or less depending on the length of the queue in front of their choice of agents.

If you do the math, it works out to about 48 slots in the three hours for agents. I shudder to think of how fatigued any agent would be at the end of that time if they had not gotten their breaks.

At the opening of the conference Michael Larsen set down the ground rules that if agents or editors were wearing their name badge that they were willing to be approached for the impromptu pitches. However, if they took their badge off, we were to respect their need for some down time.

I was one of the conference volunteers and I made it a point to tell the conference speakers (who arrived after the opening remarks) about that ground rule, as well as where they could find coffee. The tip on the coffee alone, along with my smile, helped to make the agents and editors feel welcomed.

I heard one writer grumble about an agent who had responded with terse grumpiness when they tried to do a spontaneous pitch in the hallway. It made me wonder if the agent hadn't heard about that bit of info about wearing the badges, and it made me feel sorry for both the agent and the writer.

Ted Weinstein, one of my favorite agents, told me that he wouldn't need to take a break from talking with writers since he was there to schmooze. He then said that he "trafficked in human souls." Since then I have teased him by by calling him "Mephistopheles."

Which is why he is one of my favorite agents. He's funny, intelligent, and great to chat with. Too bad he only handles non-fiction.

Linda McCabe

True story: Back in January, a writer friend of mine, Toby Buckell, was coming to a SF conference near me in Michigan, and mentioned we should get together. I was only about 30 miles away, so I went. We were chatting when an editor from Tor/Forge came along to talk to Toby, who introduced me, and Jim--the editor--asked out out to lunch. So we had lunch, just chatting. I didn't pitch him. One, I thought it would be rude, and two, it wasn't why I was there. I was there to chat with Toby.

At the end of the lunch, Jim handed me a business card and said, "Send me something." I said I hadn't been there to pitch, but I did have something in mind. He told me to go ahead and have my agent send it.

So she did. Jim hasn't made a decision yet, but who knows? I figured part of the appeal was I was just THERE, and in that Jim was probably getting hit up by all authors all weekend, somebody who was just willing to talk and eat and drink was probably a relief.

I have formed some very good frienships with people on the other end of the query process this way, and while nothing concrete has materialized from these frienships, I always learn more about the craft and business.

Besides I've gotten to spend some time with some incredibly nice and interesting people. That is always a good thing.

Yowza!! The 50 pitches at one conference does sound a bit extreme. I can't blame you one bit for wanting people to treat you like a "regular person" and quite pitching books at you faster than a tennis ball machine pitches balls to help you practice your backhand! ;)

But seriously, what can I do to make an agent remember me from vastness of the pack? I write fairly off-the-wall stuff, and I've got an off-the-wall personality. Wouldn't that make me stand out somehow?

Looking forward to meeting you in St. Louis... And I will buy you a drink if you like and don't mind that I sip soda. ;)

Cindy aka
Celine Chatillon
and Cynthianna Appel

I'm the President of the Utah RWA Chapter. This last conference we had, we did something new. At the beginnig of the conference, we had a social hour (which really lasted two hours). We had finger food and drinks, and did nothing but talk. We told everyone there was to be NO pitching during this time. It was a time to get to know each other - and let our poor editors and agents relax and be themselves. It was a success, and all of our agents and editors (and special author speakers) told us they really enjoyed it...mainly because there was no pitching allowed.

Excellent advice to volunteer at the conference. I do the same for my local writing center because it's just plain nice and I've met so many wonderful people. As a result, I've met many agents and editors who've generously offered to read my work. In the end, I got my agent the old fashioned way, through the slush pile, but I was afforded a choice just through friendly conversation and volunteerism on my part.

I thought I'd let people know that Anne Mini is also giving her loquacious perspectives on writers conferences and pitching to agents.

Her first post on the subject can be found here:

http://www.annemini.com/?p=508

I put a link on her blog about these posts as well.

I just love cross pollination, it works for more than just plants.

I would never make a social pitch. It is just not professional. Agents are humans too and need to be treated accordingly. Agents are not stepping stones on the way to getting published. A social pitch seems like a sure-fire way of alienating an agent.

It's amazing to me that people forget courtesy when they want something.

Jessica, I know what you mean...just to show you the other side of the coin. As a writer, I can rarely sit down for a drink without the conversation turning to writing (everyone has a story to tell). Would I be interested in seeing (helping) what that person has written, would I contact an agent for them, etc.I enjoy a simple drink now and again, and it is a joy to be able to be me and leave "work" behind...just like everyone else. One of the best times I've had in a while was last week during my daughter's birthday party...nobody knew who I was except for being Jenn's mother. :)

I've always wondered how this worked as I haven't yet had the opportunity to attend any conferences but plan to do so in the future. It's great to know what you're looking for so I'm not going in blind. Thanks!

This is good timing. I'm at a conference this week, with two editors and an agent, and knowing how to approach them without looking like an idiot and wasting their time is really helpful. I don't have a pitch appointment, but I'll talk to them and I want to make a good impression.

At the recent BEA pitch slam, I got to pitch to five agents and all of them gave me their card and asked for chapters. Being paranoid, I have a question. Do agents often give out their cards rather than face the (hopefully) distasteful task of telling authors they aren't interested? Or did I just have a good pitch?

Also, when an agent asks for chapters, should "Requested Material" be written on the envelope? Does it get to the agent faster that way?

Thanks!

At my last conference, I was assigned to pitch to someone who didn't even take the genre I write, so I just practiced on her. I told her first that I wanted to do that and asked if she minded. Then I tried my pitch and she pointed out where it could be stronger and the aspects that appealed to her, as a reader (rather than an editor). she talked a bit about her work and such, and it was a nice way to end the day (I had the next-to-last appointment of the day).

At my last pitching appointment I pitched a book I really knew well and was excited about. But, I didn't start with my hook, I started by asking the editor how she was doing (I was her last appointment). I told her a little bit about myself and about the genre I write in (the two are related) THEN I pitched my book. I told her I had a manuscript that finaled in the GH and had X, Y and Z elements in it. I knew she was looking for those elements because I researched her in advance.

She asked to see a full. Because I finished early, I asked what kind of story lines or story elements she doesn't see enough of, and she told me several things that I hadn't discovered in my research.

It was a very positive experience!

My first pitch appointment was kind of a disaster. I spent two weeks practicing in front of the mirror, then when the time came, I was so nervous that I stuttered and stumbled around. The agent, Donald Maass, was very kind and invited me to send a partial.

Most writers are shy, and we have this image of agents and editors as being scary. So I can understand why some folks escape. It's nerves. Please understand we're doing our best and trying NOT to be nervous.

With practice, we'll get better.

Practice. Not jsut in your head but actaully practice the answers to questions such as, What is your book about? What makes it different than the novels already out? Who is you target audience?

I was asked all of these questions numerous times by agents and editors at a conference this past week and even if you think you can answer them practice out loud.

Great advice! I have not been to conference yet, however I appreciate your no-nonsense attitude. I think it keeps things running smoothly if we know what you expect, that way we can try and deliver that. Boom, boom, we both either know immediately this will work, or not.

Truth is, I think when an author is truly passionate about their story, and can deliver it with the professionalism, personality, and enthusiasm necessary, that sort of attitude is contagious. The agent or even editor will pick up on it and want to know if it really is that great. And by being prepared and professional, you impress them on another level.

:) Great stuff,Jessica. Important reminders we can carry with us. Thank you.

Jessica,

To answer your question about what we have found to work in pitch sessions, I wrote a lengthy post on my blog about my experiences as a volunteer at the San Francisco Writers Conference and how I fared with the Speed-Dating with Agents.

The full post can be found here:

http://tinyurl.com/38lmsw

The atmosphere at many writers conferences in regards to pitching is incredibly stressful, and I feel it is counter-productive for all parties.

I agree with you that writers need to relax before they start their pitch sessions because it is important to interact with agents like fellow human beings and not the "means to an end" you described. Honestly, rather than writers viewing agents as keepers of secret keys, they should instead contemplate agents as potential business partners and ask themselves is this someone you would like to work with?

If the answer is no, then the writer would be better served by continuing their search for representation.

And of course, writers shouldn't get tetchy if they didn't get exactly their entire allotted time with an agent. Showing a forked tongue when something goes slightly awry will overshadow all other interactions that precede or follow.

I'm looking forward to reading your next installment on this issue.



Tim,

Jessica touched on the issue of agents asking writers for partials in her post. She said "I'm a hard sell."

Why would any agent want to flood their in-box cyber or snail mail with partials of material that they already know is not right for them? Just to avoid seeing a disappointed look in someone's face? Come on. Agents deal with rejections on a daily basis, they have to be able to handle it or they wouldn't survive in this business.

You must have had a great pitch to get five agents ask for partials. Rejoice!

You might also want to wait a week or so before sending in your requested submissions to let the inevitable post-conference deluge subside, and absolutely put REQUESTED MATERIAL on the outside of the envelope or comment line. That's what will place your work on the requested pile instead of the dreaded slush pile.

Also be sure to include your pitch in your cover letter to remind the agents of what attracted them to your work. I read on one agent blog (I forget which one - could have been BookEnds!), that you should always include your pitch/hook in cover letters in correspondence with agents. It helps the agent focus on your particular project quickly.



Linda

I'm one of Jessica's newer authors. I'd sold my first book (and 14 total) before hiring her (she's since sold 6 more in a year). My first sale was the direct result of an editor appointment at the Romance Writers of America convention less than eight years ago.

What Jessica is telling you is very important. Remember it for you treat an editor the same way. Few things, don't be afraid to have your pitch on cards if necessary. I was so nervous I asked if I could read mine. She said yes. (Ask first.) I had eight minutes. The book pitch took 2, enough for her to say send me the entire thing. The remaining time the editor and I discussed the line, what she was looking for, what I liked about the line, etc. She also asked me what I'd read lately in the line. With an agent, know some of his or her client list and why you might be a good addition. It's a job or sales interview, always remember to approach it like that.

The editor later told me she hadn't bought a new author in over 2 years and I was one of 3 she discovered and bought at that conference. I sold my second one to her less than a year later and the rest is history.

PS--the funny part of the story is that editor/agent appointments are such cattle calls that RWA shoved me in early, in the 8:20 spot. Once they realized the girl who was to be at 8:20 could take my 8:30, all was well. When the editor called me to buy the book, she asked me to remind her who I was. I simply said, "I was the one at the wrong time" and she said, "I remember you."

PPS-Often editors or agents will give you their cards and ask you to enclose them with your materials. This proves they actually met you and that you aren't just making it up and writing requested on the envelope.

Michele Dunaway
Nine Months' Notice--Harlequin American--out now!
Hart's Victory--Stories set in the World of NASCAR--12/07
The Christmas Date--Harlequin American Romance--12/07
See my latest cover at http://micheledunaway.blogspot.com

Number one rule I follow is to remember agents/editors are human. I think a lot of authors tend to put agents/editors on a very, very high pedastal - which can be our stumbling block. Remember: they want us to have a book they can't wait to get their hands on. Go ahead and ask them how they're doing, give a nice smile and take a deep breath - the more relaxed and genuinely friendly you are, the easier it will be. I promise, this works a treat!

Love your insights . . . and your sense of humor. After talking on email all these years I'd like to buy you that drink next time I'm out east :o]