Pitching with a Twist

As most of you know I'm a giant space nut. So when I heard about SyFy's new space drama Ascension, I got pretty excited.

(**SPOILERS IF YOU HAVEN'T SEEN EPISODE 1 OF ASCENSION**)

But upon finishing episode one I felt a bit cheated by that description. You see, there's a twist at the end of the first episode. (Really stop reading if you don't want to be spoiled.) Viewers discover in the last five minutes that the people who were launched into space in the sixties for a 100 year space mission, are really just part of a government experiment that never left Earth.

WHAT?

I did a double take. How could that ship shown in space not actually be there? And while I suspected earlier on in the episode this might be the case because there was little to no explanation as to how sixties technology would support this kind of long range space mission, I was still really shocked. But not in a good way. And that wasn't the only emotion surrounding me. I honestly felt extremely let down. Here SyFy was pitching this epic space drama (which they haven't done in quite some time), and in reality... there was zero space involved.

So all this got me thinking. How do you pitch a grand idea that has a giant twist, and not piss off your audience?

The pitch

The first thing you focus on is the pitch. Pitches are meant as a tease. They are also meant to entice the audience. In this case, I was teased by the space end of things, and I was definitely reeled in by the idea of a murder mystery on a space mission. But because the pitch is only meant to tease and not to spoil, the pitch should only focus on the initial part of the story, the inciting incident if you will. As far as Ascension goes, SyFy did everything right with their pitch. They teased me (maybe a little too much), and they definitely got my attention. So pitch well done! If you are pitching something with a twist, it's best to leave the twist out of the pitch.

The twist

The second thing to work on is the execution of the twist. This is where things can go south really quickly. You have to build up to the twist in such a way that when you do inevitably deceive your audience, they don't feel cheated, but feel enlightened and excited about the result. The clues and the story need to work together seamlessly, so that when the big reveal is dropped, it makes sense to the audience rather than leaving them rolling their eyes and/or feeling hoodwinked.

This, I think, is where SyFy didn't execute as well as they could have. In episode one, there weren't many, if any clues that supported the giant twist. While it's a really cool idea, there wasn't enough lead up to the twist. There was a lot of focus on the main plot, a girl who is murdered, and how one of the crew members managed to get a gun on board the ship. Which if this is the main plot of the story, that's fine to focus there, but the twist of not being in space needed to be tied into the main plot somehow. Thus far, it hasn't been (stay tuned for episodes two and three Tuesday and Wednesday).

Instead toward the end of the episode, we got a hint that the government was watching the Ascension's every move; which if they are on a long range space mission they should be. But unfortunately there wasn't a hint that this was some grand experiment that never even went into space, other than my deductive reasoning that developing this kind of technology in 1963 would have been extremely difficult.

The few breadcrumbs unfortunately didn't lead to the twist. This was a problem because when the bomb was dropped, we weren't even in the vicinity to take on the full blast. Instead, we were watching from afar shaking our heads at the devastation it caused. Which is not where you want to be when you reveal something huge. You want your audience so reeled in, they go how did I miss that? That's awesome, but... yeah, you want them speechless.

So if you want to plot out a grand sweeping twist for you story, great. Just make sure you build it so that's it entirely believable. Otherwise you risk upsetting your audience. On the flip side, a great twist will set off a series of emotions from your audience, but if you do everything right, they will be the right kind, not the feeling that someone cheated you out of something really cool.

Why the Numbers Don't Matter

Many writers enter contests wanting to know how many submissions there are and what their odds are of getting in. I totally get it. As an engineer I love the numbers game. I love to know the percent chance I have. But here's the thing, in writing contests the number of entries doesn't matter. Let me repeat, THE NUMBER OF ENTRIES DOESN'T MATTER!

I know it's utter blasphemy, but it's true and here's why. When you enter a contest, it's not about the numbers, it's about putting your best work forward. The same as when you query. We don't tend to worry about the number of queries an agent receives so why would we worry about the number of contest entries? Maybe it's because there's a finite number of entries and queries are never ending. But one way or another it shouldn't matter. The reason? Because the goal is to present your most polished manuscript and pitch possible, and to follow the submission guidelines exactly. That's it. If you do that guaranteed your ahead of the pack both in contests and in the slush pile.

That said there's another element in querying and contests that comes hugely into play, subjectivity. The numbers could be in your favor, but if someone doesn't like your submission it wont matter. It sucks but it's the hard truth. You can't control subjectivity, so stop stressing over it! Your manuscript could be error free and you could be one of ten people vying for nine spots but if the contest judge, or agent doesn't resonate with your voice or story concept, that's enough to put the odds out of your favor. The fact of the matter is, not every story is right for every agent, reader, contest, mentor, critique partner, etc. And that's perfectly okay. There's isn't just one path to success, so if one isn't working try another.

I know we like the numbers and we often find solace in them. We feel like it's something we have some sense of control over in a situation we have very little. It's comforting to know the odds. Sadly, knowing them wont change a thing. The best we can do is follow the rules and submit our cleanest, most edited work. We keep learning and growing as writers and one day, we might be that one in a hundred or one in a thousand or even one in a million. But it will be because we worked hard and kept going, not because of the numbers.

The Perfect Pitch?

Unfortunately there is no such thing as the perfect pitch. Even worse, how do you boil all the awesome going on in your book into a query, or something shorter like a 35 word pitch. The short answer? You don't. You can't include every cool detail. You also can't answer every possible question asked. That's what the book is for. So how do you know what to include and what to toss?

The first question to ask yourself is what is the single most unique part of your book? What makes you book different from all the other ones out there with similarities? If you've found that bit then you have the basis for your pitch. Why start here? Because the point of your pitch is not to tell every little detail and plot point but to intrigue the reader, make them want to know more about your book.

From the unique piece, you can start crafting. Build outward from there. With that unique part, you should be able to tie to at least one important piece of your pitch, your inciting incident, your conflict, and/or your stakes. Once you have a link you should be able to weave all the details together into your pitch. Make sure you include enough detail that you can follow a logical progression through all of these things without leaving holes or too many confusing questions. But you also don't want so much detail that you are giving away your entire book or overloading the reader. Find the balance.

Now that you have a pitch, see what kind of questions people are asking about it. Questions aren't always a bad thing. Your reader should be asking questions after a pitch but they shouldn't be ones driven by confusion. They should want to know more about your story. Hopefully you planted a seed that makes them want to read and learn more about your book. So don't worry about trying to squeeze in every detail. Find what reels in the reader and ditch the rest.

Obviously a query is going to have more detail than a logline or short pitch but if you focus on the unique hook of your story first, that should help you bring in just enough detail to weave a great pitch.

What helps you construct your pitches?

5 Tips for Stress Free Pitching

Last month I attended the Missouri Writer’s Guild Conference and pitched to agents in person for the first time. I was terrified. We aren’t talking a little stage fright here, I mean full on knees shaking, I think I’m going to puke, terrified. I ran around for weeks prior to the conference freaking out about my upcoming encounters with the agents. The funny thing was I’d been to a conference before, I’d met agents, and it wasn’t a big deal. But this time felt different. I was going to be putting my manuscript out there in the world. What if I didn’t do it justice? What if the agents hated it?

As the conference approached I nearly talked myself out of pitching. Nearly. But there were a few things that helped make the pitch process less painful.

1.) Practice Makes Perfect

Practice Practice Practice. When you are going to give a speech or a presentation what’s the one thing you almost always do? Unless you're the kind of person that likes to “wing it,” and that’s not me at all, you practice. When you're going to pitch an agent you should do the same thing. Spend some time constructing a pitch and then practice it like you are having a conversation with someone. I practiced in the shower, in the car, in front of the mirror, to my dog, and even pitched to fellow writers. So help remove the nerves from the equation and know what you are going to say ahead of time. The more you say it the more naturally it will roll off the tongue, and the more excited you can sound about your work.

2.) Meet the agent first

As a shy introvert I hate meeting new people. I never know what to say and I always feel like I’m an awkward, bumbling idiot. All of those feelings stem from the fact that I fear the unknown. I’m a giant control freak and when I can’t control a situation I start to panic. When you meet someone for the first time there are so many unknowns, which is why I feel so awkward around new people. So for me, taking the unknown out of the picture is key.

In this case, the unknown is the agent that you may have followed on Twitter forever but have never met in person. While you may have some idea of their personality from online interactions (or stalking – don’t lie I know we all do it!) that isn’t always a guarantee of how they will act in person. So if you can, find a good time (yes the “a good time” is important) to introduce yourself to the agent. If you can sit at their table at lunch, catch them after a seminar they gave, or volunteer to shepherd them, those are all good ways to take five minutes to say “Hi I’m so and so, it’s very nice to meet you, I’m glad you’re here.” You can even mention that you liked their seminar or possibly say I’ll be pitching to you later or tomorrow but keep the exchange brief.

Keep in mind, this is not the time to talk about your book or even mention your writing (unless they ask), just meet them. You don’t walk up to random people and start pitching your book, so don’t do this to an agent. From this brief encounter you should be able to tell that the agent is probably pretty nice and not some crazed, axe-murdering psycho setting out to ruin your writing career. See agents are people too!

3.) Don’t worry about being perfect

Now that you’ve practiced your pitch and met the agent, you’re hopefully a little less frazzled and ready to pitch. It’s going to be perfect! But what if it’s not? What if you mess up? What if you forget something? What if… Yeah stop right there. You can what if yourself to death and drive yourself crazy. I know I did. The good news is you don’t have to be perfect and shouldn’t try to be. You know why? The agent doesn’t know your book, they don’t know what you‘re going to say, and they don’t know what you practiced. So if you mess up, the only person who will know is you. Unless you have a really bad poker face like I do. So take a deep breath, calm down, and don’t sweat the small stuff. Give yourself permission to pitch well but not perfect.

4.) Treat it like a conversation with a stranger

Stranger or friend, when people find out that you write, what is usually the first thing that comes out of their mouth?

The encounter usually goes something like this:

Stranger: So what do you do in your free time?

Writer: Free time? What’s that? I spend most of my time writing.

Stranger: Really? That’s so cool! What do you write?

Writer: Middle Grade and Young Adult science fiction mostly.

Stranger: Wow that’s neat what’s your book about?

I’m going to stop the fun, little scenario there because the next thing out of your mouth should be a quick concise couple sentence description of your book. I know writers love to talk about their books, I do as well, but if you go on much longer than a few sentences you risk boring the stranger to death or losing their attention in some crazy long description that they won’t follow. But if you choose your words wisely, the next thing that will come from the stranger after your description is some kind of comparison or question about your book. Something like ohh that’s cool so kind of like X book or movie, or cool, so what happens next?

Now go back to the little scenario and replace the word stranger with agent. Congratulations you’ve just pitched an agent. I just let you in on a little secret that saved me at the conference—the realization that pitching to an agent is no different than talking to a stranger about your book. You’re hoping that they want to know more and one day want to read some of it. If you can keep the agent engaged and get them asking questions you are on the right track. If they ask to read some, you are in. The goal of the pitch is to get the agent to request pages. Plain and simple. So if you can grab their attention and keep them interested, you’ve pitched well.

5.) Realize you have nothing to lose

This one is big. When you walk up to the agent to pitch where are you at? They know nothing about your book, they haven’t read it, and don’t know you exist.  Harsh but true. So if you pitch to the agent and they say no, where are you at then? Well they know who you are, what you write, what your book is about, and that it’s not right for them. So what did you lose? Nothing, in fact if nothing else you met a nice person in the industry. So even if they say no, you are ahead of where you were when you started. And if they say they want to see part of your manuscript even better you’re one step closer!

There you have it, nothing to be so nervous about. Agents are people too, they are nice, and they want to hear about your book, because guess what? They love books! So don’t sweat it! 

So do any of you have upcoming conferences where you will be pitching in person? What scares you the most? Have you pitched in person before? What tips do you have?