I know it's after RWA Nationals and many of romance writers have this step behind them, but since I couldn't go to NY this year and I'm going to our local RWNZ conference next month, I've decided to give pitching a go.
I have never pitched in person before, but I'm no longer a pitching virgin - at the end of an e-course on pitching I did last month we had an opportunity to pitch to an agent. My pitch didn't get me any requests, but I got very valuable feedback.
From what I have learnt from different sources, although a pitch should always contain the essence of your book, what is that essence varies according to the genre. This is a summary of how to pitch a romance novel.
1. Finish the b***y book. Finish and polish. And polish more.
It has to be ready for submission at the time of query/pitch.
2. Find an agent/editor. Search Writers and Artists Yearbook, Writers' Handbook etc, browse the Internet (check Chuck Sambuchino's Guide to Literary Agents website), check your favourite authors, writing communities; go to a library or a bookshop; possibilities are endless. You need to end up with a list of agents (editors) who accept books in your genre, preferably with some similar (not necessarily exactly the same) novels published or accepted recently.
If you can compare your writing/your novel to one of the authors/books represented by the agent you're approaching, mention it in your pitch/query. If the agent was recommended to you by your writing friend - mention it.
3. Write your pitch. The length of your pitch depends on the circumstances (see great post by Nathan Bransford), but the one I'm after is so called 'elevator pitch'. Christine Withhohn at Pitch University suggests that you ask yourself what your book really is about (the hook), while keeping your audience in mind (genre). Write it down in 1-3 sentences. Check if every piece of information is necessary (i.e. the story wouldn't be the same if this element was changed or deleted).
Tidy it up, e.g. 1st sentence - enticing incident, story premise 2nd sentence - internal conflict of your main character (characters) 3rd sentence - end with a hook; don't tell how the book ends- the pitch is a teaser, designed to whet the agent/editor's appetite for more.
Don't abuse semicolons, don't try to cram too much info into your pitch.
Don't forget to include the genre and word count in your pitch and whether or not the novel is finished (it better be finished - see p 1).
4. Polish. Polish. Polish.
5. Practice - in the shower, with a friend, ask your critique partner or someone form your writing group for feedback.
7. Follow through. If you're lucky and the agent is interested in your book, they usually ask for a partial (usually synopsis with the first 3 chapters, or the first 50 pages) or a full manuscript. Usually it should be send within 2-3 business days after the pitch was requested. So there is enough time to check the agent website to tweak details like font type and size, margins etc, but NO TIME for finishing the book (see p. 1).
Include a brief letter, reminding the agent where and when you've met; how you enjoyed the meeting; it's a good idea to include your original pitch to refresh the Agent's memory.
Include a short paragraph with some details about you - your previous publishing successes, professional affiliation (e.g. RWA, RWNZ), any other credits (e.g. writing contests won).
Thank the Agent for their time.
8. Wait.
In the meantime, you can practice pitching and pitch online to a variety of agents and editors - there is a number of websites where you can do it, e.g. Savvy Authors and Pitch University
Have you got any tips for pitching virgins and second timers? Share them!
I've just started reading a novel and from the moment the Hero first appeared I've a feeling he's one of those quiet introverts who seem withdrawn if not cold - a lonely wolf, if you like. I've already put my bet on a troubled past - a deeply wounded heart or a lost soul, or at least a few scars.
I admit, I have a soft spot for The Wounded Hero, also known as The Lost Soul or The Recluse. In her 45 Master Characters VL Schmidt links this type of character to the archetype of Hades - the god of the underworld.
I've tried to find a good definition of who Wounded Hero is and found a number of references to physical disabilities, but also emotional scars. Love Romance Passion website listed 5 different subtypes of this type of hero, using Damaged Hero as the 'common denominator':
scarred hero - has physical scars on his body or face and is usually a man who struggles to get over the loss of his looks
wounded hero - is a man who has more than scars - a disability, has lost a limb, a sense (blind heroes seems to be particularly popular)
tragic hero - is damaged emotionally; it's someone who has lost everyone and everything that have mattered to him; became a recluse and avoids getting attached to anyone or anything anymore in case he may lose them again
tortured hero - is a damage hero 'at the end of his rope'; he's someone who has been abused physically, mentally or emotionally and developed very low self esteem
burdened hero acts alone; he doesn't trust anyone as he has learnt over the years not to; he often lives with a horrible secret, is seeking revenge or absolution
Key characteristics: WH has chosen a solitary life - whether physically (e.g. living on a desert island or in a middle of a forest) or emotionally (single, with no or very few friends, doing a solitary job). He has rejected society or society has rejected him. he may also be not much in touch with reality (living in a middle of a forest, leading self-sufficient life with no broadband and no phones). he prefers his own company and often has good reasons for that - has been betrayed or abused in the past. This is a man with secrets, or even a dark and troubled past...
Relationships: as a rule WH is a loner and has been for a long time, if not for the most of his life. He doesn't know how to be close with other people, he doesn't trust anyone.
It's all obviously only until our Heroine comes on the scene and helps him heal the wounds.
Typical backstory: human beings are typically sociable and loneliness is usually a choice made more from push than pull factor. If you want a recluse - think of what could have pushed him aside, on the fringe of society; and the hint is in the name - a wound :)
The wound(s) are either physical, or (more often) emotional, but these have to be deep enough to make this man choose solitude over human company. A broken heart? Yes, but you need to throw in other more powerful issues, e.g. betrayal of trust, violation of your hero's values.
My WH has a broken heart not because his ex has left him, but because she made him open up and show his 'soft side' for her, and then she ridiculed him; and then she got the job he dreamed off and destroy a team he loved.
Often WH's wound would go really really deep, back into his childhood - to that dark and troubled past.
Typical jobs: since WH is typically a recluse, any job that allows or requires working on his own - from being a monk, a writer/artist, through a being boss ('being a CEO is a lonely business', same for being a king), to such favourites like cops/private detectives, or special agents. WH's job would often foster his reflective nature and rich inner life.
Motivation: WH loves being on his own, usually because he's afraid of other people and being hurt again. He often also enjoys his solitary lifestyle because he enjoys his own company and his rich inner life. His main motivation is often the urge to know and understand; or need to heal/lick his wounds away from people.
Biggest fears: Obviously, his biggest fear is being hurt again. Often WH would also be afraid of his own emotions, particularly powerful ones, like love or hatred. he may be not only scared of the power of his own, but also of others' emotions - yet another reason to keep away from people and don;t get too close to anyone. Those WH who tend to think a lot may also be scared of loosing their mind, their solitude, their inner world.
Potential for growth: since we're talking about romance fiction, WH is up for a tough time - by the end of the book he has to be able to be in a lasting (HEA) relationship, and this is what he often fears most. Potential for growth therefore needs to be focused on learning to trust people, getting in touch with his own emotions and 'soft side' if not weaknesses, being able to give and receive, being capable to be intimate, not only physically but mostly emotionally. In a nutshell - a lot!
Think carefully what back story (baggage) you give them so he has enough time to change and his character's arc is believable, e.g. serious, repeated abandonment early on in his life cannot be fixed with even the biggest love of his life.
Examples from literature and film: Beast in Beauty and The Best, Angel from Buffy the Vampire Slayer, Heathcliff in Wuthering Heights, James Bond in Quantum of Solace (did you also have a moment of 'Ah! Now I understand why he's never committed to any of these girls...'?), Agent Mulder from X-files (more secrets anyone?), Harry Potter and quite a few more characters from HP series.
I like reading and writing WH. probably because first of all we have a great source of internal conflict for Hero - he has good reasons for not falling in love with Heroine, and even when he falls he'd rather keep away from the power of his emotions and her closeness.
I also like WH because I like creating caring female characters with inner healing powers - who is better equip to help WH heal than another of my favourites - The Perfect Nurse? I enjoy the journey of the hero who learns to open up and heals.
And last but not least I like WH because I have a soft spot for man with layers and secrets....
Do you like Wounded Heroes? Why? or why not? Do you prefer physical or emotional wounds?
For those of my readers who haven't noticed I've added a new, hopefully helpful feature to my blog - a calendar with competitions related to romance and women's fiction genres. You can find it on the side bar.
It's just a Google calendar with the name of the contest, deadline (sometimes also date when the comp opens), and very basic info re who can enter (published/unpublished writers) and what is judged (e.g. first chapter, first 50 pages+ synopsis etc).
Every entry contains a link ('Where' line) to the contest website, where you can find all the details, including fees, whether the contest is open only to members or wider public, who the judges are etc. Unfortunately since the box is intended for physical address the link is not 'clickable' and needs to be copy&pasted into your browser.
Although I do check the links before adding an event to my Calendar I am cannot guarantee all information is accurate. Please, check the competition websites for details and update information.
Remember, always read the contest rules, regulations, eligibility, entry formatting requirements etc before entering.
If you know of any Romance/Women's Fiction writing competitions do let me know by either posting a link or emailing me. I look froward to hearing from you.
Conflict is the blood of romantic fiction. Readers don't read romance novels because they want to know what happens to the characters - they know it already. They read to know how the characters overcome the conflict and end up together. It's conflict keeps your hero and heroine apart and makes the reader turn the page.
So there's no romance without conflict.
Conflict in romance can be external or internal. External conflict comes from the outside and affect your characters; it's the plot. Internal conflict on the other hand comes from within the character. It's an internal battle, an obstacle they have to overcome, a choice between love/lasting relationship and ... this other thing. Internal conflict arises form an unmet need - something that happened in the past and left a hole in the character, the character will struggle to fill (as Molly O'Keefe said in her great article on Conflict from Character in 'Heart to Heart' - RWNZ Newsletter, May 2011).
How do you find these unmet needs? How do you create internal conflict in romance?
There are a number of ways you can 'source' your characters' internal conflict:
1. Your character's goals , plans, ambitions- look at what he/she's always wanted to achieve, their desires. Whether it's a life-long ambition to become a great scientist, a dream of round the world trip, or peace of mind, need for financial security, or revenge. Whatever drives them, the goal is to get somewhere which is away from love.
Risk: this type of internal conflict, if not supported by 'added layers' (see below) and rooted deeper in the character's past risks being too shallow to carry the entire novel. If she wants to go on a round the world trip why can't she go with him? Or why doesn't she go, keep in touch with him while travelling (we have technology), and get back together on return?
This is a good first layer of conflict, because our goals and decisions we make are often based on our previous experiences and even deeper desires or fears, so just the moment the reader think the character can easily overcome this obstacle, you just peel the layer and show another one.
2. Your character's past experience - whether one-off or repeated as an adult; or something that has been haunting your character from her/his childhood. the deeper (the more back in time and the stronger) you can go, the better - the hole will be bigger and more difficult to heal - would certainly not be sorted out with a plaster. Conflict arising from this kind of experience will often be an obstacle to being in a lasting relationship, e.g. inability to trust another person, fear of being abandoned or hurt again.
Look for previous relationship problems and failures; inner fears, doubts. When creating a problem, make sure it's not an opinion formed on a one-off experience, unless the experience is of traumatic size. Again, to build up conflict that could carry a novel, look for experiences which create strong, lasting emotions -
I've recently read a novel where the heroine was reluctant to get back with her miraculously 'returned from dead' husband, because he'd walked away from her life 2 years before and never bothered to communicate with her. When he finally turns up at her wedding (to someone else) he explains that he has been hurt badly at a war, nearly lost his life and certainly ability to contact her. She loves him but feels she can't trust him, because of this one-off event; she had no previous experience of being 'dumped' or 'stood up'. Not enough of a internal conflict for me to make me believe this situation, so I put the book away having read about 2/3.
When you use a recent relationship issue, whether in current relationship, or previous one, make sure the problem actually goes deeper still - to another relationship, or even better - back to childhood experience and fears. See my post on building believable characters for more suggestions.
In another recently read novel, The heroine breaks up with her partner who she is madly in love with because he doesn't want to change his very dangerous job. He's late for dinner or date with her, comes back unharmed but just... She realises that he loves his job and will never give it up; and she does not want him to give up the job he loves, so she walks away.
This novel shows the layers very well, because the reader is soon informed that the heroine's father who was a rescuer himself died while on duty. The heroine knows exactly what it means to loose the most important man in her life to work.
But this does not end here. As the story progresses, we learn the heroine's biggest secret - that her mother committed suicide shortly after her husband's death because she couldn't cope with the death of her beloved father. And the heroine still feels guilty for not being able to prevent it. Do you want your child to feel like that? or do you believe your children deserve a better future?
3. Your characters beliefs and values are great source of internal conflict. I actually think it's the best way to (seemingly) insurmountable problems at your heroine/hero. Because people invest a lot in maintaining values and beliefs, they will hold onto them for much longer than to plans or decision made without this weight. People don't change their beliefs very often, there has to be a special reason for doing so and this one-in-the-lifetime love, this special relationship may be just the agent of the change.
I like books where the source of internal conflict is in the character's belief system - not only because you go really deep, reaching to the core of your character. Also because beliefs are formed throughout life, and are combination of our upbringing, past experience and own decisions, so they rise from all the layers. In fact, you can build the conflict through all the layers.
One of the favourites in romantic fiction is the issue of single parenting - I've read a number of books where the heroine (often due to her own upbringing without or with absent father) finds herself pregnant but doesn't want to bring up the child on her own, or stays in an abusive relationship because she believes children should have both parents. Another favourite includes men who believe that women should stay at home until children are bigger, or give in their careers completely to be mothers and/or homemakers; and they would not marry/be in a serious relationship with a career girl. This belief can stem from happy childhood with mummy at home, or the other way round - the trauma of being shifted from one nursery/childminder to another and never seeing their mother.
There is a layer of goals, then there is a layer of own experience, and there is a layer of beliefs.
Risk: you have to be careful when challenging people's beliefs and values, because values are actually what makes your characters unforgettable and heroic; values can also be saving grace, so be mindful not to challenge a belief or a value that your character absolutely needs to maintain integrity.
4. The other character's goals, past experience and beliefs - to create tension between your characters give them conflicting goals, different past experience or opposing sets of beliefs. If you combine a man raised by a single, working mother yearning for a homemaker and an independent career women who needs to prove her intellectual worth to the world because she's always been 'sois belle and tais-toi!', you should have enough to keep them apart for 200 pages.
Once you have conflict and inevitable choice to make (love or...?)
- put your characters in situation where they have to make this choice
- don't let them act out of character
- peel the layers like an onion; adding depth and drama (more tears, anyone?) as you go.
As a reader I enjoy multi-layered conflict, deeply rooted in the character's beliefs, because I think it reaches to the core of a character and require true growing to get to Happily Ever After. However much I like it, I also think it's difficult to pull off and the more I admire authors who can do it.
As a writer, I try to source internal conflict from my character's beliefs or values. Do you have a favourite way of creating internal conflict? How do you do it?
E-writing courses are getting more and more popular these days. They are easy accessible for anyone with a computer and Internet access. They are cheap, can be run irrespective of geographical location, time zone, and day schedules. You don't have to take a day off to attend one - you can just do it in the comfort of your own home at any time that suits you. They also much cheaper - a typical e-course would cost around 10-30 USD, and you don't have to travel to the place, there is no hotel to book, no snacks to buy etc.
Perfect?
Not quite.
Having tried a number of e-courses recently (4 to be precise) I must admit I struggle with this format. I don't really want to say that I haven't learnt much form the ones I've 'attended', but I can't say I've learnt much either.
With this reflection in mind I hesitated over enrolling to yet another one recently, but I know I really need to learn how to pitch like a pro, since I've decided to attend a pitching session at RWNZ conference in August. So I've enrolled but then sat down to brainstorm ideas how to make the best of e-learning writing courses.
1.Familiarise yourself with the format. If you're joining an online group/loop or forum, have a look around the forum - how the posts are displayed; are they grouped or displayed chronologically? Can you change the setting to have it displayed the way that suits you? The courses I've done were all based on Yahoo Groups - a format I'm familiar, but not necessarily happy with. For a reason unknown to me, even when I have 'group by topic' on, I keep getting messages all over the place.
The main upside of reading the posts on the forum is that you can group messages by topic and see how a topic progresses
If you prefer to read the messages in a digest - I'd suggest you opt for a daily one (see point 2). On one hand digests are good because they remind you about the course and prompt to read every day. But on the other hand there is no way you can group messages, and since it brings only what's new today, you may not remember what was written/discussed before. Often the replies would have the original post at the bottom, which is good for refreshing your memory, but I find it the most annoying aspect of e-learning courses: scrolling down the kilometers of old messages, displayed in the most annoying format with all these "<" and ">", which make it much harder to scan.
If you find this as frustrating as I do, see point 3 for some suggestions.
2. Make a commitment to read posts every day. This will not only allow you to stay up to date with what's on the group and keep up to speed with new information provided, but also take part in exercises, try out new skills or put the newly acquired knowledge into practice, which reinforces the learning process!
3. Make your own notes. I have tried to copy&paste relevant bits and pieces of posts into a Word document, but realised I've been missing the possibility of scribbling all over pages. I am a rather non-linear thinker and learner, so tools focused on linear approaches don't work for me. I suspect many writers are non-linear, so I would suggest you make your own written notes - not only this will reinforce the learning process but also allow you to make notes in whatever way you find beneficial, and go back to add stuff as you go along.
4. Participate in tasks/homework. Get your stuff out there, don't be scared or shy to get feedback on your writing. Practice the skills taught and get feedback on your progress. Also read what other participants have done and the feedback they've got - learn from other people's experience. The whole point of taking the course is to learn.
5. Don't undermine the power of community that builds around the course. On these rare instances I took part in homework tasks I got great feedback and helpful tips not only from the tutor but also from other participants. One of the most amazing things was that many writes were happy to chip in and brainstorm ideas for my (your, hers, his) book or story - completely free! Great bunch of people!
6. Enjoy :)
You can find interesting writing and publishing related e-courses here and here or here or here and in many other places.
Have you taken any e-courses? What is you experience? Did you enjoy this way of learning, or did you find it challenging? How do you make sure you make the most of this experience?
