Janine Cross: How to Succeed at a Pitch Session

Janine Cross

A pitch session is a face-to-face meeting between a writer and an agent or editor, where the writer succinctly summarizes their story with the ultimate goal of achieving representation and a manuscript sale. Commonly, a writer must pay a premium at a conference to pitch to an agent or editor, whether the meeting takes place via Zoom or in person. The sessions are typically scheduled, time-limited, and, if they are in person, they take place in a large room where other hopeful writers are pitching their work to chosen agents and editors.

I’ve attended many pitch sessions over the years, and the atmosphere at every one is always electric. The hope of every writer towers over the outcome of each intense five- to fifteen-minute interview like a thunderhead. As an emerging writer at such events, I believed my only goal was to persuade an agent or editor to request my manuscript.

But by having that as my sole objective, I inadvertently created a “do-or-die” situation for myself. The outcome of a meeting was either success (a request) or failure (no request). This polarized mindset prevented me from seeing the biggest benefit of a pitch session: to receive instant feedback on my project during a business conversation with an industry professional.

Limiting the delivery of a pitch to about ninety seconds opens the avenue for such a conversation. The agent/editor then has the opportunity to ask questions and comment on the marketability of your storyline, the appeal of characters, and the originality of your title. This assessment of both your project and your pitch is a fantastic opportunity for vital “course corrections.” The comments often zero in on plot flaws that we as writers are unaware of because we know our story so intimately that our mind fills in gaps. This conversation is an invaluable tool in the process of making a story, and the inevitable query letter that will accompany it, as engaging and saleable as possible.

Establishing a rapport with the agent/editor during this conversation is another commonly overlooked benefit of a pitch interview. Chatting about books similar to your own and enthusing about authors you mutually enjoy not only provides you with additional comparison titles for your work, but gives you insight into what flavours of books they are most passionate about. At one conference, I formed a connection with a New York editor that proved pivotal. Although another company eventually outbid her publishing house on my second manuscript, her encouragement and thoughtful critique of my first manuscript—which ultimately went nowhere—provided invaluable insight into creating my next unique story premise.

So how does one begin this business conversation? I’ve always loosely used this formula: “I’ve a completed a (word count)(genre) titled (title) about (protagonist description) who (conflict).”

I fold my hands to prevent wild gesticulations, and I don’t open with how nervous I am. My short preplanned opening prevents me from speed-talking and rambling. The less I talk, the more the agent or editor talks, and with receiving feedback as my primary aim, there is no way I can fail at a pitch session.

I also come prepared to compare my book to others: My book is a mash-up of Madeline Miller’s Circe meets Chuck Wendig’s Wanderers. This gives my listener an idea of the uniqueness of my work and shows that I know the market. Beforehand, I practise my conversation opening with family and work colleagues until it comes out naturally, with pauses for dramatic effect and interruptions.

During this conversation, be prepared to answer the following common questions:

• Tell me about yourself (mention blogs, awards, subject-matter expertise, prior publications, etc.);

• Tell me about your future writing projects (display your long-term dedication to your writing career by succinctly sharing one or two other project ideas);

• Where does your book fit in the market? (know your genre, comparable titles, comparable movies/shows); and

• Sum up your story for me in one line (go to the New York Times Bestseller list for ideas on how to write one).

A pitch session is not a make-or-break situation. It’s a business conversation that, despite what nerves say, is not an emotional, personal process. Reframing the primary purpose of the meeting as an opportunity to receive instant feedback not only helps you achieve necessary perspective, it also ensures that every pitch is a success, regardless if a manuscript is requested.