The pitch conference in New York
Von marvinmikkelson, 20:01A pitch written short and spoken smoothly doesn’t tell anyone whether that story will lie like sat about the page or if the written words shall be as hard to navigate as piles of rocks.
I’m not sure how valuable pitch conferences are for the writer. Let’s say you can get 10 minutes of face time using an agent or acquisitions editor. You allow a rehearsed pitch, they ask an issue or two, then you definately move forward. They haven’t read your projects. They have no idea whether you may write, whether it is possible to bring the plot from the page, or whether you can easily bring a fantastic story home. Those decisions arrive from reading. And in case you meet an editor you’d like to work with - think you are able to use - who’s to suggest with a hurried pitch how they could get your story? An editor can as a project and support it with the nth degree, but the only way it gets bought is if it clears committee. That committee consists of other editors and salessales and marketing staff, and sales contains the deciding vote. It isn’t an issue of whether your story is great; it’s reliant on is that this an effective story that we can market?
Although a pitch conference can introduce you to some editors and agents, good contacts for future years, it can also be an output of a number of dollars for little or no return.
Formulating a pitch relating to your story has value. You normally need to have a quick three-sentence pitch ready just in case someone-agent, editor or writer-asks what your story is focused on. Some writers write a pitch and synopsis before they even type anything in an effort to help them to focus the points of their total story.
Several writers who’ve attended pitch conferences pronounced them an excellent thing they’ve ever done - not given that they sold their book and even raised need for their project, but because listening to hour after hour of pitches and questions helped them focus their own story, realize the spot that the holes were, and look at troublesome scenes with the same critical eye an editor would use. But any of us are able to do that same task in a very workshop of working writers.
I’m really still undecided. I feel you learn, whatever conference you attend. But as a professional no one knows a decent variety of agents/editors, I are likely to see these pitch conferences more as moneymakers (for staff) than practical tools. I’d much rather experience an editor read what I’ve written, then be able to discuss it however briefly, whether it were me. to find out more about New York Pitch Conference and Writer Workshops go here.
I’m not sure how valuable pitch conferences are for the writer. Let’s say you can get 10 minutes of face time using an agent or acquisitions editor. You allow a rehearsed pitch, they ask an issue or two, then you definately move forward. They haven’t read your projects. They have no idea whether you may write, whether it is possible to bring the plot from the page, or whether you can easily bring a fantastic story home. Those decisions arrive from reading. And in case you meet an editor you’d like to work with - think you are able to use - who’s to suggest with a hurried pitch how they could get your story? An editor can as a project and support it with the nth degree, but the only way it gets bought is if it clears committee. That committee consists of other editors and salessales and marketing staff, and sales contains the deciding vote. It isn’t an issue of whether your story is great; it’s reliant on is that this an effective story that we can market?
Although a pitch conference can introduce you to some editors and agents, good contacts for future years, it can also be an output of a number of dollars for little or no return.
Formulating a pitch relating to your story has value. You normally need to have a quick three-sentence pitch ready just in case someone-agent, editor or writer-asks what your story is focused on. Some writers write a pitch and synopsis before they even type anything in an effort to help them to focus the points of their total story.
Several writers who’ve attended pitch conferences pronounced them an excellent thing they’ve ever done - not given that they sold their book and even raised need for their project, but because listening to hour after hour of pitches and questions helped them focus their own story, realize the spot that the holes were, and look at troublesome scenes with the same critical eye an editor would use. But any of us are able to do that same task in a very workshop of working writers.
I’m really still undecided. I feel you learn, whatever conference you attend. But as a professional no one knows a decent variety of agents/editors, I are likely to see these pitch conferences more as moneymakers (for staff) than practical tools. I’d much rather experience an editor read what I’ve written, then be able to discuss it however briefly, whether it were me. to find out more about New York Pitch Conference and Writer Workshops go here.
