Writing Effective Loglines and Pitches

One of the most important parts of selling your novel is creating an effective logline and pitch. Regardless of the fabulous epic novel you've written, filled with quirky characters, edge-of-your-seat action and riveting dialogue, the logline and pitch are the first thing any editor or agent will see to determine if your novel is something they wish to read. Therefore, they need several key elements that not only convey what the story is about, but also the tone of the story itself, distilled down to one or two sentences, in the case of the logline, and a couple of paragraphs for the pitch. I don't know about you, but this task, to me, may be even more daunting than the writing of the story itself.

Let's start with the logline. A logline gives a concise overview of the story without going into detail on characters or subplots, just the essential bones. For example, let's look at THE HUNGER GAMES by Suzanne Collins. It's logline, taken from it's Copyright page, reads:

“In a future North America, where the rules of Panem maintain control though an annual televised survival competition pitting young people from each of the twelve districts against one another, sixteen-year-old Katniss’s skills are put to the test when she voluntarily takes her younger sister’s place.”

A strong logline will convey the following: WHO the story is about, a SETTING, if essential to the story, WHAT the protagonist wants and WHAT stands in his/her way. All of this is told without giving away the entire story. Think of it as the answer you'd provide when people ask you what your novel is about. Generally, it should be just one sentence, but more intricate storylines may use two. Use a really strong adjective or two when describing your main character (a geeky clarinet-playing seventeen-year-old, an overachiever, etc.) to help paint a bigger portrait of who the protagonist is. Also try and avoid putting "themes" or "messages" in your logline, as it may make the story immediately seem preachy or cliched.

The pitch lets you go into a little more detail. This is the information you would put into a query to agents, and ultimately what your agent would use to in turn pitch the story to editors. You have the ability to elaborate with a little more detail on the points you touched on in the logline, but again, be sure not to give away twists and turns or the ending. Otherwise it leaves the reader no need to read the story itself to find out what happens. Think of the pitch like reading the jacket flap on a book. It conveys an outline of the story with just enough detail to read you in but leave you hungry for more. It is important to include information about setting, genre, and what makes your book unique or stand out (i.e. not just another road trip novel or vampire story.) This is truly the place to let the tone of your book show and let the agent/editor get a feel for you as a writer. If your book is funny, the pitch better be too! Otherwise you are missing a golden opportunity to show the flavor of your book and your writing.

Good luck!

Predicting the Trends in YA for 2012

The blogs are abuzz with chatter post-Bologna 2012 Children's Book Fair from agents and editors alike talking about what the upcoming trends in YA will be. The truth is, it almost seems like it's anyone's guess, which is refreshing, and feels like it evens out the playing field for all. Perhaps there is a sense that today's YA readers are diverse, and not necessarily just young adults, but like young adults, their interests can vary and change. One minute they may want a good sci-fi novel and the next, curl up with a good mystery, and then get swept up in a good romance. Good news all.

If you watch the listings on Publisher's Marketplace as of late, there seems to be a plethora of books still being bought in the paranormal, dystopian and fantasy realms. However, buzz suggests that psychological thrillers and even science fiction are of particular interest, as stated in informative articles like this one from Publisher's Weekly Online. According to William Roberts, who handles foreign rights for The Gernert Company, dystopian has become "the d-word" and paranormal "the p-word." And agent Sarah Davies tweeted from Bologna that people want melty - as in make you melt into a puddle of goo - romances. Great news for people like me who write contemporary humorous romantic YA! Is the door at last cracking open with an interest to revisit this timeless genre??

Agent Kristin Nelson blogged today on her blog "Pub Rants" that she also didn't know what the next trend was, but she heard lots of people on the plane ride over that the next hot trend could be geeks in young adult fiction, which, of course, would be amazing. I mean, hello? My book is called BAND GEEK? Does it get geekier than that? And there's romance! Did I mention the romance?

On the other side of the fence, as an avid reader and lover of YA, I am excited that my reading choices will be broader. And as a writer, it reinforces in me more than ever the importance of writing what I love to read, because trends constantly change, and eventually what I write may have it's moment to be the flavor-of-the-month. Because I write contemporary romantic YA, it's timeless, and there are always teenagers looking to swoon and fall in love, even if it does not involve vampires, werewolves or zombies.

There's never been a more exciting time to write young adult. Even best-selling adult novelists like Phillippa Gregory and Jodi Picoult, to name a few, are diving in, according to USA Today.

So don't give up because you're feeling discouraged that what you write isn't what is "in demand." Right now, everything is wide open, and what is selling, at the end of the day, is quality writing. The stories that make you curl your toes, stay up late and keep turning the pages. A solid story with memorable characters, a strong voice, and a unique take on events stands out regardless of genre. Remember who you are writing for - yourself and your audience - NOT agents and editors. Write the story you want to tell, and believe that the reader will appear.