Nailing the Agent Pitch at
a Writer’s Conference
By Mary Kole
Mary Kole is a former literary agent, freelance editor, writing teacher, author of Writing Irresistible Kidlit, and IP developer for major publishers, with over a decade in the publishing industry.
There’s often so much pressure on an agent pitch at a writer’s conference—and even in the slush pile—that the entire manuscript submission process can be anxiety-provoking. Here, I’ll break down the agent pitch from the perspective of a former literary agent.
Anxiety Over the Agent Pitch
A Good Story Learning member recently wrote in to ask:
I’m an introvert, and yet I have the opportunity to make an agent pitch at a writing conference. I want to make the most of this opportunity and to make connections, but I also don't feel comfortable being forceful or overly friendly. I already know the basic do's and don'ts, such as not shoving manuscripts down people's throats or under bathroom stalls, and I know that regular social courtesy should be observed. But I would still like to learn what agents and publishing house editors would like to see from aspiring writers. Sometimes, I find myself wondering if editors and agents feel besieged by people looking to showcase their manuscripts. How do you feel about this situation? Could you please offer some insight?
What do writing agents and traditional publishing house editors look for at conferences, or when faced with an agent pitch? Do publishing professionals really look to make connections? Can writers approach agents and publishers and ask questions, rather than doing a formal agent pitch?
Believe it or not, even though I’ve spoken at over a hundred writer’s conferences as a literary agent, I have never been asked how I’d like to be approached by writers for the agent pitch and at other conference events.
Writer’s conferences were a big deal before the pandemic, and now virtual conferences have become a lot more accessible to writers who don’t want to travel (or can’t) to far-flung conference locations. So first and foremost, publishing professionals expect to be approached—during the agent pitch, of course, but outside of it, as well. There's no need for writers to be overly hesitant—but social rules do apply.
All that being said, the agent pitch process can be quite awkward for all parties involved. Generally speaking, there are two avenues for writers to try and pitch ideas: either by signing up for an appointment at an official agent pitch session, or by randomly pitching at the dinner table or in line for the bathroom. The advice below applies to both, though you’ll have more luck signing up for an official agent pitch session instead of cornering someone with their pants down.
The Agent Pitch Isn’t Everything
An agent pitch can only provide a publishing gatekeeper with the barest concept of your premise, even if you’ve written a good logline. But it’s the execution that really matters—how does that idea become a manuscript? That’s something agents absolutely can’t determine from the agent pitch, which is why they will ask for a writing sample by making a manuscript request.
From the agent’s perspective, listening to agent pitch after agent pitch is like a constant flow of creative ideas, but all of these are just talk at that point. The agent will want to dig into the writing itself, and only then can they truly judge the project. There’s a great debate over idea or execution in publishing. Which is why some writers freak out when they see a similar deal posting, thinking that someone is publishing their idea. But the execution is what makes or breaks the project. There are only so many book ideas out in the world, after all.
Typically, agents and publishers will ask for a writing sample after an agent pitch. Some agents have no problem rejecting a writer after a pitch session, but when I was a literary agent, I would generally ask for most things, just to avoid turning someone down to their face. Not all writers are good at the agent pitch, so I tended to give people the benefit of the doubt and ask for a sample, even if their elevator pitch was lackluster.
That being said, I did find myself wondering why more writers didn’t use the time more efficiently. A lot of writers miss opportunities to ask questions or seem interesting, because they are merely fixated on getting the request and are unaware that it will most likely be granted.
The agent pitch experience can be a nerve-wracking, high stakes experience for many writers—these ten-minute presentations might make you feel like your entire future career hangs in the balance. I would often witness writers robotically spout off memorized queries without any emotion, their hands shaking and eyes glued to cue cards. I would try to throw out a question or two, but many writers would be so fixated on the agent pitch that they struggled to stay composed. (I’ve held a crying writer’s hand more than once.) This is not the way.
Reframing the Agent Pitch
If you do get an agent pitch opportunity, whether virtually or in person, try to relax. Once you manage to calm your nerves, you can start engaging together with the agent or editor about your book, rather than droning on as a one-sided agent pitch where there’s no room for conversation. Ask questions and be sure to listen, too. When I was agenting, I would greatly admire writers who are prepared yet open to constructive criticism, professional yet able to show their more casual sides. If there’s time and I feel like the writer is open, I might give some writing notes or feedback, and they’d miss out on that if they were fixated 100% on the agent pitch part of the session.
Agents and editors are people, with resources, ideas and answers to questions—if you want to know how to do an agent pitch, just ask us and start a conversation.
Click here to purchase Writing Irresistible Kidlit, my book on fiction craft for MG and YA novels, out from Writer's Digest Books. This will show you my writing craft philosophy and give you lots of valuable advice, including tips for the novel revision process and self-editing. There are over 35 example novels cited and discussed throughout. It’s a valuable resource for any writer’s toolkit.
Click here to purchase Successful Query Letters, my book on query letters, including over forty examples with comprehensive notes on each one. There’s a ton of submission advice, best practices, and insider information in these pages, and you’ll really enjoy seeing what other writers are doing in the slush.