All right, so, beginning with the caveat that this is my first time out finding an agent, I won’t bury the lead here: I don’t know exactly how you find one. I took a six hour course on LinkedIn Learning called Sell Your Novel to a Major Publisher to beginning figuring this out, and I’ll give you some pointers here about takeaways. The first of which is that you have to actually finish a novel if you want to sell it. Check, did that. Nonfiction it can be different, you can pitch an idea to agents and if they like it, you can run with it, which sounds a lot easier in a way. You don’t have to do all the work up front only to find out that no one is interested, but in a way it also locks you into having to write a book you thought was a good idea and discovering after you’ve started that your passion lies somewhere else. So there are pros and cons to each. But I’m trafficking in fiction here, and the book is written.
So to begin with you need to write up pitches for the various circumstances in which you may be asked for them. A logline, which is a one line description of your book, an elevator pitch which can be 2-3 sentences (the time it would take to describe this in the elevator), a short synopsis (which you’d use to describe the overall plot; like you’d see on a book flap and use in your query letter) and a full synopsis (2-3 pages) to provide if an agent requires one describing the whole book with a bit more detail. Of course, despite the fact that a novel traffics in words and pitches traffic in words, the act of creating pitches is easier said than done. After all, if you could distill your novel into one sentence, three sentences, two paragraphs or 2-3 pages, why would you have written it at all? As a writer, part of the reason you take the number of pages you take is because that’s how many pages you need to actualize your idea. But pitches aren’t the work of a writer, they’re the work of an advertiser, a marketer, so the first step you need to take is to try to forget that your novel is a complex work meant to be experienced as a whole and sit down and think like you’re a different person, not a writer at all, but an advertising exec creating a commercial for something you’re trying to sell. Where is the essence? What are the defining features?
Part of the reason I didn’t approach agents with my first few books aside from them being autofiction and feeling too personal to publish was that the first one, my favorite, Personal Time, is a day-in-the-life literary novel. There is a story: husband and wife arguing, how are they going to resolve it, but the book itself is more about reflection, life as its lived rather than plot. With my YA novel, The Elusive Black Truffle, I face no such problem. There’s plenty of story. Twelve year old is worried his parents are getting divorced, comes up with an idea to save their marriage, heads out in the woods with his dog to find an object he believes will save it, gets lost, has to fend off a wolf to survive the night. There you go. Pretty simple, pretty elemental. But it still needs personality. So here’s what I came up with as my logline:
Remember that a logline is one line that sums up the novel. If you’re reading it and you have a pithier suggestion, please feel free to reach out. This was the best I could do and I don’t feel it’s too bad. Now, what follows is my elevator pitch, a bit expanded from what’s above:
Again I’m entirely open to suggestions on how to punch it up, but I’m pretty satisfied with it. You might notice that it’s the first of a series, two survival dramas, because I’m currently in the process of writing a sequel to it using the same characters that functions as both sequel for Peter and Chris and a prequel to Chris’s Uncle Dave, called The Vietnam Experience, in which the boys discover that Uncle Dave participated in a failed government program to enlist soldiers for Afghanistan and Iraq called The Vietnam Experience in which high school seniors were put through military training and reenacted battles from Vietnam in a summer program. The program went south and was covered up, but when the boys learn of its existence, they decide to visit the site, pump Dave for information about what had happened, and do a podcast expose about it. That said, this blog post isn’t about The Vietnam Experience but about trying to write out pitches for The Elusive Black Truffle, so I’m digressing.
Another thing you need to write out is a target audience section:
As well as similar books:
You also need the query letter synopsis:
As well as the full synopsis:
Part of the reason I’m putting this all out there is that since I’m currently in the process of querying, I’m also open to suggestions/feedback as to how I could make this better or how I could reach a wider target audience in my pitches. I tried to turn off my writer’s brain and turn on a advertiser’s brain, but I don’t have much experience in selling, much less selling my own work. I’m always open to feedback, and of course, if there’s something I’m getting wrong and you spot that, please also let me know. Like I’ve said, it’s my first time out, so I’m writing about the experience here for two reasons, the first is in case someone stumbles upon this and wants to give me feedback; the other is for people who might be going through the same thing as me, so they don’t feel too alone. Frankly, being a writer is often a lonely endeavor, and it never hurts to find others who can empathize. And with that, I leave you with my generic query letter:
Dear [Agent Name],
Peter set out on a simple quest to save his parents’ marriage. Now, he’s not sure he’ll survive the night.
Set in the Pacific Northwest in 2018, The Elusive Black Truffle (word count: 67,000) tracks two boys across the course of a night to their faceoff with a wolf—and with their own demons.
Twelve-year-old Peter Bracaglia’s life has taken a sudden downturn. His formerly happy parents have stopped speaking to one another, and his foodie mother has lost her passion for all things culinary overnight. On top of this, a bully at school has targeted Peter with implications he might be gay—and Peter wonders if he could be right. Even if he can’t solve his problems at school, he thinks maybe he can do something about his parents. He believes that if he can find a rare cooking ingredient, a black truffle, in the woods behind his home, he can reignite his mother’s passion and possibly save his parents’ marriage. Peter sets off into the woods with his St. Bernard, Scratch, and his best friend, Chris. But what they don’t know is that a veterinarian at a local sanctuary has released back into the wild an aggressive wolf that had been scheduled for euthanasia. When Scratch dashes off in the forest, the boys end up lost. With night approaching and the cold coming on, the boys find themselves in a predicament: stay put and wait for their guardians to find them or attempt to discover the way home themselves. As their quest places them on a collision course with the wolf, the boys struggle with demons both inside themselves and in the world-at-large. Will Peter and Chris survive the night?
The Elusive Black Truffle is a survival drama that fuses elements of Gary Paulsen’s Hatchet with Sara Pennypacker’s Pax in an epic both grueling and heartwarming in equal measure. The target audience is primarily teens who feel constrained by traditional norms of gender and wish to challenge those ideas. Beyond that, the book will appeal to a wider audience interested in stories of nature like Jean Craighead George’s Julie of the Wolves as well as fans of edgy survival tales like TV’s Yellowjackets.
I’m a Pushcart-nominated writer and editor in Philadelphia who has published in over thirty literary journals, including Puerto Del Sol, The Pinch, and The Southeast Review. Much of my work draws on my experience as a father raising two young children in a rapidly-changing world. The Elusive Black Truffle is the first in a planned series of books, the second of which is currently well underway. For more, see www.jasonmjones.net.
I’ve included a full synopsis and the first chapter of the book as per your submission requirements (note: this line gets updated based on submission requirements). You can request additional chapters or the full manuscript at jmjones9176@gmail.com or 215-407-9176.
Thank you for your time and attention to my work.
Sincerely,
Jason
With the caveat, that generally, you’re suppose to add in a section on why you’re querying the agent and usually that’s because you’ve read something they represent that you’ve enjoyed or you’ve found their manuscript wishlist and your work matches something they’re looking for. I have to admit, I worry about the bio and being credentialed enough/having a platform to sell myself, since I’ve eschewed social media in recent years. I hope it doesn’t matter, but on days where I spend my time fretting, I worry it does.
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