10 Tips to Put Pizzazz in Your Pitch--Getting Radio Hosts So Excited They Demand You

By Jackie Lapin, Founder of Conscious Media Relations

Getting one radio station to promote your book may just be good luck. But getting dozens or even hundreds of radio shows to book you means that you must have a compelling pitch letter and subject matter that are irresistible.

Hence prospective radio show guests need to know the “10 Tips to Put Pizzazz in Your Pitch--Getting Radio Hosts So Excited They Demand You!”

Before someone tackles self-booking on radio, they should have some basic knowledge of what a show host or producer is looking for and how to write a letter that excites the booker. We’ve perfected this art for our clients and are willing to share the inside scoop on making yourself appealing to the radio show.

So here are some guidelines that will certainly help if you are proposing yourself for radio shows:

1. Make it a Memorable Pitch. It is imperative to get the attention of the host or producer immediately. The power of the lead paragraph cannot be underestimated. Especially in an email world, you have less than 30 seconds to grab their attention. So a concise first line must shock, excite, intrigue or create a great reason to read on. 

      Some of the ways that you can make it interesting are posing a question; making a bold statement; creating an unexpected juxtaposition; stating a problem that you are the person to solve; making a revelatory declaration; be topical and keying the interview to something newsworthy or an upcoming holiday; stating something only you can say; or tweaking and teasing the host.

  

2. Essentials To Make It Compelling. There are some key elements that you can provide to make yourself irresistible to a host.  First you must establish that there is a problem that engages the audience and for which you have the solution. Second, you must advise the host how your interview will benefit the listeners. Third, you have to establish what you can say that they’ve never heard before. Even if they’ve heard similar topics, your voice must be distinct. Succinctly tell your own powerful story of growth and transformation, so that you position yourself as an expert who can lead the listener in a similar transformation.

Tell the host how you can illuminate, motivate, inspire and make the listener feel something. Lastly, dare to be different—but not TOO different so it is off putting, especially to mainstream media.

3. Take Advantage of Holiday Themed Pitches.  Look for holiday tie-ins, but still maintain your focus on the benefits to the listener. Work far in advance since many shows book their holiday segments as much as a month early.

4. Mold the Message to their Specific Audience. Depending on genre, topic and type of demographics different shows are looking for guests that fit a specific profile. Seldom can one letter work for all. You will need to tweak the message for each media segment, while not diluting the appeal. Know the host and the show you are soliciting and tailor the pitch letter to the host, subject and the audience. 

5. Making Sure It Has All the Right Elements. In structuring a compelling pitch letter that makes them say “Yes,” you must have certain key information. These elements should be included in the order noted :
1. An attention-grabbing lead
2. Subject introduction/reason for interview
3. Your credentials (keep these brief and pertinent)
4. Benefits to the audience. Specifically state or spell out what will be learned by the listener
5. Brief review quote from an endorser or reviewer, an objective party. In some cases you may want to state where you have been booked before. (Not on a competitive show, however.)
6. Offer a copy of the book or product, and ask the host to advise if he/she would like one sent
7. Provide contact information to call for interview
8. Restate in one line why you’d be a great guest and the benefits.
9. Close and provide signature
10. Keep it to one page

6. Create a Great Interview Packet. A radio interview packet is different from a general media kit. It has certain elements directed specifically to make it easy on the host to prepare for the interview. Your Interview Packet should include a release on your product or book, your biography, talking points or bullet-point summary of the content you want to cover, a brief two-paragraph introduction of you and your product that you want the host to read to the audience when introducing you, a list of things you want to promote (book, website, coaching program, upcoming teleseminar for example), a list of suggested questions that you are offering the host in the event he/she chooses to use them and a JPG photo of yourself in case the interview is promoted on the show’s website.

7. Test Your Pitch. Before sending it everywhere, test it on a few shows. See whether it’s effective. Tweak it a bit, or try a different approach altogether until you find one that resonates with the hosts and producers.

8. Perfect the Follow Up Call. Now that you’ve sent the email, fax or letter, it’s time to make the follow up call. Try not to blow it here! After all, if you are dull and verbose on the query call, why should they book you for a full interview? So get to the point, don’t rattle on, and keep it to a 30-second sound bite. Don’t over introduce yourself. They don’t need all of your credentials, just why you are the proper person to present this subject. For example, keep it to a description like, “I am the bestselling author of….” Sound exciting; but not excited. Be professional; but not monotone. Practice your pitch in advance on others to make sure you have it just right and can get it out without tripping over yourself. Leave your number twice—once at the start and once at the end of the call.

9. Don’t Overlook Internet Radio. You can take advantage of Internet Radio in a way you can’t with mainstream. Internet radio show hosts may not have as big an audience, but they have a more targeted audience and will let you aggressively and enthusiastically sell your product or service. You get more plugs over a longer extended amount of time. Internet radio hosts tend to be better educated and more focused on the subject matter. They often will post the interview as a podcast where it will get more listeners afterward, and can be provided to you for your website. Many times you can arrange other business ventures with them to market your products. Some will post your book or product on their site so that listeners can immediately click through to your website or to Amazon.com. Most importantly, Internet radio hosts are accustomed to letting you drive listeners to your website for newsletter signups, free ebooks and other incentives to get people on your opt–in list.

10. Hire a Pro. So once you realize the amount of work it takes to create this kind of appeal and then research the thousands of radio shows that are potential portals for your message, you may find it easier to retain an agency that has a special  Radio Media Tour, an exclusive turn-key agency package that strategically positions the spokesman for the marketplace and then connects with radio shows across the nation to arrange interview bookings.

Jackie Lapin’s Conscious Media Relations creates Radio Media Tours especially for authors, speakers and coaches by offering them to an exclusive list of more than 3000+ radio hosts who seek interviews with leaders in personal development, health, spirituality, prosperity and conscious living—anything that transforms humanity or the planet. For more information go to www.ConsciousMediaRelations.com or call 818 707-1473.

Are you an Author?

Author is defined by Merriam-Webster for Kids as: a person who creates a written work. I like to share that definition with students because it is encouraging.  If you put the words on paper you are an author.  You are a wordsmith, but you must also be brave and thick-skinned. If you want to be a published author, putting words on paper is just the first step. And there are things you can do to increase your chance of success.

Understanding the business of publishing is one key to success.  It is a business that involves many people, all of whom are hoping to make a living. I did not find success as an author until I began to study the business. The knowledge gained helped me target submissions and decreased the sting of rejection! For example, understanding how many submissions a publisher receives vs how many books they publish a year is eye-opening, as is a look at resources like Publishers Weekly.  Any given week, a majority of their top 25 picture book bestsellers were written decades ago.

Tenacity, according to my invaluable Flip Dictionary, is a synonym for patience and persistence.  Two of the words I wanted to use, but there’s no P in AUTHOR. However, maybe tenacity is really the right word. And writing is about finding the right word. Tenacity involves patience, persistence, and determination.  To be a published author you cannot give up or be discouraged.  Despite the overnight success stories, most authors will be rejected MANY times (I have been hundreds of times) and they will have waited months for this lovely rejection news!

Hone your craft. An author is never done learning.  In the age of the internet, resources abound. There are blogs, online workshops, and online critique groups.  Join groups like the Author’s Guild or Society for Children’s Book Writers and Illustrators (SCBWI), and you’ll find abundant information and links to MORE information. A critique group, or at least readers other than family and friends, is a must.  Like the game of telephone, what you see in your head does not always make it to the paper and into your reader’s mind.

Organize your time. Most authors have other jobs and obligations.  When I have time to devote to my writing I have to decide how to utilize my time – do I work on a new story, revise an old one, research places to send a story, catch up on industry news, read reviews of books, read books in the genre I write, do a writing workshop, read a book about the craft of writing, market the books I have published, etc.! AND, don’t forget what may be the most important:  quiet thinking time, letting the ideas come and grow in your mind!

Read, read, read! If you want to be a published author you need to read. Reading books in the genre you write will help you understand what goes into a book that makes it from manuscript to library shelf. Reading any genre exposes you to words, language and the art of storytelling. And reading does one more thing-it supports other authors, which is what you are or hope to be!

About Holly Niner

Holly Niner’s latest books, No More Noisy Nights and The Day I Ran Away, were released from Flashlight Press in 2017.  She has had numerous stories published in children’s magazines, and her previous picture books were award winners. Mr. Worry: A Story about OCD, received the 2005 IBBY Outstanding Books for Young People with Disabilities Award, and I Can’t Stop: A Story about Tourette Syndrome, was the winner of the 2006 Oppenheim Toy Portfolio Award and a 2005 Bank Street College of Education Best Book. Holly lives in Fort Wayne, Indiana. Find her at hollyniner.com. Follow her on Facebook and Twitter. 

Past Mistakes of a New Author Trying to Get Noticed

When I started to write my first ever book, I admit I didn’t have a clue. Yes, I knew I had a good story in my head, and I had written much of it down on paper and had painted a lot of the illustrations.  Next was to let friends and family read it. Big mistake, of course, they all say it’s great, loved it, or it’s coming on well, as they don’t want to upset you! Proud as I was, I set off to look for an editor, I asked around a bit and soon came across someone that knew one nearby, so I printed my manuscript (manuscript was a new word for me at that time) and had it spiral bound with my draft cover and all images inside, I paid my near $1,000 and gave it to the editor I also sent a word file of the book, and I waited.

The manuscript was returned by e-mail from the Editor with something else new to me called Track Changes, it seemed to have ripped apart much of my book, and put it in the side column and removed almost all of the commas. Puzzled we arranged a meeting and were told, “These days readers don’t like commas, as it slows the reading, and readers these days are more intelligent, so I have removed most of them for you.” My poor manuscript was in now tatters. Rewrite one began.

That was a hard lesson learned with editors, they are worth their weight in gold, but you have to make sure you get the right one. The one I had used was trained in editing technical manuals! But I didn’t totally lose everything, it had been a valuable lesson, and I then knew how to use Track Changes and now couldn’t work without it.  I soon found a suitable company to edit and format my book professionally and was quite disappointed when it came back after the first round of editing with another half of my book shoved over to the side column.  So rewrite two took place. Following more edits, and months of work rewriting I now knew how writing books worked properly and had something that really was worth reading.  

Then I self-published. I remember thinking at the time, now all I have to do was put it on Amazon, pay for someone to design and build a website, and within a year they would be selling like hot-cakes. Duh! Wrong.  I didn’t know that there are somewhere between 600,000 and 1,000,000 books published every year in the US alone, and if you are self-published you are on the bottom of the pile, as your ISBN book number can identify this to publishers. 

As I soon found out after sending out dozens of books to major publishers, there was never a single reply. I wondered, “Is my book that bad!” This simply seemed a waste of books and postage. I did manage to get to talk to one major company and they told me they get thousands of unsolicited submissions a week, and hundreds of books delivered a day.  So they simply dispose of them. That’s when it dawned on me that it was going to be a long hard road of reviews, competitions, free giveaways, bigger better websites, blogs, tweets, book clubs, paying for advertising, press releases, and more.

I suppose it works like a filter, only allowing the cream to float to the top. But none of this social media or computer stuff was really me. I’m the artistic one who writes and draws from all that rubbish floating around in his head.  But luckily I had a wife who was so much more of an academic than me, and by this time I had almost finished my second book, and my stupid head was already imagining the third.

We are not gamblers as we have both worked hard all our lives and have earned all we have. But now was the time to be brave, so we were. My wife left her job and started in earnest promoting my books; she built websites and learned how to make video trailers, blogs, Tweets etc. We entered competitions and sent for reviews and generally networked (another first for me). As a team, we gained strength and recognition in the literary world.  Mind you, it doesn’t come cheap, but if you want your books out there you have to be brave.

Seven years of hard work later and it has worked for us. We have some great reviews, have won International Book Awards and been interviewed by radio and newspapers. We are currently in negotiations with a recognized publisher, and a fourth book is on the way.  Yes, it’s a very long hard road, but keep going and don’t give up on yourself. When you win that first award, as we did with Literary Classics Book Awards, it really gives you that boost of energy to forge ahead. Sometimes all you need is for your book to be in the right place at the right time, and it all becomes worthwhile.

International award-winning author, Stephan von Clinkerhoffen, is a Peter Pan character. That’s why his sci-fi fantasy series “The Hidden city of Chelldrah-ham” suits younger readers and the “young at heart”.  Clinkerhoffen’s writing, conceived from his love of mechanics, nature, and art is tempered by humanity and fun.  An Engineering background allows him to develop new ideas, learning from success and failure. He enjoys tinkering with classic cars and motorbikes, and even built his own kit car.  Through his art, Clinkerhoffen embraces the challenge of painting intricately detailed fantasy lands which he depicts in his novels.  Clinkerhoffen spent several years volunteering with the New Zealand Red Cross after Christchurch’s earthquakes. Back in England, after 14 years living in New Zealand, he feels lucky to call the Cotswold countryside his home again.

See links below to find out more about Stephan von Clinkerhoffen and “The Hidden City of Chelldrah-ham” series.

www.stephanvonclink.com

www.amazon.com/Stephan-von-Clinkerhoffen/e/B00Q9S590I/

www.facebook.com/Clinkerhoffen/

Think your Manuscript Query letter has been polished to perfection?

If you think you've got your manuscript pitch polished to perfection, think again. There's really no such thing. The minute you write the perfect pitch for one agent or publisher, it's time to move on and start again. Whether you're submitting a query letter to an agent, or directly to a publisher, the fact is nobody wants to read your one-size-fits-all letter of introduction.

Maybe that's why so many editors and publishers will tell you exactly what they want to see in your query letter (it's often right there on their website).  And believe us, if you want your manuscript kicked to the curb faster than you can say 'boo,' then just test this theory.  Some agents/publishers want to know all about your background and history.  Others will let your manuscript speak for itself.  Some want to know what your vision is for your book.  Others might find it deeply disturbing to hear you offer your marketing plan for your book.  It all depends on who you're dealing with.  Just remember, it's important to be flexible.  It's even more important that you do your homework and find out exactly what your potential agent or publisher is looking for from you.

Feeling a bit disillusioned?  Don't worry.  We've got your back.  This blog has been created to give insight, pointers, and tips on how to put your best foot forward when it comes to creating the best manuscript pitch, every time.

3 TIPS for Obtaining a Literary Agent

Everyone would agree that the journey to becoming a successful author whether independently or via representation takes guts and guile. Book publicist and literary agent Dawn Michelle Hardy has spent the past thirteen years building the platforms and launching the writing careers of many authors in both fiction and non-fiction. An energetic publishing professional Dawn has dual careers in the industry. As the founder of Dream Relations, PR & Literary Consulting Agency she creates and manages publicity campaigns for a variety of authors who are either with a house or self published. As an Associate Agent with Serendipity Literary Agency she negotiates deals, creates book concepts and manages the writing careers of her clients.

Here are 3 ways that she suggest a writer could go about obtaining an agent, note some of these are ways that she has built her roster at Serendipity Literary Agency.

Strike Up a Smart Social Media Conversation: Now-a-days most literary agents and agencies have Facebook, Twitter and even Instagram profiles. Following and engaging literary agents is a good way to connect virtually. One night I was in a social media mood and I began tweeting for about an hour about my experience as a new agent and the type of projects I was looking for. I shared how my background in publicity served useful. My ideal clients would be members of the media, folks who I knew were strong writers and had established relationships in their respective fields.  During these tweets an editor-in-chief from a national lifestyle magazine reached out and said he’d love to talk to me offline regarding some book ideas he had from his decade as an entertainment journalist.  This exchange resulted in us meeting and discussing his work. He became my first client and my first deal was his book, Nicki Minaj: Hip-Hop Moments for Life by Isoul Harris (Omnibus Press 2012).

If You Write They Will Come: Most people who meet me learn in the first 10 minutes of interaction that I love sports.  Basketball, football, baseball, the Olympics, marathons, etc. As a sports fan I read up on my favorite teams and players. One day I read an article about a 16-time NBA All-Star and his fall from grace. I was truly heartbroken. I looked and saw the article was shared over 20k times. I did my research and contracted the journalist from the Washington Post who wrote the piece. I introduced myself as an agent with Serendipity who enjoyed his article. We talked for an hour about the former point guard of the Philadelphia 76ers, Allen Iverson. The journalist explained he had always considered writing a book someday, but didn’t have a subject in mind. I said write about Allen Iverson, I know this will sell! Not a Game: The Incredible Rise & Unthinkable Fall of Allen Iverson by Kent Babb published June 2015 with Atria/Simon & Schuster. Keep writing. Agents and editors are always looking for strong writers with established audiences in place.  Write well, build your audience and we will  find you.

The Industry Co-Sign: Do you know of anyone who has already garnered an agent and a book deal? Do you have any friends who work in the publishing industry, at a book store, for a magazine, etc? First person referrals are one of the top 3 ways I prefer to get new clients as an agent. Any one of my clients can refer someone to me and I will gladly take a look at that person’s content. Why? My clients already have an understanding of what I am looking for and they fully understand how I work as an agent. If they send someone my way, they already know the person is a credible pen that they themselves would co-sign for.

The Reasoning: Do you want to be prosperous or popular from your book?  You must be clear on why you are really doing this. It will determine the direction you go to promote and distribute your title. You need to know the answer to why you are taking the time, resources and energy to pen a book.

The Competition: Take a moment to shop the current books in the market that have been written on your topic or targeted toward your audience. Is your book unique? How does it compare to what’s already been done?

The Audience: No matter how worthy you believe your subject matter is, every person that reads books will not buy/read yours. Define your audience so that your message and outreach can be clearly understood. Many self-published authors make the mistake of spreading themselves too thin and never really capitalize on their target audience. Make a primary and secondary list of who your readers are.

The Cost: There are multiple ways to self-publish including print-on-demand or selling e-books only. Do your due diligence and research the most cost effective way to introduce your book to the market. A living room full of boxes of books can be somewhat disturbing if you haven’t fully considered all the cost involved to move the units.

Dawn Michelle Hardy is the recipient of the 2010 “Book Publicist of the Year” honor awarded by African Americans on the Move Book Club. Dawn Michelle has worked with bestselling authors Teri Woods, Danielle Santiago, Miasha, Kiki Swinson, Niobia Bryant and a host of others.

www.dreamrelations.com

Twitter @DreamRelations

Like Us on Facebook: Dream Relations

How I Got My Literary Agent

- Boyd Morrison

It’s been 13 years since I finished writing my first novel. Three weeks ago, I got my first US publishing deal, and my debut thriller novel, The Ark, will be released in 12 different foreign markets and counting. So every writer who talks about persistence being a defining trait of published authors is absolutely correct. Listen to them. Keep writing. Don’t stop at that first novel. Don’t rewrite it over and over. Move on. You’ll improve your chances a hundredfold by writing that next book.

I started writing my first novel, The Adamas Blueprint, while I was finishing my PhD dissertation. Why I thought I could do both at the same time, I have no idea. It took a year to finish the book, and in 1996 I queried four literary agents. Yes, only four. Out of those four, one of them asked to read a partial manuscript and gave me some positive feedback but ultimately decided not to represent me.

One out of four was a stellar percentage, but I didn’t realize it at the time, and I stopped submitting it.  My wife thought I gave up too easily, and she was absolutely right (I listen to her much better now).

At the time, she was just starting her pre-med courses in anticipation of applying to med school. It meant that I would be supporting her during her training, so I put my writing on hold to concentrate on work. Yes, I could have done both at the same time, but my job consisted of sitting at the computer for at least eight hours a day, and the thought of coming home to spend another two hours in front of the computer writing was horrific to me.

So the deal was that I would support her through nine years of pre-med, med school, and residency, and then when she was a full-fledged doctor, I would be able to quit my job and get nine years to become a published author. Not a bad deal, eh?

In January 2005, I left my job to crank up my writing again. I finished my second novel, The Palmyra Impact, in 18 months. Now it was 2006, time to do the agent search again. This time I was more savvy. I went to writers’ conferences like the Las Vegas Writers Conference, Thrillerfest, and the Pacific Northwest Writers Conference, and pitched my novel in person. I also queried the traditional way.

I would say my success at getting an agent to ask for a partial manuscript was approximately 1000% better when I pitched my book in person than by query letter. I would strongly advise anyone looking for an agent to pitch them in person at a conference. Putting a face to a book gets the partial through much faster than if it’s a query letter from someone the agent has never met.

At least four agents asked to see the entire manuscript of The Palmyra Impact, but no takers. They liked it, but not enough to represent it. I know I got over 50 rejections, but after you get above that, do you really need to know the exact number? Suffice to say, I queried every agent who I thought would be remotely interested. None were.

Back to the keyboard. I finished my third thriller novel, The Ark, in 2007. This time, I didn’t bother to query. I went straight to conferences to pitch it. The very first time I pitched the story was at Agentfest, a pitch session at Thrillerfest. It was the first year they’d done it, and it wasn’t the kind of pitch sessions where agents talk to a new aspiring author every five minutes.

At the 2007 Agentfest, agents only saw authors during the lunch session, and it was arranged that one agent would sit at each table. Who you were sitting with was totally random. I was talking with author Jon Land at the time, and we were late to the lunch, so we sat at the very last table in the room, which was about six miles from the front.

Being late to that lunch changed my life.

At that table was Irene Goodman, a very well-respected agent who has been in the business for 30 years. She had been representing primarily romance and non-fiction but was looking for thrillers to add to her portfolio.

When we were all seated, she went around the table and asked each writer to pitch their novels to her. Here’s the exact pitch I gave her for The Ark:
A relic from Noah’s Ark gives a religious fanatic and his followers a weapon that will let them recreate the effects of the biblical flood, and former combat engineer Tyler Locke has seven days to find the Ark and the secret hidden inside before it’s used to wipe out civilization again.

As soon as I said “Noah’s Ark”, she asked to see the first three chapters. I told her I still had some slight editing to do, but when it was ready and polished, I would send it to her. I would advise anyone pitching a novel to have a pithy one sentence summary of what your book is. If you can do that, it’s clear that you know what your story is about, which is more more attractive to an agent than a rambling five minute recounting of the plot.

During Thrillerfest and then the PNWA conference that year, I found ten more agents who wanted to read a partial of The Ark. Two months went by as I got feedback from some trusted friends and family on how to improve the book. I also got blurbs from James Rollins and Jon Land, both of whom generously agreed to read an early copy. If you want bestselling authors to give you blurbs, go to conferences and spend time with them. Again, writers’ conferences are where it’s at.

By this time, Irene (she tells me now) wondered if I had forgotten about her. I hadn’t. She was among the first agents I sent the sample chapters to. I mailed them on a Thursday in September. On the following Monday, she called me. CALLED ME! She was the first and only agent to ever call me, which made quite the impression.

She told me she loved the opening, and would I be willing to Fedex the entire manuscript to her? Uh, let me think…Yeah! I would have driven it there on a unicycle if she wanted me to.

Irene received it on Tuesday. I got a call from her on Thursday offering me representation, which was about the most amazing phone call I’ve ever gotten. I chewed it over for a day (I’d sent it to other agents who weren’t quite as quick to respond). On Friday, I accepted.

That was September 2007. It took another two years to get a publishing deal for The Ark and now we’re in negotiations to publish The Adamas Blueprint and The Palmyra Impact (I’ll put the story of how I got published in a separate blog post). But Irene believed in me, my book, and my writing career. That, my friends, is what you want in an agent: someone who is going to be just as persistent as you need to be.

www.boydmorrison.com
http://www.facebook.com/BoydMorrisonWriter

What NOT to Say to a Literary Agent (or Editor)

There are many dos and don’ts in pitching an editor or an agent. Some are obvious—like don't pitch a book to an agent in the bathroom, or don't tell them your mother loved it. But some of these might not be so obvious, or maybe you hadn’t thought about it from the agent’s/editor’s perspective before.

Either way, I want you to have the tools to succeed, so here is some advice I’ve heard directly from agents/editors. This article is geared toward nonfiction writers.

Side note: When we talk about editors here we are referring to acquisition editors in a publishing house, not freelance editors.

The DON’Ts:

Don’t say your book is the next best seller.

Don’t be informal. Address the agent by name in your query (or in person). This means DO NOT send a mass email to a hundred agents and editors, not even three.  Each letter must be for the sole intended recipient.

Don’t pitch a book in a genre/subject matter the agent doesn’t accept.

Don't say, “My book is for everyone.” That’s just not possible. No book is for everyone. Think about the audience that would actually want to read your book. Feel free to include that in your query – such as my book is for teenage boys in small towns.  

Don't ask an agent/editor to sign a NDA. It doesn’t benefit them to steal your idea. What are they going to do with it? They need the writers so they can sell the story. And agents will not go through extra hoops to read your work. They have hundreds, even thousands, of submissions to look through.

Don't start your query with a question. This has become too commonplace and too cutesy. Agents just want to get right into the meat of your work, not futz around with authors who are trying to be clever.

Don't say how many books you’ve self-published. Unless you’ve SOLD over 5k for one book, the number of books you’ve published before does not matter to an agent. 

*97% of self-published books sell less than 100 copies.

Don't say your book is completely original and unlike anything else. No one's book is 100% unlike anything else. Even Shakespeare’s works were variations of similar stories told time and time again before.

Don't say you are the next "so and so". Let the agent decide how to place your book when selling to an editor.

Don't say you can get X celebrity endorsements which are clearly out of reach. That is a wish list. If you can truly get an endorsement from a celeb or someone important in your field/genre, state enough to show how this claim is actually obtainable.

The DO’s:

Do know your platform. In nonfiction you must not only sell your subject matter, but also why you are an expert in this field—why you are the person to represent this book. You must show your expertise, your current platform (website, social media, speaking gigs, and more).

Do understand the guidelines and expectations required in proposals. Agents do not expect you to have the entire book written (unless it’s a memoir, in which case it is treated like fiction). For nonfiction you can include a beginning sample of your writing, but the content and goals of the work (and your platform) are the most important aspects. Often times, publishing companies will bring in a ghostwriter.

Do have a professional look over your proposal before pitching.

Do list the (correct) genre, and list only one. Genre, in the most basic explanation means where on a bookstore shelf would this book belong? If you aren't sure—go to a Barnes and Noble, look at the shelves and the labels for each, and figure out where you'd put your book. 

Do follow the agent’s guidelines. Each agent has a different set of expectations for queries, so be sure to read their requirements before submitting. Don’t start on the wrong foot by pitching them a book they would never read, or sending items they did not request.

KATIE McCOACH is a developmental editor working with authors of all levels. Her motto is, “Let’s work together to create your best story!” In the past, she worked at a publishing house and apprenticed at a literary agency, where she evaluated agent queries. Her specialties are young adult, new adult, fantasy, romance, and Christian fiction. She is a member of the Editorial Freelancers Association and Romance Writers of America. She is a participating editor in Pitch to Publication, and recently judged the 2015 Golden Hearts Awards and the 2014 Stiletto Contest. Katie is also a writer, with essays published in TrainWrite and Kalliope, and is currently working on a contemporary romance novel. She is based in Los Angeles.

Visit her blog for more advice for writers http://www.katiemccoach.com/blog, or connect with her on Twitter: @KatieMcCoach