I’m committed to do a story for The Razor’s Edge, an anthology from the small press Zombies Need Brains. The theme of the anthology is about just how little the difference is between the freedom fighter and the insurgent and the question of when fighting for a cause slips from right to wrong… or whether that’s just a matter of perspective.
As part of the PR for the anthology, the editors asked the contributing “anchor” writers if they’d be willing to write a blog post on one or all of the topics of creating an elevator pitch, a query, or a plot synopsis for one of their projects.
This posed a problem for me. Strange as it may sound in this day and age, I’ve never done any one of those things in order to sell a book or a story. I will admit that I’ve often managed to develop a plot summary or an “elevator pitch” for at least some of my books – after they’ve been bought… and I’ve hated doing either, and still do.
Why? Well… some of you who read my books might have a glimmering of an idea, but my personal problem is that any “short” treatment of a book – whether it’s an elevator pitch, a query, or a plot synopsis – has to focus on a single element. For what I write and how I write it, this is a bit of a problem, because focusing on a single element tends to create massive distortion of what I write.
Sometimes, questions help, or so I’ve been told. And some of those questions might be: What’s the most important facet of the book? What’s the hero’s journey? To what kind of reader does it appeal? The problem, for me, is that such questions make what I write come off as one-dimensional.
One of my most popular books is Imager, the first book in the Imager Portfolio. It features Rhennthyl – or Rhenn, who at the beginning of the book is a journeyman portrait artist in a culture vaguely similar to 1840s France, except with later steam-power. Rhenn is a good artist, good enough to be a master, but it’s likely he never will be for a number of reasons, and especially after the master painter for whom he works (under a guild system) dies in an accident that may have been caused by Rhenn’s latent magical imaging abilities.
Now, the book could be pitched as “young artist develops magical abilities and gets trained by mysterious group to use magical imaging powers.” And if it had been pitched that way, it would likely have flopped as a YA imaging-magic version of Harry Potter, because Rhenn is far more deliberate, not to mention older, than Harry Potter. Also the Collegium Imago makes Hogwarts look like junior high school.
Imager could also have been pitched as “a magic version of Starship Troopers,” since it does show the growth and education of a young man into a very capable and deadly operative, but Rhennthyl is operating in a far more complex culture and society, and one that’s far more indirect than what Heinlein postulated.
Then too, Imager could be pitched as a bildungsroman of a young man in a world where imaging magic is possible. And that, too, contains a partial truth, but ignores the fact that Rhenn’s basic character is already largely formed and many of his problems arise from that fact. Such a description also ignores the culture.
Because I never could find a short way to describe any book I wrote, not one that wasn’t more deceptive than accurate, I never did pitch anything I wrote that way. I just sent out the entire manuscript to a lot of people, and, of course, it took something like three years before someone finally bought my first book.
And… for some kinds of books, as it was in my case, letting the book sell itself may be better than trying to shoehorn it into a description or pitch that distorts what the book is all about. Now, authors aren’t always the best at describing their own work, but over time, I discovered that even my editors had trouble coming up with short pitches. So… if those who read your work also can’t boil it down into a pitch… then it just might not be a good idea.