Because of your conference I had 2 editors, one being Tessa Woodward, ask for my MS and/or pages and another forward my info to one of her associate editors at St. Martins. I was able to cross reference that with information on Publishers Marketplace and sent a query to an agent that worked with Tessa Woodward at Harper Collins. I sent her the first 50 pages and she was really excited about my work. She read the rest of it the next day and immediately sent me a contract. She is incredibly passionate about romance and my story. She is currently awaiting an answer from Rose Hillard at St. Martins. She thinks I have a long career ahead of me in romance writing and I am very excited to say the least. Her name is Emily Sylvan Kim and she is with The Prospect Agency.
– Amanda Greenfield
I am now the biggest believer in the New York Pitch Conference. Post-conference, I re-vamped my pitch in keeping with workshop feedback. Also, revised the book to reflect new emphasis. Voila! Immediately I had 18 agents requesting the manuscript and ended up with four offers of representation. I signed with Kevan Lyon of Marsal Lyon this week, and couldn’t be happier. This would not have happened apart from my experience with Susan at the Pitch conference in June. Thanks so much to you both. I am indebted!
– Britt Staton
This is Roger Johns, an alumnus of the September 2015 New York Pitch Conference. Just wanted to let you know that Paula Munier, my group leader from the conference, took me on as a client and negotiated a deal for my book – DARK RIVER – with St. Martins. Announced tonight on Publishers Marketplace. Thanks for a wonderful experience. The conference was superb. I’m spreading the word among my critique groups in Atlanta.
– Roger Johns
Hope all is well! I’m writing to let you know that I signed with Michelle Richter from Fuse Literary as my agent for my debut novel, whom I met and pitched to at your conference! She is lovely and I think we will be a great fit. Just wanted to thank you and keep you in the loop. When it is published, would be happy to write a testimony for the conference or whatnot
– Stacy Suaya
Genres, Workshops, Conference Benefits
The New York Pitch Conference successfully assists and promotes aspiring authors writing in the genres of upmarket and literary fiction, general fiction, serious and light women’s fiction, historical fiction, military fiction, mystery/thriller and detective, historical romance, paranormal romance, all forms of adult fantasy/SF, young adult and middle grade fantasy/SF, as well as memoir and narrative nonfiction. As attendees work closely in a relaxed small-group environ with conference professionals (see more below), they are provided with the skills and knowledge necessary to stand a realistic chance of success in today’s tough novel market. Please note that the NYC works directly with publishers from major houses who are the decision-makers, as opposed to literary agents who petition the decision-makers. Closer to the market, many of our publishing house editors have upwards of two decades in the book business.
In consideration of the fact that writers must network in the industry, learn how to properly pitch, and produce a novel worthy of pitching in the first place, the conference enables them to obtain the following:
- An opportunity to have their novel manuscript selected and read by acquisition editors from major publishing houses. The odds are currently running 1/3 for selection based on the quality of pitches and writers in attendance (due to workshop efforts to create great pitches and manuscripts, vigorous screening of potential attendees, and the conference itself which attracts top talent). Please understand, however, that selection does not assure publication.
- Novel deconstruction and analysis from the best qualified industry professionals (editors, authors, and teachers of writing) that addresses the major fictional elements of plot, character, complication, and resolution, among others–the purpose being to not only assist writers with creating competitive projects, but prepare them pre-pitch to receive maximum productive reaction from publishing house editors.
- Knowledge of the latest bewares, trends, and needs of the book market at the source: the New York publishing world.
- Ability to directly apply the above knowledge to the matter of the pitch itself, i.e., written and oral emphasis on logs/keynotes, premise/high concept, comparables, credentials, genre, and the composition of the project synopsis.
- Networking opportunities with industry professionals and other writers in an artistic and relaxed setting. The conference screening process assures writers chosen for the New York Pitch Conference are a few notches above.
In other words, writers will not be closed in a room with people who don’t know a plot point from a character arc.
- Opportunities, depending on writer and project, to interact with faculty following the conference for purposes of obtaining agency representation, or editorial assistance, as needed.
- Project validation or plan for validation. The conference method enables writers to obtain either validation of their novel project (understanding the novel premise/plot is commercially viable), or knowledge of what they must do to create a competitive novel project in the context of today’s market.
Writers will shop and pitch, i.e., attend workshops and then pitch their novel to four different editors from major publishing houses during the length of the New York Pitch Conference, all shops and sessions alternating on a fixed schedule. The editors realize this method provides maximum benefit to the writer. If editors see commercial potential in the premise/plot/concept they WILL ask for the ms and read it. Workshop leaders also read work, depending on the needs of the editors and writers.
Please note that writers tapped by publication editors for a manuscript submission during the course of this Algonkian Writer Conference are advised to meet with the workshop editors to discuss, among other things, options for agent representation.