Last week in our Self Publishing series we talked about the Book Cover, the first (and oftentimes only) chance for a book to make an impression on a potential reader
But what happens after the cover catches the reader’s attention?
Jilly’s post on Monday about the Dreaded Synopsis got me to thinking about some of the other elements you need in order hold a reader’s attention, once you’ve caught it
Loglines, taglines, high-concept – these are all tools that can help you position (and market) your story to your audience. Although we are looking at this through the lens of self-publishing, they are important regardless of the publishing path you choose. Continue reading
Even the title “Jurassic Park” is its own form of high concept. Poster (c) 1993 Universal Studios
So, I’ve got a logline and synopsis…the last thing I’m missing is my high concept (the hook).
I dread this.
Well, let me clarify. I dread this for Three Proposals. I’ve had no problems coming up with high concept ideas for the other stories that are swimming around in my brain. But for this one? Ugh. It’s been a struggle.
For the uninitiated, a high concept is a way to convey the story in a few short, easy to recognize ideas that hook the reader (or listener). Here are some examples: Continue reading
It’s that time of year here at Eight Ladies Writing – RWA Nationals is upon us, just a few months away – and it’s time to start perfecting (and memorizing) our pitches.
Actually, for me, it’s more than my pitch. It’s my logline (which I’ve struggled with), my synopsis (which I’m pretty happy with), and my “high concept” (which I don’t yet have for Three Proposals).
Over the next three weeks, I’m going to break down how to write each of these, using Three Proposals as an example. This week, I’ll start with the logline.
The history of the logline is interesting. It started Continue reading
Well, it’s nearly conference time (I’m likely en route as you read this…or getting ready, anyway) and I’m eagerly looking forward to RWA Nationals. In preparation for my agent appointment on Friday (and the inevitable question from strangers, “What are you working on?”), I’ve been honing my elevator pitch (also knows as “describe-your-book-in-about-45-seconds-or-less”).
The (dreaded) elevator pitch (also called a log line) is a short blurb about your book that you can spew out in the time it takes you to go from the 35th floor to the lobby, and that’s not talking like a radio announcer who does all the legal jargon at the end of a car commercial. Your elevator pitch should be short, descriptive, and include the basic GMC for your main character, as well as setting and, if you have time, what sets your book apart from others. Save the discussion of your other characters and subplots for when your new elevator friend invites you to join them for a drink at the bar.
While my pitch may not be perfect, I thought it’d be helpful to show you its evolution. (Ya’ll know I’m not afraid to show you my work in progress — see Continue reading