But learning how to pitch your novel is one of the most valuable skills a writer can develop. Whether you’re at a writers conference, stuck in an elevator with an agent (one can only hope that’d be the time it malfunctions!), or simply explaining your work to supportive writer friends, a great pitch opens doors.
In our recent Shark Tank Pitch Practice workshop, literary agents Katharine Sands (Sarah Jane Freymann Literary Agency) and John Cusick (Folio Literary) workshopped real pitches from six writers across multiple genres. The insights they shared can transform how you talk about your work.
Why Your Pitch Matters
Your pitch has one job: get the agent to your pages.
That’s it. You’re not trying to summarize your entire plot. You’re not explaining every twist and theme. You’re creating enough intrigue that the listener wants to know more.
This tends to be about as much as you’d cover on the book jacket copy–or until about page 50 for a full-length novel.
As agent Katharine Sands explained: “Your pitch isn’t meant to be an exact replica of the book. It’s got a job to do. The job is to get us intrigued. That’s all it has to do.”
The Golden Rule: Less Is More
The most common mistake writers make? Trying to say everything.
Jessica Sinsheimer, literary agent at Context Literary and co-founder of The Manuscript Academy, put it simply: “By saying less, you say more. Figure out the core of your story and just give it to us.”
When you try to cram in every plot point, every character, every theme, you overwhelm your listener. Instead, distill your story down to its most compelling elements:
- Your protagonist
- The inciting incident
- The central conflict
- The stakes
That’s it. Those four elements are the foundation of every strong pitch.
Katharine Sands’ Place-Person-Pivot Formula
Agent Katharine Sands, author of Making the Perfect Pitch: How to Catch a Literary Agent’s Eye, shared her three-part formula for structuring any pitch:
PLACE (Setting)
Where and when does your story take place? Give just enough context to ground us.
Examples:
- A small coastal town in Maine
- A magical academy for neurodivergent pigeons
- 1920s Chicago during Prohibition
- Present-day New York City
PERSON (Protagonist)
Who is your main character? Make them specific and vivid.
Instead of: “A teenager”
Try: “17-year-old Claudia, who will sacrifice anyone—even herself—to keep her best friend alive”
Instead of: “An artist”
Try: “A sculptor who hasn’t touched a chisel in 20 years after a near-fatal accident”
PIVOT (The Dramatic Turn)
What’s the moment that kicks your story into gear? This is your inciting incident.
Examples:
- When someone convinces him to sculpt again, his work comes to life
- When a wizard from a local magic school murders his sister
- When teens start dropping dead in their small town
As Katharine explained: “We can only take in these elements. We can’t take in the whole shape of a story we haven’t read. Make them VIVID.”
What Happens vs. What It’s About
Here’s another critical distinction Agent John Cusick emphasized throughout the workshop:
Don’t tell us WHAT your book is about—tell us what HAPPENS in it.
We know. That sounds similar. Stay with us.
Themes matter. The deeper meaning of your work matters. But those aren’t your opening pitch.
Start with action. Start with conflict. Start with character. The themes come last.
One writer pitched their literary novel by leading with mythological references and philosophical concepts. The agents immediately asked: “But what’s happening ON THE PAGE? What can we SEE?”
When the writer pivoted to describe the actual plot—a sculptor whose surreal works come to life, threatening the entire museum—the agents lit up. That was the compelling visual hook they needed.
Make It Visual
Even if you’re writing quiet literary fiction, your pitch needs concrete imagery.
As Agent John Cusick explained: “If you can’t make a movie poster of it, think about visual elements differently. We get excited about images, stakes, fear, death—that good juicy stuff.”
This doesn’t mean your book needs explosions and car chases, though they certainly have their place in action/adventure pieces. It means you need to create a picture in the listener’s mind.
Compare these two pitches:
Abstract: “An update of the ancient Lilith legend with a Faustian twist explores themes of art, obsession, and sacrifice.”
Visual: “When a struggling sculptor picks up a chisel again after 20 years, his surreal works come to life—and the entire museum staff vanishes.”
Which one can you see?
Character First, Always
One of the strongest patterns across all six workshop pitches: agents wanted to know the protagonist as a person before hearing about the plot.
When one writer launched into world-building about an alien creature in a desert, Agent Katharine Sands stopped her: “Ground your character. Who is she as a PERSON? What makes her the hero?”
The writer explained that she had once let another kid die to save herself—and now she’s desperate to protect her brother to make up for that guilt.
That was the compelling character detail that made everything else matter.
Common Pitching Mistakes (and How to Fix Them)
Mistake #1: Starting with Process
Don’t explain HOW you wrote the book. Tell us what happens.
Instead of: “I used flash fiction to illuminate the Yoga Sutras…”
Try: “A yoga instructor helps modern readers understand ancient wisdom through personal stories.”
Mistake #2: Too Much World-Building
Give us just enough to understand the stakes, not every rule of your magic system.
Instead of: “In a town held captive by an alien creature that inhabits trees, moths, and cicadas…”
Try: “Every year, seven teens disappear in the local Forest. This year, it wants her brother.”
Mistake #3: Burying the Hook
If your book has a standout concept, lead with it.
Instead of: “A girl studies music history and has some unusual experiences…”
Try: “When a shy flautist chooses music for her school play, she’s transported through time to meet the composers themselves.”
Mistake #4: Generic Stakes
Make the stakes personal and specific.
Instead of: “She must survive”
Try: “She will sacrifice anyone—even herself—to keep her family alive”
Mistake #5: Relying on References
Literary or mythological references only work if your audience knows them.
As Jessica Sinsheimer noted: “If we had read them and we’re familiar with them, your allusions would have been perfect. But since we didn’t all know them… there aren’t enough hours in the day to read everything we want to read.”
Themes Come Last
Here’s the structure agents want to hear:
- Character – Who is the protagonist?
- Inciting incident – What kicks off the story?
- Conflict – What’s the central struggle?
- Stakes – What happens if they fail?
- Theme (optional) – What does it all mean?
As John Cusick emphasized: “The themes should be the last note. We’re most interested in character, stakes, and conflict first.”
Practice Makes Perfect
The final piece of advice came from Julie Kingsley, co-founder of The Manuscript Academy:
“Every time I go for a walk with a friend, I pitch them stories. It drives them crazy. Just practice.”
Pitching is a skill. It takes repetition. Say your pitch out loud to different people. Watch their reactions. If they look confused, those are the parts that need work.
Jessica Sinsheimer added: “Repetition is the way to learn how to talk about your book. Seeing people’s reactions helps too. Ask them, also, if they like pitch A, B, or C–versus ‘Did you like it?’ This eliminates awkwardness and gets you more valuable feedback–while preserving your friendships.”
Your Pitch Checklist
Before you pitch your novel, ask yourself:
- Can I say it in under 60 seconds?
- Does it start with my protagonist?
- Can someone visualize it?
- Have I included the inciting incident?
- Are the stakes clear and specific?
- Did I save themes for the end?
- Would the imagery fit on a movie poster?
If you answered no to any of these, revise.
Next Steps
Learning to pitch your novel is an ongoing process. The good news? As John Cusick noted in the workshop: “There are at least ten correct ways to pitch every book.”
Don’t stress about finding the “perfect” pitch. Focus on clarity, character, and creating intrigue.
And remember: your pitch’s only job is to make someone want to read more.
Want to dive deeper into pitching and querying strategies? Check out our related posts:
- Before You Hit Send: Your Query Letter Checklist
- Submission Anxiety: Why Your Nerves Are Actually A Good Thing
- Manuscript Academy Workshops
About the Experts:
Katharine Sands represents an eclectic list at Sarah Jane Freymann Literary Agency and is the author of Making the Perfect Pitch: How to Catch a Literary Agent’s Eye. Contact: katharine@sarahjanefreymann.com
John Cusick represents middle grade through adult fiction at Folio Literary, from wholesome MG to adult romance and fantasy. Contact: john@foliolit.com
Jessica Sinsheimer is a literary agent at Context Literary Agency and co-founder of The Manuscript Academy. Contact: Jessica@ContextLit.com.