THE FOLLOWING COLLECTION OF REVIEWS, CONTRACT NEWS, AND GENERAL COMMENTARY INVOLVES ALGONKIAN WRITER CONFERENCE EVENTS OVER
THE PAST SEVERAL YEARS. THESE ARE AN ESTIMATED 20-25% OF THE TOTAL
MAILS, INTERNET POSTINGS, AND OTHER COMMUNICATIONS SENT TO US. WE
APOLOGIZE TO THOSE WHOSE REPORTS AND OBSERVATIONS HAVE NOT BEEN INCLUDED
HERE. PLEASE KNOW WE ARE GRATEFUL FOR YOUR COMMUNICATIONS.
__________________
From First Line to Final Contract
Adam Chromy, chief of MTM signed me last evening. I believe from my
conversations with him that he will be the perfect match to support me
in execution of this project. This could nor would ever have occurred
without my attending your St. Augustine workshop retreat or receiving so
much wonderful feedback over that magical week. So all of that fancy
language is to say: THANK YOU! I am bruised from pinching myself. :-)
- Frances Brown
Monterey
Writer Retreat alum, Harlow Robinson, saw his memoir, MY HOT TIMES IN
THE COLD WAR : AN AMERICAN MEMOIR FROM GAY RUSSIA, picked up by
McFarland for pub in 2026. His agent, Katharine Sands of the Sarah J.F.
Agency, first learned about his work at the Algonkian Monterey event and
signed him asap. Congrats to Harlow!
A
quick note to say thank you because I attended the Write to Pitch
conference in December (I was in Paula's group) and just landed a
contract with The Book Group agency for MAYBE WE MEANT IT which I
completely credit to the conference. I spent the winter editing my book
based on what I learned that weekend, as well as in the eBook. My agent
just landed a six-figure deal with Park Row Books!
- Bri LeClerc
I really wanted guidance and a professional opinion to help me
decide if my writing was "good enough" to pursue seriously. So I signed
up for the Algonkian Writers Retreat with Michael Neff. It was a
wonderful experience. I told him my idea for THE BETTER MOTHER
and over the five-day workshop, he and his faculty helped me flush out
the idea more solidly, write an outline for the whole novel, and write a
pitch for whenever it would be ready to query. I went home and finished
the first draft within five months. I kept in touch with Michael and
helped me polish it, and by April of 2024, I was ready for my first
queries... I sent my very first query on April 18, 2024 and got an offer
of rep from my dream agent on July 30! And as of December, my contract
is in the mail from a major publisher, Crooked Lane.
- Jennifer Van der Kleut
After the Algonkian NY Write to Pitch, I realized I needed more help
to prepare my manuscript before querying, so I reached out to Michael
Neff for developmental editing. Not only did he enlist multiple
published authors in my genre to assist with providing critical insights
that took my novel, MIA'S LIST OF DON'TS, to the next level, he became
my biggest advocate in the publishing world. He sent my finished MS to
agents he knows and ended up being my matchmaker with the popular
literary agent Terrie Wolfe.
- Laura McCamy
Renee Richards was signed by the Talbot Fortune Agency who will
rep her upmarket novel entitled LEAVING WOODSTOCK. In her own words
regarding the Algonkian WTP conference: "I was fortunate to be assigned
to the incredible Paula Munier during the conference, and her guidance
was instrumental in securing my current full manuscript request."
From debut-author CJ Rivera, comes a harrowing tale of a parent risking it all for her child. THE FINAL ORCHARD is perfect for those looking for a novel that intrigues like television shows such as Black Mirror.
Here we have a new novel fresh off the Write to Pitch event in New York
and straight into the hands of Angry Robot in the U.K. Thanks also to
the event faculty who worked behind the scenes with Crystal. We wish her
huge success!
A Life-Changing Experience - Leading to a Book Deal. If
I could capture my experience at the Algonkian New York Write to Pitch
Conference in a single word, it would be "transformative." It's a unique
blend of a supportive writing community and insightful mentorship that
sparked a revolution in my writing approach. The preparatory reading
assignments alone were worth their weight in gold. They stretched my
understanding of narrative structure and character development,
reshaping my own work. I can't emphasize enough the value they added to
my writing journey.
- Crystal Rivera
I attended an Algonkian Writer Conference event a couple of years
ago. It was just what I needed to turn my idea into a published,
award-winning book entitled The Mrs. Tabor. No kidding.
- Kimberly Coleman Burns
Agent Katharine Sands of the Sarah Jane Freymann agency has signed a T.E. Bean, a brilliant new writer and his SFF novel, NIGHT EYES. Congrats to all involved and special thanks to Michael Neff, his workshop leader!
Moveable Type Managment has signed several NYWP and Algonkian authors since 2022
for commercial publication. Among them are Gregory Carpini Jr. and his
historical novel SHINEY POWDERED FACES; Jennifer Ericson and her cozy
mystery series CURIOSITY RESCUED THE DATE; Jody Gerbig's postpartum
horror novel TAKE CARE; and Gerri
Lewis' obituary writer mystery THE LAST WORD sold to Tara Gavin at
Crooked Lane. Most recently MTM signed MARKERS UNKNOWN, a tech-thriller
by writer O.E. Soderberg. In her own words: "It is a total dream come
true, and I can’t thank you enough for everything. Your conference is
truly one of a kind and has turned me into the writer I want to be."
Audrey Woods sold her short story, Miss Suspicious, to Brendan Deneen at Blackstone, whereupon
the film rights were sold to Universal Studios. Hollywood is beginning
to notice the Write to Pitch Conference, and we're going to keep it that
way.
Carola Lovering's best selling novel, TELL ME LIES, has been turned into a successful TV show on Hulu, now
going into its second season. The Write to Pitch Conference in New York
made it all possible. Great to hear from you, Carola!
I signed with my dream agent in late June of this year. My
experience at the New York Write to Pitch conference in March '23 was a
worthwhile investment that gave me the extra push I needed to fine-tune
my manuscript with a deeper insight and clearer vision for my story. The
pre-event assignments were key in guiding my revisions before and after
the workshop, and the personal attention Susan provided in the
classroom was invaluable.
- Wendy Tatum
The
Corviserio Literary Agency just signed Melissa Mohalla's SFF, SYMPHONY
OF CHAINS, for representation after meeting at the Algonkian NYWP.
Congrats to all those who made a new six-figures-in-auction possible!
Fingers X'd for a great novel.
The Cindy Bullard Agency as recently signed three new clients from Algonkian events, including A DEADLY GAME by Gayle Brown, and new novels by Scott Fleuter and author Nina Smith. Congrats to Gayle, Scott, Nina, and Cindy!
Just
wanted to let you know I signed with Bob Diforio from D4EO literary
with the novel we workshopped! You guys really helped me boost the concept to the next level, and btw, thanks again for the great new title, SECRET OF KILCHULLEN HOLLOWS."
- Samantha Schinder
We
just learned a pleasant surprise on the fly, namely that Talcott-Notch
agency's Amy Collins has signed a total of five writers from Algonkian
events over the past three years, most recently Joseph Hall's SF novel,
STEEL HOUND, now making the rounds at major imprints. On the other side of the city, Algonkian writer Shola Adedji was signed by Blackstone Publishing to write a new SFF series called SHADOWMAN. He and his editor, Brendan Deneen, met at the NYWP.
We're pleased to announce that Susan Breen's workshop group has once again produced a winner. A women's suspense thriller, A DEADLY GAME by Gayle Brown, was signed by Cindy Bullard of the Cindy Bullard agency. Congrats to Gayle, Cindy, and Susan!
You
guys have clearly worked very hard to develop a terrific event for
upcoming writers. It's exactly what people need: support in producing a
commercial idea, plus contacts to help sell it.... It was brilliant, and great to get to know you and Audrey too. I'm so glad I flew over from England or it.
- Harper Collins Author, Annabel Kantaria
I know three people who've attended [New York Pitch]. I went to one
of the after parties with one of those people. It's definitely worth
doing. One of those people got a six-figure book deal out of it, the
other two got very serious offers.
Prepare yourself to have to rewrite the book, though. The people
there will tell you what edits you'll need to make in order to sell the
book to them.
- Eleanor Konik
A Sample of Twitter Posts
______________________________
I received a contract from Harper Collins in 2021 as a result of an
agent I met at the NY Pitch Greatest Show on Earth circus. I say
"circus" not in a derogatory way, but as a good metaphor to utilize when
describing the creative and delightful social chaos of the event
itself.
The studios are the equivalent of circus rings, each with their own
culture, ringmasters, and applause. The hallways brim with
entertainment art like a maze between the tents, echoing with the sounds
of audition. Mouths are open, eyes are big, tears and laughter are
real, and I'm going again, even if just to watch.
And on top of everything else, I learned more about good fiction writing than in three years of groping for an MFA.
- Marion Clark (Bestseller3)
-
J.R. Roessl, who attended the 2020 St. Augustine Author-Mentor Novel
Retreat, was recently signed by a faculty agent at the retreat. The PM
announcement as follows: "Former model J.R. Roessl's HERITAGE, the
1960s-era coming-of-age story of the author raised on a boat built by
her father and christened Heritage, where the family dynamics were just
as treacherous as the pirates and stormy seas, to Rick Rinehart at Lyons
Press, for publication in spring 2023, by Adam Chromy at Movable Type
Management (NA). Audio rights to Addi Wright at Blackstone Audio."
Bombarded
with offers from agents at the New York Pitch Conference in 2022, Nan
McCann finally agreed that agent extraordinare, Paula Munier, should be
the right one to represent A MAN OF TWISTED WORDS. Congrats to all!
Agent Amy Collins of the famous Talcott Notch agency
just signed SFF writer Sandra Kruse to a two book deal. According to
Amy in a note to us, "My first time at the New York pitch as an agent
and I was blown away by the quality of talent assembled there, and I
signed not one, but two authors. I can't believe it." And it was
actually Sandra's second visit to the event. As she says in an email, "I
learned so much the first time that I came back six years later with a
different book and, this time, came away with an awesome agent. Thank
you! Thank you!"
Randy
Denmon's new nonfiction about rediscovering the other side of America
in an old Ford truck was just signed by NY faculty member, literary
agent Barbara Zitwer following a meeting between the two. Randy's
novels and nonfiction have won the Western Writers of America Spur
Award, the Faulkner-Wisdom Award, and he has been a finalist for the Ben
Franklin Award. He is also the author of THE FORGOTTEN TRAIL TO
APPOMATTOX.
A couple of big projects at the NYPC were recently signed by the
renowned literary agency, Moveable Type Management (MTM), for
representation to both book and film markets. These include the WW II
historical fiction pitched at the 03/21 NYPC, THE LAST AIRMAN by Roy
Qualls, and A MILLION MILES TO DAISY by Sam Nahins, a novel about an
assasination drone pilot out of Vegas seeking redemption by struggling
to save his mother from a corrupt and brutal nursing home.
NEWS : NEW YORK PITCH ONLINE
At
recent New York Pitch events held online via high-tech video
conferencing, upwards of 67 projects were chosen for professional
consideration by NY Pitch faculty for both book and TV/film markets.
Agents, publishing house editors, and producers in attendance included
agent Amy Stapp from Wolfson Literary, editor Hannah O'Grady from St.
Martins, film producer Ken Atchity of AEI/Story Merchant, senior agent
Michelle Richter of Fuse Literary, editor Elle Keck from Harper Collins,
editor Miranda Hill from Penguin-Random House, editor Chris Morgan from
Tor/Forge, editor April Osborn from Harper Collins, film/tv executive
Brendan Deneen from Assemble Media, senior agent Paula Munier of Talcott
Notch, and editor Gwen Hawkes from St. Martins. Novels selected from
multiple genres included SHOUTING AT LEAVES, WAR GODS OF AFRICA, ALL THE
GIFTED, GOD OF THE FALLEN, THE GIRL WHO SOLD DEATH, THE WASTELAND CREW,
RESURRECTION ARC, LAST SORCERESS OF ROME, AMERICAN CALIPHATE, THE RULES
OF HAUNTING, A MILLION MILES TO DAISY, THE SIFTING, WOUND SOWER,
GETTING RID OF DAVION, A DEATH OF ANGELS, THE DARK RESISTANCE, and THE
GREATEST ELECTRICAL SCIENTIST.
Melanie Bacon's DRAGON RIPPER,
a spin-off of Sherlock Holmes starring his sister and Jack the Ripper's
daughter, was published by Del Sol Press after being streamlined by
Algonkian workshops and edited by Algonkian editors. Talcott Notch
represented the author. Accolades from best selling author, Hallie
Ephron. Congrats all around!
Women's fiction author, Joani Elliot, just informed her workshop leader, Susan Breen, that an offer from Jennifer Weis Agency
was forthcoming following the NYC Pitch and that the NYC Pitch played a
major role in sealing the deal. No surprise there! Congrats to Joani...
Update: Joani has signed with a major affiliate of Simon and Schuster.
Attending the Algonkian Author-Mentor
Workshop in St. Augustine was a most excellent experience. By far, it
was the best investment I could have made in my progress as a fiction
writer. Knowing what editors, agents, and publishers are looking for
helped me refine my approach. There was a strong sense of camaraderie
among our group as we openly shared our stories. We've even formed our
own online group so we can stay in touch, and continue to support each
other in the coming months and years. Thank you for all you do to
encourage, educate, and guide aspiring writers to succeed. I personally
benefitted from the valuable insights and feedback I received from you,
Paula, Lissa, Hallie, Adam, and Bob.
- Sheree Richnow
Author Linda Rosen just wrote and said: "You were so generous in helping me create a better title for my book... THE DISHARMONY OF SILENCE.
Thank you so much! I want you to know, though the novel wasn't picked
up from an editor at the conference, after several revisions later, and
based in part on your editorial review, the novel is now coming out from
Black Rose... I wanted you to know of the book's success so far and my
sincere appreciation for all your help."
Pitch Playlist:
We've just learned from Loretta Marion, NYC alum, that thanks to the conference her career is flourishing.
Congrats to Marion! "Awarded an Honorable Mention by the New England
Book Festival and the Gold Book Award from Hungry Monster Literary
Awards, Loretta Marion's debut novel is a twisty tale of mystery and
suspense with whispers of romance." [ in her own words ]
We've just learned from Rebecca Fujikawa that she has signed with the prestigious Seymour Agency
after acquiring the necessary knowledge and editor leverage at the New
York Pitch conference in 2017. She wrote workshop leader Susan Breen to
tell her the good news. Congrats to Rebecca! [ in her own words ]
A BORROWING OF BONES
by Paula Munier, NYC senior faculty member and literary agent par
excellence, will be out from Minotaur books in September. Lee Child
calls it, "A compelling mix of hard edges and easy charm..." Paula is
also the author of the bestselling PLOT PERFECT, THE WRITER'S GUIDE TO
BEGINNINGS, WRITTING WITH QUIET HANDS, and FIXING FREDDIE: A True Story
of a Boy, a Mom, and a Very, Very Bad Beagle.
I recommend attending the
conference if you're open-minded about your work and, most importantly,
willing to change it. The four-day event is an emotional rollercoaster.
Be prepared for honest feedback. Comments about your novel will not be
sugarcoated. You may be asked to add characters, ditch a point-of-view,
or even switch genres... You'll be peppered with questions. Don't
defend. Rather, listen to ideas from those in the industry.
- Tracey Kathryn
The insights and learnings from the
Algonkian conference that I attended were instrumental in helping me
find a top literary agent (Red Ink) and resulted in the publication of
the very book that I arrived at the conference with. This book, now titled VICTIMS FOR SALE, was published and released worldwide by HarperCollins in 2018 and has recently been long-listed for the Bombay Film Festival awards.
- Nish Amarnath
MURDERABILIA By Carl Vonderau will be published by Midnight Ink Publishing come July, 2019.
The Algonkian New York event honed his story and pitch so perfectly
that he snagged an agent at the San Francisco Writers Conference. The
agent turned out to be Michelle Richter of Fuse Literary, a frequent
contributor to the aforementioned event in NYC. Michelle provided him
with excellent representation and an eventual sale to a terrific
publisher.
The Flapper, the Scientist, and the Saboteur by Charlene Dietz is now available on Amazon.
Char wrote to tell us, "I want you to know how those five days at the
Monterey Writer Retreat impacted my writing adventure. Paula Munier
shoveled lots of stuff my way, helping shape my soon to be debut novel:
put another murder right up front, don't kill a main characters while
still on stage, be sure to have a USP, change the length, change the
pacing, pay attention to where act one, act two, and act three happen...
The Retreat helped choreograph my novel to the point that when I delved back into the revision process real magic happened.
Thought you might enjoy reading these Kirkus starred reviews for my
debut mystery novel (2016) and also for its prequel (2017). Thank you
for the Monterey adventure!"
I just wanted to share my amazing
news with you. I attended your workshop in September '15, and earlier
this month, sold my YA novel and a sequel to Delacorte/Random House. I
just wanted to say thank you for the great advice and tough critique you
and the editors shared with me... I'm incredibly grateful.
- Kelly Coon
TELL ME LIES by Carola Lovering will be published by Simon & Schuster (Atria Books) .
Carola owes a significant portion of "getting over the top" to the NY
Pitch, not to mention the fact that editor interest gave her needed
"query leverage when querying agents at several top agencies" including
Janklow & Nesbit, who later provided her with great representation. Carola Lovering comments.
RIGHT OF ANSWER by Hilary Llewellyn-Thomas, a historical fiction about the first woman imprisoned in the Tower of London (who was the author's ancestor) was signed in contract to Trident Media literary agency, to be represented by Mark Gottlieb. Hilary Llewellyn-Thomas comments.
- Kelly Coon
The weekend I spent at this
conference was transformational for me, and one of the best experiences
of my life. It challenged my thinking, improved my craft, and helped me
as a writer. Best of all, it made me feel like a writer for the first
time in my life, and introduced me to a community of fellow writers with
whom I am still friends today. If you ever had the desire to write
professionally, and if you're willing to hear hard truths and do some
serious work, I highly recommend it.
- Ben Keller
With Susan Breen as my
workshop leader, our group was collaborative and supportive. Hearing how
other writers in the group improved their pitches was inspiring.
Because the conference participants are screened, editors know they are
not wasting their time. Each editor I pitched listened carefully, giving
suggestions and asking questions that improved my pitch. Susan followed
up, interpreting the editors' feedback to be sure each writer got the
most out of the encounter. Whether or not my manuscript had been
requested, I would have learned if my novel had commercial appeal and
how to best pitch it. Leaving the conference, I felt confident that my
novel did have potential and that I could effectively query an agent or
editor.
I got lucky. My novel was requested by four of the five editors I
pitched. Tessa Woodward at Harper Collins quickly made an offer for it,
and Paula Munier, who had read my first page at the conference,
represented me to negotiate a contract. After getting Tessa's notes, I
am now working on a significant re-write that will expand and improve my
novel more than I ever could have on my own...
Just so you know, I spent five years researching and writing my
novel before I went to the Algonkian Pitch Conference. For the past
year, I had been querying agents and submitting to small presses. One
agent requested it then didn't even bother to email back to reject it.
Two other small presses rejected it and all other agents and presses
didn't even reply. I owned a copy of Writer's Market, I had written what
I thought was a good pitch, I researched each agent and press so I
could tailor my query. Still, nothing was happening.
Attending the Algonkian event was an investment in my career as a
writer. For me, it paid off beyond my wildest dreams. No matter what,
though, it would have been worth it for what I learned.
- Kim Van Alkemade, signed by Harper Collins
The very first day, I was
told I needed to rethink the plot of my novel, and work through quite a
different story from the one I wrote. I was initially devastated, but
intent on keeping an open mind. I returned home wiser about the
publishing industry and had to go through the stages of grief over the
loss of my 400 -page baby. This was not a conference for writers with
thin skin. It is a conference for those interested in the almost
impossible goal of publication with a major publisher.
- Gregory Renz
Over the course of a week
at the St. Augustine Author-Mentor, you pitch, rewrite your novel, hone
your presentation with some of the best credentialed pros in both
publishing and Hollywood. Course materials help you see where you are as
a writer, and what your need to work on. You get to know your fellow
writers and realize that you are not alone in the confusion of today's
fast changing markets for fiction and non-fiction. And as a bonus, you
are in a huge suite overlooking the Atlantic and one of the biggest
beaches in Florida.
- Author Catherine Clark
I got two invaluable things
out of the recent Algonkian Writers Conference. One was the repeated
admonition to utilize all the tools of the craft. Even those of us
who've written for a living forever can always use this reminder. A
carpenter wouldn't attempt to frame a house without tools and neither
should a writer ever sit down without his or her full arsenal at hand...
Secondly, The Algonkian Writers Conference is a no-nonsense primer on
all that needs be done to prepare a manuscript for presentation. Agents
are deluged with thousands of MS yearly and only a few are ever advanced
to a publisher. Hence, a pitch, a log line and a synopsis must be
absolutely sensational to garner even the slightest attention. In that
regard, this is not a feel-good seminar. Some hearts were broken and
some treasured ideas were trashed by the agents who attended. But from
the first hour of the first day, faculty emphasized the cold facts and
discouraging numbers of the trade, urging us to beat the odds by
avoiding the errors and pitfalls of the amateurs.
Now, there is some unavoidable
tedium associated with such a gathering, when people are working on
projects that seem silly or meaningless to you, but I found it helpful
to pay attention to everyone's presentation in order to hone mine to a
better polish. In doing so I discovered that the focus of my project
needed to be compressed and a new angle of attack implemented.
- Burr Snider, Algonkian Veteran
Although I had a strong
manuscript already, the Algonkian Writer Conference played a crucial
role in helping me develop commercially viable marketing materials.
During the conference, I wrote a much more coherent hook, changed the
title of my manuscript, and composed a much more agent-friendly query
letter. I also learned how to structure the plot for commercial fiction,
which will benefit me in subsequent books. The result? In less than
three months, I accepted an offer of representation from Mark Gottlieb,
one of the top ten literary agents in my genre, which is fantasy.
- J.P. Gownder
The New York Pitch
Conference focused attention on a fairly major gap in the early versions
of The African Groundnut Scheme which was the lack of a strong female
character to help carry the story. The follow up Algonkian conferences
helped focus attention on the necessity of making sure every scene in
the book is part of the seamless plot. The Algonkian conferences also
pointed out the need to structure the story more clearly along the lines
of a classic three act play with an opening, middle and conclusion.
There is a Greek myth about the god Hermes boring a giant to death with
an endless story that is all middle with no beginning or end. So this is
not a small matter.
Also, the New York Pitch Conference and Algonkian showed me how to
present a book to agents. The technique is somewhat arcane and
unsatisfactory, but, hey, that's the system we've got. If you don't know
it, it is hard to get off ground zero.
- Interview with Alex Keto
I recently attended the
Algonkian Writers Conference and found the experience to be invaluable.
Michael Neff led the conference with ethics and integrity. He clearly
explained the tools needed to successfully write and publish including
reviewing tension, plot outline, character development, dialogue, and
perfecting a pitch and synopsis. Michael Neff carefully and relentlessly
worked with each writer to assist them in polishing their pitch for
agents and troubleshooting the novel in general. This was exactly where I
needed to be. Some of the feedback was, indeed, sobering, but I wasn't
promised the conference would be a string of feelgood sessions. The work
we accomplished was real and the feedback was real. I concur with the
review submitted by Burr Synder. My thanks goes to Michael Neff for his
patience and attention to detail in designing a writer's conference that
was truly meaningful.
- Author Sally Henry
I've been to three of these
Algonkian Writing Conferences, including both writing conferences and a
Pitch Your Book session in New York City and on the whole they provide
good education for a reasonable price... As the publishing business gets
more and more difficult, I'm not convinced agents and editors have the
time to read queries very easily. Being in front of them is a definite
way to improve your odds of at least getting decent feedback. The
Agonkian Writing Conferences provide, IMHO, far better value than some
of the 'bigger' conferences where the interactions are increasingly
staged and short-lived.
- Veteran Writer John Arnold
 Robin Stewart's techno-thriller, "Kill Signal,"
was pitched at the March 2016 and soon signed by Talcott Notch
Agency--represented at the New York Pitch event by agent Paula Munier.
The ms is now undergoing edits with Algonkian staff. Congrats to Robin.
This thriller is going to be a bestseller, we're certain! We love you
Robin!!!
 From Publishers Marketplace:
Sandi Ward's "The Astonishing Thing" pitched as "The Art of Racing in
the Rain" meets "The Curious Incident of the Dog in the Night-Time" to
John Scognamiglio at Kensington, in a two-book deal, by Stacy Testa at
Writers House. Congrats you old pitch conference! [more by Sandi]
 Amanda
Greenfield says, "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.
[more]
Roger Johns, an alumnus of the New York Pitch Conference,
wrote and told us: "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."
  Algonkian
alums Tracee Hahn (on left) and Britt Tisdale (right) signed recent
contracts as a result of attendance at the New York Pitch Conference.
Tracee's novel, SWISS VENDETTA, was edited and sold by Algonkian NYC
agent faculty to Elizabeth Lacks at St. Martins. Britt's women's fiction
novel, DAUGHTERS OF ROSA LA ROUGE, found home with Marsal Lyon Literary
Agency: "I re-vamped my pitch, also revised the book to reflect new
emphasis. 18 agents requested the ms..." [more]
At last count, an estimated 51 total manuscripts are currently in the process of being reviewed by publishing house editors.
More than 63% of total ms presented and discussed at length at our last
events were requested, and 75% of all ms requested were requested by
more than one editor. This high percentage is a result of intelligent
project screening, great projects, attentive editors, and liberal
applications of superb pitch craft.
I have to echo what Skate
and Eir and John Arnold said about Algonkian Conferences... Neff's
approach is simple and pragmatic - he teaches the writer to understand
the perspective of the agent or editor, whose job to sell your novel. In
my case, I showed up at the workshop with a completed novel. In the
workshop, we had to write a pitch and rewrite it, then we got to
practice it on a real, live agent who gave us feedback. Bad pitch?
Rewrite it and try again a couple days later on MORE agents. I will add
that everyone brought their laptops and at one point I passed my laptop
to Neff so he could vet my pitch, and he added a sentence or two, and he
did this for any of us who asked. So the conference is your basic Pitch
Laboratory. This is not to say it was easy. I found it tremendously
difficult to switch gears like this, from hardcore novel-writing to
hardcore market analysis - but once I got it I felt great. I realized I
can use this very pitch in a query letter. Or I can go to another
conference and pitch a bunch of other agents in person. Another thing we
got to do was to ask questions of the agents - and this, again,
de-mystified the whole process. Totally worth the price of admission,
and I won't hesitate to go again.
-Annette Stanley
|
"My
novel was requested by four of the five editors I pitched. Tessa
Woodward at Harper Collins quickly made an offer for it, and Paula
Munier, who had read my first page at the conference, represented me to
negotiate a contract. After getting Tessa's notes, I am now working on a
significant re-write that will expand and improve my novel more than I
ever could have on my own."
 Kim Van Alkemade, Author of ORPHAN 8
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 275
queries later, I attended the New York Pitch and by lunch of the first
day I knew exactly why my novel had failed. By the end of the day, I had
changed the title, made editorial changes to the story, and later, when
time came to query, I employed the strategy recommended at the
conference: research agents on Publisher's Marketplace and use the
editors from the conference who requested manuscripts as leverage.
Within one hour I received an email requesting a full manuscript from an
agent at Trident Media. Six days later I received another email about
my novel, THE ENIGMATOLOGIST, and requesting to discuss representation.
Using what I learned at the conference, I was able to do in what week
what I couldn't do in three years. I'm absolutely convinced that
everything I learned at the conference is responsible for my success.
- Benjamin Adams, signed by Trident Media Agency
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Cate
Holahan's DARK TURNS pitched at the NYC in Paula Munier's NYC
mystery/thriller workshop and sold to Matt Martz at Crooked Lane, the
new crime fiction imprint of Bookspan--two book deal. Publication set
for 2015. Paula Munier, NYC faculty, representing Cate and DARK TURNS.
Cate Holahan's DARK TURNS
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Algonkian
helped me develop a discipline around the creative process, enabling me
to write with a clear intention to publish. It has been a year since
the program and I continue to refer to the workshop material. From the
story analyses I learned to examine my own work with rigor.
- Sheela Sukumaran, PEN USA Emerging Voices Fellow
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"I
went to an Algonkian writers workshop in the heart of the Berkshires at
a pivotal time in my pre-career. I'd been trying to get published for
five years, and was stuck. The Algonkian instructors offered sage advice
and exposure to the industry so that I came away with a much more
realistic understanding. But even more than that, the Algonkian
experience brought together writers in a close knit environment that has
continued to inspire me eleven years later. Now with my third novel
about to come out, I credit my time in the Algonkian woods with helping
me get here."
Jenny Milchman, Mary Higgins Clark Award Winner
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Algonkian Author Salon's Kate Cox has signed with JENNIFER LYONS
AGENCY, and we couldn't be more pleased. Kate has attended several
Algonkian events, been a member of AAS, and has worked periodically with
Algonkian director Michael Neff on her novel, THROUGH CHAGALL'S WINDOW.
Her new agent, Jennifer Lyons (the third agent she queried), represents
numerous big name authors.
- Algonkian Author Salon
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|
"Understand,
before that I had never taken a writing class, attended a seminar or
workshop, I didn't even have a writer's group. The beauty of this
conference was that they had editors from major houses coming to listen
to our pitches and to give us feedback, and even to ask for our
manuscripts if they were interested. And I was one of the lucky ones.
Two editors asked to see a partial. I started querying about September
20, and my agent, Sally Wofford-Girand of Brick House Literary Agents,
made an offer of representation."
Sujatha Hampton, Author of AS IT WAS WRITTEN
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The
pitch conference gets tons of credit for my pending publication. Plus,
your advice on querying to only a few agents at a time, and Caitlin's
editing all contributed to my good news. Publication set for early 2016!
Thanks for putting it on and for encouraging scared newcomers like me.
- Angela Pisel, novel sold by Jill Marsal to Putnam
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|
"I
must confess that it surprised me when folks at the New York Pitch
Conference fastened on Thomas Edison's dark side as the most interesting
aspect of the novel ... Once you define the book as being about the
struggle between the Weisses and Thomas Edison's Motion Picture Patent
Company, however, a lot of diffuse stuff falls into line. Then I came
home from the recent Algonkian conference at Harpers Ferry, reread the
manuscript, and realized I had thrown away a great opportunity in the
second-to-the-last chapter to resolve the Edison/Weiss conflict in a
meaty and dramatic way. In a word, it was lame."
Irene Fleming [aka Kathleen Gallison], Author of THE EDGE OF RUIN
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The
Algonkian Park workshop was one of the most useful and stimulating
classes I've taken lately (OK, ever). The topics are very useful in
themselves; most creative people tend to hide from the business aspects
of what they're doing, and most workshops barely touch on this. (Also,
thanks for telling us the truth and not coddling us.) And naturally the
feedback of the agents was invaluable in its concrete,
one-person's-point-of-view way. But also, the writing exercises and your
methodology (e.g., PDQ) were right on. Frankly, I felt that I was
floundering the whole time and didn't produce very good stuff. But,
oddly, that didn't really bother me.
- Helene ("L.N.") Sproules
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|
"I
met with an editor from Plume, pitched the idea and she liked it and
after several weeks, and rounds of discussion and so forth, she made an
offer. Meantime, Michael Neff helped to set me up with my agent, who is a
lovely person at Trident Media. So I can honestly say that going to
that conference changed my life. Everything turned out so much better
than I had dreamed. I did sell my novel--not right at that moment,
because there is a process. But I did sell it because I went to
Algonkian's New York Pitch Conference."
Susan Breen, Author of THE FICTION CLASS
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I
want to say a little something about Algonkian Conferences here,
because it was the tough-love teaching method of Michael Neff that made
me a much stronger writer. And it was through his Algonkian Author Salon
that I connected with Carla Norton... The other wonderful (and
surprising) thing that came out of my association with AAS is that I've
discovered another passion -- editing.
- Lois Gordon, Algonkian Passions
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"You
may remember me participating then: I was in Charles' group - the cloak
and dagger brigade - and my pitch was about a mystery set in WWII
Sarajevo. I made a couple of successful pitches, one of them to Tom
Colgan at Penguin, and I thought you'd like to know that I've since been
offered a two-book deal with them. The first book should be coming out
in June next year. I thought it important to write to you because,
without the opportunity afforded by the conference, I wouldn't have made
the contacts I did."
Luke McCallin, Author of THE MAN FROM BERLIN
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I
had already sent my novel to an agent from Prospect Agency, telling her
I was accepted into Algonkian and this was the ms I was pitching. When I
returned, I was able to tell her I knew the novel needed a re-write
(thanks to you) and that three publishing house editors were interested
in seeing it when it's ready (also thanks to you). So she offered me
representation! She's going to work with me on it over the next few
months, and when she thinks it's ready, send it off.
- Jane Ann McLachlan, Signed by the Prospect Agency
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"I'm
writing to say a long-overdue thank you! Now that I'm getting into the
more tangible aspects - copyediting, cover designs, etc. - it's feeling
more and more that this is real and it's actually happening, and really,
I have you and your workshop to thank for getting the whole ball
rolling ... And even now, all this time later, I'm still using the pitch
that I wrote and worked on that weekend - a large portion of the cover
copy is based on it."
Gina Damico, Author of CROAK
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It was tremendously effective to receive training in specific
writing-enhancing techniques immediately followed by exercises that
cemented that training. Ditto the pitch development; if we had developed
the pitch but hadn't presented it repeatedly to both colleagues and the
agents, the effect would not have been so transforming. I appreciated
the intense focus of the conference; we did not waste time.
- Author Julie Kaewert
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"At
the workshop we read sections of classics and contemporary works
demonstrating craft concepts, we wrote vigorously, brainstormed and
critiqued sections of our works in progress, meditated, had readings,
and got one on one editorial attention. Many of the connections I made
at the conference remain with me to this day. Whether you've just
completed a first draft of a novel or a tenth draft, the Algonkian Novel
Workshop could be just the step you need to take your writing public."
Erika Robuck, Author of HEMINGWAY'S GIRL
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I
attended your Algonkian Writer's Conference at San Francisco's Fort
Mason back in May of 2010. I thought you'd be happy to know that after a
year of sending off query letters and partial and full manuscripts, I
finally found representation with Sam Stoloff of the Frances Goldin
Literary Agency in New York. I'm very happy. Sam is great! We submit my
YA manuscript to publishers this September. Thanks so much for all the
information I learned from your conference! It was very helpful and
worthwhile. How have you been and how are your conferences going? Any
other success stories?
- Writer Michael Hagan, signed by Frances Goldin Literary Agency
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"Several
weeks ago, I attended the Algonkian Write to Market Conference, north
of San Francisco. I met amazing people, made friends with wonderful
fellow writers, participated in some of the best live pitch critiques
you'll hear on the West Coast, and on the first evening was
ceremoniously sacrificed at the altar of upmarket fiction with two
fellow authors as witnesses and a horse-size cobb salad to bury my face
in. I emerged re-born..."
Author Birgitte Rasine
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I just wanted to let you know that the conference
did me a world of good. I had not spent time with literary people in 12
years, since I left the world of journalism. I had never before been to a
writer's conference of any kind ... I believe that once I make the
recommended changes to these projects I'll be onto something. I always
thought I could write well, but the peripherals of the publishing
business were daunting to me and I had lost contact with them. Thanks
for helping to bring me back in touch.
James Crawford
____________________________
I was beginning to get discouraged in the "find an
agent game." I'd managed to wrack up a more than a few rejections on the
queries I'd sent out. Then at the conference, with the help of an
amazing workshop leader, I was able to improve my pitch. Three out of
four editors at the conference requested my manuscript! That and the
enthusiasm of my fellow attendees gave me heart. With an improved pitch
and the editor interest to back me, I jumped back into the fray, Now, a
few months later, I've signed with Emily Sylvan Kim of the Prospect
Agency.
Amy Ester Fischer
____________________________
Despite my many years as a journalist and
non-fiction author, the transition into writing good fiction was
difficult for me. Upon taking the Algonkian workshop, it all came into
focus. For the first time, I am aware of the techniques and craft it
takes to write a competitive manuscript.
Dusko Doder, Author and Former Moscow Bureau Chief for the Washington Post
____________________________
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The
Algonkian conference was pivotal in moving my career forward. While I
went there thinking it was just a really cool way to meet publishing
editors, it turned out to be a portal into so many other avenues of the
publishing business. Because of the conference, I've signed with the
agent of my dreams!
- Dave McMenamin, Signed by Talcott Notch Literary Agency
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I've
yet to leave without requesting manuscript pages from participants.
What's more, the manuscripts deliver. I recently signed and sold Gina
Damico's YA fantasy in a two book deal to Houghton Mifflin Harcourt
after hearing her project pitched at the conference. Serving on the
Algonkian faculty has also been tremendously gratifying. Not only does
the conference attract a wide variety of writers working in many
different genres, it also has a great vibe--supportive, friendly, fun. I
highly recommend it.
- Tina Wexler, agent at ICM
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Algonkian
Workshops take one's work to the next level. With an intimate,
supportive, focused atmosphere and rigorous schedule, writers can set
realistic goals and get projects to the place they need to be to take
them to a wider market. As an agent, I appreciate that Algonkian writers
have an established sense of what works and what doesn't. Their
projects are a cut above the rest.
- Elise Capron, agent at Sandra Dijkstra Agency
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"So
pleased to share this news with you and extend my thanks once again for
the career boost from the pitch conference: "Rosemary DiBattista's
(writing as Rosie Genova) MURDER MARINARA, first in a new mystery series
featuring a quirky Italian-American family and their restaurant on the
Jersey Shore, to Sandy Harding at NAL, at auction, in a three-book deal,
by Kim Lionetti at BookEnds."
Rosemary DiBattista, author of MURDER AND MARINARA
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I
wanted to pass along the good news that I signed with Writers House
this week, and they'll be representing my novel TINY DANCER. I'm certain
that I would not have gained their attention were it not for the vastly
improved novel and pitch I crafted at the NY conference in June.
- Kelly McNeil, signed by Writers House
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"I
attended Algonkian conferences in NYC and San Francisco in 2009 and
2010. They were among the best experiences in my writing life. I met
some of the most powerful people in the publishing industry, both major
publishers and agents ... I was offered a publishing contract by Harper
Collins UK soon after my last visit to an Algonkian conference. I am now
translated into 10 languages."
Laurence O'Bryan, Author of THE MANHATTAN PUZZLE
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Two
of the four editors I met with asked to see my work and the other two
were very interested ... I credit the reception of all four editors to
the pitch. It generated questions which helped me explain in more detail
the vision of the project.
- Pam Binder, Best Selling Author
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"Algonkian
offered me the opportunity to be part of a real writers group where my
ideas and evolving characters were first introduced to other writers and
potential readers. That critique allowed me to tweak my characters and
storyline to perfection. Algonkian's approach in fine tuning my pitch
helped me to tighten my manuscript as well. As a result, my manuscript
sold to the very first publisher who saw it."
Roberta Gately, author of LIPSTICK IN AFGHANISTAN
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I
am arrogant, manipulative and intelligent, but not unrealistic. The New
York Pitch Conference was exactly what I needed - a reality check. I
learned what publishers look for and shy away from, and gained a deeper
understanding of the unlikely odds of becoming one of the few that get
published. I walked away with a lot of work to do - reworking parts of
my novel and studying my genre.
- Terri-Lynne Smiles
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"My
workshop leader at the NYC Pitch and Shop Conference, Michael Neff,
believed in me. The careful advice, connections, and publishing savvy I
received there made all the difference. Because of that conference, I
was introduced to the woman who became my editor at Berkley Penguin, and
later to the woman who became my agent."
Ann Garvin, author of ON MAGGIE'S WATCH
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Agent
Jill Grosjean requested to read my manuscript, ESCAPE TO LORELEI, one
month ago. And today, I'm proud and excited to tell you that she is my
agent ... Jill made a point of addressing the well written pitch and I
was quick to mention the Algonkian event ... I'm grateful that I had the
opportunity to participate in the NYC Pitch conference. What I learned
from the experience was invaluable.
- Loretta Marion
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"The
Algonkian Pitch Conference helped me constructively in channeling the
information into a focused pitch, which I used successfully, and as a
consequence, my novel, JERUSALEM MAIDEN, was published by
HarperCollins!"
Talia Carner, Author of JERUSALEM MAIDEN
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The
Algonkian Conference assignments helped me to refine the organization
of my novel, and see it in context of the actual market. The intensive
pitch workshops were brilliant for learning to see work from the
publisher's point of view. The agents were very generous with their time
and gave thoughtful feedback to everyone. I also attended the New York
Pitch Conference and can say that these two conferences have filled in
the blank left by my MFA: how to actually get published.
- Kari Pilgrim
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"This
conference helped me TREMENDOUSLY. Tremendously. I changed the title of
my manuscript after it was clear that our group didn't really care for
it, and the title change helped me realize some of the book's themes; I
was asked to submit my manuscript to an editor at Penguin (something I
put on my query letters); and I tightened my query to the point where I
was 90% successful in terms of agents asking for partials or fulls. I
also met some good writers there. Three of the writers in the group I
was in have made deals. I'm with Shaye Areheart; another writer is with
Plume; another is with Knopf."
Will Lavender, Author of OBEDIENCE
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Most
effective for me was learning how to write (and rewrite) the pitch
based on feedback from those in my group, and the editors. In the
process, I really dug into the book - what it was about, what I was
trying to say, what the strengths and weaknesses were - discovering
elements of it that I hadn't noticed before.
- Writer and editor Chris Stewart
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"The
New York Pitch Conference offered direct access to major publishing
houses, great mentors, and a community of supportive writers ... The
intensive workshops force you to crystalize the appeal of your
manuscript. That helps greatly in the pitch sessions, but also -- maybe
more importantly -- in drafting query letters and in editing the novel
itself. It's no coincidence that such a large proportion of our small
group found publishing success."
John Ford, Author of THE MORGUE AND ME
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If they just gave you what you paid for at the New
York Pitch and Shop conference - face time with serious decision-makers
from the top publishing houses - it would be worth 10x what they charge.
But they go further; personal guidance, encouragement, and honest
evaluations of your novel.
- Ginger Lombardo
My weekend at the New York Pitch Conference was one
of the few highlights in my beginning writing career. The tutoring from
the workshop leaders, the support and encouragement of my fellow
writers, and especially the feedback from the editors was well worth my
time and money. Three of my children attend private universities and
three others are enrolled in expensive athletic programs- (that's right-
six children, one husband, a mortgage and a whopping grocery bill)
pennies are precious, my spare minutes are few, but I considered the
conference invaluable.
I shopped conferences extensively before choosing
the New York Pitch Conference. Because I've a finished manuscript that
has been extensively work-shopped, I wanted a conference where I
received personal evaluation and critique by professionals who are top
in their league. I got what I wanted and more.
- Kristine Tate
I went to the most recent conference worrying how
to juggle four editors all wanting my well-written,
professionally-edited, much revised story. That was not a problem,
however. I learned that my masterpiece is going to rot until I learn how
to pitch and market the theme (a.k.a. premise).
At another writer's conference, I had 15 minutes
each with an agent and editor who, having previously read some of the
manuscript, told me my writing was excellent, the humor great, etc. But
they weren't interested. At the NYC Pitch & Shop conference, I
learned why. If you cannot sell your novel idea within the first two
minutes, the remaining time is for polite chat. That's the real world.
- Greg Bascom
The
New York Pitch Conference, as rumored, is cool, and like someone said, a
little like American Idol. Writers are real tense and anxious about
their meetings and the responses they are getting.
Some of them cry and others storm around, but the
pitch staff calm them down. They have too much stake in the process and
want to quit their day jobs.
I don't blame them, but ya gotta have perspective.
One of the coolest things about the New York Pitch
Conference is the venue at Ripley-Greer. Lots of art and cool theater
people and ooooh la-la dancers of both sexes mingling and rubbing
shoulders with the writers.
Never seen anything like it, really.
- David O'Keefe
I attended the most recent New York Pitch
Conference and as a currently unpublished author found it to be well
worth the time and expense. I travelled from North Carolina, paid for a
NY hotel (at a reduced rate thanks to the conference sponsor) plus
airfare. Not only was I able to refine my pitch and present it to
interested publishers, but participants were able to sit in on early
pitch sessions and benefit from the professional critique of other
pitches.
Oh, and by the way, an executive editor who has
worked with the likes of Tom Clancy is currently considering my
mystery-thriller manuscript for publication. How much is that worth?
- Guy Forcucci
Before attending the conference, one ought to do
one's research. From what I was led to understand, there were no
guarantees. It was not advertised to be anything more than a conference
for pitching to editors - face to face. I did not expect editorial help,
except as related to the pitch, and I was given more than I expected. I
was also given a peep-hole into the current state of affairs in
fiction, and I saw what kind of a crapshoot it is - not just for writers
but for editors, as well. I saw that editors who were known for taking a
certain kind of fiction could be on the lookout for other kinds, so
long as it met this nebulous criteria of seeming marketability. When I
parted with my $500, I knew from outset that there was a chance that
none of the editors might want to see my work, and even if they all
wished to see it, that there was no guarantee any of them would take it.
It was difficult, but it was an experience I'm grateful for. It was
informative, as well as being a reality check, it was helpful in
providing editorial contacts, and it was an opportunity for bonding with
other writers. The people in my group and our facilitator were first
rate human beings.
- Alice B.
I attended in March. Before applying, I studied the
website. I made sure I was the kind of writer who might find the
experience -- and hence the expenditure -- worthwhile. It was obvious
that there were no promises made regarding contracts, fame, or fortune.
What you were promised was face time with 4 editors, and what was
promised was ABSOLUTELY delivered.
On the first day, participants were aided in
developing their pitches -- a very different animal from the standard
query letter -- and during the following days, we pitched and honed
accordingly, all the while aided by the conference organizers and
presenters. Personally, I came away with more than I initially expected.
3 of the 4 editors asked for partials and/or the entire manuscript. My
novel is still under consideration by an editor I never would've reached
via the slush pile. Other participants had similar success, while
others still received a much needed reality check, or simply insight as
to how the publishing world works. There were disappointments to be
sure, but it wasn't due to the conference, it was due to the individual
manuscripts. Writing is a subjective art form, like love, and like love,
not everybody found a match during our "speed dating" sessions with the
editors. However, everyone in my group -- regardless of their success
level -- found the experience worthwhile.
Most importantly, I met a lot of great people who
do what I do and are at the same place in their literary pursuits. I
live in the Midwest. I don't come across many people who are aspiring
authors. Writing is a solitary endeavor and to have met a few
colleagues, as well as another writer with whom I now exchange work and
have a real and lasting friendship is, as the Mastercard ad says,
priceless.
- Amy Hanson
Like others, I came from quite a distance and found
the workshop to be more than I had been able to imagine, because I had
no idea that what we were going to learn was so labor intensive. I
couldn't imagine how it could take three full days to perfect a one to
three minute pitch. I can now, and really have a grasp of what I've
taken on. This line of work--writing fiction--is no where near an easy
task. Sometimes I wonder if I'm off the deep end, but I love the writing
and so am willing to keep trying. I appreciated the fact that there
were no punches pulled. The Shop staff were almost brutally honest when
it came to my writing and that is exactly what I wanted. And, I was told
what was wrong and what road to take to fix it. Again, exactly what I
wanted. I was told from the first that only a certain level of writing
was accepted at this 'conference', and I found that to be true. It was
scary exciting and intimidating, as well as motivating to participate in
this workshop. Like anything, no one thing works for everyone.
- Lisa Buie-Collard
I came from Canada, another from the Cayman Island,
others widely from across the USA. The conference offered training in
how to "pitch" one's manuscript, and it offered a face-to-face
opportunity to pitch to four editors.
It delivered.
There were days of discussion on improving the
pitch, rehearsal sessions, opportunities to discuss one's work and
whatever else one pleased with fellow 'wannabees.' Reduced cost hotel
accommodation across the street was also arranged.
I did not personally get a contract. Penguin did
look at my book and rejected it -- I can't believe that was for any
reason other than it didn't match their requirements.
Anyone signing up for this workshop should feel
comfortable that they will get what they are told -- however, a
guarantee of publication is NOT PART OF THE OFFER.
- Michael Hall
I attended the latest pitch and shop and found it
to be tremendously helpful. If you have honed your craft and written a
saleable product you should have no problem attracting an editor's
attention. You learn how to pitch in one minute. I didn't understand how
that was done. I do now, and I do it very well. I recommend it highly.
It was the the best writing conference I've experienced.
- William Holland
These are my experiences with the Pitch Conference.
I suppose in the back of my mind I went in hoping for some miraculous
discover me at the soda fountain Hollywood story. This didn't happen but
then I'm no Lana Turner.
The meat of the conference was preparing the pitch.
This meant giving the pitch to others in a group of about fifteen
writers and listening to their pitches. This helped me focus on two
things: what was my novel really about and how could I communicate that
effectively in as few words as possible? These may seem like simple
matters but to watch fellow writers struggle to make a compelling
summary of their works was fascinating and instructional. This process
was repeated and the improvement in the presentations was apparent. The
pitches were presented more confidently and they were worded more
confidently.
We had a good group. I respected them as writers.
Members of our group actively rooted for one another and we have kept in
touch since. All of the ones I have communicated with shared positive
stories. There are several I am hoping to see in print come some day.
I saw four editors. My pitch lasted two minutes
followed by the editors asking about three minutes of to-the-point
questions. One asked for my manuscript. After a couple of months of
mulling it over, it was ultimately rejected.
The NYC Pitch Conference was an excellent
experience for me. In a short time I learned how to see through an
editor's eyes. I understand now how to present my creation in that one
page query letter that seemingly every agent requires. Worth the money?
Not if you are only hoping for that Lana Turner type moment. But it
taught me what I needed to know to bridge the gap between art and
business. I would consider doing it again - especially if I knew I was
to have as enjoyable and affirming group as I had my first time. If I
were to drop something in their suggestion box I would have the team
create a conference for graduates of the first conference. If I were to
return, a lot of the basics I would be learning would be redundant.
BTW - the Lana Turner story is a myth anyhow.
- Martin Hill Ortiz
I attended the June New York Pitch Conference and found it to be an amazing experience.
Right off the bat there were no promises of
publishing contracts. There were promises of a reality check, help in
perfecting our pitches and face time with four reputable editors from
major houses. They delivered 100% and then some.
Our group leader, an established writer and
teacher, took the time to work with us to hone our pitch, making himself
available before our morning session began and it the afternoons. He
sat in with us when we pitched to the editors. Our face time with the
editors was not one minute, it was anywhere from five to fifteen
minutes. The editors also provided helpful critiques.
An executive editor from Penguin requested my ms, I
would not have had the opportunity to pitch to him if I wasn't at the
conference and my pitch would not have been perfect if it wasn't for the
guidance I received by my group leader.
Although not everyone was asked to submit their ms,
we all gained valuable advice and critiques to better our work. No one
in my group found the conference to be a waste of money.
I also agree the conference reminds me of American
Idol. We were all very nervous and very tense, but we bonded together to
cheer and support each other. Most of us still keep in touch and have
gotten together post conference. I've made valuable friendships and have
the support of other writers and that's priceless!
- Robin Tauber
____________________________
Dear Michael and Charles,
Some encouraging news since my return from our
workshop, I've managed to garner a blast of new agent interest in
reading my manuscript, a development I attribute to having fine-tuned my
pitch there with you. The following agencies received my new pitch via
email queries and are now reading the entire MS:
Levine Greenberg
The Rights Factory (Toronto)
Trident Media
Imprint Agency
Folio Literary
As to the chat forum, I did take some advice about smoothing
out the first few pages, it can only help...but left my opening
essentially as it was. I can see the value of mass response but a few of
us are emailing each other with larger chunks of ms which answers my
needs better right now.
Finally, the workshop was a good experience for me. I
benefitted from hearing the refining process go on for others' work as
well as my own. It was overall a great group of people and your own
leadership was terrific.
Thanks again.
Victoria Costello
____________________________
I'm a children's writer hoping to break into the
historical novel market. The Algonkian Workshop surpassed every other
conference I've been to. It wasn't "rah-rah" pep talks that do little
more than leave an unpublished writer frustrated. It was four days of
intensive, down-to-business training and face-to-face contact with
agents and authors who told us what we really need to know--and do--to
get published. And the agents invited us to send our book proposals to them, first. That's more than worth the price of admission.
Kathryn Dahlstrom, Author of The Good News Club series
____________________________
Algonkian Workshop is an intensive nuts and bolts
primer in learning and examining the techniques of storytelling and
dialogue. It gets the writer focused on the ingredients that bring a
story or a novel to life. Of the six workshops I have done in the past
four years, Algonkian is by far the best.
Michael B. Miller, Translator, Virginia
____________________________
The motto and approach, 'write from the heart, but
smart,' is pure genius. If you're serious about writing and getting
published, an Algonkian conference is the way to go.
Peter Eichstaedt, Newspaper Journalist and Author of If You Poison Us
____________________________
I have returned to writing after a 20 year hiatus.
The Algonkian workshop was instrumental in helping me focus and clarify
my characters and story. The small size of the workshop encouraged
interaction between attendees and with the facilitator. We all got a lot
of specific feedback on our work; the feedback was constructive and
specific. I highly recommend the Algonkian Novel workshop for anyone
looking for new insights on his/her work.
Amy Roeder, California
____________________________
From H. Scott Dalton (attendee at New York Pitch Conference)
Since the conference, three of our group, including
Will, have been offered contracts for the books they pitched (I,
unfortunately, have not had an offer yet). All three say the coaching
they received at the conference helped them shop their books more
effectively by tightening and targeting their queries.
For myself, I decided to attend for a few reasons:
-
It gave me a chance to meet other writers, folks serious about this craft, including some from the Big Bad Industry.
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It gave me an opportunity to get a reality check
on my writing and my book, and help me figure out how to market it to
maximize my chances.
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It might get me struck by lightning, get picked up
and avoid the frustrating query-and-rejection cycle I'm in now (please
note, though, I did not go thinking I was guaranteed a contract).
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Hell, it was a chance to go to New York.
As it happens, all but the struck-by-lightning
thing worked out. I'm still in contact with several of the folks I met
there, one of them Will, and we all continue to learn from each other.
Personally, I find it useful to be able to put names and faces to my
fellow rookies, and have at least one common experience to look back on.
And meeting one-on-one with four real live editors helped me gain a
little perspective on this business; the four of them, and all the rest
of you, are much more human to me now than before. For me, the
conference was worth the price tag.
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A
quick note to say thank you because I attended the Write to Pitch
conference in December (I was in Paula's group) and just landed a
contract with The Book Group agency for MAYBE WE MEANT IT which I
completely credit to the conference. I spent the winter editing my book
based on what I learned that weekend, as well as in the eBook. My agent
just landed a six-figure deal with Park Row Books!
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