March 11, 2009

Working on the Pitch Line

My horror novel is in the midst of being read by an uncle with a penchant for reading. Family members aren't exactly the best people to seek out for advice and feedback―my mother's pearl of wisdom was, "It's nice, but a bit too much swearing for me."―but my uncle isn't the type to slow pitch his response to spare my feelings. I told him to rip it to shreds if he feels he has to, so long as I can use it to make the story and the writing better.

In the meantime, I've been trying to think up the much-needed "elevator pitch" for the story. It's not always so simple to break it down to a single sentence without making it sound too vague. It can be done easily enough, but it's one of those things in the preparation that a writer can agonize over. Especially, a guy like me. I have a couple that show potential, but I still want to hash them out to get one that's baby porridge.

The synopsis is going to be fun too, as I have yet to figure out just how I should go about it when the novel has two parallel storylines running in different time-lines. I remember reading on one site that it's best to write the synopsis out like a summary that runs chronologically. I'm not convinced such an approach would work for me. Ah well, I'll cross that bridge when I come to it.

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