The Other Pitch Packages Authors Should Prepare

Today’s post is by author Amy L. Bernstein.

When we talk about “pitch packages” in publishing, we’re usually talking about an author’s query letter and synopsis (for fiction), or a book proposal (for nonfiction).

These are standard elements that every author, with a bit of research and consultation, can learn about and craft for themselves or, better still, with assistance from an editor or book coach.

Then there are the other pitch packages that many authors don’t think about, but come in mighty handy as you begin laying the groundwork months before your book is published and even after it’s out.

To some extent, these other pitch materials are a mix-and-match affair. Borrow one phrase from column A, one from column B, and make something new. But pay attention to the nuanced distinctions among them as you write—for as the audience, placement, and formatting varies, so too must the sequence, tone, and scope of your language.

Here’s a rundown of four other pitch packages you will need before, during, and after your book comes out, roughly in order of importance and utility.

1. Podcast pitch

Whether or not you are an avid consumer of podcasts, being a guest on a podcast is one of the most effective ways for an author to make an impression on potential readers—and to do so on a reasonably large scale. There are 464.7 million podcast listeners globally as of 2023. This number is predicted to reach 504.9 million by 2024. The share of the U.S. population that listened to a podcast within the last week has skyrocketed from about 7 percent in 2013 to 26 percent in 2022. Only a fraction of these, of course, are geared toward conversations with authors, but that fraction reaches hundreds of thousands of listeners, at a minimum.

Therefore, pitching podcasts should be central to your pre- and post-publication marketing strategy—whether you’re self-published or working with a top publisher.

In some cases, your publisher or PR rep will help get you booked on podcasts. But that’s the exception rather than the rule. The vast majority of authors need to manage this task independently. Finding podcasts to pitch is a topic for another article (hint: it’s remarkably easy to do, given the proliferation of free and subscription-based podcast matching services). But that’s only half the battle. Competition to land a guest spot can be fierce and many hosts book guests six months or more in advance. So you’ll want to plan carefully based on your publication schedule.

To pitch confidently, you need two things: A short email pitch and a companion video (via Zoom, YouTube, Vimeo, or another easy recording platform) that showcases your voice, style, and approachability. (Here’s my all-purpose pitch video, by way of example.)

But first things first. Know your purpose (or purposes) in seeking a guest spot and prepare to share key information:

• Do you want to discuss just one book or a body of work?
• Can you clearly and succinctly describe your brand as an author?
• Are you willing to discuss broader topics related to genre, your writing process, marketing, self-publishing, and so forth?
• Do you have expertise to share in areas beyond your author identity? For example, I often discuss book coaching, offer writing craft advice, and how to live a creative life in mid-life.

Once you are clear on discussion parameters it’s time to research shows with a relevant track record of programming. Then write an email pitch that:

• Acknowledges the host’s areas of interest (citing a prior show is a bonus) and why you’re a good fit.
• What you’d like to discuss. As with a query letter, this should be short, targeted, and compelling. Be specific and sharpen your hook. Don’t sell your book—sell an idea, a topic, a fascinating question to explore.
• Note why listeners would find this interesting or noteworthy.
• Mention any prior experience on podcasts or, short of that, any public speaking you’ve done.
• Provide a link to your pitch video if you have one.

2. Book blurb solicitation

Traditional publishers will seek praise quotes (endorsements or blurbs) for your book ahead of publication. This isn’t a review, but a sentence or two highlighting the book’s value and impact, the best of which lands on the cover. You should augment that effort by reaching out to other authors, experts, and influencers on your own. (My publisher believes it’s more effective for authors to reach out directly, but there’s room for debate.)

Honestly, this is hard because it means asking a stranger (in most cases) for a favor—and that stranger may be a celebrity or successful author in their own right. How dare you approach them?

Requesting a blurb is a delicate ask. Pitching by email (especially if you can find a direct contact) is much better than messaging someone on social media, which often feels spammy. (That said: I sent a preliminary pitch to someone on Mastodon and he responded positively. So never say never.)

Your solicitation is structured similarly to the podcast pitch, but I suggest you treat this communication a bit more formally. Keep it short and adopt some or all of this etiquette:

• Your first sentences should make it clear how and why you value this author’s work. One trick I use is to share a brief quote from one of the author’s books that speaks to me—and which is relevant to my own book. Don’t overdo the flattery and do not introduce your book or your credentials in the first paragraph.
• In the second paragraph, put your book in a context that will resonate with this author: Does your story or area of expertise track closely with theirs? Did their work inspire yours? Are you trying to carry their legacy forward in some way? Establish a connection so that you avoid the appearance of reaching out at random. Draw on your hook-for-the-book language to help with this. 
• In the final paragraph, let the author know you’d be grateful if they’d consider writing a short blurb for the book, and that you’d be happy to send it along. Do not attach a file with this solicitation. You can embed an image of your book cover in the body of the email, if you wish. Offer a fairly long lead time—at least three months, though six is better—and make sure that’s a request, not an expectation.

3. All-purpose teaser copy

You’re going to need this boilerplate far more often than you may realize. This little mash-up of log line, synopsis, and teaser will serve a number of purposes, including for:

• Social media posts, combined with a cover image and a link for pre-orders or direct sales.
• Soliciting advanced review copy (ARC) readers.
• Sharing book news informally with your personal network (family and friends).
• Embedding in a newsletter—yours or another author’s as part of, say, a newsletter swap.
• Using in a blog post to introduce or discuss the book.
• Turning into a business card or postcard for conferences and festivals.
• Using in cover letters as part of a submittal package to a literary magazine to run an excerpt. This is typically helpful when submitting through Submittable.

Typically, your all-purpose teaser copy opens with a log line—a punchy sentence or two that captures the “feel” of the book, rather than the plot. This is followed by a very short plot/story synopsis (maybe four sentences) that doesn’t reveal how the book ends but offers the reader a hint or tease about the stakes.

4. Elevator pitch

When someone asks what your new book is about, don’t get caught stammering! Borrow from your all-purpose teaser, or your log line, or even your book jacket to craft a short, fun answer that you can recite from memory. Use the opportunity to make a strong impression. You never know where that will lead.

Crafting all these pitch packages may seem like a lot of work, and it can be. But you’re making a suite of materials that borrow from one another. If you already have tight book jacket copy, you can borrow some of that for the all-purpose teaser. If you’ve already dropped a log line into your standard agent query letter, then that’s another piece already made.

Parting advice

Above all, never lose sight of who you’re pitching to and why you want their attention. Oddly enough, the substance of any pitch package isn’t about you, it’s about your work and why it will resonate with others. So customize your pitch for the intended recipient.

Amy L. Bernstein

Amy L. Bernstein has worked with three traditional publishers who believed in her unagented work. Her latest nonfiction book, Wrangling the Doubt Monster: Fighting Fears, Finding Inspiration, is due out in September from Bancroft Press. Learn more here.