New York Write to Pitch - June 2025

[Chief Editor]

Introduction to Pre-event Assignments 

The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins.

You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks.

And btw, quiet novels do not sell. Keep that in mind and be aggressive with your work.

Michael Neff

Algonkian Conference Director

____________

After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done!

__________________________________________________________

THE ACT OF STORY STATEMENT

Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done?

What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below).

FIRST ASSIGNMENT: write your story statement. 

___________________________________________________

THE ANTAGONIST PLOTS THE POINT

(Photo : Javert from "Les Misérables")

What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash.

Let's make it clear what we're talking about.

By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve).

CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE.

SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them.

___________________________________________________

CONJURING YOUR BREAKOUT TITLE

What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality.

Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc.

Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING.

THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed).

___________________________________________________

DECIDING YOUR GENRE AND APPROACHING COMPARABLES

Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point.

Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business.

Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place!

By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully!

FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here.

- Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why?

____________________________________________________

CORE WOUND AND THE PRIMARY CONFLICT 

Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward.

But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on.

Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet.

For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here.

• The Hand of Fatima by Ildefonso Falcones
• A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God.
• Summer's Sisters by Judy Blume
• After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved.
• The Bartimaeus Trilogy by Jonathan Stroud
• As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world.

Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied?

FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication.

______________________________________________________

OTHER MATTERS OF CONFLICT: TWO MORE LEVELS

As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category."

SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction.

Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it?

______________________________________________________

THE INCREDIBLE IMPORTANCE OF SETTING

When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also.

But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers.

CONTINUE TO READ THIS ARTICLE THEN RETURN.

FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it.

________________________

Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers.

We have reviewed these and agree 110%.

MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer)

How to Write a Memoir That People Care About | NY Book Editors

NYBOOKEDITORS.COM

---

Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir.

MEMOIR MUST INCLUDE TRANSCENDENCE

Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach

MARIONROACH.COM

---

MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir.

WRITE IT LIKE A NOVEL

How to Write a Powerful Memoir in 5 Simple Steps

JERRYJENKINS.COM

---

When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others.

MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE

How to Write an Anecdote That Makes Your Nonfiction Come Alive

JERRYJENKINS.COM

---

Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

________________________

[MaitreyiAishwarya]

Assignment 1: Story Statement

 Discover her true identity and find her grandparents’ murderer.

Assignment 2: Antagonistic Forces

The main antagonistic force is found within the protagonist herself, Rosalind.  To shield her sensitive heart from the tragedy of her father’s death and her mother’s emotional neglect, young Rosalind circumscribed her world, creating a small, safe sphere with few friends and rigid goals.  Her tightly controlled reality is shaken when she meets a boy who wants to love her.  In this burgeoning romance, Rosalind’s inner conflict is her primary enemy. But, even as she starts to open her heart, Rosalid accidentally learns of a shocking secret her mother has been keeping from her, a secret that threatens Rosalind’s newfound security and hope. To determine the origin of the forces that harmed her family and to embrace the chance to remain with the boy she loves, Rosalind must return to her mother’s homeland, solve the mystery of her grandparents’ murder, and understand her true identity.

Assignment 3: Working Titles

The Legacy of Light: The Awakening

The Legacy of Light: Illumination

The Legacy of Light: Book 1

Assignment 4: Comparables

My first comparable is Rebecca Stead’s When You Reach Me. In both books, the main characters face the loss of their father and must solve a mystery relating to it. Elements of science fiction are interwoven into an otherwise realistic story.  Two differences are that my character is older, and the tone of my writing is, at times, softer and more emotional. 

For its tone and tenor, a second comparable would be “Sarah Dessen Meets Science Fiction.”  At its core, “Legacy of Light” is about a girl navigating her relationship with her mother, her hopes for the future, and a boy who genuinely loves her.  Told from the main character’s perspective and set in 2003 middle-America, this coming-of-age story deals with love, loss, and family secrets.   It so happens that these secrets relate to paranormal abilities and result in a struggle with a secret society.  But these are secondary facts.  The heart of the story is the protagonist’s journey to find her true identity and accept her place in the world.

Assignment 5: Core Wound and Primary Conflict

After a secure childhood shattered by the sudden death of her father, a teen girl constructs a safe reality for herself only to have it unravel when she discovers a shocking secret about her identity, an identity she must confront to protect her life and her chance at love.

Assignment 6: Conflicts

The protagonist’s inner conflict:

After her father’s sudden death and her mother’s subsequent emotional withdrawal, Rosalind found solace in her best friend and created an identity centered on academic success.  However, Rosalind’s rigid world is shaken when the new boy in town, Reid, expresses interest in her.   The fact that Reid is her academic competitor further contributes to her inner struggle.  Despite her intense avoidance, Rosalind is attracted to Reid’s sincerity and his own experience of childhood loss.

Scene that triggers protagonist:

Rosalind’s defenses against Reid crumble in the scene when she is exhausted and argues with Reid about the yearbook, for which they are co-editors.  After she storms off, Reid follows her to comfort her, and when she accuses him of having an easy life, he opens up about his younger brother's death from leukemia.  Reid’s grief and suffering, which so closely mirror Rosalind’s own experience, touch her core trauma, causing her to lower her guard.  Simultaneously, this connection to her core releases Rosalind’s paranormal abilities, propelling another layer of the story. 

Secondary conflict:

Rosalind’s newfound powers, ones she does not yet understand, dangerously explode when she accidentally meets another member of the secret group to which she belongs, unbeknownst to her.  This leads to the revelation that her mother has been lying to her.  When Rosalind is integrated into this secret group, the Light Seekers, she meets the leaders, one of whom is her mother’s childhood best friend, Mildred.  Though her mother feels only gratitude and comfort in her reunion with her long-lost friend, Rosalind is wary of this powerful and capricious woman who holds no fondness for her.  Rosalind is forced to keep her powers a secret and surreptitiously begins a journey to discover the cause of her grandparents’ murder over 20 years ago.

Assignment 7: Setting

Rosalind’s journey and her setting are intertwined.  As one expands, so does the other.  Rosalind’s story begins in a small town in Iowa where her father grew up and runs the family farm.  She lives down the street from her elementary school, her parents work at the local community college, and she takes swimming lessons at the YMCA.  It is safe, cozy, and mundane.

The summer following her father’s tragic death, the house across the street is remodeled into a beautiful fairy tale home, and an equally perfect family moves into this jewel.  Enamored, Rosalind becomes best friends with the daughter, a girl her age.  This magical and beautiful house is the first seed of change in the setting. 

Rosalind’s feelings for a boy are the catalyst that expands the setting beyond her safe Iowa town and beyond what she can perceive with her senses. She begins to see lights that are not there, and when she takes a trip to Des Moines, her visions explode into the real world. Rosalind discovers that reality is not as it appears, and she can see what is underneath the surface.    

Prompted by these events, Rosalind travels to a mysterious castle in Ireland and then to beautiful Sardinia.  These exterior settings, the all-American town, chilly Ireland, and sunny Sardinia, are the platforms for her journey to a deeper reality, one where she might find the answers she seeks.