#editing team sends transcript or whatever to one of the writers

[cagedcats]

Going on a weird-ish tangent for some reason about the newest arc-

I feel like the main issue with the writing and characters is quite literally how many people are involved in the writing aaaaand that the editing team doesn’t… or never seemed to learn the characters from before them.

Such as characters we’ve known to be chill being uncharacteristically aggressive and characters flipping personality/opinions every book or so and just. Idk

Tho having multiple people writing one series isn’t a whole issue tho. It’s mostly the lack of communication between them. Which is the biggest fault in the writing process.

Finchlight supporting Nightheart in one book and in the very next book was treating him as a traitor for the very thing she supported him on. Having StarClan encouraging Leafpool to have a relationship, then treating her like an actual criminal that could be sentenced to the Dark Forest.

[astrovian]

Richard Armitage interviews Harlan Coben for the Win audiobook (released 18/03/21)

Full transcript under cut

RA: Hi, I’m Richard Armitage. I played Adam Price in the Netflix series The Stranger, which was adapted from Harlan Coben’s novel of the same name. With me is the man himself, Harlan Coben, number one New York Times bestseller, the author of over thirty novels, including the one you’ve just listened to. I’m delighted to be talking to Harlan about his book, Win.

Okay Harlan, thanks for taking the time to chat about your audiobook and thanks for sending me a copy of the book. Um, it was so nice I ended up wrapping it up and giving it to my brother for Christmas.

HC: *laugh* You’re supposed to read it first, but okay, thanks Richard.

RA: No, I got the electronic version so uh, so I’ve had a good read. Congratulations, a great story. Brilliant, brilliant central character. I mean the first question I’m gonna ask is – because people listening to this have just been listening to the audiobook – are you, um, a big audiobook listener yourself?

HC: I – I go through stages, um, because my mind wanders, I sometimes have trouble focusing. But when I’m in a car, um, that’s most of the time that I’m- that I really love to use the audiobooks because it does make the ride just fly by. However, I’ve set up my life that I don’t have to commute to work every day, so I don’t have it steadily – it’s usually when I’m doing a nice long ride, I get a really good audiobook and time just flies by.

RA: And have you- have you got any favourite audiobooks that you’ve listened to recently, or any podcasts or what is it that floats your boat?

HC: You know, it’s funny. I still remember when I was a working man, way back when, when audiobooks were really first starting out and we had them on cassette tapes, I listened to the entire Bonfire of the Vanities by Tom Wolfe, um, it was about thirty hours long, going back and forth to work for almost a month. And I still have memories of that experience, and it’s probably, well god, it’s probably 1990 I did that, 1989, something like that.

RA: Mm-hmm. Yeah, I mean I’ve got a- I’ve got a few journeys up and back from Manchester this year, we’re about to start working on Stay Close, so I’ll happily – I’m happy to take any recommendations of any good books, so maybe I’ll listen to Bonfire of the Vanitites.

HC: Well I tell ya, a lot of people – first of all, it’s a brilliant book, it’s maybe a bit dated, but I doubt that, um. I think Richard, I get more people telling me to listen to any book that you read.

RA: *laugh*

HC: I said, “Hey, I spend a lot of time with this guy, I’m about to do my second television show that stars Richard Armitage. No one I think has starred in two shows that I’ve done ever, so I get a lot of him anyway.” *laugh*

RA: You don’t need my voice in your head when you’re driving, that’s – that’s torture.

HC: That’s right, I’ll be hearing notes on, on scripts in my head if I hear you going. For those who don’t know who are listening, y’know, Richard starred in The Stranger, um, and now is going to be starring in Stay Close, uh, based off two of my novels which I’m sure you can get on audiobook.

RA: And on that note, what um, you’ve had so many adaptations now that have moved from page to screen – what is it like when you go through that process? When you’re – ‘cause you’re very hands on in the way that you kind of collaborate with not just the actors, but with the producers and y’know, the writers. I mean, you’re – you’re writing it yourself. Um, what is it like through, through that whole process, from starting to developing to seeing it kind of realised on screen?

HC: I think the key for me is not to be slavishly devoted to the novel. I think that’s a mistake that a lot of people who are trying to make an adaptation make. So, I go into it, ‘what is the best TV series we can make?’, if it’s true to the book, great. If it’s not true to the book, also great. Um, so I move my stories to various countries, we’ve changed characters around, we’ve changed motivations. Because they’re two very different mediums – a book is a book, and a TV series is a TV series. They should not be the same. One is a visual medium, one is not. Even, even um, audiobooks are slightly different um, than what you read. And they should be. Um, y’know, there’s a performance involved. 

Also, because I’ve spent most of my life alone in a room coming up with writing a book, um, where I am just everything – I’m writer, director, actor, key grip. I don’t even know what a key grip is, but I’m that. Um, it’s really nice to collaborate. So um, you’ve worked with me, I hope you agree – I like to collaborate, I like to hear the opinions of other people and um, I really enjoy that aspect of it. I look at it like I’m – like I get to be captain of a World Cup football team, rather than being a tennis player where I’m standing there on my own, which is what happens with a novel.

RA: Yeah, and actually it’s the same when I get to narrate an audiobook, like you say – you get to be director, you get to be the cinematographer to an extent ‘cause you’re setting the scene, but one thing that I’ve – I really appreciated about working with you was having read your, your books and sometimes you’ll pass by a character that is useful to the, to the narrative that you’re telling, but when that comes to developed for TV or film you’ll take a bit more time to investigate that character, and you’re very open to treading those paths, which makes for a very kind of dense narrative with the screenwriter.

HC: Well that’s what I think we’re trying to do. If you think about The Stranger, um, y’know in the book the Stranger is a sort of nerdy teenage male.

RA: Mm-hmm.

HC: And that just – we even tried out some people, and that just didn’t work. And it was really my idea – and I don’t say it in a bragging way, I say it as a way to show how open we all are – to change the character from being male to being female. And once I saw Hannah John-Kamen do it, then I pictured her in a room with you in that first great scene in the bar, um, or at the club when she tells you the big secret, it just worked. Um, you have to be willing to, to sort of stretch your imagination all over again and re-think your story. Which is also fun.

RA: Yeah, and also I suppose because y’know, as much as we love a faithful adaptation of a novel, um what you don’t wanna do is just deliver the novel in screenplay. You want to, for everyone that has read it it’s a new and exciting surprise, and for everyone that hasn’t it’s, y’know, it’s gonna be the same. So, um, it’s nice to kind of have a, to have your audience ready for people who have read a lot of your work, and there were, y’know, a guaranteed audience of people that had, had looked at The Stranger but what you gave them was something really surprising.

HC: Yeah, it was a lot of fun. A lot of fun. And Stay Close, there’s a change in the ending to that which will hopefully shock everybody but especially the people who have already read the book, who will smugly think they know exactly what’s going on.

RA: *laugh* And me, probably. I haven’t read it yet. Um, so when you’re writing – I’m gonna double up on this question now, so when you’re writing, do you write in silence? Do you have any music playing in the background or are you – do you have like a, a kind of sacred writing space?

HC: Um, my routine is not to have a routine. Uh I, I do whatever works until it stops working and then I change up. It’s like I’m riding a horse really fast, and then the horse dies so I gotta find a new horse. So most writers will tell you ‘yes, I use this space, I do it at this time’. Um in the days before Covid, I would go to different coffee shops all the time, I would try out different… any place. Y’know, my favourite example is the end of – when I was writing The Stranger, um with about three weeks left to finish it, I had to take an Uber for the first time. This was a number of years ago. I had to take an Uber in New York City, and I felt really guilty about spending the money on an Uber and trying to justify it, so I was sitting in the back of the Uber and I was writing down notes, and I start writing really well. So for three weeks, I took Ubers wherever I went just so I could finish the book *laugh*

RA: ‘Cause that was the magic formula.

HC: Yeah, that worked! Then that stops working and then I have to find the new, a new place. So my routine is not to have a routine. If you’re trying to write out there, the key to anything is ‘does it make me write more?’ – if the answer is yes, it’s good. If the answer is no, it’s bad. It really is that simple.

RA: I’m gonna make a note of that for when I start writing myself. Um, do you – do you speak any of your characters out loud, your dialogue or your prose passages, do you say it out loud?

HC: The very last stage um, of editing. Okay first of all, no writer gets it right the first time. I know a million writers, I don’t know any writer who doesn’t re-write and re-write a lot. Well, I know one but he’s the guy none of us wanna hang out with, you know what I mean?

RA: *laugh*

HC: So um, the last stage that I do, and it’s usually after I’ve done all the editing with my editor and everything like that, we’re ready to go. I will sit in a room and I read the entire novel out loud to myself. Um, because what happens is, it’s a little bit like a musical score. Where you can – if you read it out loud, I can detect false notes that I may have missed along the way. Um, I can hear them. So the last step is that. I rarely y’know, I’m not – I’m not crazy, I’m not sitting there maybe talking out loud to myself, I’m maybe testing out lines by doing that, and I do that a lot when I’m helping with the screenplays on our shows. But um, for the most part that’s how I do it.

RA: So, in that case, would you ever narrate one of your own audiobooks?

HC: I did narrate one, uh, many years ago called Promise Me. What had happened is we had -  my Myron Bolitar series we did seven with the same reader and he retired. I hadn’t written um, I didn’t write Myron for about five or six years it was. And so they said, ‘hey, why don’t you do it?’ which was a huge mistake in many ways. One, I’m not a professional. But two, the people who were fans of Myron Bolitar liked the first guy, and it felt to them liked they had tuned into their favourite TV show and every actor had changed.

RA: *laugh*

HC: It’s really difficult to re-do or start a series, uh, when people know the- the old reader. So um, I also figure- it was also, Richard you know this of course, so for people who don’t know, it’s a lot of work. I’m a guy from New Jersey. I speak very quickly, which does not go over well in audio. I don’t do voices. I would have to sit with a pillow on my stomach because uh, my stomach would sometimes grumble and that would be picked up- *laugh*

RA: Oh, yeah!

HC: By the microphone. And it took me um, a week to record it because – and I don’t know if this is still the case – but back then, the abridged version wasn’t just a cut up version of the unabridged, I had to do a whole different reading for it. So um, it was – it was a lot of work. Um, and it’s a skill that I’m not sure I’m best to do.

RA: Yeah, it does take a lot of stamina. I mean what’s interesting is, having gotten to know you, and when I, when I now read your work, I can hear your delivery, I can hear your voice. And there’s humour in the dialogue, and there’s humour in the as well, and I – it’s an instant ‘in’ for me, so I – ‘cause, ‘cause often I read and I speak aloud when I’m reading alone in the dark, I say things out loud but I think people approach it differently. But I definitely hear your voice in, in these characters. And I think particularly in Windsor Horne Lockwood.

HC: That’s so interesting because Win, I think of my heroes that I’ve had, Win is probably the least like me. I mean um, when you think about Adam-

RA: *laughing* You have to say that! You have to say that because he’s such a badly behaved person, isn’t he?

HC: *laughing* Yeah! ‘Cause I usually like to think of myself as more of like Adam in The Stranger, who you played, or some of the other characters that – the ‘I’m a father or four’ or those kind of guys. What I love about getting into Win of course is that Win is something of an anti-hero. Um, he sort of says and does things that are not necessarily prudent or appropriate, and he can get away with that. Um, so I really loved – I loved getting in his head, it was really an interesting experience. But on the surface anyway, he’s probably the least like me of any uh, main character that I’ve ever written.

RA: Yeah, I mean I- I relate to that totally. It’s a little bit like- it’s probably a side of you, you daren’t investigate, but- but when you get the chance to do it in a fiction um, you can tap into those things that we’re not allowed to do or say in your, in your regular day. But um, where did that character spring from? What was the seed that germinated into his story do you think?

HC: Rarely is this the case, but um, Win is actually – y’know, he’s the sidekick in my Myron Bolitar series but um, when I first created him I based him off my best friend in college roommate, who has a name equally obnoxious as Windsor Horne Lockwood the Third-

RA: *laugh*

HC: Very good looking, blonde guy who used to say before he would go out to parties when we were in college, he would look in the mirror and say, “It must suck to be ugly”. And so I took him and I tweaked him and made him more dangerous, uh and that’s how I, I kind of came up with Win.

RA: And does this person know that you’ve based this character on him?

HC: Oh yes! In fact, some people know who he is, he uses it. He’s still a-

RA: Oh, really?

HC: Owner of all these fancy golf clubs, he’s president of one of the most famous golf clubs, um, in the world right now. He looks the part. In fact, he one time came to one of my books signings years ago and um, he’s sitting in the back, and I tell people the story of how I created Win, and I say, “I’m not gonna tell you who, but Win is actually in this room right now”. It took the crowd about four seconds to figure out who he was, and he had a longer line to sign books that I did *laugh*

RA: Amazing. I mean I have to say, it’s- you, you start reading the story and thinking, ‘I don’t know if I’m gonna like this guy’ but he really grows on you, warts and all. I wonder how many people are gonna go into Saks on Fifth Avenue and go looking for the vault.

HC: *laugh* Yeah, no, I made that up. But there is place in Saks-

RA: I know, so brilliant!

HC: -but the rest of it is completely made up, this involves an app that you’ll read about when you- hopefully when you, when you read book. But yeah, it was fun to do an anti-hero where he makes decisions and does things that you don’t like, and yet you still wanna hang around with him. I always think the key to a fascinating character is not um, that he’s likeable necessarily, but that you wanna spend time with him. Not that he’s a nice guy, but if you were at a bar and you could sit with somebody and have a conversation with them and learn about their life, would this be a person you’d wanna do that with? And that’s sort of the test whenever I do a character. And Win, I think, passes that with flying colours. There are people who love Win and wanna be just like him and there are people who loathe him! But everybody, or I hope many people, are fascinated by him and his life.

RA: Well, also you’ve given him such an incredible kind of tool kit, like a skill set. I mean, I think everybody would look at that character and wish they could do the things he does, maybe not in the way that he does them, but I mean he’s- he’s exactly the kind of character that you’d hone in on, certainly from an acting point of view. I look at that and if I was, y’know, like fifteen years younger, I’d be leaping on that character to play. Which is, it means – it means he’s sort of relatable or aspirational in a kind of anti-hero way.

HC: I’ve heard this a lot, and I think it’s one of the most flattering things that I hear from my actor friends – I think everybody would want to play Win. I mean, I think the- it’s an interesting challenge, um, for a lot of actors. More so than even Myron Bolitar who is my lead series character. Um, everybody kind of wants to play win and kind of wonders who would play Win. Uh, and I take that as a – as a compliment.

RA: Are we gonna see more of him? Is he ge- are you writing more stories for him?

HC: My guess is the answer’s yes. I plan each book as it comes, so I never know until I’ve started. Is it gonna be a stand alone? Is it going to be a Myron Bolitar? Is it gonna be a young adult? Mickey Bolitar is now going to be a Win, and I don’t know until I – each book, y’know when I finish a book, I’m like a boxer who’s just gone fifteen rounds and can’t even lift my, my arms anymore, I gave it everything I had, I can’t even imagine fighting again or writing another novel. So I don’t know is the answer. Probably? I do wanna see Win again, separately or at least back with Myron, so I do think we will see Win again. But the book I’m writing right now is a sequel to The Boy From the Woods, which is the book that came out in 2020, so that’s what I’m writing now. Will I return to Win? Maybe. Maybe. We’ll see how- we’ll also see how people react. Not that I would work necessarily off of commercial interest, but it people really love this book, y’know, we don’t live in vacuum, that would probably somewhat influence what I do.

RA: Right. I mean, because so many of your- your books are being developed and being snapped up to be turned into film or television – I mean, Myron Bolitar is, is a recurring series waiting to happen, and then you’ve got your spin off of Win – I, I- I wonder if, y’know when your first ever, uh novel, did you write with kind of cinema television in your head? Is that something that as modern storytellers we can even avoid? Um, did you ever dream that these would ever turn into sort of film and TV?

HC: Well, everybody dreams, but there’s sort of two answers to it. The first answer is when I’m writing a book, I never ever, ever, not for one second do I think ‘Ooh, this would make a really good movie’ or ‘Ooh, this would make a really good TV series’ because that’s the kiss of death for a book. It really is. It’s, it’s- it’s just a disastrous thought, and if you’re out there writing really don’t try it, because it’s, it’s a big mistake. At the same time, to be realistic and honest, I grew up watching TV. Who didn’t? That’s my – I mean this is what we grew up with. To pretend you’re only influences – y’know you ask a writer ‘What’s your influences?’ “Oh, Shakespeare and Proust and Yeats” – come on. You watched TV growing up. And so that’s an influence on how you tell a story. To deny that is silly. So writers today do think in terms of cinema more just because they grew up with it. Where writers of a different generation did not, so they wouldn’t have that influence.

RA: Yeah, I mean I- I think this all the time – it’s impossible to even de-program your brain not to imagine scenarios in terms of cinema. I mean I- I often think about sort of Victorian novelists that didn’t have y’know TV, and their trying to describe something that they’ve never seen or experienced. And we have references for so many things – I mean it’s almost impossible not to, we’re- we are and will always be influenced by one or the other, especially in the written word. But I- I find that it means that you can kind of uh, put aside the investigation and just get on with the storytelling. And maybe go even a little bit further. It’s like instant access. Y’know, I know exactly the world that you’re talking about when you’re y’know at the beginning of Win, but- but y’know at the same time I felt there was something very Agatha Christie like about the um, the backstory of uh, of this book, I really liked the fact that there was a historic event that was really informing what was happening right now.

HC: Well, y’know when I start a book, there’s- I’m always- I have a bunch of ideas and I’m trying to think which ones are going to go in the story, and it ends up being several. So for example, in this book, I wanted – I’ve always wanted to do an art heist. Y’know, like the Gardner Museum Heist, where they still haven’t found the paintings that were stolen, the Vermeers and the Picassos that were stolen in that particular – I can’t remember if it’s Picasso now, I know it was a Vermeer – um, stolen in that- that, heist in Boston years ago, I wanted to write a book about 60’s radicals – the Weather Underground and what would happen to people who were involved in that so many years later. I also wanted to write something about a kind of Patty Hearst-type character who was a famous kidnapping here in the 70s. So those were like three of the things that I wanted to like – to delve into. And I ended up delving into all three *laugh* which sometimes happens. 

Oh, and the last one I wanted to do – I always wanted to do um, a hoarder that was actually someone famous. There was actually um, something of a case of this in New York City where somebody died who was living in a top floor of an Upper West Side building, and it ended up being the missing son – not really missing, but had just kind of gone off the rails – of a very famous American war hero. And so, I took all of these aspects, which would seem to make three or four different novels, and I make it into one novel if I can. It’s not that different from – again, I’m referencing um, um – The Stranger y’know, because you’re here and provably a number of the people listening to us have seen The Stranger on Netflix, but it’s the same thing with The Stranger a little bit, where I had a lot of ideas for secrets that could be revealed by the Stranger, and each one could have been a separate novel. And instead, the challenge is put them all in one story and find a way to hook them together.

RA: Yeah. I mean, it’s rich in a way that when I- I’m reading it and the producer head in me is saying ‘gosh, this is gonna be a great TV show’ ‘cause you know, you’ve got the present day, you’ve got the near-past and the um, the heist story, which uh, is kind of crying out for – you just want more of it, which is brilliant in a book. When you’re – you’re leaving the reader wanting to know more and wanting to, to know more about that family and what happens to them. It’s – it’s the perfect recipe, really.

HC: And so much of it does come from your life in ways that you don’t expect – right now, maybe a lot of people are watching this uh, the Aaron Sorkin movie about the Chicago Trials from the 70s, Abbie Hoffman, who is played by uh, I think Sacha Baron Cohen played him in, in the movie. When I was in college at Amherst, Abbie Hoffman was on the run, um, but he still showed up one day at our college and gave a speech, then disappeared again. And boy, that stuck in my head always. Man, I’d love to write a character that’s kind of like Abbie Hoffman. ‘Cause he had that charisma even then, y’know on stage he was funny as heck, I must have been eighteen or nineteen um, when I – when I heard him speak. And so that – I never consciously back then, I didn’t think that, but every once in a while those experiences come to head and you wanna write about it.

RA: Mm-hmm. You’ve been writing for quite a few years now-

HC: *Laugh*

RA: -you’re – I don’t know if you can even remember what it was like when you first stated your very first book. Um, and some people have said that books are like children in a way, you sort of rear them and then the more you do, the more familiar you are with that process. But would you – I mean, it’s difficult for you to answer this, but would you say you have a favourite book that you’ve written?

HC: I don’t have a favourite book that I’ve written. Um, this – this sounds self-serving, but it’s usually the book, the most recent book, that I like the best. Um, it’s a little bit like – and the way I try to explain this is – maybe you wrote a paper, an essay when you were in college which you thought was brilliant. You remember that moment in school and you wrote a paper and you thought it was brilliant and you find it now and you re-read it and you go, ‘wow, this wasn’t good after all’. It’s not that it’s not very good, it’s just that you have sort of moved on and you’re not that sort of person and so you see all the flaws. So in the older books, which I don’t re-read, I see all of the flaws. I always think, y’know even if you think of yourself, what you thought ten or fifteen years ago – you sort of go ‘ugh, what did I know back then, I’m so much smarter now’. So the same thing a little bit with books, where I think I’m learning more and the current book is better. One of the interesting experiences of working on these adaptation is having to go back and read a book – in some cases we’re doing one, the next one I think uh comes out in France for example, is Gone for Good, which I think was released in 2002! Or 2003. So I wrote it twenty years ago. And to have to go back and read it now, I’m always kind of cringing at some of the stuff-

RA: Mm-hmm.

HC: -some of the stuff I’m kind of thrilled with, like ‘wow, that’s an interesting twist. You don’t have that kind of ending anymore’ and some of it I’m like, ‘wow, why’d you go there?’ so it’s an interesting experience.

RA: Yeah, I feel the same. I very – I, uh, very early on in my career I would watch my work back in quite a lot of detail, thinking ‘I’m gonna learn something’ and then as I got older it was – it was almost unbearable to just do that. And I actually haven’t been able to do that, but it’s because when you’re – when you’re first starting out you throw everything you’ve got into that first breakout role that you do, and then your realise that you’re always in danger of repeating yourself and you think – ‘gosh, people are gonna suss me out that I’m only capable of doing one or two things’, but you live in hope that you can, y’know, find that one thing that you can completely reinvent. Y’know I still hope for that.

HC: I still think that everyone who I’ve ever met who is successful at what they do has imposter syndrome. If you don’t um, you’re prob- you have a false bravado and you’re in trouble. I always say, “only bad writers think they’re good”. The rest of us really suffer with that, and really questioning and always think we’re gonna be sussed out. And I can tell you, um, Stephen King sent me a book not that long ago because he’d nicely put my name in it and wanted my reaction. But even Steve, after all his success and whatever else, he still worries about the reaction, that he’s as good as he used to be, that people will still like it, he’s – I know him. He still worries about it. And when you stop, that’s when you’re in trouble I think as an artist, when you’re starting to doubt what it- when you don’t have the doubts, you start having an overconfidence that you sort of got this. It’s a little bit like my golf game, frankly.

RA: *laugh*

HC: There’s moment’s when I’m about to swing, y’know, I’m gonna be okay and then you get out there and you stink all over again. So-

RA: Yep

HC: -you’re constantly trying to get better and so I imagine it must be difficult to look at your old roles and you – you’re kinda cringing, right? You see all the mistakes you’re making. You see through you so to speak, right?

RA: Yep. Absolutely.

HC: And then someone will come up to you, right, and they’ll say, “Oh, my favourite thing you ever did was-“ and then they’ll list something you did twenty years ago, and you want them to pay attention to what you’re doing now *laugh*

RA: Yep. Yep. Seeing through you is, is one of the things that is quite haunting because I do, I see through me. I can’t shake myself off, if you know what I mean.

HC: Well, you are very cool, you don’t watch any of it until it’s all over. Uh, that’s correct right? You never watched any of our rushes or I remember trying to tell you that you’re doing great and all that-

RA: No, I watched, I watched the first shot-

HC: -and you had not seen any of it and I watch you every day when you’re on set working on our shows and I’ll comment if I see something or whatever, to either you directly or the director, uh, and most of the time I’m – I’m complimenting you, but you don’t – you don’t know either, because you’re not watching, you’re not getting lost in that.

RA: Yeah, I don’t like to watch or be somebody that studies myself to much, I don’t think that’s my job. I think my job is to be inside the character looking out, rather than the other way around. I leave that to the experts like you and the director.

HC: Also, I think it’s- I think if you start worrying about what – you’re right – and also you don’t have the distance. This is always an issue when I – I first start watching the cuts of the first episodes, and I read the book while I’m editing it, while I try to take time between my writing it and then seeing it, I have to sort of put myself in the position of being somebody who knows nothing about this, and doesn’t come in knowing the story already that I’ve already read or seen a thousand time. How do I keep it fresh in my head when I’m trying to be objective and watching it so we can make edits. Uh, both on the screen or on the page.

RA: Mm-hmm. What draws you to crime/thriller? What – I mean is that – I, I can’t often imagine you writing a romantic novel, but what is it that draws you to this particular genre?

HC: Well, y’know to me it’s uh, not really a genre. It’s more like – it’s a form. It’s more like saying it’s a haiku or a sonata.

RA: Mm-hmm.

HC: And within that form I can, and hopefully have, done everything. Um, I think The Stranger for example is more a story about family, uh, and the secrets we try to hide, rather than it is about who killed who – y’know, the mystery angle of it.

RA: Yeah.

HC: One of my most, uh well-known books, my first bestseller, was a book called Tell No One which was made into a French film starring François Cluze, and that’s really a love story, it’s about a man who’s madly in love with his wife and eight years earlier, she was murdered. And then eight years passed, he gets an email, he clicks the hyperlink, he sees a webcam and his dead wife walks by, still alive., And the pursuit, the wanting to get back, the hope for full redemption is really what drives the story more than ‘who killed who’.

RA: Mmm-hmm.

HC: So different stories do different things. But the great thing about the form of crime fiction is that it compels me to tell a story. I’m not getting lost in the beauty of my own genius, my own kind of navel-gazing. I have to continue to tell a story and entertain you. So any of the themes that I wanna tell, any of the things I wanna discuss, has to be slave to that story. And I think that’s probably a rich tradition. If you think about Dumas really, wasn’t that all crime fiction? Even Shakespeare is mostly crime fiction.

RA: Yeah.

HC: Most great stories, if I ask you to name a favourite novel that’s over a hundred years old, Dostoevsky, whoever, you will find that there’s almost always a crime in it. There’s almost always a crime story.

RA: I mean it’s one of the things that I get very excited about, um, I mean obviously I haven’t read your entire canon but I – there’s a signature, or a theme that you love to play on which is this idea that – that um, the people you know aren’t telling you everything about themselves, or that there’s something to hide and that in our modern world, with technology, we have this sort of ability to – to sort of lead multiple lives of truths or lies. And it’s something which I think we immediately recognise. ‘Cause I think we – we’re living that, that reality, and it’s a theme that I really enjoy about your writing.

HC: Well, first of all, thanks. Second, um, there’s a lot of things we’ve heard about the human condition. One of my favourites about the human condition that I used to write, is that we all believe that we are uniquely complex and no one knows the inside of us. And yet we think we read everybody else pretty well. We all think we are uniquely complex and the person across from us, we can kind of figure out. They’re not quite like us. Um, and that’s something I love to play with when I write. Because you’ve gotta remember that everybody is uniquely complex and on a humanity level, and on an empathy level, I raise my kids and I’m always teaching them that every person you see, the richest, the poorest, the happiest, the saddest – everybody has hopes and dreams. Just think that, when you see a stranger on the street, when you’re going to interact with somebody, when you’re getting angry at somebody, whatever it is – just remember, they have hope and dreams. Um, small little thought, but it helps me create a character as well.

RA: There’s also a- a kind of very strong level of self-deception involved, which I think can be quite surprising. Because you always read a character and go, ‘I’m not like that’ or ‘I would never do that’ and then if you really think about it, we – there’s a truth we tell ourselves about ourselves which isn’t always honest.

HC: Well, exactly. It’s really come to fruition in the world the last few years, where I kind of joked that I’ve been working too hard on making my villains sympathetic, the villains in today’s world don’t seem to be very – very complex at all.

RA: *laugh*

HC: But for the most part, people don’t think they’re bad guys. Even the bad guys don’t think they’re bad guys.

RA: Yeah.

HC: They have some way of, of justifying. It’s one of the great things about human beings, or one of the most prevailing thing about a human being, is we all have the ability to self-rationalise, to self-justify. Um, and so I’ve always tried with my villains, and I hope that I did it in everything that we’ve done together, to try to make even the villain – you may not like the villain, but you get them. I don’t really write books – I don’t write books where the serial killer is hacking up people for no reason, that doesn’t really interest me. I prefer the crimes where you can say, ‘Yeah, I wouldn’t have done it maybe, but I can see why that happened. I can see if I was put in that position, um, where I may have done something similar’. That to me is a much more interesting villain than somebody who’s just cruel and evil.

RA: Yeah. Um, final question actually, is – I mean, as a listener/reader yourself – are there any other authors whose books you love and just go back – I mean, you’ve mentioned Stephen King, um I’m with you on that one – but are there any other authors who really kind of inspire you and, and y’know, like a little guilty pleasure reading for yourself and not for work?

HC: Yeah, well the problem always is that I start listing authors, and then someone will say, ‘well, what about so-and-so who’s a friend of mine’, and then I say ‘oh shoot, I forgot – I forgot that one’.

RA: *laugh*

HC: Y’know I saw recently that it’s the eleventh anniversary of the death of Robert B. Parker, who wrote the Spencer novels, if by any chance you haven’t found the Spencer novels, and I don’t know how popular they are overseas – they’re fantastic, wonderful detective series. Um, so that’s one guy I would go back in time and try to find for audio. But I actually like Philip Roth a lot on audio, even though he doesn’t do crime fiction. I’m a big Michael Connelly fan and I like Lee Child, um and Laura Lippman. Y’know, I could sit here just naming um, people all day. I’m always curious also – who is reading – who does it because of the reader and who does it because of the writer. I know there’s a number of people who will listen to anything you read, Richard, because it’s you. Um, which is really quite nice, but it’s interesting the combination of the audio reader. I have Steven Weber, he’s been reading most of my novels, though I’ve had a female lead – a woman named January LaVoy who’s fantastic – and I think Weber captures my voice. He sounds a little bit like me, we both have a similar background, similar sense of humour, so part of it with the audio is also the match you end up making.

RA: Yeah. It’s interesting, isn’t it? Because I certainly find I don’t often get to read something which is purely my choice, I have a stack of things that are work-related, or that I’m about to record. So I don’t think I’ve – I’ve chosen a book recently which is just been- I don’t know how I would pick something, it’s usually a recommendation, so I’ll certainly have a look at the Spencer novels, they sound – they sound brilliant.

HC: Yeah, and they’re fun – there was a TV series in America for a while called ‘Spencer for Hire’ – this is s or going back to the, I guess the 70s or 80s I think. Um, those were not great, but the novels themselves were sort of – Raymond Chandler to Robert B. Parker to the guys who are working now. So he’s a huge – he was a tremendous influence on most of your favourite crime writers. I said in his obituary eleven years ago, I said, “90% of writers admit that Robert B. Parker was an influence and 10% lie about it”. So um, if you can find Robert B. Parker Spencer novels that would be a good clue for everybody out there.

RA: Brilliant. Well, that just about wraps it up. And uh, thanks for talking to me. I really enjoyed the book and no doubt it will be another best-seller and fingers crossed it ends up as a TV series.

HC: Well, thanks Richard, and I look forward to seeing you work on uh, Stay Close. I know that uh, Armitage Army out there *laugh* that – your, your loud uh supporters and fans who just adore you are going to go gaga cause you get to play somebody quite different from Adam in The Stranger. Um, it’s-

RA: Yeah. Looking forward to it.

HC: Yeah, it’ll be a lot of fun. Thanks very much.

[writing-in-the-tiny-house]

Order of Dust, with Nicholas J Evans

Follow this link to check out Order of Dust:

https://amzn.to/2Vx9LN2

Follow this link to check out The Ones Who Could Do Anything:

https://amzn.to/3ttCvCQ

The following is a transcript for this episode. For the complete transcript, please navigate to the show’s website.

[00:00:00] So I have a very important question for you, my dear friends, and this is how we're starting off this episode. Are you passionate enough about the things you like to do? And because this is this podcast, are you passionate enough about writing to be able to release something bad at first, knowing that you will get better later that going through those trials and going through the process of releasing something is part of the experience of getting better. Then you need to take a second and listen to today's guest, Nicholas J. Evans, who went from writing a collection of short stories in high school that he was convinced nobody would want to read to landing a three book deal today on Writing in the Tiny House.

[00:00:58] Hello. Hello. Hello, and welcome to the show. Welcome to Writing in the Tiny House. I am your host Devin Davis, and I am the guy living in a tiny house who is here to show you that you can write that work of fiction regardless of how busy you think you are. And the perfect example of that is today's guest Nicholas J. Evans. He is 30 years old. He works full time. And in his spare time, when he's not playing with his kids, he writes. And he has a beautiful message to share. And we will get to that message here in half a second. 

[00:01:58] As far as announcements go with this podcast, I have teamed up with Editor Krissy Barton, from Little Syllables Editing. She was on the show back in March, and we had a wonderful show. I fully recommend that you go back and listen to the final show that happened in March. She was here with me in the tiny house, talking about the process of editing. Anyway, I have teamed up with her to roll out kind of a new program. And I say that as a way to kind of tease.

[00:02:35] I apologize right now, but I want to let you know that fun things are rolling out, provided things work out according to a specific schedule. Sometimes I get some hairball ideas and sometimes the execution is kind of hard to do, kind of impossible to do at other times. And so we are discovering different ways that I can share my writing with you, my listeners, and also with people who don't listen to this show.

[00:03:10] So basically I have started writing some smaller things. I have blabbed on and on and on about my book about my works in progress, and I still have those. And those have certainly not been like thrown in the garbage or something stupid like that. They have been put on the back burner for a second, just because I am eager to share my writing. On this podcast I blab all day long about the tips and tricks to do it. And so I actually want to show examples. Release something for people to read sooner than a book, sooner than a full blown novel, which can take up to two years or longer to write or produce or whatever, especially if you're not already published through a major publisher.

[00:04:03] And so I have started doing some shorter things. They all tie into the books that I'm writing. They are short stories set in the same world as the books that I am working on too. And these, I am going to put on a schedule. I will tell you more about what that whole schedule will look like in a later episode of Writing in the Tiny House, but be excited.

[00:04:30] This whole process is so fun. Writing something according to a schedule is hard and awesome. And it really gets me excited about writing and it gets me more eager to share it with you, my listeners, what I can do, what I have done, some of the ideas that are in my mind. And so it's not just about advice or guidelines anymore.

[00:04:59] Now we are going to actually have the real written word to share with you on a regular basis. So I will touch base on a later episode to give better explanation and better description as to what all of this is actually going to be. But I wanted to share with you today that things are in the works. And so that's super exciting.

[00:05:26] So without further ado, let's go ahead and meet our guest. Nicholas J. Evans.

[00:05:35] I'm originally from New York and I've moved a lot over the course of becoming an author, and I'm writing novels and writing short fiction, so I lived in Delaware for a brief period of time. And I currently live in Maine with my wife and our three very young children. We have three daughters, all under the age of five and I work full time.

[00:05:56] I travel for work which means I, am not home as much as I would like to, be, but I try and use that time to my advantage. And that's where I work on a majority of my stories. So I work on them when I'm in hotels. I work on them when the kids are asleep at nap times, pretty much whenever I get the opportunity. Even going as far back as to when I started writing short stories, I would work on them on my phone, just so I would have the time during brief periods of the day.

[00:06:22] As you can see, Nick is a busy man and the idea of fitting in writing where you can fit it in is not new to most writers. Most writers do not support themselves with their craft. And so to be working a job and to be cranking out novels in his spare time is something that a lot of us are doing, which is so cool and so admirable.

[00:06:44] And so I wanted to find out a little bit more about his published works and what he's working on now.

[00:06:52] I began writing Order of Dust, which was my debut novel all the way back in 2017. I actually was working on a different novel at the time and I had hit writer's block. It was a completely different genre too. And I was like, I need something to work on. What am I going to be working on, while I'm just sitting here staring at a screen not knowing what to put down?

[00:07:11] So I began writing something that I originally thought I was going to release as a graphic novel. Actually, I began writing it in a script format with the hopes of sending it out that way. and I found that might've not been the right medium. So I turned around and started drafting it into a novel. And then around 2018, I was finished up with the second draft of it. And then I had started sending it out to publishers directly because it was my first work. I didn't want to get anything agented. I didn't think I was there yet. And I was lucky enough to get picked up by the Parliament House for a trilogy for my series. So I was very excited about that and I mean, that led to where we are now with the novel release in 2020, which was a weird time for books to release. It was a little bit of a different experience because everything had to be pushed digitally. We couldn't do signings. We couldn't do cons. We couldn't do anything. so a lot of it had to be just reaching out to different digital agencies to take care of things for us and hope that things were going to go well. Luckily enough, they did go well, which led to me working on throughout 2020 after we were already edited and everything was finished up for Order of Dust. I ended up working on the second novel of the series. And I had just finished a different novel, that I'll go into in a little bit that is actually releasing this September for a different publisher. COVID was very, very unfortunate and working from home was very difficult, but at the same time I was able to try and use as much downtime as possible to really hammer this out and give what I feel like is even a better product than the first novel. 

[00:08:48] So the name of the trilogy is For Humans, For Demons, which will make sense in the grand scheme of things? So it's For Humans For Demons. The second, book comes out January of 20 22, no release date on the third, but I am halfway through the first draft of it and very excited. And then, Like I said, I do have another novel coming out with a different publisher in September of this year. 

[00:09:11] The For Humans For Demon series is essentially about what if modern religion collapsed Similar to what we've seen in history where different religions end up taking the forefront. And this is about what if it's turned on its head and what if in a modern society what everybody believed to be true ends up not being? And everybody finds out about that truth and the chaos that ensues.

[00:09:36] So bringing that as the larger universe, it focuses on the story of one character Jackson Crow who dies at the hands of the Unascended, which essentially to bring it to better terms a soul in this universe is called a Dust and sometimes they do not ascend for different reasons. So they end up remaining and taking on a host basically. They take over a body of a living person and they hide among people. Jackson was unfortunate for him and his fiance, were assassinated by one of the Unascended, which leaves him with a little bit of a grudge, and he gets the chance from the true higher beings to come back and basically work for them to take care of the issue, which is these Unascended who are hiding as normal people are committing heinous crimes that they are not actually being targeted for. 

[00:10:28] So it's all about his story, about getting revenge. And then it slowly opens up to this bigger issue at hand, which is the world around him that is essentially collapsed because people do not have a belief structure anymore. And that goes for all of the different religions and how it affects the different groups of people, which really ends up coming out in the second and the third books

[00:10:52] So I have read Order of Dust and it is a wild ride. It is fast paced. It is exciting. It is filled with action and all of the things you could hope from a book like that. And so I wanted to figure out what was his inspiration to write a book like this.

[00:11:10] I wanted to write something That was, based on religion. I wanted to go that route. But originally when I was doing this, the only idea I had was what if somebody had to hunt people? What if somebody had this job where they had to hunt people cause they were different? And it just kept breaking down until I was like, well, what if he's also different? A lot of the influences for that book came right from graphic novels from monga, from old scifi, noire stories. So things like Philip K Dick or even things like Alan Moore or Neil Gaiman. A lot of inspiration from Yasuhiro Nightow who is best known for writing Trigun in the nineties and Gunn Grave. So a lot of that I want it to kind of mush together and I was like, this would just be something fun. And, and that's what I did. 

[00:12:00] Book number two was Wing Clipper, that one releases in January of 2022. And that one is going to break into the larger world. The first book was very focused on Jackson, focused on introducing characters and introducing some antagonist, but the second book really opens up. It is longer. So it won't be as fast of a read. But that was the goal. I wanted to introduce people in a way, almost like what Stephen King did with Gunslinger, the dark tower series. The first book gunslinger is very short. It's a very quick read and then slowly gets longer.

[00:12:31] That was my goal here is I want to get people drawn in and then really open it up in the second and say like look how everybody else has been affected by this. And then the third book right now is called The Arm of the Savior. In the third book, we'll close everything out in a very large scale. I've been building up to something with these hoping that it ends in a larger way than it started, where it starts very narrow, very singular, and it ends more global. And that one does not have a release date as of yet just because the second book's not even out, but I would say that's probably going to be somewhere around, early to mid 2023. 

[00:13:07] Now while his trilogy for humans for demons is with one publisher. Nick has done what many successful writers have done. And he is publishing another book under a different publisher. Another publishing house picked him up for this book for this idea. And so. Just depending on contracts and agreements, it is entirely possible for a person to put out work under various different publishing houses.

[00:13:39] And Nick has done that too with his upcoming novel that releases this month, even though in the dialogue here in the audio, it says it releases in September. We get to remember that it is now September and this interview wasn't recorded this month. So please don't get confused. 

[00:13:57] The book releasing in September is with a different publisher, Black Rose. What ended up happening was I was working on another while I was doing the editing process for Order of Dust. I wanted to work on something else, but I didn't want to dive into the second book without first working with the different content editors, the line editors to kind of get their idea and feedback on that first book. But I wanted to work on something.

[00:14:19] I had been writing a lot of shortstories, and I wanted to break it up from the normal. And at the time I had just come up to Maine for work. So I was very far away. My wife and kids were down in Delaware. On the weekends I was driving down there 10 to 12 hours to see them and then driving back So it was a lot of alone time for Monday through Friday. And I just felt like I needed to do something with this time, so I wrote the book.

[00:14:43] It's called The Ones Who Could Do Anything. And it's an urban fantasy, but it's mainly just about dealing with struggles. I don't want to give too much away, but surviving after something terrible happens. And it follows just a group of young people who find each other because of their misfortunes and discover that they have some innate abilities that lend themselves to each other. So it's, again, it's something that at first, and this is, this is what I loved when I had brought up to the publisher at first, they were like, this sounds like, like the premise of it, like something that we've read a hundred times.

[00:15:21] And I was like, I know, you know, I'm not trying to give you something that everybody already knows just by looking at the cover of the book. But luckily they were like, you know, We read the first three chapters of it. Can you send us the rest of the manuscript? And when they did, they really like, they're like, this is different.

[00:15:37] As many writers bring out a certain work or certain ideas or bring these different things to life. Oftentimes there are specific goals that they have with these things. And I wanted to find out what was the reason behind four humans were demons and this new book, because they are so different, different publishing houses.

[00:16:06] Different ideas, different concepts. And so I wanted to figure out more about that.

[00:16:11] One thing I would love for everybody to know is everything that I write and put out. I want to be very different. And I think the people who enjoy For Humans For Demons and enjoy that series, maybe would read The Ones Who Could Do Anything and feel like, this is different. It's a little bit darker and more base of reality rather than something that's completely scifi.

[00:16:33] But I want everybody to be open minded to that. I think some of my favorite authors branching from every different medium, have always tried to dabble in that a lot of their books are not linear. Obviously there are authors out there who do release very similar books and they do very well. But when I think of my favorite Neil Gaymon I don't feel like his books are the same. I feel like I pick up any of his books and they're different and that's my overall goal. And I wanted to let people know that right from the start, because I want people to pick up different books and be like, this is different from that one. And I love them for what they are. 

[00:17:06] And so came the big question. How did any of this get started? How far back does this go for him? When was the first time he put pen to paper in a creative way? And how did all that go?

[00:17:24] I appreciate this coming up because I don't get to share this a lot because I don't want them to intertwine, but I've been in bands my entire life. I was a musician for most of my life. I'm 30 now. I was in bands all through high school and everything.

[00:17:36] And then in 2011, I was in a band called Nora Stone, and we were a post hardcore group. I say we were, but they're still together. A hardcore group. And we ended up releasing a short EP and it got us on a label. We did a lot of traveling. We did a lot of touring. So were on the road, a good amount. We did Metal Mayhem Festival.

[00:17:56] We did Crowd Surf America with CHODOs and Blessed the Fall. This is all a bunch of Warp Tour bands. But we did a lot of that for a very long time. And after the birth of my first daughter, I realized I had to start dwindling it down. I had already started the career I'm in now.

[00:18:11] And I was like, what can I do? And back in high school, and when we're on the road, I would just write short stories. A lot of it, I'm going to be honest with you. If anybody remembers my yearbook shout outs to to New York, if anybody remembers my yearbook, it asks something about what do you want to do?

[00:18:26] And at the time I want it to be a graphic novel writer. And that is in my yearbook. So I would just create characters, write backstories for them. And that's what I would do on my phone to pass the time is what I thought was fun. So when I moved to Delaware and parted ways with the band, I needed something to occupy my time and I did not want to dive back into music.

[00:18:45] I had done it for too long. I didn't want to start over. I ended up just writing short stories again on my phone for fun. And my wife had actually read one of them and she was like, how come you never release anything? Like, how come you just sit here and write in the notes section of your phone and then delete it.

[00:18:59] And I was like, I don't know. I don't think I have anything people want to read. I worked on something and she read the first draft of it and was like, I really like this. Like, you should just try and get this published. And I was like, I don't think people are going to like it, but okay. And then it got published.

[00:19:13] And then all of a sudden I have my mother, my friends, my family, who were like, you know, I like this. I don't understand why you didn't do this sooner. And I'm like, I, I don't know. You probably wouldn't like what I wrote in high school.

[00:19:23] And so this is actually the take home, this upcoming little statement that Nick makes for me during this interview. And this is why I opened this episode with that question of, are you willing to release something bad or at least release something that requires some refinement and requires some work in order for you to get better?

[00:19:45] My biggest piece of advice, would first, I guess we'll start with one. Right. Even if it's bad, even if you just have a story in mind and you're like, I'm not going to put these words together properly, and people are not going to like this Cause that's where I was at. Write. And then just send it in. Have faith in yourself, send it in and trust me, trust me When I say the publishers are going to tell you when it's bad I've had a lot of publishers. I've had my own publishers tell me it's bad. And that's just part of the process is how you get better. And I've said this in the beginning, but I feel like every time I write something new, it gets better.

[00:20:24] And for new writers, that's going to be the case. The first thing you put out there might not even get published. And then you have to really look at the feedback you got and say.

[00:20:31] Okay. They didn't like it for these reasons. Is it the story? Is it me? Is it something I need to change? But at the same time, you want to maintain your own voice and you're not going to please everybody.

[00:20:42] And eventually you'll get good enough. And eventually the right publisher will come along, have faith in your project and really carry you through the way. And second piece of advice, listen to your publishers. If you're going that route, if you're going self published Listen to your beta readers and listen to the editors that you bring on.

[00:20:58] But if you're going a traditional or an indie publisher route, listen to them. Because most of the time, 99% of the time from my experience so far, they want what's best for your book without removing the parts of the book that make it yours. So definitely just write whatever you can send it in. They're going to tell you it sucks and then listen to them when they tell you it sucks.

[00:21:22] And that is the biggest lesson with developing any form of talent, just like learning to play the piano or learning to play a musical instrument or learning how to paint or draw or whatever. It may be different skills that you have at work. So wing. I don't know. All of these things are talents and talents require practice and paying attention to feedback.

[00:21:49] And so that means that sometimes you get to be brave and you get to write something that may not be great. And you get to give it to a few trusted people in order for them to find the holes in it that you don't see. And in order for them to pick apart some of the clunky things and to offer some guidance and some advice.

[00:22:10] So that, that bit of work can be even better than it was when it, when you began it. And so that is the take home from me to you. If you are looking to seriously get into writing, and it's not something that you do all the time, just start, write anything and then give it to somebody to critique.

[00:22:34] The feedback is the most important lessons. With writing so that you can get better hearing how your work can improve is a very vulnerable space to be in. But it, like I said, it is the biggest lesson on how to do it better and on how to make that specific piece better. So that is it for today. If you are interested in reading Order of Dust or The Ones Who Can Do Anything, go ahead and follow the link in the show notes and you will be able to check those out. 

[00:23:09] Otherwise, thank you so much to my patrons who donate to this show every month without your generous donations, the show could not be possible. Go ahead and follow me on social media. My Instagram handle is @authordevindavis and my Twitter handle is @authordevind. Thank you so much for listening and have fun writing.

[00:23:33] 

Check out this episode!

[alittlefrenchtree]

Is every media article that comes out instigated by an actor’s or studio’s pr teams? Or do some outlets monitor social media, etc, and report on some stuff just for clicks or whatever? I’ve always wondered about that.

(Disclaimer: I’m going to try to answer as best as I can but I obviously don’t know everything as I’m not some big entity in the media game) and I studied and work in France so I assume some things are slightly different in other countries and cultures).

No, they’re not behind every word said/written about their clients, especially not with big names like these. That might have been truer in the past to some extand, but with the numerous forms of media now and all the internet content, you can’t control everything. You mostly focus on the biggest medias or eventually niche media that have credibility or an aura in the specific audience you want to reach.I don’t know the sci-fi general fandom but I imagine they have reference medias/websites that are loved, popular and often read by that specific audience. In the context of Dune, it would be nice from their teams to, for example, do special or specific things for them even if they’re not as big as an Empire magazine for example.

Many smaller (and not smaller) medias will do things for the clicks or to sell. As much as they can’t control them, it’s not very hard to influence them. Some people who aren’t in the business might imagine that every person writing for media is a well formed journalist with a lot of time to investigate on the topic of their articles, when, in reality many content you read is written by interns or freelancers who work on several articles on 24 or 48 hours deadline, with a relative knowledge of the subject they’re working on and not a very big paycheck at the other end. It’s one of the reasons why these writers mostly depend on people providing the content because it’s easier and quicker. Let’s say teams what media to talk about Timmy and Zendaya as work buddies and bff. They’re not going to pick up their phone and call every editorial board and ask for articles to every one of them but they know every word said or written by Timmy is picked up by media (for clicks) and retweet, repost and reblog by fans. So they just have to make him say something nice about her and it’s on. Then you make sure Empire have a Timothée related question in the Zendaya itw (I’m sure Empire know what they’re doing and already planned to but I guess teams are still skating) and you’ve probably already made enough to encourage many many articles from casual ones just using the quotes as a headline to talk about the movie to the ones who are going to milk the thing to “Z & T are friendships goal” to “are they couple material?” like... Melty. (Is melty an international thing? If you know about Melty, you know what I’m talking about).

So they’re not investigate every word per se but... they kind of still do it in a way?

If every word isn’t investigate by teams, teams know about most of the words written about their clients, even by smaller medias. When I was working with the pr team of a publishing house (not a big one but not a tiny one either), we had a subscription that an app/website that was sending us every article written with the key words you subscribed to inside it. For us, key words were all the names of our collections and authors and all the titles of our books. For every mention of these, we received a transcription of the context (part of the articles, transcription of the radio things, etc.) and could choose to buy the whole article/transcription or not. So teams definitely know and are closely watching and adjusting as the things go.

I hope I answered your questions, Nonny! Thank you for trusting me enough to ask 😘

Wait, I might have partially not answer your question, hang on... (I’ll edit)

Well, I’m not sure actually. Feel free to tell me if I have like, answer to a completely different thing than you had in mind 😅

[kjt-lawyers]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

[thanhtuandoan89]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

[epackingvietnam]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

#túi_giấy_epacking_việt_nam #túi_giấy_epacking #in_túi_giấy_giá_rẻ #in_túi_giấy #epackingvietnam #tuigiayepacking

[bfxenon]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

[nutrifami]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

[xaydungtruonggia]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

[ductrungnguyen87]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

[writing-in-the-tiny-house]

BookWise Publishing, with Karen Christoffersen

A special thanks to Karen Christoffersen!

www.bookwisepublishing.com

chrisbizzz@comcast.net

She does free 30 minute consultations!

  Become a patron to Writing in the Tiny House today.

patreon.com/writinginthetinyhouse

  The following is a transcript of this episode. The complete transcript can be found on the show’s website.

  Devin Davis:  If you are looking to do a book on your own, then you need to get to know Karen Christoffersen owner of Book-wise Publishing. She assisted me in doing my first two books and she is actually our guest today on Writing in the Tiny House.  Hello. Hello. Hello, and welcome to the show. Welcome back to Writing in the Tiny House.

[00:00:49] I am your host Devin Davis, and I am the guy living in the tiny house who is here to show you ways to get that novel written. Even if you are the busiest person in the whole world. And today we have a special guest. And before I do a really big introduction, let's go ahead and meet her. This is Karen Christoffersen. She is a producer and the owner of Book-wise Publishing.  

[00:01:18] Karen Christoffersen: Hi Devin. I'm so excited to be able to do this with the Writing in the Tiny House. I thought that the title of your podcast was delightful. And so the fact that you've invited me to be on it is, is an honor. 

[00:01:35]Devin Davis: I have known Karen for, forever, it seems. Her son and I are very good friends. And back in my early twenties, when I wrote my first book As Magic Shifts, it was Karen who did all of the heavy lifting to get it published and to produce it and to clean it up and to move all of the moving parts to form this cohesive picture we call a book. And the first book I wrote As Magic Shifts was published under CMS publishing, which at the time was owned by Karen Christoffersen, and then later she moved to Book-wise Publishing. And my second book, The Witch's Pupil was published under Book-wise.

[00:02:25] Karen Christoffersen: Book-wise publishing was started back in 2006 when there was a company called Book-wise and Company owned by Richard Paul Evans, number one New York times bestselling author, and several partners who decided they wanted to create a publishing arm. And they called it Book-wise Publishing and came to me and asked me, because I'm a producer, if I would produce a hundred books for a hundred new authors. As a producer, all we do is start a project and finish it. I was doing television commercials, radio commercials, motion pictures. I was doing all kinds of production as a producer, but I'd done two non-fiction books for Richard.  It's a piece of cake, you know, you start, you finish. And so I said, sure, I can do that. And of course, my dad taught me never to say no. He said, just go out and find out how to do it. And so I ended up surrounding myself with a lot of really talented people: editors and illustrators and designers and all kinds of people actively involved in the publishing industry locally and nationally.

[00:03:39] And they made me look very good. And I coordinated everything. And so I've been doing that since 2007, 'cause we started that the second year and after a year and a half, Richard decided that, and by the way, Richard was only doing endorsements. He wasn't doing anything. I was operating the business alone. And after a year and a half, he decided he really didn't want the liability anymore. I'm pretty sure that's why. And besides he had his irons in so many fires at the time, he was just going gangbusters, doing all kinds of things. And he sold it to me for a dollar. The branding alone for Book-wise Publishing was worth $20,000. Plus, you know, there were other parts to the company that had value. And so I said, sure, I'll do that. It did take me because there were a hundred authors and then they added another 50 when they added a program called Write-Wise. So I had 150 authors that I was responsible for producing their books.

[00:04:43]And out of the $5,000 they paid, I only got 1300 to work on their books. So it took me a couple of years to get the company in the black, but obviously not all of those hundred and 50 authors came back and finished your books. So I eventually just continued doing more and more and more until today.

[00:05:07]Devin Davis: Karen has been doing this for more than 14 years, and she has produced more than 500 books, anything from paper back ,to hard back, to board books, to tub books, to eBooks and audio books.She ha s a team of talent that can do it all and can do all of the things. And so she has become a very valuable resource for anybody who wishes to self publish. 

[00:05:38] Karen Christoffersen: My goal is to make my authors as happy as I possibly can. So when I put that book in their hands, it's like putting that baby in her mother's arms. It's a moment of just pure joy, and that's what I look for. 

[00:05:53]

[00:05:53] Devin Davis: So Karen estimates that the expense of producing a book is about $3,000. My personal estimation is closer to $5,000. And many authors get a book finished, they write it, they edit it and they go through the entire huge process of getting a manuscript ready. And now it's printed, or it is available to order in the ebook form or whatever, they have this finished product, but many of them just don't know what to do next.

[00:06:26]Karen Christoffersen:  If we can just get authors atuned to the fact that this is a small business.  The startup business is tough and you have to build and you have to stick with it. Well, a book is like that as well. You have to be on there every day. You know, write a blog, do a newsletter. You must have a website. Websites are very inexpensive to do now. The hard part is selling it. 

[00:06:54] So if people start off from the beginning, I remember Richard Evans told me, he said if I had started collecting email addresses when The Christmas Box first came out, he said, I've had millions of names, but he didn't start collecting addresses for like 10 years. And so that's one thing that I can't convince enough authors to do is to go out there and start building that list.

[00:07:21] Tell your friends to share. Tell your friends to send this to their friends and ask your friends if you can have their email address. 

[00:07:29]Devin Davis: So where to get started. The process of writing a book has so many steps and so many different professionals to bring in on board to the project that it is so easy to lose track of what you need to do. It is easy to lose your steam and it is easy to lose focus. So, what Karen has put together is called the Book-wise Publishing Boiler  Plate and she passed this document onto me.

[00:07:59] It is updated regularly. The one that I have  was current as of July 7th, 2021. And it goes through and outlines step by step, the different things that you need to do in the writing process to produce a book, to get to that finish line of having a book. And then we move on a little bit to marketing after that.

[00:08:27] So if you are interested in the Book-wise Publishing Boiler Plate document, go ahead and email me. My email is authordevindavis@gmail.com. And I will be able to send that to you so that you can see what Book-wise Publishing has put together. As far as that is concerned.  

[00:08:49] Karen Christoffersen: One thing I think is really important is that if you are a serious writer, if you're serious about completing a book, you need two books, you need your book, but you also need a journal. And write in your journal every day what you do, whether you write 10 pages, whether you call so-and-so who knows an editor or an agent or whatever is happening in your book life, keep a journal of it because you're going to want to refer back to that sometime. And you will have valuable information that you don't even know was valuable at the time you received it. So two books.

[00:09:29]Devin Davis: Sometimes as business owners and as people who are creative, we failed to see the importance of record keeping. So with different things like this  with having your manuscript that you are working on and then keeping track of the things that you did to progress that manuscript that can serve you in many different ways. It can show you, first of all, exactly how you did it so that you can do it again when you move on to your second manuscript. It can also serve as kind of a force to lift you up. If you are feeling down, if you are feeling unmotivated, you can look back to the specific days where you pushed through and did a lot and accomplished a lot, and had a really successful day, as far as production goes, and you can replicate what you did to get past that and to do it again. And so record keeping is very, very important in a small business, not only just the financial side, but also what you have done for production. 

[00:10:42] With me, I have my book, well, my two books. I now have two books, two manuscripts that I'm working on. I also have this podcast that I need to keep track of. With the podcast, I don't keep track of all of the notes that I have taken for each episode, but I definitely have a planner because this is a regular release schedule. And so I need to be organized and I need to think ahead.

[00:11:08] And if I ever want to have days off, it means that I need to get things done beforehand to earn those days off or to prepare for them. So with books, I have done the book writing before I know how to do that. And I know the people that I need to get ahold of for the next steps, because I've done that too. And I never did keep a second journal, but I also recommend doing that just as Karen pointed out.

[00:11:36]But also something, another thing that Karen does,  and this was surprising to me, Karen has an entire career built around producing and around marketing. And so Karen has spent her entire adult life writing the short stuff, saying impactful things in a very short amount of time, because in marketing, you don't have pages and pages to build or to develop.

[00:12:06] You get to hit them hard and you get to say the important things in a good, meaningful  way right away. And so Karen writes the short stuff. With my books, she wrote the blurbs on the back of the covers because she's good at that. And she knows how to do the small things well. And so when she moves on to share with me something else that you will hear here in a second, I was completely surprised and delighted by this little gift that she shares.

[00:12:44] Karen Christoffersen: I was going to read to you just a little thing. 'Cause I don't write books.

[00:12:48] I do a lot of writing, but I don't write books because I have too much work to do just editing. I decided to write as what I call a fictionalized narrative based on true events. And I bring other people in like, you know, the boy in my neighborhood who was my friend and his quote from his point of view, what he sees happening in my life.

[00:13:13] But I thought it might be fun just to read a tiny little excerpt.  So I would like your response to these four short paragraphs. You're ready for this? 

[00:13:25] Okay. Now I grew up in a trailer  in a tiny home and and I had a sister who played Elvis Presley all the time.

[00:13:34] And my big brother,  12 years older than me. He looked like Elvis Presley.  I thought Elvis was my brother.  And I liked big words. This is when I was five years old. But even when I was five years old, I liked big words. So this is four paragraphs for inspiration for you guys. 

[00:13:52]Butch was my friend. He was about 10 or 11, and I was five. Butch had a dog named Gunner. He was a big German shepherd, mostly black, but he had a lot of golden fur in his face and he was beautiful. He was bigger than me, probably twice my size, a happy dog, always looked like he was grinning, kind of like me. Dad called me a grinning idiot.

[00:14:15]Butch had to keep him on a long rope because we didn't have fences. So Gunner had to be leashed when we were at school. And I lived right on Route 66 in Albuquerque, New Mexico. So it was a nasty road. I remember riding the school bus home one day. And as we got to our stop right in front of our trailer park, there was a dark something in the middle of the road, a ways in front of the bus.

[00:14:37]I didn't think anything about it at the time, but when we walked to our trailers, I noticed Butch was looking around and couldn't find Gunner. He called him, and Gunner would always come when he heard Butch call  but not this time. And then I knew what that black thing in the middle of the road was.

[00:14:55] And I was sick at heart, sick to my stomach, and didn't know what to do. Butch and his dad dug a hole near the back of their trailer space I remember it was in the spring because the wild flowers were in bloom and I picked a bunch to put on his grave. Butch was pretty stoic. I liked that word.

[00:15:12] It meant strong and quiet-like I loved big words, even as a child. I knew he was hurting, but he didn't have to show it. I liked that. He could hurt inside, but he didn't have to show everybody and make a fuss. At my house, someone was always making a fuss. That kind of quiet strength really impressed me. I wanted to be like that, but I was a girl and girls, well, we're usually not the epitome of quiet strength.

[00:15:40] The role model I had at the time was just the opposite. I remember standing there as Butch's dad shoveled dirt into the hole, singing quietly to myself, "You ain't nothing but a hound dog crying all the time, nothing but a hound dog." It was my requiem for Gunner. He was a good dog, a loyal and loving one. Died on Route 66, just east of Albuquerque.

[00:16:06] And that is my tiny excerpt from my narrative. And I wanted to write it in such a way that my kids would actually read it. And so I bring this up because anybody out there who is thinking about writing the book and thinks they can't write a book. Well, I thought I couldn't write a book, but I I'm starting to think I might be able to, because I read a few of these pieces to my children and they liked them and ask for more.

[00:16:38]Devin Davis: So there you have it. Anyone can write a story. And a lot of us want to write some form of memoir, either for ourselves, for our lives or for a loved one. Like Caroline Nadine Helsing did in one of those previous episodes. And you should. And it is fun to bring focus to the idea of a fictional narrative based on real events and how that can be just fine and a beautiful way to do your own narrative or your own memoir or the memoir of a loved one.

[00:17:14] It can be fun. It can be entertaining. It can be more memorable that way. If you choose to incorporate those elements as well, just as Karen is choosing to do with her own personal memoirs. I know that I will, when I do my own stuff later on in life, I'm not interested in writing a memoir today. But if you are interested in reaching out to Book-wise Publishing, do their website at www.bookwisepublishing.com. And if you want to reach out to Karen Kristofferson herself,  her email is chrisbizzz@comcast.net. It has three Z's in a row. Uh, I will include that email address and a link to the website in the notes of the show.

[00:18:03] Also, again, referring back to the boiler plate document. If you want to get a hold of that, feel free to reach out to me. My email address is authordevindavis@gmail.com. And I would be able to send that over to you. 

[00:18:18]That's it for today. A big shout out to my patrons who help make this show what it is. If you wish to become a patron, you will get early access to this content, you could get an additional episode every month and you could spend quality time with me over some private chat features in Discord.

[00:18:35] Just go to patreon.com/writinginthetinyhouse to sign up to become a patron today. Also, be sure to follow me on social media. On Instagram I am @authordevindavis, on Twitter I am @authordevind. And thank you so much for listening. Be sure to be on the lookout for next week's episode, where we will be hearing from author AJ Mac, who wrote The Gem State Siege during NaNoWriMo last year. So that is coming up next week. Thank you so much, guys. Have fun writing.

Check out this episode!

[camerasieunhovn]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

[gamebazu]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

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[noithatotoaz]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

[drummcarpentry]

The Anatomy of the Perfect Pitch Email

Posted by amandamilligan

If you need to get backlinks and generate brand awareness for clients, a great way to start is by creating original research and then pitching that research to writers. But the promotion of your work is probably the trickiest part, and a lot of it comes down to the pitch email you send to a writer. 

To make this task a bit less daunting, in this episode of Whiteboard Friday, Amanda Milligan of Fractl walks you through a real pitch email that resulted in coverage of one of their stories.

Click on the whiteboard image above to open a high resolution version in a new tab!

Video Transcription

Hi, everyone. Welcome to another edition of Whiteboard Friday. My name is Amanda Milligan. I'm the Marketing Director at Fractl. Today I'm going to talk to you about the anatomy of the perfect pitch email.

This has to do with the digital PR space. The way that we get backlinks and brand awareness for our clients is by creating original research, new studies and surveys, and then pitching those things to writers. Now the pitching and the promotion is some of the trickiest part, and a lot of it comes down to this — the email you send to a writer.

So what I've done here is literally write out a real pitch email that was sent to a writer that resulted in a publication and coverage of the story. I'll shout out to Skylar who wrote this one. What I'm going to do is walk through each piece of it, each element that we think is extremely important and that we include in all of our emails.

Human connection

So to start, I actually use this email because it didn't delve too much into the personalization. I wanted to show an example of what happens if you can't personalize as well. But personalization or any kind of human connection is extremely important, and it should be the lead into the body of your email.

So in this case, it's a little more general. It says, "We all remember the horror flicks that left us sleeping with the lights on." So that's a more general human experience. I know I slept with the lights on when I saw "The Ring" for the first time. That's just some way to connect with the person who's reading it, to have them think of a memory.

However, if you actually have a chance to personalize an email, for example, if the writer has written something that resonates with you recently or you follow them on Twitter or LinkedIn and you like something that they shared, you can connect with them — you went to the same school, you have the same love of animals. We actually have a lot of people who pitched this year like pitching pictures of their animals and talking about how much they love dogs or cats.

Anything that is genuine can do really well. But remember that there's a human being on the other side of the email that you're sending, and just humanize this a little bit. So that should be about a sentence or two. As you can see here, it ends about here. So you don't want to go into a whole life story, but touch on that a little bit.

Top-level project description

The next segment is a top-level project description. So the next sentence here says, "Could you imagine if one of those characters occupied the room next to yours?" So now we're bridging the kind of anecdote to the actual project. "To explore this further, my team asked over 1,000 TV and movie fans about their most and least desirable fictional roommates."

So right there you know exactly what the project is about. It's about a survey we did asking people which fictional characters in all kinds of media they would like to live with. So it's very fun. It's a light piece. It's a fun piece. However, the structure is still the same when creating these pitch emails. No matter if it's hard news or something a little more lighthearted, this is a really effective way to go.

Main takeaways

So that covers human connection and top-level project description. This next piece is arguably the most important. This, as you can see over here, are the main takeaways, the biggest, most interesting, new insights from this study that you did. You don't want the writer to be sifting through your content trying to figure out why they care or why any of their readers are going to care.

It's your job to pull the two or three most interesting takeaways, literally create a bulleted list for them so that they can see it very quickly. So in this case, Skylar literally said, "Here's what we found: The Beetlejuice home ranks as one of the most identifiable movie houses. However, Beetlejuice was the least desirable fictional roommate."

Understandably. The reason why I can assume she called this out is because, in this particular pitch, she was pitching a home publication, so she's talking about houses. The reason I highlight that is you shouldn't have even the same body of a pitch that you send to everyone. It depends on who their readers are and the topics that they cover, the subtopics they cover.

Even if you know they're relevant and you're pitching them in the first place, make sure to tailor every aspect of the email to them specifically. You might have a list of 10 to 15 interesting takeaways, and you piece together which ones make the most sense per writer. So then some other facts. "Movie fans agree Norman Bates would have been equally undesirable as the Hulk would be as a roommate."

Which is just fun. "Despite appearing in your dreams while you're fast asleep, Freddy Krueger ranks as less desirable than Hannibal Lecter." So the fun thing about this project and something I didn't mention at the top is that we were pitching it around Halloween. So it makes a little more sense. You have that timeliness factor also.

This is fun, but they're basically writing these bullet points thinking like, "What can the writer's headline be? What are they going to say is the most interesting part of this project, and why do they think it's going to be fun or funny or entertaining or useful or informative?" So that covers this section. It's extremely important. Honestly, as you're creating content, you should be thinking of these things, hypothesizing what these could look like.

Link to the content

If you can't even imagine what little bullet points you're going to be able to create after you do something, it might not be interesting enough, or you might not be on the right track. So then this is important. It's small, but it's important. "Here's a link to the full study." Linked. Some people do the tactic of kind of asking, "Oh, do you want to see the rest? We can send it to you."

We don't recommend doing that because you don't want to add an extra step. You don't want writers to have to work for anything. You want to give them everything they need to make a decision. So you're making it easy for them by calling out the bullet points that are the most relevant. Then you're saying, "But listen, look at the whole study if you want. If this is intriguing to you, here it is. You can view the whole thing and make a decision as to whether it's a good fit for your audience." So be sure to do that. 

Direct ask

Then Skylar did a good job by saying, "It's the very first day of October," which it was at the time, "and your readers are gearing up for Halloween." So she's tying it back to the relevancy of the project to their readers, which is what you always have to think about. The writer only cares about whether something is going to resonate with their readership. That means that they're doing a good job. So she kind of ties that up. "Any interest in sharing this exclusive study with [the publication]?" So I highlighted here a direct ask. So come out and say like, "So do you want to cover this?" In this case, we were pitching it as an exclusive, meaning nobody else hadn't covered it yet, which makes it a little more appealing.

You're saying, "You're going to be the first ones to talk about this study." You can say it's exclusive, and you can highlight that in the email as well. But even if you're not doing that, if you're pitching it to a bunch of people or somebody has already covered it and you're still pitching it, just make sure you directly ask, "Are you interested in covering this?" Don't assume that they even know how to respond. So those are the four main components of a pitch email.

Conclusion

Now there's a lot that goes into making this work. This is just one piece of a greater puzzle. Your content has to be fantastic, because, as I say, no fantastic pitch can salvage a terrible project. You just can't pitch your way out of it. But also you need to be targeting the right people.

So sometimes we have fantastic pitch emails go out, or anybody has fantastic pitch emails go out, but the person, for whatever reason, can't cover the content. That happens. It certainly happens. Sometimes people have full editorial calendars, or they just wrote about something recently similar. But you want to avoid the situation where they say, "Cool pitch, but this isn't my niche."

This happens all the time in the industry. We surveyed 500 publishers last year, in 2019, depending on when you're listening to this, and they said that their number one pet peeve is being pitched content that does not match their niche. So they're being pitched things that they don't typically write about. So this is a fantastic way to increase the chances of your pitch being successful, but that doesn't mean that it's foolproof if you haven't done all these other steps.

If you're interested in learning about those things, check out my other content on Moz. I've talked about what makes great content. I've talked about some things to look at when it comes to who to pitch. All these things fit together. But I did want to break down for you exactly what that pitch can look like. So best of luck out there. I know it's tough.

Talk to you soon.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!