The Elevator Pitch

It’s a new year, and you have a story you’ve been dying to publish. You’ve done all the prep, you’ve got your manuscript, and you’re ready to pitch it to anyone who’ll lend an ear.

However, you’ve encountered a problem: there’s so much to your grand story idea that you don’t know what to say. You run the risk of saying too little or too much. Either you don’t give enough details and paint an inaccurate picture, or you rattle off so many details that you lose your listener halfway through.

All you need is a little prep and focus. Keep it concise with just enough details to catch someone’s interest. A helpful tool I’ve added to my belt is the Elevator Pitch. Basically, the Elevator Pitch is a short and simple way to present a story in the time it takes to ride an elevator from one floor to the next (which, if Google is to be trusted, takes less than 30 seconds). If you can grab their attention within that elevator ride, you can go into as much detail as you want later.

Let’s hop back to grade school and play some fill-in-the-blanks. Here is what the Elevator Pitch looks like:

When 1 happens, 2
must 3 in order to 4 .

Four simple blanks are all you need to fill. To help illustrate, I’ll use my book, Fable’s Folklore: The Book of Origins as an example.

(yes, I’m still working on book 3; cut me some slack!)

1: The Problem

Calling attention to the Problem is the first step in generating interest, regardless of what you’re trying to sell. Once your audience agrees that there is indeed a Problem, they’ll be more open to the solution you’re about to propose.

In writing workshops, this is presented as “The Inciting Incident” or “The Call of Destiny.” This is the event that sets the story in motion. We’ve just been introduced to the world and the characters, and now this Problem has come up that changes everything we thought we knew.

The Problem can come in many shapes. A botched robbery could lead to meeting a man who can control metal. A ring from your uncle comes with dark tidings from an old friend. A large man can bust through your door one night and announce, “Surprise! You’re a wizard.”

In Fable’s Folklore, the Problem is simple: the main character gets sucked into the video game world of Fable’s Folklore. This sets the stage for the type of story a new reader can expect: a portal fantasy with video game elements.

Now that we’ve identified the Problem, we need to know who is going to provide the solution.

2: The Protagonist

This is your main character, the driving force behind the plot. As the primary vehicle the audience rides to experience the story, the Protagonist’s goals and choices determine where the narrative goes. Undoubtedly, your Protagonist is an onion with many layers, but you don’t need to showcase each one right away. A quick blurb about who they are is enough to pique interest.

For example, the Protagonist of Fable’s Folklore is Emile Brook, a bullied teen with a fear of dogs. That right there speaks volumes about this character: he’s a social outcast, has an outstanding phobia, and is clearly not ready for such a drastic change in scenery.

We’re halfway through building our pitch. Now, we need to find out what our Protagonist is going to do.

3: Action

Your Protagonist needs a Plan of Action. What are they going to do in response to the Problem we’ve identified? This decision will help set the tone for the story. We can understand from the Problem that the genre is a science-fiction, and the Protagonist is the equivalent of a farm boy, but the Protagonist’s strategy will decide whether the story is about vengeance or self-discovery.

In Fable’s Folklore, Emile’s Plan of Action is to “find the Book of Origins.” This tells us that the plot will revolve around a search, possibly hinting at an adventure. Additionally, it creates some intrigue. “What’s the Book of Origins?” “Why is this important?”

Now that we know how our Protagonist will go about their business, we need to know why they’re doing this.

4: Goal

Every good Protagonist has a clear desire, something they want above all others. This is the biggest drive in the entire story. As long as it’s for this Goal, the Protagonist will do whatever it takes to achieve it. You can also build in moments where characters will do something in conflict with their Goal to build their likeability, but those “pet the dog” moments are a discussion for another day. All you need to focus on now is the base Goal.

In Emile’s case, his Goal is to “get back home.” The Book of Origins is his means of getting home, and he’ll do anything to do so. This also plays back into his personal description: a bullied teen with a fear of dogs. Will that “do anything” involve dealing with his phobia? You’ll just have to read and see.

The Pitch

Using the formula we just completed, the Elevator Pitch for Fable’s Folklore would look like this:

“When he gets sucked into the video game world of Fable’s Folklore, Emile Brook, a bullied teen with a fear of dogs, must find the Book of Origins in order to get back home.”

Short, sweet, and to the point.

The bonus of hashing out your Elevator Pitch early is that it will help you keep your focus during the writing process. If you ever feel lost on where the story should go next, look back at your Elevator Pitch. Are you staying true to the Protagonist’s character? What do they need to do for their Goal next? What can you put in their way to prevent their progress?

Now that your Elevator Pitch is fully operational, you’re ready to hook new listeners and garner interest in your story. Happy Writing and Happy New Year!