How to Make Your Pitch Stand Out

An interview with editor, translator and writing coach Barbara S

Barbara S is an editor, translator, proofreader and writing coach. Originally from Portugal, she now lives in the Netherlands and is a member of the LiteraryWorld community.

In our conversation, Barbara shared practical advice for writers approaching literary agents, and for publishers hoping to capture the attention of editors.

Let your own voice be heard

Barbara's most important advice for writers is simple: don't use AI to write your pitch letter for you.

A pitch letter is not merely a summary of your manuscript. It's also an opportunity for an editor or literary agent to hear your voice. If the letter sounds generic, overly polished or disconnected from the manuscript, it becomes much harder for the recipient to understand who you are as a writer.

Your authorial voice should come through from the very first line. It's one of the most important qualities you bring to a submission.

AI can help you check spelling or organise your thoughts, but the ideas, personality and language should remain your own.

Include meaningful comparisons

Writers should also include a small number of carefully chosen comparison titles.

These comparisons help an editor or agent understand where the book belongs in the market, who might read it, and how it differs from other books in the same space.

The comparison should be specific. Rather than simply saying your novel resembles a bestseller, explain what the two books genuinely share. This might be the readership, subject, atmosphere, structure or narrative style.

Most importantly, explain what makes your book different.

Understand what you are pitching

Before contacting an editor or literary agent, take the time to understand their interests and the books they already represent or publish.

Don't waste an editor's time by sending work that clearly falls outside their area. Read the submission guidelines, research the individual, and make sure your pitch is relevant.

Barbara suggests looking beyond the obvious question of what an editor currently publishes. Ask yourself:

"What might interest this person that sits just outside their existing range?"

Editors aren't necessarily searching for more of exactly the same. They may be looking for an original perspective, an unexpected subject, or a book that takes their list in a slightly new direction.

The real question is: what are they curious about, and what are they hungry to discover next?

Personalisation matters for publishers too

This advice matters just as much for publishers contacting editors, agents, booksellers or other industry professionals.

A generic newsletter sent to hundreds of people is unlikely to create a meaningful connection. Whenever possible, personalise your communication. Show that you understand the recipient's interests, and explain why a particular title could be relevant to them.

Barbara recalls how asking a literary agent about their interests beyond their usual range helped create an opportunity for a book that might otherwise have been overlooked. That conversation eventually contributed to the discovery of Papyrus, which went on to reach a substantial readership.

Sometimes the most revealing question isn't "What do you normally represent?" but "What would you love to discover that you're not receiving at the moment?"

Know the different editorial roles

It's also helpful to understand the responsibilities of the people you're approaching.

A commissioning editor actively develops ideas and may contact a writer after reading an article, essay or other piece of work. They might see the potential for a larger project and ask, "Would you consider writing a book about this?"

An acquisitions editor evaluates potential books for a publishing house and helps decide which titles the company should acquire. Rights professionals, meanwhile, focus on buying and selling publishing rights, often at international events such as the Frankfurt Book Fair.

Understanding these different roles makes it easier to approach the right person with the right proposal.

Follow up thoughtfully

A pitch doesn't always end when the email is sent. If the recipient's guidelines allow it, a polite, well timed follow up can demonstrate genuine interest.

In some professional relationships, a conversation or phone call may help you stand out. But it's important to respect each person's preferred way of communicating. Never pressure someone or contact them repeatedly.

A thoughtful follow up should open the door to a conversation, not demand an immediate answer.

The person behind the pitch

Whether you're a writer approaching an agent or a publisher presenting a new title, successful pitching begins with human connection.

Know what you're offering. Understand the person you're approaching. Personalise your message, choose relevant comparisons, and let your authentic voice come through.

Editors and literary agents receive an enormous number of pitches. The submissions that stand out are not always the loudest. They're often the ones that feel informed, relevant and unmistakably human.