Literary agent Amanda Luedeke (LEE-duh-key) works for the MacGregor Literary Agency.
Amanda was a 2006 graduate of the acclaimed Professional Writing program at Taylor University Fort Wayne. Since college, she’s made her living as a writer, working as a freelancer for local newspapers and marketing companies, while operating her own writing business.
With five years experience as an agent, Amanda brings unique interests to the MacGregor Literary team.
She represents general market and CBA (Christian market) projects, and her areas of interest include nonfiction and romance.
Utilizing her marketing background, Amanda blogs on ChipMacGregor.com, and she also released a marketing book, The Extroverted Writer.
Amanda loves big cities, great music, snuggly dogs, and taking online quizzes. Though she considers the Chicagoland area to be home, she currently lives in Fort Wayne, Indiana, with her husband and Great Dane.
[SOLD OUT OF PITCH APPOINTMENTS]
Alice Speilburg founded Speilburg Literary Agency in 2012, bringing with her the editorial and business expertise she had developed in previous publishing positions at John Wiley & Sons and Howard Morhaim Literary Agency. She is a member of Romance Writers of America, Mystery Writers of America, and Society of Children’s Book Authors and Illustrators, and she is a board member of Louisville Literary Arts. She is currently building her client list and represents a wide range of fiction and nonfiction.
She is seeking: In nonfiction, she’s looking for authors with established platforms who are writing books in the following categories: biography, food, gender issues, health, history, literary journalism, music, pop culture, relationships, science, travel. in fiction, she’s currently looking for character-driven novels that fall under the following genres: historical fiction, mainstream, literary, mystery, science fiction, thriller/suspense, middle grade, young adult.
In addition to taking pitches at the 2018 Indiana event, she is also teaching two classes.
If you are coming to the 2018 Indiana Writing Workshop, you may be thinking about pitching our agent-in-attendance or editor-in-attendance. An in-person pitch is an excellent way to get an agent excited about both you and your work. Here are some tips (from a prevoous year’s instructor, Chuck Sambuchino) that will help you pitch your work effectively at the event during a 10-minute consultation. Chuck advises that you should:
- Try to keep your pitch to 90 seconds. Keeping your pitch concise and short is beneficial because 1) it shows you are in command of the story and what your book is about; and 2) it allows plenty of time for back-and-forth discussion between you and the agent. Note: If you’re writing nonfiction, and therefore have to speak plenty about yourself and your platform, then your pitch can certainly run longer.
- Practice before you get to the event. Say your pitch out loud, and even try it out on fellow writers. Feedback from peers will help you figure out if your pitch is confusing, or missing critical elements. Remember to focus on what makes your story unique. Mystery novels, for example, all follow a similar formula — so the elements that make yours unique and interesting will need to shine during the pitch to make your book stand out.
- Do not give away the ending. If you pick up a DVD for Die Hard, does it say “John McClane wins at the end”? No. Because if it did, you wouldn’t buy the movie. Pitches are designed to leave the ending unanswered, much like the back of any DVD box you read.
- Have some questions ready. 10 minutes is plenty of time to pitch and discuss your book, so there is a good chance you will be done pitching early. At that point, you are free to ask the agent questions about writing, publishing or craft. The meeting is both a pitch session and a consultation, so feel free to ask whatever you like as long as it pertains to writing.
- Remember to hit the big beats of a pitch. Everyone’s pitch will be different, but the main elements to hit are 1) introducing the main character(s) and telling us about them, 2) saying what goes wrong that sets the story into motion, 3) explaining how the main character sets off to make things right and solve the problem, 4) explaining the stakes — i.e., what happens if the main character fails, and 5) ending with an unclear wrap-up.