If you’re heading to a writers conference how do you make the best possible impression when you sit down with an editor? I asked Bob Hostetler, an award-winning author, editor, pastor, speaker, and agent with the Steve Laube Literary Agency. He’s written numerous books, collaborated with authors like Josh McDowell, counseled many writers, and seen strong and weak pitches. Bob and I are recording this episode from the SoCal Christian Writer Conference.

What advice do you have for nervous authors meeting an editor or agent?

Bob: First, don’t miss the chance to make an appointment. Every writers conference handles appointments differently. Some let you sign up online beforehand. Others present the opportunity on the first evening. Other conferences let you approach faculty members and sign up on the spot. We carry our signup sheets with us. I’m always surprised when people skip this opportunity, maybe because they haven’t started a book, don’t have a proposal, or lack writing samples, so they think there’s no reason to meet. That’s shortsighted.

Publishing, especially Christian publishing, is about relationships. Why not start building those, even if you have nothing to show? An appointment lets you ask questions you might not get to ask in a class or session. You control the agenda, so take that 15 minutes to ask what’s on your mind and start forming connections.

Some of my best friends I first met at writers conferences, and some became editors later. Steve Laube and I served on faculty together many times before he became my agent. Years later, he convinced me to join his agency. Don’t pass up the chance to build relationships, even if you don’t have work to present.

How approachable are editors and agents at conferences?

Thomas: It takes courage to make that appointment. While we were setting up this podcast, an author asked if you were Bob Hostetler and requested an appointment. What happened?

Bob: I handed her my sheet, and she put her name down. First-time attendees often feel intimidated, thinking the conference is full of important agents or editors, but that’s not the case, especially at Christian writers conferences. It’s not about celebrity or status. We’re all regular people. Many first-timers are surprised to discover how approachable the faculty members are.

How should authors prepare for and approach their editorial appointments?

Bob: I tell people their first writers conference should focus on learning. Attend classes, take notes, and soak it all in. Writers conferences are essential for anyone wanting to publish, whether articles or books, and you shouldn’t just attend one and be done. There’s so much to learn.

After your first conference, the focus shifts to selling, pitching ideas, getting feedback from industry professionals, and learning what’s marketable.

At subsequent conferences, prioritize appointments. Choose a conference based on which editors and agents will be there. Check the website, identify who you want to meet, and target them. Bring queries, one-sheets, or proposals to hand to the agent or editor. Often, people give me a one-sheet or proposal and then keep talking. I’m left wondering why they’re talking over their own sales tool.

Thomas: Probably because they’re nervous and scared.

Bob: Maybe, but I suggest introducing yourself, handing over the one-sheet or proposal, and then just let them read it. It opens the door for the editor or agent to ask questions.

Thomas: This approach is strategic because it starts with research before the conference. I recommend the Christian Writers Market Guide, which lists agents and editors, including what they represent. For example, it might show that Bob doesn’t handle science fiction, so no werewolf-in-space Christian novels for you. Pitching that to you would waste my time and yours, especially since some conferences limit you to two or three appointments. Without research, you might waste those on poor fits. Checking the Christian Writers Market Guide or agency websites for guidelines is key when preparing.

Bob: Absolutely. It’s not a total waste to pitch something outside my scope. You can still learn, but your time is better spent with someone who represents your genre. Not every agent or editor handles what you write, so target the right ones.

When you hand me a one-sheet or proposal, I’ll read it, especially if you pause for 15 to 30 seconds. Most agents and editors can quickly absorb these materials because we’ve seen so many. If you’ve pitched something we represent or publish, it shows you’ve done your homework and creates a positive impression.

It’s not just about the work; it’s about who you are. Editors and agents want to know if you’re someone they can work with long-term. They’re also assessing you as a person. Could you handle a TV interview? Are you professional?

Do you prefer to see a one-sheet or a proposal?

Thomas: Which helps you make the fastest decision?

Bob: At conferences, I’m fine with one-sheets. They’re really only used at writers conferences. You wouldn’t email one to an agent or editor. It doesn’t need to be fancy; you don’t have to be a graphic artist. Just include the right information:

• a hook
• title
• word count
• what the project’s about
• why you’re the best person to write it

If you include those elements, I don’t care if it’s a query letter or a one-sheet.

At a conference, with only 15 minutes, a one-sheet gives me a quick, clear look at your project. Still, I suggest keeping a full proposal for the same project handy. After 30 or 60 seconds of reviewing the one-sheet, an agent or editor might say, “This is good. Do you have a proposal?” Be ready to pull it out. Most editors and agents can skim a proposal in a minute or two and find the key details that answer their immediate questions the one-sheet didn’t cover.

Why is a proposal important, and what parts do you focus on?

Thomas: A proposal is about answering questions. You put all this work into it, and the agent might only spend two or three minutes on it. But you don’t know which part they’ll question. Later, when you’re pitching to editors, the proposal lives on. It goes to the pub board, where different people review different sections.

What are the key sections of a proposal you want authors to ace when pitching to you?

Bob: Whether I receive a pitch in person or via email, I first look at the hook. It has to be strong. Then, I jump to the marketing section to see if you understand platform and marketing and have something in place. Finally, I go to the writing sample. I hope it’s so compelling that it breaks my heart to stop reading to talk with you.

In an appointment, it’s a bit different from reviewing an email pitch. I’m asking, “Do I have confidence this project can reach the level it needs?” If the hook, marketing section, and first pages are encouraging, I have enough to ask a few questions and maybe suggest sending the full proposal via email for a closer look.

What makes a strong hook?

Bob: Think movie trailer. Whether it’s fiction or nonfiction, it should grab me by the throat, pull me nose-to-nose, and make me feel I can’t live another day without reading this.

Thomas: That means it has to be simple and focused.

Bob: It must be straightforward. Whether it’s eight words or a couple of sentences, it must be irresistible. I don’t need explanations, elaboration, or every plot point. Tell me what’s special, unique, and compelling about your project.

Thomas: If you take on a project, you’ll use that hook to pitch to editors. If they don’t find it interesting, they won’t ask follow-up questions, and you move on to the next project.

Bob: Exactly. A weak hook tells me the writer hasn’t thought it through enough to distill what’s truly special about their work.

What do you look for in the marketing section of a proposal?

Thomas: Boiling it down is hard. You have to strip away the parts you like until only the best remain. What do you focus on in the marketing section?

Bob: Not all numbers are equal, but I look for numbers or indications that the writer understands it’s about influence, reach, and engagement. Even if their numbers are modest, I want to see growth or potential.

Often, good writers craft a great first sentence or page, but their marketing or author section feels like they forgot how to write. Your job is to put the most important information where it has the most impact. I want to see who you’re reaching, how many, and if you understand you must partner with the publisher on marketing. An email subscriber list isn’t the same as 5,000 Facebook followers; they don’t carry the same weight.

Thomas: I’d rather see 500 email subscribers than 5,000 Facebook followers. I also like seeing the platform section split into past and present achievements versus future plans. Some authors hide a weak platform by talking about what they’ll do, building castles in the sky. There’s nothing wrong with a solid book launch or marketing plan, but that’s different from showing the credibility you’ve already built with readers.

Bob: I don’t want past or future tense in the marketing section. I only want the present tense. Tell me about your current contacts, influence, and reach. It’s assumed you’ll assemble a book launch team and come up with creative marketing ideas. If you have to tell me that, something’s off. Focus on where you are now. If your platform isn’t strong enough, take six months to build it, then write it in the present tense.

Thomas: the great thing about a platform is that you can start building it today. My other podcast, Novel Marketing, shares weekly tips and expert advice on platform building.

What are common mistakes authors make in editorial appointments?

Bob: The biggest issue is when writers don’t realize time is limited. They chit-chat, often out of nervousness, which is understandable, but don’t waste time. Get to the point and present yourself as a professional. Let your query, one-sheet, or proposal do most of the talking.

Another mistake is pushing back against suggestions or questions. I don’t mind if someone asks for clarification when I suggest working on something, but it turns me off when they clearly don’t want critique. Saying, “That’s what I heard in my head,” or “That’s how it really happened,” is a red flag. Editors and agents are industry experts. If they suggest something, take it seriously and ask follow-up questions rather than trying to explain away the critique.

Thomas: Telling an editor “you’re wrong” looks worse than saying, “Good point, I need to fix that.” It’s a test of whether the agent can work with you. The agent wants to help make your book better, which requires give-and-take. If you won’t take feedback, even if your book is 99% there, you’re less appealing than someone who’s 90% there but eager to learn and take notes.

Most editor appointments won’t lead to contracts, but they can all lead to learning if you’re open to it. This is like free consulting with experts you can’t hire otherwise. They’re only available for this kind of advice at a conference.

Bob: It’s free wisdom. Why push back against that? Even if it doesn’t lead to a contract now, it might next year. A positive impression matters. In an appointment, I’m asking, “Can I picture working with this person? Are they teachable?” I can learn that in 15 minutes. You want to show you’ll not only accept but invite critique.

In my first year as an agent, if I saw promise in a writer and their project, it would take about four to four and a half months of back-and-forth, saying, “Work on this, change that, try this.” Part of that process wasn’t just fixing the proposal but gauging what it would be like to work with this person for years to come.

Thomas: It also shows how hardworking they are. If you give feedback and they take six months to respond, that says something. But if they get back the next day with, “I implemented all your changes,” you’re like, “Okay, this is promising.”

Bob: Editors and agents at these conferences know writers are at different stages of development. There’s a lot of grace for newbies or someone dealing with personal challenges, like a family trauma. We’re not overly critical or judgmental. Our goal is to find promising writers who can deliver the goods.

Bob: Some of us come to conferences for the fellowship and to be around writers, not just to chase contracts. But some attendees dominate the conversation because they finally get to talk to an agent or editor. Maybe they’ve been working on the same memoir for three years and just want to talk about it. We try to be courteous, but that’s largely a waste of our time.

If this is your fifth or sixth conference and you’re still pitching the same project or spending 15 minutes on irrelevant topics, that’s not a wise use of the appointment.

How can authors maximize their time in an editorial appointment?

Thomas: Should authors come in with a list of questions or specific things they want to learn? It’s like a job interview that goes both ways. The one-sheet is like a resume, but they’re also deciding if they want to work with you as an agent. You don’t want to just go with the first agent who says yes; you want a good fit. How do they maximize that?

Bob: One way writers fall short is they make their pitch but don’t ask questions. It can be tough to hear, “Your Amish zombie novel won’t work for us,” especially after three years of work.

But if you have eight minutes left in the appointment, why not ask the agent or editor, “What are you looking for? What excites you most? What’s been the most fun you’ve had as an agent or editor? What does your agency or publisher do better than the competition?”

You’re shopping for the best partnership, which might pay off this year or in a few years. That information is valuable for the long term.

Thomas: There’s a lot of movement in this industry. The editor you meet this year might be an agent next year, or a marketing person the year after that, or at a different publishing house. Maybe an editor says, “This isn’t a fit for us, but I like your book.” Then they move to a new house and suddenly say, “At my old house, this wouldn’t have worked, but at this new place, we’re excited about it.”

Treat your editor or agent like a human being. You’re both having a conversation, not delivering monologues.

Bob: It shouldn’t be high-pressure. Editors and agents are regular people. There’s nothing to feel threatened or intimidated about. Often, as you mentioned, someone moves to a new house or role, and doors open. My first book came out in 1992, and my 51st was published last month. Many of those contracts and writing gigs came from industry connections. A friend I made years ago recommended me for a project or position because we maintained that relationship. Christian publishing is a small world.

What final advice do you have for authors meeting with an editor?

Bob: Be prepared for a “God moment.” But always have an answer to, “What else do you have?” An editor might say, “I like your writing, but this isn’t quite right. What else do you have?” Have a back-pocket concept, even if it’s just a sentence or two. I’ve coached people whose back-pocket idea became their debut book. Never miss that opportunity.

To wrap up, be ready for a divine moment. My colleague Steve Laube tells a story about a 32-second pitch he heard during lunch at a writers conference. The writer’s elevator pitch was so compelling that he responded with one word: “Brilliant.” He told her, “If you can put that into a proposal and write it, it would be amazing.” They worked together for months, refining the idea and her website. This was a first-time, unpublished writer with no platform. After sending the proposal to publishers, one flew her to their headquarters to discuss the project and offer a deal. That author was Jennie Allen, now a bestseller and founder of the If Gathering conferences. Her first book was with Thomas Nelson, and it all started with a lunch-table pitch at a conference.

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Christian Writers Institute

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In this course, Bob Hostetler dives deeper into what we’ve discussed, focusing on how to work effectively with editors and build strong relationships. I’ve seen firsthand that when editors enjoy working with an author, they want to keep doing so, making it easier for that author to build a career. If you want to be that kind of author, check out 12 Ways to Please an Editor. Use coupon code “podcast” to save 10% at checkout. 

About Bob Hostetler

Bob Hostetler is an award-winning author, editor, literary agent, pastor, and speaker. He is the Executive Editor of The Christian Writers Institute. He has co-authored eleven books with Josh McDowell.