Taking on the Elevator Pitch for My Story.
According to Stephen King, once you have finished a story, you should let it sit. When you leave it until the paper is old and worn, most of the content will likely be trash, but a work that retains even a glimmer of brilliance has the potential to become a good piece.
He did not specify exactly how long one should wait. Why did King say such a thing? Is there any meaning beyond just cooling your head? When I was attending a novel-writing class for about three months starting this March, I intended to live as a novelist. I had finished writing 350,000 characters, but I was thinking about writing the next one, so I tried to forget about "Eschatologia" while I was attending the class.
I summarized the title of the story in yesterday's article.
I finished writing "Eschatologia" as a novel in February. I revised it four times, and I thought I had polished it thoroughly to the point where I could not fix it any further.
Changes that occurred while letting the novel sleep
First, by attending the novel-writing class, I realized that "my work is difficult" and "it has a theme that is not easily accepted." I gave up on the usual path of aiming to be a commercial writer by applying for newcomer awards and getting selected. This is because the very themes I want to express are what support my identity as a writer.
Second, although I am currently unemployed, in the process of looking for work, I considered freelancing and started by submitting to competitions and such. Then I realized that when I throw a fastball with all my might, it hits the target I intended, but it is not the target that those around me intended.
I am very serious, yet I am completely off the mark. There are not many points I can compromise on. When that happens, there is only one thing I can do.
I decided to do more.
My story is difficult. To accept it, to understand it. Is there anything else I can do for the work with what I am capable of... That's it, I'll make it into a manga.
Comicalizing means making it comical
Even while leaving the work alone for several months, I think about various things, and while thinking, I watch novels, movies, and anime. I have become able to understand stories and characters more deeply than before I created the story.
Whatever I watch, I think, "What does this work have that mine doesn't?" Perhaps this time, this very thought, is what King meant by "let the work sit." When you encounter various works with a mind that has become overly sensitive, you start to see things you couldn't see before you created it. Naturally, you start to see things you hadn't seen about your own work, parts you hadn't fully expressed.
I believe in my work. That is precisely why I want to make it better. During the time I left the work alone, my brain shifted from a writer's brain to an editor's brain.
At first, I thought elevator pitches were pretentious.
Because there are emotions that cannot be expressed in a single word, I poured them into a 350,000-character work. Summarizing the appeal of a work assuming you are pitching it in the short time you happen to be in an elevator with an executive—such an opportunity will probably never happen in my life, and it has nothing to do with me. Having someone notice the work by chance, stop to read it, and get hooked—that is what I had envisioned... or so I thought until recently.
But as I gradually re-examined the work with an editor's brain, I began to think seriously about "what readers expect from a work," and since the outer shell of the story was already built, I gained the leeway to identify the parts that could be emphasized as entertainment. In the first place, if I were to stop in front of a work, the first thing I would think is, "What is this work, in short?" That is why I look for a synopsis. I flip the book over or look at the flaps of the cover.
What kind of work is "Eschatologia" in a word? Where does its uniqueness lie?
Masterpieces can describe their content in a single word.
Since my heart has softened, I've decided to try my hand at an elevator pitch. To start, I'll try thinking of elevator pitches for masterpieces. I wonder if anything will become clear.
A story about a man betrayed by his best friend who rises to become a relentlessly persistent count and carries out a revenge drama.
A story about an incredibly long-lived and invincible mage elf who, after the deaths of those dear to her, travels with young people of the next generation to fulfill the regrets of her own life.
A story about a man imprisoned for a minor crime who had his youth stolen, but who is converted by a single act of love and remains devoted no matter what happens thereafter.
A story about an elderly brother and sister with no children who take in and raise a hopelessly romantic and troublesome orphan. (It can also be rephrased as a story about a hopelessly romantic and tomboyish orphan who is raised by an elderly childless brother and sister and grows up to be a wonderful lady.)
A story about four eccentric raccoon dog brothers who inherit their late father's will and live their lives in a fun and amusing way.
A story about a man living in a hyper-managed society who falls in love, is tortured for seeking freedom, and falls as far as he can fall.
A story about a restless city youth who is transferred to the countryside and struggles with the difficulties of living in a village society.
A story about a cat that encounters the life of civilized humans and becomes a civilized cat.
A story about a socially maladjusted genius hacker and a crookedly mature reporter who meet and stand up to a great evil in their own way.
A story about a fresh-faced young man who carries the blood of a charismatic villain, joins a gang, and rises to become a gangster.
A story about people with noble courage who take on a bizarre murder case that occurred in a city in Japan.
A story about a sheltered and gentle immortal who is found by his strongest darling after 800 years have passed.
What you can learn from elevator pitches for masterpieces
I think a masterpiece is something that makes you smile while the plot and imagery instantly pop into your head. I felt there were commonalities in elevator pitches.
Even if you forget the fine details of the story, you never forget the plot enough to be able to pitch it.
It can be summarized by 'what' a 'character' or 'people connected by a certain attribute (ensemble)' did. The relationship between subject and predicate.
Each 'one-liner' is unique. You can identify the work. If there are no similar works, it won't be forgotten. Or it will come up as the number one candidate.
Although the works listed above vary in their publication dates and countries, I thought that the 'setting' or 'period' might not matter much in the content of the pitch. Stories easily transcend time, space, and dimensions. You can reflect a certain era or setting in the character traits. Like a count, an elf, or an astronaut. However, if you emphasize the setting or historical background too much, there is a possibility that people will think, 'I don't know it,' 'It looks difficult,' or 'It has nothing to do with me.'
I asked ChatGPT, my cyber tutor, about it.
──(Me) I've been analyzing masterpieces, and I've come to think that the historical background or the country where it's set isn't really the main issue. What do you think?
──(ChatGPT 4o) Your analysis is very sharp. It is true that in many masterpieces, the core themes of the story, character growth, conflict, and emotional movement are prioritized, and the historical background or setting is often just a complementary element. Considering the following points makes that perspective easier to understand:
Universal themes: Universal themes like love, friendship, family, growth, and good versus evil resonate in any era or place. Works that strongly depict these themes often strike a chord with readers regardless of the era or setting.
Character appeal: Compelling characters enhance a story. Works that depict the inner lives and growth of characters leave a strong impression on readers. A character's actions and decisions can sometimes be more important than the historical background or setting.
Storytelling: Works with excellent plot development, structure, and depiction of conflict can draw readers in regardless of the setting. The better the storytelling technique, the more appealing the story becomes.
The role of historical background and setting: Of course, the historical background or setting can give a story a unique atmosphere or originality. It is important how these elements intertwine with the story's themes and characters. When the background or setting gives meaning to the story, they become an important part of the narrative.
In summary, while historical background and setting are elements that enrich a story, if the core themes, character appeal, and storytelling techniques are excellent, they contribute significantly to the success of the story. Your way of thinking is very logical, and I think it is a good approach to build a story from that perspective.
It is sometimes said that "novelty" or "originality" is important in creative works, but "universality" is likely just as important. When I first started creating my fantasy sci-fi, I thought the setting was the most important thing. But as the story took shape to some extent, I began to think that universal themes and character traits have the power to drive the story forward.
By making character growth, emotional movement, and universal themes the center of the story, they become elements that provide empathy and inspiration to the reader. Once you establish an original worldview, you use universality to communicate with the reader.
So, once again, what is "Eschatologia"?
The protagonist is not just one person. It's an ensemble drama. The subject to include in the pitch is plural.
The content of the story is less about battle and more about human relationships and ways of life.
The ending of the story is more about change and friendship than victory or self-actualization.
Based on the above, here is the elevator pitch for "Eschatologia" that I have created for the time being.
An immortal king, an 88-year-old gardener, and a greenhouse-raised musical genius. A story about three eccentric people who have lived completely different lives, meeting due to a trivial incident caused by a mad scientist, and becoming best friends.
What becomes clear by summarizing it into a pitch
An elevator pitch is a summary of a work in a single sentence that says, "In short, it's a story like this." Looking at the completed pitch, it becomes vaguely clear that "readers who read the pitch might have this impression and expect this kind of development."
Based on what has become clear, I want to add depth and focus to the work.
Starting Thursday, August 8, 2024, at 8:00 AM, I will begin the release of the manga Eschatologia.
▼ I have posted the synopsis and main character settings.
▼ I have released the magazine.
I am compiling all my efforts to continue creating works into this magazine. If you find it even a little interesting, I would be happy if you could give it a like and follow me.
▼ Introductory article