re: Pitching a Dual POV Novel

in Point of View/Submissions by

Dear Editor…

I’m working on my logline/elevator pitch. I have been told that it should be one sentence, and no more than 17 words. What about dual POV stories? While they do end up together, they also have their own story arcs.  Do I pick 1 for my pitch or is 2 lines—one for each—okay?



Dear Rachel…

17 seems an arbitrary number, but if it keeps you focused, I’m all for it. And focus is what matters here. If you’ve got two storylines for two point of view characters, there should be some point of intersection for them—that’s where you focus your pitch. What’s the common denominator that allows these two people and stories to exist within the same novel? Do they speak to two sides of the question “What is love?” Do they explore the same theme and come to different conclusions about it? That theme is the anchor for your pitch, as in: “In a school where money means Everything, two freshmen find out what happens when Everything is suddenly gone.” What do you know! If you’ll let me ignore the word “a”, then I hit the magic 17.

Happy writing!

The Editor


  1. Focusing on a short pitch is soooo hard. This post is welcome. I have a dual POV story too and it’s a really good suggestion to find that point of intersection and pitch that. In my current query letters, I stress only one of the characters, because though it’s dual POV, one is a bit more central (in this author’s mind at least) than the other. But I could also try selling the “intersection” way as well. Thanks, Dear-Editor.

  2. I find it helps me if I imagine it being said by the guy who does the voiceovers for movie trailers…. 😉

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