When I want to get a publisher to take on one of my new titles, I dont try to catch their attention by sending a formal query, or by trying to get them on the phone.

I leave a killer voice mail message.

If I have crafted a winning book proposal, Ill know it based on the number of big-time editors that call me back.

If the concept sucks, Ill know that, too.

My problem is that Im too strong on the phone when I get editors on the line, in the flesh. This sounds arrogant, but I dont mean it that way.

By strong, I mean its easy to get them to say, Sure, send me a proposal on that, even when their interest is marginal, or worse, when theyre just trying to sound kind or to get me off the line. Then, I'm committed to endlessly following up with them, chasing phantoms who have no genuine interest.

When I leave a voice mail, they can repeat it, chew on it, and consider it on its merits. And only if they have interest will they ask to see the proposal.

So, in actuality their voice mail is helping me to screen them!

Editors are very, very busy people, and talking to them on the phone as an initial gambit is a waste of their time. Theyre readers, not talkers.

Ill script the message, so it sounds as crisp as good writing. But of course, by delivering it verbally, I lend drama to it, breathing life into it.

My most successful messages follow this format, which is really like a mini-sales talk:

(1) I tell them who I am;

(2) I tell them Id like them to consider a new title;

(3) I give them two-to-four quick bullet points about it;

(4) I ask them to call me back, leaving my 800 number; and my email; and

(5) I end with a friendly, I hope this is something that will be a good fit for your list.

This, as you may know, emulates the AIDA format in selling: Attention, Interest, Decision, and Action. I didnt plan it that wayit just seems to work well if I use this design.

In later articles, Ill share even more strategies for leaving the perfect voice mail message.

Dr. Gary S. Goodman 2006