High Concept?

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Sandi LeFaucheur

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If anyone thinks this is a dumb question, I shall blame it on my migraine.

What is "high concept"? As in YA submissions must be high concept/commercial. Even with a headache, I can figure out that commercial means it's gotta sell. But high concept?

I just know I'm going to end up feeling really silly...
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KTC

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Mass Appeal.
 

dpaterso

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A fantastic idea that makes people say, "That's a fantastic idea, I wish I'd thought of it."

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arodriguez

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AndyPolyak

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Relax! There is no "high concept" at all, as no publisher can possibly foretell a success of a good book.

No publisher can figure out an exact formula of bestsellers.

If it could be figured out, many famous authors would have never tasted the cup of long years of being refused by publishers.
 

Carrie R.

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Relax! There is no "high concept" at all, as no publisher can possibly foretell a success of a good book.

No publisher can figure out an exact formula of bestsellers.

If it could be figured out, many famous authors would have never tasted the cup of long years of being refused by publishers.

I think I disagree. I think there is high concept, and I know agents are looking for high concept. Now, whether high concept foretells the success of a good book is another question because Andy is right -- no one can foretell a success (or every agent would request the same book, etc).

I don't think high concept is a formula, and, honestly, I've always had a hard time figuring high concept out. I know it when I see it, I know when things aren't high concept, but that's about it. Heck, I don't even know if MY book is considered high concept :)
 

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I have to disagree too. Sometimes an idea...a concept...feels like gold the second you hear it. A publisher WOULD know when they stumble upon a piece of gold. A good publisher would, anyway...that's their job.
 

bethany

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Yes, I also disagree.

I walk into our school's very well stocked library with a group of 9th or 10th graders. 1/3 of them look bewildered. "do you know any good books?" I look over the shelf, pick something out, hand it to them. "what's it about?" I neither have the time to go into a two minute book talk, and a discussion of the wonderful writing isn't selling this book. When something is high concept, it sounds different and intriguing and I can "sell" it to my audience easily. Once it's in their hands, the writing has to capture them, but this gets it off the shelf.

Same deal with agents, editors, the person who buys books to put on the shelves at Borders and the person who buys the books that are on the shelves at Borders.

See, in YA there are some prevalent themes. Growing up, figuring things out, firsts of all varieties. So many good books, well written, memorable characters. You have to make your book stand out, and high concept does that.
 

bethany

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Another thought. High concept isn't (hopefully) everything about the book. It's a "spin".
Take what you've written and see if you can find the unusual and intriguing aspect, spin that.

Though, true high concept is probably built from the plot up, us character driven writers can still get into the action, I think.
 

Sandi LeFaucheur

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Okay. The hook I'm using for Bodiam is "Teenaged lust, drugs, and rock 'n' roll--fourteenth-century style." It pretty well describes the book--young girl falls in love with troubadour who gains control of the lord of the castle by his herbal medicines. So (without reading the whole book! :) ) would you say it's high concept?
 

Sandi LeFaucheur

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Okay. I'll admit it. I don't get it. And if I don't get it, I obviously don't have it. Ah well--I just won't sub to agents who want High Concept! (Does it mean ultra-intelligent? Because I don't understand the concept of Shakespeare meets Motley Crue, so maybe I'm just thick. I'm certainly feeling thick, and I think I'm probably starting to look it!)
 

bethany

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I don't really like the blank meets blank high concept, unless that's what you set out to write, like West Side Story is Romeo and Juliet in 1950's??? I mean it was written to be a merging of two things. So if you were writing Romeo and Juliet meets the Terminator, you would have a high concept. It might be dumb, but you could describe it in one sentence.

I think you're fine, Sandi. Query away, all they can say is no thanks, right? and some of them might be intrigued. It sounds interesting to me :)
 

Carrie R.

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Okay. I'll admit it. I don't get it. And if I don't get it, I obviously don't have it. Ah well--I just won't sub to agents who want High Concept! (Does it mean ultra-intelligent? Because I don't understand the concept of Shakespeare meets Motley Crue, so maybe I'm just thick. I'm certainly feeling thick, and I think I'm probably starting to look it!)

I'd still query them. I don't think high concept is like genre where an agent just doesn't represent SciFi or Romance, it's just a way of pitching an idea. Like Ally Carter's first spy book: girl at spy school falls in love with boy who can't know she's a spy.

Diana Peterfreund talks about High Concept a lot on her blog (dianapeterfreund.blogspot.com) if you search for the term. I think it can be hard to figure out what it means which is why I tend to read a lot of what others say about it.
 

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Sandi, I think you're close to high concept with "Teenaged lust, drugs and rock 'n roll - in the fourteenth century." Right now it's just a bit too general a description. (But sounds like a cool idea, by the way!) I don't know if it's comedy or if it's dark from that line. With teens, drugs, and rock n roll, you could go in a number of different directions.

Is it - A Knights Tale meets The Doors? (Dark tale of self destructive teen musicians in a medieval setting.)

Or is it A Knights Tale meets Meg Cabot? (More lighthearted, medieval story with music.)

Or maybe The A-List meets The Doors in medieval England/France/Germany. (Priviledged teens involved with music in fourteenth century.)

None of those is probably the right formula for your story, but you get the idea. And this isn't the only way to describe high concept ideas (as others above have said.) But editors respond to it. I used a BLANK meets BLANK format when I pitched a teen series idea to two editors at a conference, and their eyes lit up. They "got it" right away. I used the names of two YA series they knew quite well, so maybe think of it that way - find two famous YA books which, combined, give the flavor of your story.

In high concept usually you are combining two genres or two ideas that normally don't go together (er, like Die Hard meets Animal House - college kids play pranks and party hard at their fraternity, but their frat is taken over by bad guys and one teen saves the day. Hmm. Not bad, let me scribble that one down....) So I think your idea is very much high concept (rock n roll stars in the fourteenth century - which is what a troubadour might be considered) and could be sold as such. It all depends on how you try to sell the idea in your query.

Yeah, I work in Hollywood. So high concept is everywhere here.
 
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Sandi LeFaucheur

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Thanks, all, for your valued input. I think my mind is too literal to easily grasp "blank meets blank"! I like your ideas, Nahotep; they're really helping to get my mind around the concept. It seems like a simple way to categorise things; I'm just not sure it works for Bodiam. Ah well. This is a very interesting discussion, though. I hope everyone's enjoying it!
 

Carrie R.

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Thanks, all, for your valued input. I think my mind is too literal to easily grasp "blank meets blank"! I like your ideas, Nahotep; they're really helping to get my mind around the concept. It seems like a simple way to categorise things; I'm just not sure it works for Bodiam. Ah well. This is a very interesting discussion, though. I hope everyone's enjoying it!

And I think someone said earlier, but I'll echo it that high concept isn't necessarily always blank meets blank. Some people pitch it that way and some don't (I never pitched mine that way but my CP always called my book The Village meets Dawn of the Dead). Some problems with that approach are if the agent/editor never saw one of those movies, hated one of those movies, or has no idea how those movies could be joined then the pitch has failed.
 

Sandi LeFaucheur

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And I think someone said earlier, but I'll echo it that high concept isn't necessarily always blank meets blank. Some people pitch it that way and some don't (I never pitched mine that way but my CP always called my book The Village meets Dawn of the Dead). Some problems with that approach are if the agent/editor never saw one of those movies, hated one of those movies, or has no idea how those movies could be joined then the pitch has failed.

And since I NEVER go to movies, I wouldn't have a clue!
 

ebenstone

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According to good old Wikipedia:

The plot of a high concept movie is easily understood by audiences, and can often be described in a sentence or two, and succinctly summarized by the movie's title. High concept movies feature relatively simple characters and a heavy reliance on conventions of film genre. Stylistically, high concept movies tend to be high-tech, crisp, and polished. Such movies also rely on pre-sold properties such as movie stars to build audience anticipation, and use heavy advertising, market research, and test screenings to ensure maximum popularity. Some high concept movies are built as star vehicles for successful music and sports personalities to enter the movie business. Often high concept movies are pitched as combinations of existing high concept movies, or unique twists on existing titles.
 

Nahotep

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Wikipedia's basically right, but they are only describing movies, not books. At the SCBWI conference I attended, a lot of editors were interested in high concept books. So take Wiki with a grain of salt because when you are discussing your book with an editor you have no movie stars, advertising, market research, etc.

And, as Wiki says, high concept ideas are often pitched as combos of existing films(books) or unique twists on titles. BUT - as others have said, you don't have to do it that way. It's simplistic. That said, it's very handy when it comes to pitching/querying, when you need to grab an editor or agent's attention fast. Then you go on and write a book with depth that wows them that way as well. Or anyway, that's my plan!

As Carrie R. said above - Ally Carter's bestsellers are high concept: Girl at a boarding school that's really a school for spies. No X meets Y necessary.

Think of the high concept as the "hook," the unique thing that makes your book stand out. Often this occurs by combining elements together that don't usually go together. But not always! I think Sandi's book has a good hook. So just come up with the best pitch/synopsis you can and go for it. I think you could query folks looking for high concept stuff if you wanted.
 
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HourglassMemory

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Wow. Now that I see the descriptions that you people give to "high-concept", that is what I try to find in my stories.
I honestly do come up with a few stories by asking myself "What is the story about?"
Then I make my explanation extreme and I literally do write about the description.

I write stories that I would want to read. And I like extreme stories, so they inevitably become epics.

I try to write things that would make people go "Woah!" and smile.

Things that people woulnd't dare to write about. Or think about , actually.
That's why I'm usually very secretive about my stories. I think they're really good ideas, and I haven't seen them explored in the way I'm doing it. And when I go for different, I GO for different. And I go extreme.

It's not just a 'variation'. I try to create something completely new. I challange myself to do that.
It's the only thing that satisfies me. And quite honestly it's the only way to stand out.
My ideas are like the ones mentioned above, such as "Teens, drugs and Rock n'Roll in the 14th century."
But I go for much bigger stuff.
Even when I think about "teens drugs, rock n' roll"... I feel that has been used many times.
I try to iamgine stuff like "Teens that kill murderers with musical instruments."
Of course it doesn't have to beliteral but a great imaginative, NEW, story could grow around this.
I guess that would sell...
 
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Sandi LeFaucheur

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Well, I've been given a "high concept" type line--by a vanity publisher, of all people! I sent Bodiam to Melrose Books in the UK--not really realising until after I'd sent it that they're vanity (they declare "traditional publisher" on their website, by which they must mean they do a short print run rather than POD). Anyway, they sent Bodiam to a reader, who said "I hesitate to describe it as Hollyoaks in a codpiece, but the description wouldn't entirely miss the mark." I nearly fell about laughing! (Hollyoaks, for those who don't know, is an English soap opera for the 16 - 24 crowd. Do a google on it, if you want to find out more.) So there you are. Hollyoaks in a codpiece. So is it high concept now? :)

By the way, for the sum of 6,498 pounds, they'll print 1,000 hardcover copies, and seemingly do marketing, arrange interviews, signings, etc, and give 65% royalties. Move the decimal point two places to the left, and I may be able to afford it.
 
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