To quote that famous philosopher Eminem, you only get one shot, so don't miss your chance.
So it's clear, you don't have to say 'yes' to each and every one of these things... but be honest with yourself. If it's not ready, don't pitch it or get it ready.
So... how many of these can you say 'yes' to?
☑️ I know the best way to explain my game to be understood in a short amount of time.
☑️ I have practiced my pitch (both verbally stringing the words together and knowing what to say)
☑️ I know what my game’s hook / USP (Unique Selling Proposition) is, and why a publisher is going to want to know what it is.
☑️ The theme and mechanics of my game work well together and inform each other.
☑️ Playtesters are asking when they can play again, maybe even asking if they can get a print-and-play or prototype. (Why? Unsolicited enthusiasm for the win!)
☑️ This is 'a great game' - not just 'a good game', and I can explain what makes it a great game in my book.
(Why? Publishers want great games. They have to turn around to their customers and justify to them why this game belongs in their collection.)
☑️ I have a solid idea of my target audience - not just 'kids' or 'gamers'.
(Why? Knowing this implies you know how your game can be positioned as a product.)
☑️ I'm excited by my own game, and I can't wait to show it off.
(Why? When it’s time to pitch, your own enthusiasm for the game can be infectious. This is not a job you’re doing, you’re not punching any clocks here, and this isn’t a thing you’re trying to get through or finish. Soak it up. Enjoy every minute you have with your game.)
☑️ If my game has a component gimmick, a thematic gimmick, or a mechanics gimmick, I know what sort of gimmick it is and why it's there.
(Why? This comes back to the whole what-makes-my-game-great thing - if it's reliant on a gimmick, knowing that ensures it isn't changed along the way.)
☑️ I know what’s going to make this game's experience different from the other experiences a player already has in their collection.
(Why? This comes back to thinking about your game as a product, and what motivates someone to purchase a game.)
☑️ My prototypes use colors, fonts, icons, and/or pictures - whatever it needs to portray the best version of my design.
(Why? Some publishers are great at imagining what a game will be... but why make it harder for them than it needs to be?) There's no need to pay for professional art, but I've had a paid subscription with The Noun Project for years. Beyond that excellent site, there are plenty of public domain images to help illustrate your vision for the game.)
☑️ I'm prepared to be patient while a publisher makes a decision and fits it in their pipeline.
(Why? A new project needs months, if not years, of marketing, administration, business, legal, manufacturing, distribution, and other types of work. This is the stuff a publisher is handling for you so you don’t have to.)
Over to you
What's on your checklist?