The following is a query critique. Comments, suggestions and discussion are welcome and we hope you join in. I can only offer one opinion, so the author of the query and I would like to hear yours!
This query had no greeting. While this is not immediate cause for deletion or rejection, it could wind up being that one infraction of many that caused the agent to look elsewhere. “Dear Ms. So-and-so” is always best.
[redacted], tentatively titled, (we know it is tentatively titled. If it was finally titled it would be published) is my real life memoir/proposal (whoa, whoa, whoa… “real life” and “memoir” essentially mean the same thing here, so use only one to avoid redundancy and looking like an amateur, even if you are one. Also, is a memoir or is it a proposal? If you haven’t written it yet and it is only a proposal, then you have no business querying anyone with it. Stick with just “memoir”) that begins as all good fairy tales must .. [an ellipsis is always three periods (…) with no spacing] a fashion disaster: a broken shoe that flies under a car while crossing Santa Monica Boulevard. Do all fairy tales begin with fashion disasters? I don’t think they do…and specifically, I know they don’t all begin with a broken shoe. More to the point, what do you mean? I walk into what looks like just a shop. It’s as magical as the pages of a fresh Vogue I might have dreamed of, littered with designer dresses from Halston, Rudi Gernreich, Sonia Rykiel – and shoes, of course. The handsome prince shopkeeper smiles at my dilemma, before asking for my phone number.
Okay, so I’m assuming the shop is not really magical, and the shopkeeper (which is a really antiquated term) is not really a prince. Knowing that, what is interesting about a girl walking into a shop with a hot sales rep? And at what dilemma is the “prince” smiling? And what does any of it have to do with a broken shoe, a fairy tale, or Santa Monica Boulevard? This first paragraph was so confusing, that I would have stopped reading right here.
My memoir tells the story of fashion as it begins (this sounds like your memoir tells the story of fashion’s roots…which would be impossible), the prêt-a-porter (for the uninitiated, and unFrench, this means ready-to-wear, or off-the-rack, and I’m having trouble figuring out how it makes sense here. I could use some help), with the very young and unknown creators in New York, Paris, London, Milan, Tokyo … a pony-tailed Karl Lagerfeld at Chloe sketching a long-sleeved dress and crisply nodding his head, agreeing to send the sketch with the fabric and pattern in a taxi to the dressmaker on the outskirts of Paris who could best do that type of work. Buying the first collections of Giorgio Armani, men and women, eating lunch with the boy models because Mr. Armani had so little experience with tired, hungry buyers. Thea Porter, Zandra Rhodes, Jean Muir, Chantal Thomass, Gianfranco Ferre, Gianni Verscace, Claude Montana, Jean Paul Gaultier, Missoni … we bought them all for our Beverly Hills shop that a few years later Judith Krantz used as partial inspiration for Scruples, and bought her wardrobe from our shop for her book tour. (Scruples, much to my delight, is actually being brought to the small screen as a series next season.) <–a great example of what I call Synopsis Splatter, or when the synopsis just adds too much information here, not enough there, a big blob here, etc.
I literally just sighed before writing this sentence. There is a TON going on here. Intuition tells me this is an awesome story that you tell in bits and pieces verbally at parties, but you’ve failed to cohesively transfer it to a narrative on paper–screen, whatever. The paragraph above is like one of those hodge-podge projects where you glue clippings of magazine pages to a stool or a picture frame. We get the basic gist of the theme, if there is one, but the story is too abstract for us to draw anything out of it except maybe a feeling of glamour. Or maybe I’m giving the author too much credit. Maybe the feeling isn’t glamour, exactly, but an ambition for glamour. Also, the name-dropping , to me, seems to be in service of your own agenda rather than in service of the book’s description, which is in poor taste.
Juxtaposing our (whose? I thought this was YOUR memoir? Who is this other person whose point-of-view is in the book?) work and marriage, so like my almost twinned life with Tina Chow and her husband Michael Chow at Mr. Chow’s across the street, until I couldn’t any longer. Falling apart harder as we open an Azzedine Alaia chez Gallay boutique on Rodeo Drive and close our Camden Drive shop, the divorce is harsh and yet we work together until the Sunset Plaza shop is opened.
The construction of the sentences in the above paragraph, particularly the first one, forces the reader to concentrate really, really hard and maybe even read through twice. If agents don’t stop reading after the hodge-podge or after the confusing first paragraph, this is where you’ll lose them.
The shop across the street (Mr. Chow’s? What?), the one with room for a rose garden, is available and I fly to Paris (why would you fly to Paris? I thought it was across the street), hoping for a lease, hoping for a life and make it work. It sounds like your life is already working…I get the feeling there is some serious money and connectedness here. Adam Shankman is my assistant and Mary Rae McDonald makes custom hats for me. Rock stars, movie stars and the Brat Pack hang in my shop next to Le Dome, agents peeping in after starry lunches. Manolo Blahnik, Dolce & Gabbana, Todd Oldham, Kenzo … pink-washed walls and happiness. Again, with the name dropping. And the hodge-podge thing. Tina Chow has left Michael and is in Tokyo working with craftsmen to make her jewels when she becomes ill, hospitalized with the pneumonia that means AIDS. My friend knows she will die soon.
In the middle of a rainstorm while scowling at a leaky ceiling (the construction of this sentence makes it sound like the man was scowling at the leaky ceiling), a man walks in and won’t stay away. We fall in love and have a child together. On his first birthday, I close my dream shop to become a Hollywood wife.
Wow. Okay, so this was actually spectacularly interesting, in the way abstract art is interesting…there is something there, and you know that the person next to you is probably seeing something different, but you are both interested anyway. I would have rejected this, though, because if the whole book is written in this fashion–and I can only assume it is–it would hurt my head too much to read it all the way through. A query letter, while it should have voice and give the reader an idea of atmosphere, should not be saturated in both the way this is. While your book is narrative, your query letter should be expository, and this was closer to a literary narrative than an explanation of what your memoir is about.
Additionally, there is no salutation or signature. Agents will feel like you don’t think they’re important enough to garner your respect. No matter who you are–short of, maybe, Angelina Jolie (God, I hope Angelina Jolie is not the author) you still can’t drop a bunch of names in the lap of an agent and expect that to carry you.
Let’s take a poll, though: Who wants to see what this was all about, who the author was, and read a great query for this story? *raises both hands*
The following is a query critique. Comments, suggestions and discussion are welcome and we hope you join in. I can only offer one opinion. The author of the query and I would love to hear yours.
Dear Ms. Ruth,
Until his socialite sister took a swan dive out her penthouse window, FBI Agent Jonah White’s life had been fairly simple: track down bad guys and slap a pair of silver bracelets on them. (I like the voice here!) Haunted by his failure to protect his little sister, the lawman is left with a Texas-sized guilty conscience gnawing at his heart. He’d do anything to prove she was murdered. There’s just one small glitch: the prime suspect has already been bagged and tagged, and the inheritance money stolen from Jonah’s sister is long gone. This starts to wobble here. How is the money being long gone a glitch in Jonah’s plan to catch the killer?
Disobeying orders, Jonah goes undercover to seduce the killer’s young widow, Maya Savantes. But falling in love with Maya – a possible accomplice to murder – definitely wasn’t part of the plan. As he tries to sidestep Maya’s suspicions, and ignore his own growing feelings, he learns two things: 1) there’s a pissed off, trigger-happy loan shark willing to put both Maya and Jonah in his sights to get the inheritance money, and 2) Maya’s husband isn’t so dead after all. <– This paragraph would be far better written from Maya’s point-of-view. Romances are often very heavily dependent on the heroine’s point-of-view, probably because most of the readers are women. I’d like to hear her voice, her side of things, and then see how that ties into Jonah’s troubles in a third paragraph that brings everything together.
The loan shark muddies the waters and confuses the readers because it is not fully explained. Why would the loan shark have any chance of getting inheritance money, which I thought was long gone? I worry there might be a plot hole in there, and agents will worry too unless you explain this fully. I love the last sentence, though, and I’m VERY intrigued by Jonah falling in love with the widow of his sister’s killer! There is a good story in here, we just need a little more information from the right characters, and a little less information about things not completely central to the romance or to the suspense.
[redacted] (75,000 words) is a romantic suspense novel set in Hill’s Creek, Texas, a fictitious town where the kinfolk like their secrets the way they like their steaks: big and juicy. I’m a Romance Writers of America member and a 2nd place finalist in the 2011 Dixie First Chapter contest.<–very good to know. This was a great bio paragraph.
Thank you for considering my book for representation.
The following is a query critique. Comments, suggestions and discussion are welcome and we hope you join in. I can only offer one opinion. The author of the query and I would love to hear yours.
Dear QueryDice, (the author noted that she would have used the agent’s name when querying. The proper way to do this is a simple “Dear Mr. or Ms. SoandSo.”)
Randi hopes rejoining her old band, ‘Raptor Snatch,’ [no quotation marks necessary for the name of a band] will cure her depression. [From how deep into Randi’s past has she unearthed her involvement with the band? How old is she? Age helps to create relatability in a query.]Music is more than just a job for Randi – it’s the rock and roll fuel for her rise from the ashes of the past eleven months. [What happened in the past eleven months?]Nothing is going to stand in the way of her comeback. Nothing! Certainly not a jealous rival band hell bent on stealing Raptor Snatch’s place in the spotlight.
They may call themselves, ‘Slutmaster,’ [again, no quotation marks or comma necessary] but their combined sexual conquests don’t equal a trip to third base. What they lack in sexual – and musical – prowess, they make up for in sabotage. [what does Slutmaster’s sexual prowess have to do with Randi’s life?]
Slutmaster lingers at Raptor Snatch’s performances, slinging glares around like Mardi Gras beads. They cancel some of Raptor Snatch’s gigs. [How?] They give anonymous tips to night club security accusing Randi’s band members of theft. Slutmaster’s weaselly tactics are getting under Randi’s skin more than Kelvin, her sexy lead guitar player. But Randi didn’t claw her way out of an emotional abyss to give up without a fight.
Can Randi hold her band – and herself – together, and hit the stage singing? Or will this rock and roll phoenix’s comeback go up in flames?
[I like this. The band names are hilarious, and I love Randi’s endeavor to use a band to revolutionize her life. But something is missing. I need to know what it was about Randi’s life that inspired her to join a band called Raptor Snatch, of all things, and how she expects being in that band will make her life better. The most important things to divulge in a query for any story are 1. what the main character wants 2. what is in her way and 3. how she plans to get around that. From this query, I am unsure what Randi really wants. What is it about her life that is unsatisfactory to her? In other words, what exactly is at stake here? I can see that Slutmaster is in Randi’s way of achieving a goal and that she is going to get around that by fighting back. But how will she fight back, and what, aside from Raptor Snatch, might Randi lose if she can’t defeat Slutmaster.
Aside from that, I’m curious about this story…I might like to see it if I felt Randi had something more than the band at stake.]
[redacted] is complete at 83,000 words. [This is, I believe, women’s fiction, but it is helpful to an agent to know what YOU think it is. Because if you think this is mystery, then I’m sorry to tell you this really sucks. If you think it’s romance, then you’ve placed the focus of the query on all the wrong things.]
I am currently a librarian; I lurked there for so long recommending books to patrons and shushing people, that I suspect they only hired me so it would be less creepy. Now I’m armed with a name tag, and a thin veneer of credibility. I’m also a musician with synesthesia which is as interesting, and more irritating than it sounds! <– I like this paragraph, not because I care that you’re a librarian, but because it is chock-full of personality. I’d love to hear more of that voice in the query!
Thanks for your time and consideration.
Dear Ms. Ruth,
The greeting card world was in crisis. Hook Up cards were outselling Engagement cards, Divorce cards were more popular than Wedding Cards and Valentine’s Day looked like it was on the chopping block.
Amanda Downing is about to change all that. Of course she hadn’t planned on writing greeting cards, she really wanted to be writing best selling books about love. And she definitely hadn’t planned on falling in love with the man who specialized in Divorce cards, but I don’t really need the information that comes before my words here, the tenses are mixed and I’m a little confused…begin your query here —> when her graduate school plans fell through, twenty two year old Amanda finds herself accepting a temporary job at Sunshine Greeting Card Company.
However, Sunshine Greeting isn’t an average place. The company was founded on love letters and
it’s its owner has extremely eccentric hiring practices. As Amanda moves from Humorous Birthday with Kathy (I don’t really need her name), the vegan (is Vegan an adjective used to describe a person?), depressed, Slam Poet, to the Infertility Department where she works with an ex convict and a rapper (this is funny!), she learns enough about love to fill a book. Her book. But does she know enough about love to rescue Valentine’s Day (the holiday or the department?) from a cynical, heartbroken man? It’s worth a try.
It sounds to me like the conflict here is not that Amanda started working at a greeting card manufacturer, but rather that someone there has decided to cut Valentines Day out. I need to know why this is important to Amanda, how she sets about fixing the situation, and what sort of relationship she has with the antagonist. This query was very short, but if you cut out the beginning and focus on the conflict, it’ll be leagues better than the one I’ve just read. That being said, stick with it, author! This story sounds like so much fun. Good luck!
Sunshine Greeting is a completed 84,000 word women’s fiction novel. As a physician and a mother, I have found that humor is often the best way to get someone’s attention. And I want their attention. This novel is fun and over the top, but, at it’s core, [redacted] uses greeting cards to show how devalued love has become in our bad news obsessed society. Thank you for your time.
Mia Tanaka made the decision to attend Vega Preparatory Academy so that she could write her own future; little did she know Vega specialized in rewriting the past.
Hmm. I wonder what this means…
Mia Tanaka was forgettable. You could have sat next to her in class, done a project with her, or been in the same club, yet when you saw her in the hallways, her name was just out of grasp. Although she was a smart and talented girl, she had never risked enough to fail. Consequently, she’d never really experienced success, either. (Getting into Vega Preparatory Acadamy isn’t a success?) A hapa (half-Japanese, half-Caucasian) girl living in Idaho, Mia secretly dreamed of being significant and memorable, a feat that seemed impossible to accomplish unless something changed drastically.
Being half-Japanese in Idaho seems memorable, even if just a little. The way you’ve constructed this sentence tells me you mean her status as a hapa to be unmemorable and insignificant, but I’m not so sure it is.
The opportunity to make that change was presented to Mia when she attended her high school’s annual college fair and was introduced to Vega Preparatory Academy by two incredibly good-looking boys, Rhys and Jesse. Mia’s first reaction was to forget about it. She was already following in her mom’s footsteps to the local state college, the safe and predictable path. But when Rhys approached Mia again to let her know that she was precisely what Vega was looking for, Mia received the confidence boost she needed to remember that she wanted more out of life than just safe and predictable. Vega Prep was a school that was shrouded in mystery and potential adventure, and deep down, that was exactly what Mia craved.
The above paragraph is entirely unnecessary in a query. While this information would be necessary in your book, we don’t need to know every breath or step Mia takes. We need to know larger threads, and those words are just taking up valuable real estate.
When she reached Vega, she found out that it was not just a school for the best and the brightest; it was the training ground for Vega Corporation (she or her parents wouldn’t have put two-and-two together?), a company that was dedicated to time travel.
The moment Mia heard about the opportunity to travel through time, (Get ready for it…here comes number one) she realized this was what she was meant to do. (And here’s number two, close on its heels). She finally felt like her life had purpose. (And third time’s not a charm…) Mia wanted nothing more than to be the school’s sole female time traveler, but was thwarted in her attempts by the “mean girl”, Angelica, who seemed to have a vendetta against her, by Sophia, the beautiful but evil woman who felt that she was robbed of the job in the past, and most of all, by herself.
In the past three sentences, we’re told three times that Mia is excited about the prospect of time travel. Once is plenty.
Sophia and Angelica don’t feel like real threats to me because I don’t understand what they’ve done to keep Mia from getting what she wants. What does Angelica do to deliberately get in Mia’s way? Who exactly is Sophia, and why is she present at a school? Is she a teacher? I assume this is the book’s major conflict (since its the only conflict I can see) but it’s not thorny enough. Or, rather, it might be…but you haven’t shown it to us.
I thought the time-travel concept was interesting in a YA environment (even though that makes it science-fictiony, which could make it a rough sell) but I was concerned that there’s no teen voice to this query. It sounds like a grown woman speaking about a teen girl, which it is. A query, while it should be written in third person, should also give us a taste of the protagonist’s personality. If I had to judge Mia’s personality from this query, I’d say she acts like she’s thirty, which is not good in YA.
I’d love to see some sentences revamped by SlushPileTales readers in the comments section. Winner gets–drum roll–mention as THE WINNER OF QUERYDICE 39 on Twitter! =)
Lastly, you mention in your opening sentence that Vega specializes in rewriting the past, but you don’t mention their motive for traveling through time to do that. It’s dramatic that you open with that, but then it fizzles when you never mention it again.
Being a hapa kid myself, growing up on the sunny shores of Kailua, Hawaii, I read voraciously, and I dreamed of traveling to long lost times and being a part of different worlds. As I grew up, I realized that dream was impossible. [redacted] is, in a way, my rebellion. After gaining my bachelor’s degree in history from Utah Valley University and learning even more about the times I yearned to be a part of, I decided that if I wanted a world in which I could time travel to exist, I needed to create it.
None of this is important. The bio portion of your letter should include information on your past writing and anything relevant to your career as an author. If you have enough words left over after giving us that information, feel free to include a few tidbits of your journey to the book.
[redacted] is a YA fantasy novel complete at 100,000 words.
Thank you for your time and I look forward to hearing from you.
Dear Ms. Ruth,
Amniese prefers books over her peers. Who wouldn’t with the way the other girls belittle her? Besides, Amniese has friends. Two to be exact. One is a Dryad entrapped [something about this word is problematic for me. What’s wrong with “trapped”?] in a tree. The other is Llyr, a mysterious unicorn she meets through dreams.
You never mention the Dryad again, and it remains nameless. Why waste your words?
She enjoys spending her days at the Academy alone. Having her own room gives Amniese the freedom to practice magic undiscovered. Her dream is to grow powerful enough to unseal the Ancient Magics and free her friends. However, a new roommate interferes.
How does this new roommate interfere?
You’ve used too many words to get the following things across to us:
1. Amniese has special magical powers that are unknown to everyone.
2. She’s a student at some Academy.
3. She is a social pariah and her only friends are magical beings.
I’ll bet–and I’d love everyone’s opinion on this–that you could accomplish that in a single sentence and then get right along to the conflict. Attempts at this are welcome. Let’s see what you guys can come up with. You have one sentence. And I’m a huge fan of the semicolon, the colon and parentheses. I’ll choose a winner and announce via Twitter. (Don’t forget to include your handle)
As if having an intrude (“intrude” is not a noun) isn’t enough, Llyr is unreachable. Desperate to contact Llyr and equally concerned about keeping her powers hidden, Amniese secretly attempts dangerous spells. Despite the fear of her abilities being discovered, she must grow stronger.
Amniese learns that freeing the Ancient Magics will unleash Shilon’s (Shilon?) greatest threat, the Sorcerer of Darkness. What Amniese doesn’t know is her destiny is already intertwined with the Sorcerer. She will have to choose: let the Ancient Magics remain sealed or risk Shilon’s future for the ones she loves.
The paragraph above is the most interesting part of this. Everything else is just details. The meat of your query should not be a three sentence mention at the end. You might feel like you’re leaving the reader with an impression and enticing them to want to read more by ending your query this way, but how can an agent feel impressed or enticed if they never got to the end?
Sometimes authors need to write to get around to writing what matters. This query is a draft of the one that’ll work for you, and it’s not bad as such. Focus on the conflict: what does Amniese want more than anything? What is keeping her from getting it? What is at stake? Why should I care?
Because this is fantasy, you’ll also need to do some world-building even in your query, and you’ve done a pretty good job of that, and you’ve intertwined it with an introduction to the YA themes present in your book: fitting in, friendship, etc. I suggest you do that in fewer words, though.
Lastly, there is no voice in the query, and perhaps especially for YA, I need to hear at least an echo of what kind of voice I can expect in the manuscript.
[redacted] is an 82,000 word YA fantasy.
Thank you for your time and consideration.
Dear Ms Ruth,
A cardboard box is hidden in an empty room. Initial thought: this start is very intriguing. My interest is piqued and I’m wondering where this will go…
Inside the box, there is a stack of black and white photographs, somewhat grainy, somewhat blurred. These photos are all that remains of a young man who has died. They are the memory of him, and they come to represent the time that will slowly pass, leaving nothing else behind. They are the only clues into his life. They are the things that, still, are left.
These words set the stage for my first novel, titled [redacted].
I’m turned off by your copy-and-paste of the beginning of your novel into the query. First, it is all tell and no show, which is a turn-off in a manuscript. Then, also, while it is great to get a taste of the author’s voice in a query, I feel tricked. I’m part of the way through your query and I still don’t know what your book is about.
Set in the tradition of Kazuo Ishiguro, John Banville, and Ian McEwan, [redacted] explores a shifting web of memory, family and friends. The novel is about a young man, named Ennan, who must come to terms with the loss of his brother. In doing so, Ennan must struggle to understand both his brother and himself, and must answer the question, what do our loved ones leave behind?
This is a bit dry. I’m not compelled enough to read more. What makes Ennan’s loss-of-loved-one story any different than all the rest? Also, the question at the end of this paragraph was surely meant to be compelling, but I’m just not as intrigued as I think the author intended.
Told through a series of interlocking narrative strands, [redacted] follows both Ennan’s past and his present as he works to cope with his brother’s death. Ennan flies to New York to find an answer to his questions (what questions?), but once there, he soon becomes obsessed with his brother’s box. Isn’t he pretty obsessed already? He got on a plane a flew to New York because of this…
Nothing is as he thought it was, however, and as he digs ever deeper into the mysteries of the box, and the photographs that it contains, Ennan’s own memories begin to shift and mix together, forming a portrait of the shattered and failing relationships (with whom?) that his brother’s death has left him with. Ultimately, things between Ennan and his brother had never been as simple, or as easy, as he’d always led himself to believe.
Why does this matter? What is at stake? This story doesn’t appear to have a conflict. While Ennan has an internal conflict because he needs to find answers to lingering questions about his brother’s life, but this is not enough. Why should we care about that? What does Ennan stand to lose, and how will figuring out his brother’s puzzle prevent that loss?
My work has been published both in print and online in PARADIGM, LINE ZERO, PRICK OF THE SPINDLE, and the PLUM CREEK REVIEW. This is great to know. I have worked as a chef, preschool teacher, student filmmaker, and at an art gallery, This, not so much. and I am currently living in Venice, CA, where I have been hired to write the screenplay for an independent film. This is good to know as well.
Thank you for your consideration.
I would reject this, because I don’t feel like there is a story that is compelling enough to sell to discerning editors. That doesn’t mean there isn’t–it just means it wasn’t shown to me.
The following is a query critique. Comments, suggestions and discussion are welcome and we hope you join in. I can only offer one opinion. The author of the query and I would love to hear yours!
Dear Ms. Ruth,
I would be delighted to submit for your consideration, [redacted], my dark, romantic women’s fiction novel (there is no such thing as a novel that isn’t fiction, so you only need to write “fiction” or “novel.” This is a huge agent-peeve) which is complete at just under 104,000 words.
A thirty-two year old musician assistant, Trista Hart knows she needs to find a way out of the nocturnally persuaded world of her best friend and boss, Jaxon James.
Nocturnally persuaded. This is a creative turn-of-phrase, and I love those, but in a query, I just want to get the low-down on your book. Making me think too hard will aggravate my totally abused brain and turn it off. I’m not sure what nocturnally persuaded means because I’m not familiar with your book and its themes, and I’m not willing to try and figure it out because on the heels of your query are thousands of others and I’ll go in search of something with more clarity. Sometimes the simpler the language, the better, even though it doesn’t show your literary prowess.
But no matter how dark that route (what route? Are you referring to his world, the way of out his world?) has become lately, he and his band Sin Pointe are her family and she’s not prepared to desert them for Jaxon’s cousin, Lucky Mason, if it’s just going to take her down another of life’s pot-hole littered highways.
Who says she has to desert them, and who the hell is Lucky Mason? That came sailing out of left field. Why are Lucky ad Sin Pointe mutually exclusive? Also, nit-pick: the words “pot-hole littered” irks me. Littered would mean someone has dropped something negligently. I think you can find something more accurate.
She has valid reasons to question Lucky and his beloved south—having experienced at an early age the sometimes hypocritical underbelly of the region’s good manners and charm.
What does the south have to do with it? In fact, what does Lucky have to with anything? I’m asking: what does Trista want? What is keeping her from getting that? How does she endeavor to solve that conflict?
Her hourglass has been turned upside down and now with Lucky’s heartfelt proposal before her, (ah ha! Why are we discovering now, after you’ve confused us and given us every reason to stop reading, that this was a proposal?) she has to decide one for the other at the most inconvenient of times—just as Sin Pointe’s tour is taking off and on the heels of a horrendous late night attack on her and Jaxon that leaves her sure of only one thing…
It’s time for Trista to be her own savior.
Well I, for one, am not sure of anything and that’s the problem with this query. What I really want to know is what the problem is. If Jaxon is her best friend, why would he or his band prevent her from marrying (was this a marriage proposal?) Lucky?
I would reject this query because it lacks compelling conflict. I wonder why can’t she just have both? Her job, her best friend and family, and Lucky? What’s preventing that from happening? I worry that the answer is nothing and your manuscript has a huge, glaring plot hole that would mean it needs an overhaul.
When this query was diced here, the problem was that we didn’t know enough. We needed a better description. Now, we know a bit more, but we still need to know what the conflict is.
While as yet unpublished, I am a member of RWA, my local WRW chapter, and the fantastic women fiction writers group Waterworld Mermaids.
I greatly appreciate your time and consideration and hope to hear from you if my work seems a good fit.
Dear Lovely and Talented Agent, While I appreciate the compliment, you still have not used my name, and that would have been a bigger compliment.
I am looking for representation for my novel [redacted]. I know. Otherwise, I wouldn’t be reading your query. You’ve wasted valuable real estate telling me this.
Professionally, Abigail Kelly is a rockstar. But personally, she’s at the bottom of the charts. This should be one sentence with the independent ideas separated by a comma. Aside from that nitpick, though, this is a good start.
More than anything, Abby wants balance, but her life is seriously out of whack. After her brother is tragically killed, Abby dives into her singing career, allowing the bright lights of Hollywood to block out her grief. When the band takes the summer off, Abby banishes herself to the secluded beaches of Florida—finally slowing down enough to deal with her demons. When she meets ex-Marine Todd, she begins to feel the balance she’s been desperate for.
Just as Abby is beginning to unclench, Max, her sadistic manager—who makes Simon Cowell look like an angel—demands that she gets her tail back to LA. Under the pressure of the hot spotlight again, Abby’s grip on her new-found balance begins to shake. Torn between her love for Todd, and her loyalty to the guys in the band, she must find a way to confront her past, and take control her present, or risk losing everything.
[redacted] is a work of women’s fiction and is complete at 97,000 words.
Thank you for your time.
Notwithstanding my comments above, the structure of this query is technically fine. You’ve told me who your main character is, what she wants, what’s in her way and the challenges she faces in wrestling the in-the-way. I completely understand what you’ve written, who its audience is and whether or not I would want to read this.
The trouble is, I don’t think it is compelling enough. My critical mind asks, “Okay, so she has to make a choice between a boyfriend and her band and she must confront some demons. And?” Things like this happen to everybody. We’ve all had to make a choice and we all have demons. What makes Abby’s experience so different from our own that we would want to spend 97,000 words with her? Also, I worry that there are potential plot holes, here. Abby is a rockstar, which means she must have lots of money, fans and power. Why can’t she find a way to fix her problem?
This story needs external conflict–something big that affects (or has the potential to affect) not only Abby, but other people too. For me, women’s fiction can’t just be about an issue that often affects women. It also needs to be a little controversial and unique so that I’m forced to stop in my tracks and wonder what I might have done in the protagonist’s shoes. Women’s fiction very often aims to warm the hearts of women, and I didn’t find this as heartwarming as I would have liked.
Sincerely,etc (I wonder if you put this “etc” in to be cute, or if somehow the monster named Technology added it for you. If the former, best to stick with the tried-and-true.)
Dear Ms. Ruth,
Assistant to the Royal Advisor, Adalmund Port returned home to Norwyn from her first job with an arrow in her shoulder and a murdered princess in her arms.
This sentence takes too much work from the reader. My brain hurts. I know this is a different world, but you so casually toss information to us as though we should already be familiar with it. I’m not so sure you need any more information here than just the fact that Adalmund has an arrow in her shoulder and a dead princess in her arms. That was a compelling and intriguing line that you’ve saddled with unnecessary details.
A war veteran at seventeen, Adalmund was sent to advise her country’s princess during a routine, perfectly safe peace treaty signing. Needless to say, it didn’t go as planned.
Why is a seventeen year old girl advising the country’s leadership?
Sent back to Amleth, the country that murdered her princess, Adalmund is tasked with finding the man who ordered the attack and killing him. It’s an old law between the nations—the life of a noble for another noble life—but it doesn’t take into account the revolution brewing in Amelth. Adalmund didn’t take it into account either.
You might be able to begin your query with the above paragraph. We don’t need to know that Adalmund returned home wounded with the princess in her arms. It’s compelling and intriguing, but it is best reserved for the synopsis, in which you’ll have more words to play with. For now, it might be best to begin with something like, “As assistant to the royal advisor of [enter brief two-word description] Norwyn, seventeen year old Adalmund Port is charged with exacting revenge on the country’s princess….”
That being said, we don’t need to know the old law between the nations. It is interesting, but keep it out, and if you have room later, put it in. And, especially for words we don’t even know, inconsistent spellings give readers the feeling even you don’t know your world. And that’s just chaotic.
Peace is rising in Amelth. Peace, a masked man with the same magical powers as Adalmund (what? Adalmund has magic powers? We need to know how this comes into play and what is means to the story and the main character. Preferably, we need to know this from Jump Street.) and a desire for sweeping, if misguided, social change, is leading the revolution against the Amleth Royal Court. He also knows which Amelth prince was in charge of the military unit that murdered the Norwyn princess.
This last sentence lets the cat of the bag with a thud. In fact, I don’t think you need the sentence at all.
Peace wants Adalmund’s help.
Adalmund wants Peace’s information.
She also wants nothing to do with him, but Norwyn’s Royal Court strikes a deal with Peace: Adalmund’s unlimited help in exchange for a magically binding agreement that he’ll never declare war on Norwyn.
Adalmund will do anything to save her country. She’s been to war, she’s been an assassin, and she’s sacrificed her arm to save the princess.
But asking her to work with Peace might be too much.
Without further exposition, I don’t find it believable that Adalmund, after all she’s been through, would care about working with Peace. What’s so horrible about him?
I don’t see a strong enough conflict here. The princess is already dead, so you’ve snuffed out any tension around that. We also didn’t know or care about her so we don’t care that she’s dead. There’s an external conflict surrounding Norwyn’s vulnerability, but we don’t know the country’s people, so this is not compelling enough. Aside from Adalmund’s (whiny, to me) refusal to work with Peace, I’m not sure what the problem is and for that reason I would reject this.
[redacted] is a young adult fantasy novel of 75,000 words with series potential.
Thank you for your time and consideration.