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QueryDice #14.1: Do-Over!

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.
Sincerely,

[redacted]

QueryDice #33

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.)

[redacted]

LR

QueryDice #9.1: Take Two!

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 Lauren Ruth:

When Prudence O’Brian uncovers a human skeleton in her landlady’s backyard, she doesn’t expect the police or the press to be too concerned. Her mother was brutally murdered and the newspapers didn’t print a blurb. The police were too busy hunting down bootleggers and raiding speakeasies to apprehend her mother’s killer. Pru doesn’t want justice to slip through the cracks again. She decides to uncover the identity of the skeleton herself, but she’s uncertain on how to begin.

I’m already seeing a potential problem. In a mystery, the amateur sleuth needs to have a very solid reason for taking the investigation into her own hands. It is hard to like a person who is a busybody or who is meddlesome. I don’t think Pru’s motivation to get involved in the case of this skeleton is strong enough. She needs a solid connection to this crime…like being forced to investigate it because she or someone close is blamed for it. Now, that’s not to say that you haven’t fleshed this out more in the book, making it believable and acceptable that Pru would investigate this on her own, just that it’s not solid enough here in this query.

That being said, this opening is a huge improvement over the last draft. You’d opened with a question, which is a huge pet-peeve of mine, and you’d provided us with a bunch of information we really don’t need.

Gus Ashton is intrigued by Pru’s quest. He offers her his knowledge as a trial attorney to go places and interview people she wouldn’t dare do alone.

Why? Who is he and why would he offer his assistance to Pru when he could be billing hours? Also, as a side note, this sentence is poorly written. 

Gus is old enough to be her father, but he’s the first man she’s encountered who isn’t intimidated by her intelligence or her dangerous right hook. The farther (further is correct. Farther refers to spatial distance) they delve into their investigation, Pru realizes she and Gus have different definitions of justice, and his is silencing anyone who knows the truth.

This is very vague, which irks me. The difference between a back-of-the-book blurb and a query is that a cliffhanger is ineffective in a query, but intriguing on the back of a book. When I see a cliffhanger like this, it doesn’t make me request just to see what happens, it makes me want to move on to a query that’s made itself clear.

I’m not so sure we need to know anything about Gus. It takes you two paragraphs to get to the most compelling part about him: that his idea of justice is silencing anyone who knows the truth. I would cut the two paragraphs and just keep that one compelling sentence from your first draft: “But discovering the skeleton’s identity also means unmasking a killer whose own idea of justice is silencing anyone who knows the truth.”

I received a Bachelor of Arts in history from Drake University. After graduating from college, I worked as a tour guide at a living history museum. Most of the information we conveyed to the public had to be learned by research. I applied these skills to my novel to accurately portray life during The Great Depression.

This is an excellent improvement to your bio.

Another issue: this is the first we hear that this is a historical novel. Since you unfolded your query and it was unnecessary to mention that this was historical, I worry that you just set the story in the past without weaving that into the story.

My 100,000 word historical mystery, [redacted], is complete and available for review.

Thank you for your time.

Sincerely,

[redacted]

LR

QueryDice #11.1

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!

This query was previously Diced here.

Dear Ms. Ruth

Jaden might live in a small town, but she has everything, family, friends, love, and a set of wicked daggers. It’s all taken from her when men in camouflage cloaks burn her city in search of four children born the night of the Blood Moon.

I see what you’re trying to do here. You wanted to give us a sense of atmosphere–the small town–you wanted us to know Jaden was once very fortunate and now is not–the conflict–right from the get-go. You’ve accomplished this, but I’m still not pleased with this paragraph and here’s why:

For one thing, I don’t see what the daggers have to do with anything. For another, I know from the word “cloak” that this is fantasy, but I get no sense of world-building. I would have appreciated some mention of the fact that this is not the world we know, but instead some other, different world.

Jaden has heard of the four; they have the power to defeat the sorceress queen and save the dwindling race of Forest Folk.

In the last sentence above, I almost want to stop reading because I don’t know what the Forest Folk are, why they are important to anyone, much less to Jaden, why the sorceress queen needs to be defeated and what would happen if she was. This query needs deeper world-building.

Definitely not a destiny Jaden wants, but a destiny that’s hard to argue against when everyone she loves sacrifices themselves for her escape.

You’ve lost me. What destiny doesn’t Jaden want? From what is she escaping?

And even harder when she meets Logan, a man who claims to be her protector. She feels a strange connection to him which terrifies her, because his camouflage cloak is identical to those of the men who destroyed her life.

Logan has been protecting the four children of prophecy for the last eighteen years—by staying as far away from them as possible.  He doesn’t want the job, especially when it involves protecting the same four kids his wife is hunting.

How can he protect the children by staying as far away as possible?

He’ll fight. (Fight whom?) He’ll even die for his people. (Why would this be necessary?) But he won’t face that betrayer again.

What betrayer? His wife? Is she the sorceress queen?

Except, it’s never that easy. As the last remaining Protector, Logan alone can locate the four. But when he finds dagger wielding Jaden, his duty to protect becomes a harder task; she threatens to kill him because of his unique cloak. A cloak Logan’s wife would know how to duplicate.

It seems like you’ve meant the last sentence to be heavy-hitting and compelling, but it just confuses me. Are you saying his wife duplicated his cloak and then gave the duplicates out to men who are now hunting Jaden? Why would she do that? And why would he care if others had his cloak? Why is the cloak important at all?

I would reject this query because I still don’t have a firm handle on the motivations of the characters, and I still don’t completely understand the world, its limitations and its conflicts. I fear that this might continue through the manuscript.

[redacted] is a 105,000 word fantasy novel.

Thank you for your time and consideration.

Sincerely,

[redacted]

QueryDice #27

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.

Ms. Ruth,

All Zach wants to do lately is fight. It doesn’t matter with whom or what.

He’s always had a problem with his temper, but never like this. Never to the point that he gets into fights and can’t remember why. Ever since he and his mom up and left their home in Florida for Dave-her new husband, he’s gone into uncontrollable rages. Zach knows there’s a trigger since he isn’t always mad, but needs helping figuring out what it is.

It is not believable to me that Zach’s rage started right after he and his mom moved in with Dave and Zach has no idea what’s causing his anger.

His latest psychiatrist thinks there’s something going on at home that’s triggering these rages. And she’s right, there is. That sonofabitch Dave is what’s going on at home. He prefers leaving Zach bruised and sore to spending time together as father/son, not to mention the black rings around his mom’s eyes that are becoming a regular occurrence.

For Zach, thanks to three fights in the last three weeks, any chance of a future hinges on learning to control his anger. He hopes his psychologist and her assistant, the girl he loves, can help with this. He wants to go to college, he wants to date, and he wants to survive Dave.

There is nothing specifically wrong with this query. I don’t think the conflict is complicated enough, though. We’ve already heard the story of the boy whose step-dad abuses him and his mother. What makes yours markedly different from those? While I agree that this is a theme welcomed and sought by YA readers, I think there needs to be something else, something big, specific and external, at stake.If there isn’t, then I can easily predict the outcome of this story: Zach figures it out. Who would write or read a story about an abused boy who has uncontrollable rages at the end of which the boy still has uncontrollable rages and is still abused? That’s why there needs to be a complication to the conflict here, or an added conflict.

This has more to do with the manuscript than it does with this query, though. The query was well-written. I know what the conflict is, who stands to benefit or lose-out, and what the challenges to solving it are.

ZACH’S FIGHT is my contemporary young adult novel and is complete at 60,000 words. I am a member of SCWBI and RWA.  Thank you for your time and consideration.

As always, please remember to say goodbye! A simple “sincerely, so and so” suffices.

Best of luck, LR

 

QueryDice #26

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,

As a result of your interest in women’s fiction, I hope you will enjoy A Shift in the Wind, contemporary women’s fiction with a speculative bent. Hmm. Speculative? I really like speculative fiction…I wonder how this turns out…

Augusta Collins was born in the wrong century. A lover of the elegance and slow pace of times gone by, she never liked the technology-crazed, faster-is-always-better life, so it’s a strange, but exciting occurrence when a solar flare storm knocks out electricity and she finds herself experiencing first-hand what her life would’ve been like had she any say in the time frame of her birth. How long is the electricity out? Also, this is not striking me as a noteworthy story.

The resurgence of beauty in the form of elaborate balls, the popularity of performing arts, and leisurely strolls in the rose garden are perfection, but change has the ability to both heal and kill – and it does.

Hold the phone. Have elaborate balls, performing arts and leisurely strolls in the rose garden returned to everyday life, or that this would be very nice? What do you mean they are perfection? Do you mean they are Augusta’s ideal, or do you mean they’re pleasant, or do you mean everyone in the world agrees that these things are perfection? The last sentence, for some reason, doesn’t sound wise to me. Its sounds like a reach, because you could swap any ol’ noun for “change” here. Chairs (to pick a noun off the top of my head) also have the twin abilities to heal and kill because you could knock somebody over the head with one, but also use one to get a healing rest from a day’s work. My point is, yes, change can kill and it can heal, but so can many other things, so what significance are you trying to highlight?

And what has changed so much that the world is significantly altered? Again, is the electricity out indefinitely, for months, forever? If it’s an extended period of time, I wonder if it is believable that engineers would not correct it. What changes has this brought about? Better yet, what changes has this brought about that we weren’t expecting?

It’d taken Augusta’s father a year earlier, murdered in split-second madness by a stranger, but it’d given her family 28-year-old Griffin Alexander, a former capital investor who, conveniently, knows nothing about how to run the Collins’ sheet metal manufacturing company and everything about money and combat.

This paragraph continues with that reach, which I think you’ve tried to use as a transition. Change did not take Augusta’s father, Augusta’s father’s death was itself a change. Why is Griffin’s age important, why is his former life important, why is it significant that he knows nothing about how to run the company, and why is this convenient? Why is it significant that he knows everything about money and combat? Is he an employee and if so, to whom does he answer?

This paragraph also signals the complete departure from the electricity outage and speculative world you were beginning to introduce, which makes for a very disjointed query.

 

If you hadn’t told me, I would be wondering if this was romance or women’s fiction, and that is a problem, because I worry that I’d read the manuscript and it would turn out to be some sort of hybrid. Hybrids are hard to sell–publishers are afraid of them–and many just won’t sell. (As an aside, don’t ever tell me your manuscript is “genre-bending” if you want me to read without suspicion.) I think this is probably women’s fiction with a strong romantic element, but the problem is I’m not sure. It could very well be romantic suspense.

Since that day, (since what day? The day of Augusta’s father’s death? The day of Griffin’s initial hire?) Griffin has protected and provided for the friends he considers family, but when Augusta discovers that Griffin may have risked their livelihood for the sake of his own, she makes a decision that may hurl her family into danger and swat down the affection growing between them – unacknowledged yet intricate and fragile as a spider’s web.

This paragraph generates even more questions. We have heard nothing of Augusta’s family, but now you’ve brought them into the query, so they’re a distraction. You have a choice here: either include some exposition of Augusta’s family, if you think they are major characters, or leave them out of the query entirely. Why does Augusta’s family need Griffin’s protection? The rest of this paragraph tells me you understand that writing a query is the art of leaving things out, but there is a fine line between successfully telling us only the need-to-know, and just confusing us.

Ask yourself what you really need in this paragraph for us to understand the main story, here. For example, do we need to know exactly what Griffin may have done wrong, or just simply that he may have done wrong?

Stuck in the narrow, unaccompanied middle between clutching governmental control and the radical members of an opposition group, the decision to stay neutral may be fatal – and ultimately impossible.

Whoa. Clutching governmental control? Radical opposition group? Is this is same query? Neutral would indicate there were opposing sides to some conflict–what conflict? Focusing on the threats (what threats?) around her, Augusta attempts to ignore the heightening conflict between her heart’s urging to risk it all for the love of her soul (do you mean she loves her own soul, the love her soul expresses, or possibly Griffin?) and her mind’s persistent encouragement to settle for another. Another what? Is there a character who should have been introduced?

As all of the elements come crashing together like the conflicting fronts of a tornado, Augusta finds that although turmoil and deception are plagues in any age, love always tends to find you right where you belong.

You know, for this sentence to have the punch that you want it to have, it needs to have a set of opposites on either side of the word “although.” So, since plagues don’t keep you from finding where you belong (maybe you belong there, plagued) this sentence didn’t resonate with me. Since it is the closing of your synopsis-portion in this query, I would have liked to be left with something with a better kick. The language in this query–metaphors, etc.–hints that the you’re leaning toward the literary side (women’s fiction sort of straddles commercial fiction, genre fiction and sometimes literary fiction) so I’d like your last sentence to be just a tad more poetic or profound. Also, “always tends” contradicts itself. Always means it doesn’t ever do something else, while tends means it regularly or frequently does something, but not always without deviation.

A Shift in the Wind is 115,000 words and fully complete. I would love to send the manuscript for your review. Thank you for taking the time to consider this project!

This query had no salutation, which won’t earn anybody a rejection. It is a nice formality to say bye-bye, though.

I would reject this query not because I think there isn’t a story here, but because I’m not entirely sure what it is.

 

QueryDice #20

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 Lauren Ruth,

I would like to introduce you to my adult love story called A struggle of the heart. This is a Contemporary romance. My completed manuscript consists of 71,539 words. A young woman faces the age-old dilemma: what to do when you are torn between two lovers?

 

Unless your work is written for young adults or children, there is no need to mention what age-group you’ve targeted. The agent will assume it is for adults. Your second sentence is redundant. You’ve already told us in the first sentence that this is a romance by using the words “love story,” although I prefer to see this genre called “romance.”

The story you’ve set me up to receive certainly is age-old. Right from the first paragraph, I need to feel there is something different about your romance, something new or exciting that would make me choose yours among the hundreds I see. Romances are a dime a dozen—I’m looking for the one that’s a dime a piece.

 

Annette, a beautician in Norman, Oklahoma, (these are the first words that catch my eye in your query. I’ve never read a romance about a beautician in Norman, Oklahoma. Interesting…) does not believe she’ll ever find love, let alone two men who fall head over heels for her. Aaron, a handsome and virile Native American (again, I’m interested. This is different…) with long dark hair and sensuous brown eyes, draws her to him like a magnet. Tim, a good-looking, happy-go-lucky fellow, is always there to help, care for and comfort her.

 

While I understand your temptation to succinctly describe these men in as few words as possible, this felt too punchy for me. I would prefer to see a description of her love affair with the first man, and then the other man stepping in to distract her instead of a bland description of the men. Additionally, Aaron seems much more interesting than Tim—who reads to me like a lukewarm guy-next-door—so I can’t feel any tension. Of course she’s going to pick the more interesting one…or she should, if the book is going to be interesting.

 

With Aaron, it is love at first site, while Tim grows on her over time. ß-you do not need this sentence. This is one of those things that a query can do without, but the synopsis she show. How will she ever decide? It seems at first that fate might make the decision for her when Aaron joins the army and is stationed overseas. While he is gone, Tim fills the huge void left in her aching heart.

 

I’m not so sure you should explain that she had her eye on both men before Aaron joined the Army. You might consider saving Tim’s introduction for after you explain that Aaron joined. This would free the men from being lumped together in the same paragraph.

At the same time, Annette knows she must follow her own dream. After the bombing of the Murrah Federal Building in Oklahoma City, she yearns to find a more fulfilling job helping others. This leads her to begin emergency medical training and after that, to attend paramedic school.

 

You do not need the above paragraph at all in this query. It is a good idea to give Annette this extra depth of character, but it could be exposed in passing, as in, “…taking Aaron’s cue to follow her own dreams, Annette enrolls in paramedic school…” We don’t need to know anything beyond that.

 

Upon graduation, Tim asks for Annette’s hand in marriage but what about Aaron, who just returned home from Afghanistan?  It is truly “A Struggle of the Heart” as Annette finds herself torn between two lovers.

 

The biggest problem with this query is its lack of tension. It is not very interesting that she has two men who love her and must choose between them. This is not extraordinary. I have a feeling, however, that this is not a problem with your query, but rather with the story itself. For the torn-between-lovers plot to work, there must be something overarching the story that is at stake. Perhaps Annette has something valuable that one man wants to help her cultivate and the other wants to exploit for his own gain. Maybe Annette stands to lose something if she goes with one man, but has something else to lose if she goes with the other. These two things should be extremely important—like loved ones or her career or her life. Either way, there must be another element to this that extends beyond a girl making an emotional decision. Maybe your manuscript already has this, but if that’s the case we all want to know about it.

I hope this query letter interests you and you will want to pursue reading more. I am looking for a publisher to help me in my endeavor to share this love story.  Your experience is very impressive and I would like to congratulate you on joining BookEnds as a full time literary agent. It would be an honor to work with you on this novel.  

 

This is great. Agents love it when you prove you’ve researched them and made an educated decision to query them, rather than blindly sending your query to everyone and her mother.

 

As I read through the FAQ on your website, it states fiction writers should copy and paste the first three chapters or no more than 50 pages, a synopsis, and an author bio stating what writing experience that we may have.

The first three chapters and a synopsis are the components of a fiction book proposal and are never to be attached to a query. Most agents these days do not want you to attach anything and want your 250-word query in the body of an email. I personally do not mind when authors paste the first ten pages or so after their query in the body of the email.

 

For my author bio I only have one thing that I have written. It is a book called Alzheimer’s A Caretakers Journal, which is a diary about taking care of my father in law with Alzheimer’s. I wrote and published this book in the hopes that I could help others with this terrible disease. I do keep a Alzheimer’s Blog which I have written since 2008.

 

While it is helpful to include an author bio if you have writing credentials, it is not helpful to include non-fiction credentials if you are querying with a work of fiction (unless that work is loosely related or has lent you a platform) or vice-versa. These are two very different skill-sets. Because your bio consists of one published work of non-fiction, I immediately think writing is a hobby to you, rather than a career aspiration, and that your writings are unfocused. In this case, it is better to just leave the bio out and skip right to your polite closing.   

 

I have copy and pasted my synopsis and the first 50 pages of my manuscript. Thank you for reading my query letter.

 

Sincerely,

[redacted]

LR

.

 

QueryDice #19

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,

Nadine Sterling’s world is covered in darkness.

Flash moment. This snagged me. I knew this was going to be a good query just from this sentence.

The sun and the blue skies have not been seen for many years. Natural catastrophes, disorder, and crime are running wild. People believe God has abandoned them.

Still interested…

In this chaotic world, Nadine tries to be a normal girl—NYU student, barista in a coffee shop, talent singer, loyal friend, and dutiful daughter—except for her visions of Victor Gianni, her imaginary boyfriend.

What? Imaginary boyfriend?? This is interesting. Don’t mind if I do…

She comes up with excuses for them: exhaustion, daydreaming, and hallucinations, but she is obligated to cross out those options when she bumps into a real Victor, one who does not know her and shuns her away.

Besides having her heart instantly broken, Nadine’s visions change and now she sees eerie fates, gods she never heard of before, demons with sharp claws they are not timid to use … and instructions.

To find out if she is losing her mind or involved in a larger and yet obscure scheme, Nadine has to follow the instructions—with the real, rude Victor—(he’s rude and angsty? Yes! I love a romance hero who’s a complete jerk…on the surface.) before the evil behind the darkness catches up with them.

[Book Title] is a new adult paranormal romance novel complete at 80,300 words. It stands alone, but can be developed as the first in a trilogy that I call [Trilogy Title].

I have taken five creative writing courses (four from Writer’s Digest University and one taught by Margie Lawson).

Per your guidelines, you’ll find the first chapter of [Book Title] pasted bellow (I’m sure this was just a typo. Since this query is so good, I think I’ll just overlook it.)

This was intriguing. Please send me the first three chapters and a synopsis. LRuth@Bookends-inc.com. As an aside, and this won’t hurt you in the larger scope of things, most agents do not want you to send any material except your query. You might have been responding to my personal preference to have the beginning of your manuscript—maybe 10 pages or so—tacked onto the body of your email.

Thank you for your time and consideration.

LR

 

QueryDice #18

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.

Faith and belief are are common themes in the supernatural and horror genres: “You must have faith for the cross to work,” or “You must believe in the magic.”

There’s something about the lack of a greeting line that bothers me. I feel sort of like something really heavy just fell into my lap.

 

While your opening line is true, I’m not sure I appreciate being told this in a query. It sounds too much like you’re justifying your work, and too textbook. I don’t want to know about the genres—I know them well enough—I want to know about your book.

 

In The Unbeliever , a supernatural adventure/romance novel, it is the principle character’s lack of belief that gives him the ability to battle dark forces and return long lost humanity to the victim of a 400 year old curse.  Former Major Max Bradley struggles with the loss of his leg and the emotional scars from an unending war and finds within himself a new power and a new cause.

 

This is my first novel, but my experience as a military physician enables me to bring the main character, a disabled Iraq war vet who is dealing with both physical disability and emotional trauma, to life.

 

I feel that this book will appeal to both male and female readers.  Male readers will appreciate the realistic action and the military background of the hero.  Female readers will respond to the strong romance that builds between the hero and heroine.  Elena, the heroine, is a woman existing under the curse of the undead since the Sixteenth Century and in Max, the hero, she finds that she finally can have what she has been missing for centuries: the return of her humanity.

 

The problem, here, is that you’re trying to be concise, which is necessary, but you’re excluding important information. What I need to know is this: what is the major conflict, what does it place at stake for Max? I need to know just a little about Max and Elena. What about the world? How does it differ from ours, and does it place limitations on the characters, or enable them?

 

Also, you might consider omitting the paragraph about who the book will appeal to. While this is important information, an agent knows already where your book would be placed or sell best, so your words are better spent on the book itself.

 

I think there could be a great story here, but I don’t know enough about your book to request more information.

 

It is a complete manuscript at 113,000 words and is available for your immediate review.

You haven’t included a salutation, here. To me, this felt like you approached me, dumped your idea on me, and then without so much as a half-hearted wave, just walked away. A query is a business letter, fundamentally, and should always read like one, even if its an e-query.

LR

 

QueryDice #18

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,

At seventeen years old, I was a voracious reader.

This is not important information and since you have so little space to tell us about your book, I would leave this out. I’m not going to request more information based on this, nor will I reject based on it.

Still, there were never enough of the kind of books I liked to read- the ones with characters so real and flawed that they were like old friends, or people I’d met at school- so I wrote one myself.

This sentence is one of my pet-peeves. I’m sure you didn’t mean it this way, but here’s what I hear in your sentence: “I’m a better writer than anyone I’ve ever read (and I read voraciously, so that’s a lot).” Now, I think you’re cocky and difficult to work with, which is never good, and I think this before I’ve had a chance to learn anything about your book. While I’m learning about your book, which will happen in the next 10 seconds, I’ll be looking for genius work, which is what you’ve set me up for. Anything less than that will turn me off because it isn’t what I’ve been promised.

Eight years later, [redacted] is complete at 101,000 words, and I’d like to submit the end-result to your agency for consideration.

[redacted] follows Karli and Marián, two cousins with almost nothing in common: she scores goals, and he writes scores; she breaks bones, he breaks hearts; she creates drama, and he embodies it… (you’ve spent precious words making the same point three times here, and I still know nothing about your characters) but they really aren’t as different as they think. Their story, like a hockey-game, (I’m assuming hockey is a thread in your book, but you’ve left me guessing. You don’t want to leave my understanding of what you’ve written up to chance) is a fast-paced, emotional ride, but also a tale of love, in all forms— friendship, first romances, family-ties, and, above all, learning to love oneself.

We’re at the end of your query and I have no idea what your book is about. Loosely, it is about two cousins who are both similar and dissimilar. Hockey is a thread. They go through some journey or other and come out the other side different people. This is just about as generic as you can get. I would reject this query because I don’t know what it is and I worry that I’ll read a partial and still not know what it is.

Other considerations: Marian is a very ethnic name. Is this cross-cultural fiction? Is there a romance involved? How do the cousins’ stories interact or converge?

[redacted] is geared primarily toward older teens, specifically girls between the ages of 14 and 21, and, as such, is equal parts tender, dark, and humorous. This is my first novel, and I am sending it to you exclusively— I can be reached at [redacted] and [redacted] or emailed at [redacted]

Thank you for your consideration, and I eagerly anticipate your response.

Best regards,

[redacted]

LR

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