Sunday, June 28, 2020

#335



“That roof is the wrong shape to talk to God.”

Chloe Reed hears this inside her head when she looks up in a coffeeshop, her house, her church, everywhere she goes. And the strange, static-laden voice is getting louder with each repetition.

It tells her she’s been chosen to build a correctly shaped roof.

Chloe bounces between thinking she’s going insane and hoping she’s been singled out to talk to God. She needs it to be the latter. She needs to know God loves her, that anyone loves her. She needs to know why her own father doesn’t even want to be in the same room as her.

She builds the roof and puts it on a shed in her backyard. She steps inside. The distorted voice that had been confined to her head crackles down at her from the roof. Chloe prostrates herself on the wooden floorboards.

The voice tells her it’s God. It tells her it has a plan and it needs her help. But it’s not the God she was expecting. This one doesn’t know who Jesus is.

Chloe must find out if the voice belongs to God. If it does, Chloe finally has concrete proof that she’s worthy of love. She finally has a way to get all the answers.

But the voice wants more than her faith. It wants all of humanity to believe. It wants total control. And it needs Chloe to get it.

CHLOE’S ROOF (80,200 words) is a work of speculative fiction. This would be my debut.

Put your comps here. Yes, you need them.
Put your bio here. Yes, you need one.

Thank you for your time and consideration.
This is clear, concise, well-written.
It works for me, I'd read the pages.

But, this is not going to appeal to every agent.
Which means even a clear, concise, well-written query is going to get some passes. 

Any questions?



 

Sunday, April 5, 2020

#334

Revision #1


Cinis Munimoh ripped her best friend’s teeth out on purpose, uttering thanks when the favor was returned.
As first sentences go, that's pretty eyecatching.
Horrifying but eye catching.
Mirroring her caretakers, Cinis clipped her horns, shed her skin, and seasoned her disguise with contacts, hiding her misshapen pupils. The 21 survivors of Amarith were no more. Now, they were just normal people walking the Earth, impersonating the very thing responsible for their downfall: humans.
I don't know what Amarith is, but at this point, I don't really care. I'm not going to stop reading to wonder about anything.

Even shrouded in disguise, the Amarithians are hunted down, struggling to survive and preserve their race.
This sentence doesn't connect to the next one. It's a good sentence, but it just doesn't fit well here. Thus: chop.
But Cinis craves more than mere survival. She longs  longing for the day she can rebuild her planet. that fell to humanity.
We know that her planet fell. That it fell to humanity is something the reader will intuit.  And that lets you cut that last part which improves the rhythm of the sentence.
 Just before Cinis loses hope of preserving her kind, she meets Sebastian, who reveals that

Then she learns Amarith wasn't destroyed.
I have a thing about main characters being told things. It's so passive.
Putting it as she learned makes it more dynamic.

In fact, hundreds of Amarithians and humans alike are held captive there, forced to harvest resources that Earth can no longer could provide. Now, Cin and her friends must find a way to liberate Amarith without blocking Earth from resources and triggering the extinction of thousands of species.


My science fiction novel, Human (115,000 words), is the first in a planned series. The work takes on the point of view of several characters, all of whom keep “war logs”, through which the story is told.
In a query like this it's important to say this novel can stand alone. It can, right?
Although most book deals have been for two or three books in the past, we're coming into a new norm, and single book deals may be one of the changes.

I’ve always been an advocate for the I'm active in the fight against climate change, and my fascination with the environment only aids my writing as ideals of preservation and human pollution can be traced throughout my work. Human is my first novel.

Thank you for your consideration.


Questions:


Is my bio too long? I've been struggling with it since I don't have any credentials or formal education as of the moment, but I do have some things I felt were important to mention.

Too long? It's barely there!
A good bio gives us (the reading agent) a sense of who you are.  You can mention pets, where you live, what you do when you need inspiration, your favorite kind of shark..anything that warms up the intro.

Telling us what you care about is fine, but it shouldn't be the only thing here.
---------------

Original query

Dear Query Shark,

Cinis was eating breakfast when the first bomb hit.
This seems like one of those sentences that should work, doesn't it?
But it doesn't really. Cause everyone is doing something when the bombs hit.
Breakfast is as good as any.
A good first sentence in a query needs to grab your reader's attention and makes them wonder "what will happen now?"
You've got a pretty good candidate for that kind of sentence. It's the last one in the paragraph

Everybody was caught off guard, sure, but they knew the attack would come sooner or later; the Humans had known about Amarith for decades now. But the day had finally arrived:
This one: The Humans had come, and they had not come in peace.

Cinis and twenty other Amarithians were forced to flee. With nowhere else to go, they ran to Earth,
this is a classic example of saying the same thing twice, albeit in different words.
fleeing and running are the same thing here.
You can revise this sentence:
With nowhere else to go, Cinis and twenty other Amarithians were forced to flee to Earth
 hoping to hide in plain sight.

Eight years have passed, and later, just before Cin loses has lost all hope of returning to her planet, a new friend reveals life-changing information.

 what is the info?

Now, Cin and her friends must make a decision, one that could decide the fate of two planets, and all who inhabit them.

What's the decision?

My science fiction novel, Human (115,000 words), is the first in a planned series. The work takes on the point of view of several characters, all of whom keep “war logs”, through which the story is told.

I’m a staff member of a popular (name) server which has over 500 members dedicated to reading and discussing each other’s work.

This is another one of those things that sound good, but my first question is do they BUY the books of the members? Discuss all you want, but you don't get paid (me either) until a book has a sales slip.


I’ve always been an advocate for the fight against climate change, and my fascination with the environment only aids my writing as ideals of preservation and human pollution can be traced throughout my work. I also would like to point out my unique position as both a member of the LGBT community, and a woman, making this novel a #ownvoices contributor, as several main characters share one or both of these traits.
You're not the only (ie unique) woman who's part of the LGBT community. Saying this makes me think you don't understand what unique means.

Words are your tools.
If you keep hitting your thumb with a hammer, I'm not hiring you to hang sheetrock.
Thank you for your consideration.


email
phone
Twitter


There isn't enough here to catch your reader's interest. It's all pretty bland, and that is death in a query. A horrible beige death of zero cuts.

There's no sense of drama or tension because you've said they get info, but not what it is, and have to make a decision, but not what that is.

Dig in. Be specific. Use vibrant language. And use it well.


**if you saw the post before Sunday 4/5/20 at noon, 
and perhaps commented, 
that was an early draft posted in error. 
Comments were deleted.

Sunday, March 29, 2020

#333

Questions:

1.) I know you said that mentioning my self-publishing published novels (despite the tens of books I sold) is a no-go, but honestly, those are the closest things to writing credits I have. Is having no writing credits better than pointing out my two independent novels?

Self publishing isn't a writing credit.
Writing credits are when your work is selected by someone else for publication.

Not having writing credits isn't a problem in fiction.
Having two books in three years with a total of 21 Amazon reviews however IS.

You can take them down from Amazon and not mention them in your query, OR wait to query until you get some additonal reviews up there.  More as in 50 or so.

2.) I'm cautious on if mentioning that I'm a recent college grad in my bio will help or hurt me.
Your email with a .edu suffix pretty much lets the cat out of the bag.
It's not a problem that you're a recent grad. (Also, congrats!)



Dear Query Shark:

Three years ago, the notorious rock star Jon Cameron loved slinging heroin in his veins

Slinging heroin means selling it.
At least it did the last time I looked which was when I was mainlining The Wire.
So, what you've said here is he's selling heroin in his veins.
You've pulled me out of the narrative and made me wonder if you used the wrong word, or this is some kind of weird new way to sell heroin.

In either case, pulling your reader out of the  narrative is something to be avoided at all costs.

more than he loved screaming the F-bomb on stage. That stopped the night Jon handed his brother and best friend, Carter, a needle and watched him die of an overdose. Today, Jon's sober, has quit touring with his renowned rock band, and has started a foundation in honor of Carter. No matter what he does, though, his brother's death clings to Jon like a cancer.


You can solve this entire problem by ditching the first paragraph and starting here:



Former notorious rock star Jon Cameron lJon gets an invitation from Nebulova, the electronics company that controls its billions of customers like a skilled puppeteer. The technology juggernaut is, apparently, about to revolutionize the video game industry by releasing its first virtual-reality gaming system. To flex its "reality-defying" VR system's muscles, Nebulova invites eleven celebrities to compete in a nationally broadcasted video game tournament -- the Eros Levels.


Yeah, woohoo, sounds cool and all, but what does Jon get if he wins? $10 million for the foundation he set up for his brother who died of an overdose. An overdose Jon gave him. And when Jon learns that his ex-girlfriend, the captivating R&B icon Nia Vermilion, is also invited, he can't say "yes" fast enough.

Captivating.
Well, at least it's not bombshell or gorgeous, or drop dead beauty, but it's damn close.
Describing female characters by their appearance is an increasing red flag. Avoid doing this.

Once Jon, Nia, and the other nine celebrities are inside the Eros Levels, Nebulova unveils its true intentions. For years, Nebulova has been using its powerful technology to secretly record everything its customers say – and think. Nebulova knows that each of the eleven celebrities has a sinister, violent, and well-hidden secret that has ruined – and ended – lives. Now, the Eros Levels will be their punishment: lose in the Eros Levels, and die in real-life. The winner gets the prize of being the only one spared.

You've revealed here what Jon's secret is. He killed his brother.
You might consider NOT revealing that here in the query.
If we don't know what Jon's secret is, you create tension. We wonder what it is, and read on to find out more.

One of the biggest problems I see is writers giving away too much, both in the query, and in the first pages of the book.  NOT knowing things builds tension, which builds interest.


Jon can either fight to win the Eros Levels – which would mean watching Nia, the only girl he's ever loved, die – or let his brother's death finally kill him.



THE EROS LEVELS (109,000 words) is a science-fiction novel complete with 109,000 words. THE EROS LEVELS  that will appeal to fans of Blake Crouch's visual writing style and Ernie Cline's creative world-building. I'm a recent college graduate that, Unlike my rock star protagonist, I do does not play guitar and scream F-bombs for a living (I only do the latter part-time). However, we both share the same inane love for Arnold Palmer drinks.


Thank you for your time and consideration.


website:
This redirects to Facebook. It's not really a website as such.
You (and all authors) should have an actual website with your contact info, your bio, and pictures of your dog and your published works if you have them and want to mention them. Also, links to your social meda like Twitter, Instagram and/or Facebook. When I say link, I mean the icons that you click on, not a URL.


 

Sunday, December 8, 2019

#332

Question:
I wrote LOST IN LA as a retelling of Pretty Woman with “modern” social issues, but I don’t know whether to focus on the characters, the fake relationship trope or the social issues that bring the characters together. I’ve chosen to highlight the social issues to convey a fresh approach, but I’m worried the query is too serious and the characters don’t come across as feisty and likable.

You've hamstrung yourself with the Pretty Woman framework.
Pretty Woman was made in 1990.
A lot has changed since then.
Readers tastes in particular.

And always and evermore the thing to focus on in a query is the story.

Dear Query Shark,

Wylie’s Los Angeles roommate kicks her out of her apartment.
Is this a killer first sentence that draws me in and makes me want to read more?

Desperate to finish her yoga accreditation and land a stable job,
or this?

Wylie decides to live in her car and save money for a new apartment.
Here's where you finally engage my interest. That means this is the place to start.

Wylie decides to live in her car to save money for a new apartment after her roommate kicks her out.
Food truck vendor Nolan laughs at her social media influence and she focuses on leading beachfront yoga classes and working at a pretentious bar.

So, Wylie's living in her car. Then you whiplash your reader to Nolan the food truck guy. 
An important thing to remember in all writing, not just queries, is sentences should flow.
That is, a connection from the first to the second, and on down the line.

Whiplash your reader on purpose only.

For this to flow, there needs to be a onnection between Wylie and Nolan.

As in  

Wylie parks her "home" near a food truck owned by Nolan, the Taco King of Pismo Beach...

except laughs at her social media influence is a strange thing to say about someone, particularly if it's the FIRST thing you say about him.

Does he laugh cause he's jealous? Cause he thinks real life only happens off the grid?
Give us some context here.

 After the city tows her car, Nolan learns she’s homeless and offers her a job at the food truck and a room in a co-living commune if she'll give up the pretentious bar.

Why does he care about whether she works at a pretentious bar?
And a guy who starts demanding things as a condition of anything ...well, I hope she gives him the downward facing dog.
As Wylie works and lives with Nolan, she poses as his girlfriend for business reasons and learns the food truck the first step toward a series of fast casual restaurants for impoverished neighborhoods. She falls for him and the allure of a partnership until a roommate reveals Nolan comes from a wealthy family and owns the commune house.
At this point, there's no plot.
Plot is about choices.
So far we have what Wylie decided, not what her choices were.
And there's nothing at stake for her here on the page.

If she doesn't take the job at the food truck, and pose as his girlfriend what will happen?
How will she have to change to get what she wants?

Right now all she needs to do is earn money and keep studying for her accreditation. That's just working toward a goal, not a plot.

It's the difference between working the speed bag and a boxing bout.
Both involve punching but one has something at stake  and the other does not.
Betrayed by Nolan’s omission, Wylie tells him if he wants to make a difference, he needs to spend time in the trenches instead of selling food outside a business park. She proves her point, but an asthma attack sends her to the hospital and illustrates the stark differences between their lives. Nolan offers to take care of her and pushes her to weigh the allure of his life against the value of her independence.

This is too far in to the book to be in the query.
A query should cover just the start of the book.
The purpose of a query is to make your reader, in this case me, want to read more.

LOST IN LA is an 80,000-word contemporary romance like
The Cinderella Deal (Jennifer Crusie)
pubbed in 2011 which makes it too old for an effective comp.
Comps need to be recent, within two or three years.

Here's the rundown from Amazon on Cinderella Deal

Daisy Flattery is a free spirit with a soft spot for strays and a weakness for a good story. Why else would she agree to the outrageous charade offered by her buttoned-down workaholic neighbor, Linc Blaise? The history professor needs a makeshift fiancée to secure his dream job, and Daisy needs a short-term gig to support her painting career. And so the Cinderella Deal is born: Daisy will transform herself into Linc’s prim-and-proper fiancée, and at the stroke of midnight they will part ways, no glass slippers attached. But something funny happens on their way to make-believe bliss, as a fake engagement unexpectedly spirals into an actual wedding. Now, with Linc and Daisy married and under one roof, what started as a game begins to feel real—and the people who seem so wrong for each other realize they may truly be just right.


Notice the power balance?
He needs her more than she needs him.
He's got a LOT more to lose than she does.

That's what I mean by saying things have changed since Julia found love at the opera.

and Roomies (Christina Lauren).
Marriages of convenience are so...inconvenient.

For months Holland Bakker has invented excuses to descend into the subway station near her apartment, drawn to the captivating music performed by her street musician crush. Lacking the nerve to actually talk to the gorgeous stranger, fate steps in one night in the form of a drunken attacker. Calvin Mcloughlin rescues her, but quickly disappears when the police start asking questions.

Using the only resource she has to pay the brilliant musician back, Holland gets Calvin an audition with her uncle, Broadway’s hottest musical director. When the tryout goes better than even Holland could have imagined, Calvin is set for a great entry into Broadway—until his reason for disappearing earlier becomes clear: he’s in the country illegally, his student visa having expired years ago.

Seeing that her uncle needs Calvin as much as Calvin needs him, a wild idea takes hold of her. Impulsively, she marries the Irishman, her infatuation a secret only to him. As their relationship evolves and Calvin becomes the darling of Broadway—in the middle of the theatrics and the acting-not-acting—will Holland and Calvin to realize that they both stopped pretending a long time ago?


Notice the power balance here too?
He has the problem, not her.

I have self-published several novels

Put this in your query letter and I will look up those books on Amazon.
and have lived in California.

Thank you for your time and consideration,


Twitter:
Facebook Page:
Blog:
Goodreads:


Bottom line: the query needs a plot and stakes on the page.

Revise, resend.

Sunday, September 15, 2019

#331

I have so many questions, but I’ll whittle them down to two. First, do you think I’m correct in describing this as literary fiction? Second, some agents I’m interested in querying require bios... but would admitting that I’m in high school lead them to dismiss my query or my writing? If so, could I just conveniently leave that bit out?
Thank you!


Dear QueryShark,

First of all, this query is 498 words, so it's double the target word count. The first thing we need to do here is start trimming.

Anamaria huddles in her family’s barracks with her best friend Julio. Together, they listen to the sick pattern of gunshots and radicals’ bodies falling into the dust. The detainment center guards— the executioners— scare everyone, but she knows she’ll be safe if she does everything just right.

Then her childhood ends.
When you need to cut, look for set up and backstory.That's often the info you can leave out without any loss of clarity.

Anamaria is sent to Moonhaven Academy, where her name and identity are stripped away and replaced. There, she must bleach her skin and hide her accent until she can pass as the perfect white woman. And Anamaria, now Anna Clara, knows she is lucky. Had the Academy not accepted her, she would have become one of the women in red who supposedly cook and clean for white men.
But everyone knows what they really do, behind closed doors.

Or, rather, what’s done to them.

She could still become one of them if she fails.
At this point, I'm salivating.
I am thinking of editors, I'm plotting submission strategies.

Anna escapes as her dream-self, Indigo, into a fantasy world where the rainforest teems with dragons. Not too long ago, her dream-planet was colonized by the humans who made Earth uninhabitable. They genetically warped the planet’s indigenous life into creatures designed to serve. Now, one revolution later, Indigo and her only friend Oak are stuck on opposite sides of an imminent war between two of the human-created tribes.

What?
What just happened here?
We were all set for The Handmaid's Tale Redux and along come...dragons??
I've stopped salivating cause what you had was strong commercial fiction, and now I'm looking at fantasy.

Indigo must choose whether to betray Oak and live in safety with the tribe that took her in, or to leave the tribe and risk her life, alone, in the rainforest.
Yea, but it's all a dream, right?
Meanwhile, Anna is forced to either abandon her heritage for the illusion of whiteness, or let herself be given away to any man with a few dollars to spare. Her heart aches against both.
I'm pretty sure she's got a stronger reaction than heart ache here.
Three years later, Anna finds out she has been married to Julio, now Julian Taylor. He has changed beyond recognition.
Ok, and?
Ten years later, Anna must make her first autonomous choice.
are we done with the dragons?

Anna’s former classmate, tiny genius Amalia, is the leader of an underground organization intended to smuggle women to safety until the law no longer threatens them. Now Amalia has only days to find her successor before she is executed for crimes including treason, blackmail, and loving another woman. She begs Anna to take on her duties when she’s gone. After all, her wife can’t stand the thought of replacing her, and Anna is the last person the police would ever suspect. She’s pale, unassuming, well-mannered (at least in public): the perfect facade.

What does Amalia do that  makes her a genius?
Why is "tiny" something we need to know about her.

And honestly, I'm so confused here the only reason I'm still reading is that you had a GREAT opening, and I can see possibility.

If Anna accepts, she will surely die.

If she refuses, she will be a traitor to every woman on Earth.
What you're missing here is why she doesn't want to be a traitor to every woman on earth. You're assuming she doesn't. Watching a person struggle with choices, especially ones you might think are no-brainers creates tension, and tension boosts interest.


JADE AND INDIGO is just over 90,000 words of literary fiction, narrated primarily from the perspectives of Anna and Indigo. I am a high school student with a deep love for surrealist art, the poems of Sappho, and musicals. I scavenge for time to write when I’m not juggling AP classes and horse shows— no flaming swords yet, but maybe someday. JADE AND INDIGO is my first novel.

Well, if this is literary fiction, how are we going to explain the dragons?

Thank you for your time and consideration!
Sincerely,
I'm not sure how large a part the dragon thing plays in the book, but you're better leaving it OUT of the query. It's utterly confusing.

You can have it in the book (without seeing the book I'm going to assume your reader will understand what's going on) and NOT have it in the query.

Or you can allude to it in the query with Anna escapes into a fantasy world (without going into specifics.)

You've got the start of something I'd read but I'm not sure I've ever seen this big a splat in such a short period of time.

Fortunately, it's all fixable.

I suggest you leave out your age. It's nobody's business how old you aren't.





Sunday, September 8, 2019

#330



Question: I do not have much as far as credentials are concerned other than personal experience driving my story but I do have a large and strong social media presence. How should I go about this? Have I represented that aspect well?

Dear QueryShark,
The universe was music before it was anything tangible.

I love this idea. Whether anyone else will is subjective, but I like it a lot. It's fresh and new (to me at least.) It's not a killer first line, but it does the job: it engages my interest.



Time was measured without signature, and worlds formed from the power of boundless melody, creation in song. Within this crucible of worlds lies Tellure Grand, a land wide, young, and full with possibility. Here, power is being found in the notes of destruction.

oh splat.  That first sentence was easy to read and easy to understand.
Now we get time was measured without signature: well, my guess is you mean this:

but unless you have some education in music (versus just listening and enjoying) you may not get the reference.

And I don't know what a boundless melody is. Is it like an Unchained Melody?






The last thing you want is the agent trying to parse out what you mean, and get diverted to YouTube and dive down the Dirty Dancing rabbit hole.

Warsingers.
The world folds where Warsingers make music. Each striking sword and flying arrow is accompanied by the strum of a harp or the lilting of an aria. Minds mold, politics change, and ideologies bend in the wake of such music. Life tuning to the history they create.The land shaping by those who wield the ebb and flow of these powerful sonatas.

this is so abstract I have NO idea what you're talking about.
That means I've started to lose interest.
Now the era turns anew for Tellure Grand and her fledgling civilizations. Strains of glory hum against the strings, where baritones of tribulations rise. A young lordling, a foreign man, a blind girl, and a wild huntress find themselves caught in the orchestrations of a world steered toward discord. For in the distance a bell tolls, a powerful noise that resonates with annihilation, striking with insidious fury. And the gods?

And now I'm skimming.
Gods do not sing; they are the song.
THE WARSINGER OPUS:(Series) A BREAKING OF BELLS is an adult High Fantasy manuscript complete at 325,000 words. It is an epic for those that love The Stormlight Archive by Brandon Sanderson, The Kingkiller Chronicles by Patrick Rothfuss, and The Wheel of Time by Robert Jordan.

You don't need me to tell you that 325,000 words is a total deal breaker.
I grew up telling stories, comfortable with the attention of a room.
This is not the selling point you think it is.

That joy only grew as my love for Dungeons & Dragons burgeoned, kindling a deeper appreciation for worldbuilding and immersion. I market myself well and have a loyal following of 152,000 followers on the social media platform Tik Tok where the videos I have made about my book and worldbuilding have garnered hundreds of thousands of views, tens of thousands of likes, and thousands of positive comments. A consistent flow of those followers are transferring to my twitter as well, with 1,250 following on that platform to date. I also boast 950 active Discord participants that enjoy in public readings of chapters bi-weekly.

Well, that's a platform indeed.
And you put the info on how to find you at the end, which is just where it should be.
Because this query is an utter mess (right now) if I'd gotten to this part, I'd go check it out because clearly you're doing something right.

BUT note that I lost interest, and was skimming after the second paragraph.
Don't risk losing an agent's eyeballs.
Get the story on the page.


Thanks you for your time and consideration. I look forward to hearing from you.


E-Mail: (just put your email address. We know gmail means email)
Phone: (and we know what that pattern of numbers means)
Tik Tok: (what you had) here is where you DO need the identifier because this isn't as well known to your audience yet.

Twitter: we know what @ means.


This query doesn't work because I don't know what the book is about.  

Here's the PW review of one of your comps, the first Brandon Sanderson book:

This massive tome is the first of a 10-part epic fantasy series from relative newcomer Sanderson (Mistborn), best known for his efforts to complete the late Robert Jordan's Wheel of Time series. 

In a storm-swept world where history has dwindled into myth, self-serving aristocrats squabble over mystical weapons that render their bearers immune to mundane attacks. 

The ambitious scholar Shallan learns unexpected truths about the present, the virtuous aristocrat Dalinar reclaims the lost past, and the bitter and broken slave Kaladin gains unwanted power. 

Race-related plot themes may raise some eyebrows, and there's no hope for anything resembling a conclusion in this introductory volume, but Sanderson's fondness for misleading the reader and his talent for feeding out revelations and action scenes at just the right pace will keep epic fantasy fans intrigued and hoping for redemptive future installments. 

There's not much sense of the plot here, but at least we have an idea of what's going on.


Here's the PW review of The Name of the Wind by Patrick Rothfuss (2007)

The originality of Rothfuss's outstanding debut fantasy, the first of a trilogy, lies less in its unnamed imaginary world than in its precise execution.
Kvothe ("pronounced nearly the same as 'Quothe' "), the hero and villain of a thousand tales who's presumed dead, lives as the simple proprietor of the Waystone Inn under an assumed name.
Prompted by a biographer called Chronicler who realizes his true identity, Kvothe starts to tell his life story. From his upbringing as an actor in his family's traveling troupe of magicians, jugglers and jesters, the Edema Ruh, to feral child on the streets of the vast port city of Tarbean, then his education at "the University," Kvothe is driven by twin imperatives—his desire to learn the higher magic of naming and his need to discover as much as possible about the Chandrian, the demons of legend who murdered his family.
As absorbing on a second reading as it is on the first, this is the type of assured, rich first novel most writers can only dream of producing. The fantasy world has a new star.

 And again, not much plot but a sense of what the story is.

Both of these books are too old and too successful to be good comps NOW.  Generally you need comps that are new (within the last three years) and from authors who haven't sold a gazillion copies.  That's a tough challenge, I know, and it drives me crazy too.

Bottom line: even in epic fantasy you have to tell me  the story.

Saving grace: That kind of platform can rescue a query that's an utter mess, but it's a risk  you don't need to take. A query that tells me the  story combined with this platform would be very very strong.

Take another crack at this and tell me the story.

Sunday, March 24, 2019

#329

I broke the rules...unapologetically so.

I rhymed, alliterated, lyricized, used big words, topped it off with an adult narrative. And yes, my word count runneth over. Admittedly, I did it all wrong. Moreover--and perhaps to my own detriment--I firmly maintain that these supposed literary crimes were committed for all the right reasons. The story is better because of these so-called 'flaws', not in spite of them. Now comes the dilemma:

Can even 'the best query letter ever' not only overcome, but actually upsell the very characteristics that have been deemed genre pitfalls?

Dear QueryShark:

Life as I knew it forever changed the day I 'borrowed' that gnome.

So, you're a character in the book?
Using I in a query for anything other than the biography section is confusing.

What started as a harmless prank, soon backfired into a frenzied search for the missing muffin pan. Three pie servers, a rolling pizza cutter, and countless other 'displacements' later...my tightrope toddle along the brink of madness spiraled into the tongue-twisted tale you are about to read.

At this point, I have no idea what kind of book this is.

Some call it 'crazy'. Others call it 'cuckoo'. I prefer to call it: 'clarity'.

I call it confusing.

The lost socks, the misplaced keys, when the 'displaced' are 're-placed' in those spots you searched thrice...

I'm losing my mind here, does that count?


Based on a true story, THE GREAT GNOME COLLECTIVE is a transitional picture storybook of 1250 words. Entertaining meets educational in this lyrical work of modern folklore: a fun read woven through an intricate maze of elevated vocabulary, emphatic punctuation, and eloquent wordplay, all set to complex rhythmic rhyme with a splash of Seussian flair.

Never compare yourself or your work to Dr. Seuss. Let other people do that.

I am best known as (nom du plume): mama to one, auntie to seven, and 'grammar nutsy' to the core. This is my authorial debut, though it is my hope and intent to grow THE..COLLECTIVE into a series of gnome adventures.

Authorial debut sets my teeth on edge.

I'm not sure if that's just me.

This is your first book. Just say so.

Fancy pants writing is best left for dialogue to illustrate hoity toity characters.

Miss Bickerstaff perhaps who refers to her serviettes, and would sooner go without food than sit at a table without flowers. She is someone who might use authorial debut.

One minor concession, if I may: THE GREAT GNOME COLLECTIVE must be--and is found most enjoyable when--read aloud...preferably, *with gusto*. Please do not dismiss this request. The gnomes will know.

I know you're trying to be whimsical and light hearted here.
But please do not dismiss this request isn't something agents find funny. Ever.

Thank you for your time & consideration.


Form rejection.

Why?
Because picture book queries include the entire text of the story.

You can break all the rules that you want, but if you do not give me what I need to evaluate your work, I'm not going to write back and tell you what you did wrong.  I'm going to pass with a form rejection.


Your question:
Can even 'the best query letter ever' not only overcome, but actually upsell the very characteristics that have been deemed genre pitfalls?
You're breaking the wrong rules.


Sunday, January 20, 2019

#328

Hello:

I have written a manuscript “Baked Lunch” and I'm soliciting agents and publishers.

Brief Synopsis: I have written an update (2018) of the William Burroughs novel Naked Lunch. The manuscript has sex, drugs, and violence, which are clichés, when Burroughs wrote his novel these subjects were more controversial. We live in a more jaded age. The clichés mean that someone could read this manuscript while waiting for a plane in an airport and be reasonably entertained. People have shorter attention spans, we’re more distracted. I simply tried to write something I believe is marketable. Same titles from the same chapters as Burroughs novel, but the content is not the same.


(list of chapters redacted for space)

William Burroughs original novel was considered unpublishable because essentially it had no plot. The Chapter 22 Hauser and O'Brien did have a narrative arc, but the rest of the book was essentially a stream of consciousness. A better insight into a synopsis of the novel would be David Cronenberg who essentially re-wrote the entire plot in his screenplay when he did a film adaptation of the novel. But the movie did not follow the book at all and neither did I. I wrote the novel because I don’t particularly like Naked Lunch and thought I could do a better job of writing a novel about beat culture than Burroughs did. It’s subjective I admit, but I really gave it my best effort.


Bio: I am a retired English teacher who has been working in China for the last 15 years.

Thanks for your interest. I have had a professional edit the manuscript and I am confident there aren't any major errors in the manuscript. Approximate word count: 100,000. There are graphics in the manuscript.

You don't get to "update" other people's work and call it your own.
The warranties and indemnities section of a publishing contract requires you warrant that the Work (the book) "is original."

You may think it is; you might even make the case that it is, but that doesn't matter. Any publishing house with something to lose in litigation (ie they have money; they're not running a printing press in their basement) is going to eschew publishing anything remotely like this.


And if you think publishing it yourself will solve that problem, the agent representing the Estate of William Burroughs will probably disabuse you of that pretty quickly.

And honestly, saying you can do a better job of writing a novel about beat culture that is now considered a classic, no matter what people thought of it when published, is an assessment better left to reviewers.









Sunday, December 2, 2018

#327

Dear Query Shark,

MOB TREASURE is the story of Joseph, a recent New Jersey college grad, who discovers his recently deceased grandfather was a Mafia boss—and has millions of dollars hidden somewhere in Miami Beach.

So, is Joseph dimwitted? Cause I knew what my Gramps did for a living starting around age 6. Or, perhaps he was estranged from that side of the family? Or maybe everyone in the family never said what Grandpa did; he was just the old guy down in Dade County who smoked cigars and played canasta pool side.

The point here is that we need to understand why something that would seem to be obvious, comes as a big surprise.


Joseph never knew about his grandfather’s former life in the mob, but now, armed with clues scribbled in the margins of a copy of Treasure Island – the book his grandfather read to him most often as a kid – it’s up to him to recover the hidden millions. But he’s not the only one looking.

So Gramps leaves clues in a book. Why? 
Is it to keep the dough out of the hands of his other relatives?

Along with his best friend—and a crafty Art Deco tour guide—they embark on an adventure tour of the beautiful Art Deco hotels and mansions of Miami Beach’s Historic District. Hot on his heels are the mob, who claim the hidden money is theirs.


What does the sidekick bring to the plot? Why are they touring hotels and mansions?
I assume it's because the clues lead them to these places, but honestly, this is not a middle grade mystery.  Following a trail of treasure needs a level of sophistication here to make it interesting.


Entering a world of danger, mobsters, hidden casinos, secret rooms, underworld drama, and even a pirate or two, danger follows around every corner. Joseph and his posse grow more and more determined to beat the mob at their own game, finally uncovering a treasure that means more to him than money ever could.

This is a laundry list, not a plot.
The treasure isn't money? You told us the mob, claiming the money is theirs, was hot on their heels.


MOB TREASURE (78,000 words) is commercial fiction imbued with the mysteries of historic Miami—the mob boss version of The Da Vinci Code and reminiscent of the National Treasure series. It’s partially inspired by the life of Meyer Lansky, the “Mob’s Accountant,” who is rumored to have hidden over $300 million before he died.


I’ve lived in Miami Beach for over 20 years and have written for local publications on the arts, history and nightlife of the region. For the past five years, I’ve also been working as a tour guide in the Art Deco District of Miami Beach and have fallen in love with the beautifully restored buildings and the rich mob history, which inspired the story for this book.

Thank you for your time and consideration,


There's nothing surprising here.
There's no twist on a trope, or a stock character given a fresh perspective.


When I look for books to take on, it's essential there be some sort of suspense. Suspense comes from choices the main character makes, and what's at stake.

All that is missing here. 

If Joseph doesn't find the treasure, there's nothing to indicate the world will fall apart either literally or metaphorically.


Sunday, November 25, 2018

#326



Question:

My ex killed herself in 2017. Writing this novel was my way of grieving. Now, I guess it’s my tribute to her. That’s why the impact of suicide plays such a huge role in the book. I’m not trying to be preachy or political or anything. I just wanted to tell a story where the main characters needed to come to terms with the things they could not change. Is there a good way to say this in the query, or is it best left out?

Dear Query Shark,

All he wants for Christmas is his timeline back.

Journalist Gavin Masters spends his days on ride-alongs with Deputy Vikki Valliant. She keeps the peace in Bordertown, where ghosts and monsters have sanctuary from the outside world. They’re mostly friendly, and mostly harmless. Mostly. So Vikki says. Gavin’s not just doing this because he’s secretly infatuated with her. Or so he says.

Dispatch issues an APB: Santa is missing. His elves last saw him leaving The North Pole--the strip club, not the Arctic. Hopefully he’s merely passed out drunk somewhere in the surrounding Mourningwood. And not some monster’s meal.

Santa and monsters sounds like a graphic novel concept. Is there a specific reason you need Santa? What is it about him specifically that's required for the plot.

Santa is a big footprint in a story. You've also got a lot of other things going on here. Too much plot will kill a story as quickly as too little.


Gavin gets separated from Vikki, and lost in the woods. He’s beckoned by a cry for help from his ex. There’s just one problem; she killed herself last year.

Turns out she’s not his ex. She’s Nimue, an ancient witch who lures victims by mimicking loved ones. She needs his soul--and Santa’s, once he wakes up--to power a magic gemstone she calls ‘Traumesser.’ She needs to ‘fix’ her ‘timeline.’ And for what it’s worth, she’s sorry.

But Nimue doesn’t anticipate one thing. Gavin is a time fey--albeit an inexperienced one--with just enough juice to freeze time for 30 seconds, abscond with her precious stone, and save Santa.

Once they’re home safe, Gavin discovers that Traumesser lets him relive his past. Now he can prevent the car accident that killed his mom and crippled his teenaged sister. He can stop the murder of Vikki’s fiancé--even if he maybe wants Vikki for himself. It’ll all be worth it, if he can just convince his ex that her life is worth living.

Just as Gavin will do anything to save his loved ones, Nimue will do anything to get Traumesser back. And she has the power to make Bordertonians see things--terrible things--compelling them to commit suicide.

Gavin learns that messing with the past has unpredictable consequences. Each use of Traumesser only makes things worse. He catches himself making excuses, and worse, lying to Vikki. And nothing ever seems to save his ex. He wonders if it’s not too late to take it all back. He’s haunted by how much he sounds like Nimue when he says: “I’m sorry; I need to fix my timeline.”

A CHRISTMAS PERIL is a 110,000-word New Adult Urban Fantasy. It’s the genre-mashing melodrama of Supernatural with the dark humor and tone of The Dresden Files.

You're better off leaving out New Adult. The term is so amorphous it doesn't help at the query stage to use it.



About the author: I won 2nd prize in the 2015 3-Day Novel Contest for a 40,000-word novella titled ‘Bordertown.’ It had the same main characters and setting, but told a completely separate story. My goal is to grow this as a series.


Thank you for your time and consideration.


There is way too much going on here. Pare down. Give us the main points. Reconsider Santa as a character. What happens to Vikki? She seems to fall out of the story after just one mention. Because she's mentioned by name in the first paragraph, I assumed she was important.

To answer your question: there are a lot of deeply personal reasons to write a novel. Leave all of them out of the query.Why you wrote it is immaterial because the story must work independently of its origin.


I will not request pages just because my heart goes out to you. Losing someone in that way changes you forever. It enrages me there is not more help to people in the throes of mental illness, and that mental illness is often treated like some sort of bad life choice.


There will be ways to honor your ex's life later on. Donating part of the proceeds from the book to mental health advocacy groups is one. Just talking about the reason you wrote this book in interviews is another. All of that comes later. First things first: entice me to read the book.

Sunday, November 18, 2018

#325

QUESTION: I hired two editors to help revise this query. So far, I've only received personal or form rejections from agents. I've read many blogs and books about how to write queries, often with conflicting information about what to include. At this point, I no longer feel like I have good perspective. What do you feel is lacking in this query? Do you recommend ending with a more personal or passionate closing?

PS: I read #303, re: your feelings about strip clubs


Dear Query Shark,

When overdose victims flood Portland’s morgue, 32-year-old Rebecca Perell discovers the deaths aren’t all accidents, and she may be next.

Is it important to know Rebecca is 32?
It's probably more important to know why she's in the morgue.
Is she a medical examiner? Lab tech? Groupie? Ghost?

Thanks to a felony drug conviction straight out of high school, Rebecca is forced to work in one of Portland’s dodgiest strip clubs, a methpocalypse of prostitution and violence. But her troubles soon turn deadly when Rebecca finds out her stepbrother, Dylan, is grooming her son to be a dealer.

Wait, what?
She's a stripper?
I thought she worked in the morgue? That first paragraph is now very confusing.

Also, you've now got a bunch of characters I'm not all that eager to spend time with. There's nothing interesting here. It's actually kind of icky.

Dylan will stop at nothing to destroy her. Killing strangers for fun is her stepbrother's hobby, but his obsession is making Rebecca’s life a living hell. Once she figures out what Dylan is up to, she must make a decision: risk her life and family by confronting him or run away. And if she runs, will her loved ones ever be safe?

It hasn't occurred to her to kill Dylan? That's the first thing that occurred to me.
He's making her life a living hell and he kills people for fun.
It's not like it's that hard to lay your hands on a gun in Portland and learn to shoot.

Given the choice between protecting my child from a guy who kills people for fun, and ..well, everyone else in the world, I choose my kid. I'd choose your kid too. Or any kid.

When you set up choices for the main character, you really need to make them feel real. My guess is most people would consider killing Dylan, but would be afraid of getting caught.  Rebecca would be afraid of getting caught and leaving her son alone if she was sent to prison.  So, if she can't kill him, what is she going to do?

"confronting him" doesn't convey much either. Is she going to yell at him? Threaten him?

And where's the kid in all this? Does he WANT to become a drug dealer? The money, the sense of being a grownup, would both be appealing.  Rebecca may have to deal with her kid not wanting to have Dylan gone.

All of this is detail, specific detail, and it is in the details that your characters come alive and their choices are clear.

Right now you don't have that.


LETHAL STEP, a completed 88,000-word psychological suspense novel is darkly atmospheric like Alan Cubbitt’s BBC series The Fall, and it features a blue-collar heroine struggling for moral redemption in the age-old battle of good and evil like Emma Flint's suspenseful Little Deaths.

You're comparing Gillian Anderson's character on The Fall to a stripper?
Maybe we're watching a different version.


While Lethal Step is fiction, the background for this novel is real: I worked as a bartender in a strip club. I’ve studied writing at a number of institutions including UC Berkeley, and one of my short stories will be published by (these guys) in 2019. Thank you for your time and consideration.

oh wait, you meant that Rebecca is a bartender, not a stripper? If I don't figure that out till your bio section, that's a problem. I assumed that "work in a strip club" meant she was a stripper, and I'll bet all these dollar bills in my g-string that the other agents who read this assumed that too.

You've made the classic mistake here of creating a villain who's two-dimensional and thus uninteresting. 

I get no sense here of darkly atmospheric. It feels seedy with no redemptive qualities at all.

To answer your question: don't worry about the closing. The entire query needs revising.

Bottom line: be specific about the choices Rebecca faces. Make Dylan a three dimensional, thus frightening, antagonist.

Sunday, November 11, 2018

#324

Questions:

1) I know Shark Rules state housekeeping goes at the end. And I know my first paragraph goes completely against that. But it seems to be exactly what this particular agent is asking for on their website. And I know they're looking for thrillers. Should I still follow Shark Rules?


2) A friend who directed an Oscar-nominated movie has suggested I query this agent. The movie was adapted from a book by an author who is repped by this agent. A lot of the agent's clients have had their books made into movies and apparently that's important to them. My friend is up for helping me adapt my novel into a screenplay. Does that carry any weight? Does anyone give a rat's behind?

Dear Query Shark:

(Movie director), screenwriter and director of (Oscar-nominated movie), suggested I query you since you represent (author whose book was made into the movie). SEA BLADE is a 98,000-word adult thriller. It is the first book in a planned series. The main character is a man of color I would describe as James Bond meets Indiana Jones. As a former (military) officer, I think you'll like the concept.

Never tell an agent what you think they'll like.
It's like saying "this is funny" before telling a joke.
Half the fun for us is the sense of discovery.

It's one thing to mention the connection you have to the agent in the first paragraph. Don't go overboard by putting all that other info there as well.

It was supposed to be a routine job for Jet Morgan and his ex-girlfriend Maggie. Recover a Mayan artifact that holds the key to a billion dollars in gold from a pyramid in Belize. Then smuggle it past the drug dealers into Panama. But then Nathaniel Lynch, Jet's old boss, Nathaniel Lynch, at the CIA, shows up. Things rocket from routine to insane in 2.9 seconds. And Jet and Maggie are thrust into an international incident - China's imminent invasion of Taiwan.

If you put the name Nathaniel Lynch first, we don't know who he his.
If you let us know he's Jet's old boss FIRST, then, it has a connection to what we've read, and it makes sense. This is flow. It's making sure your reader doesn't stop and think "huh?"

I hate artifact-driven plots with a passion, but that's just me.
(I did manage to watch all the Indiana Jones movies without any trouble at all.)

Lynch stole Ultra Top Secret U.S. naval plans for Sea Blade, an unprecedented new class of submarine, and sold them to Taiwan. Now he needs Jet, once the CIA's top covert operative, to steal them back and stop the invasion. And to skip the 'being killed for treason' part, he'll need the artifact to personally finance the unsanctioned mission.

Well, this is actually a rather good use for an artifact.

But Jet's no longer a spy. He steals Mesoamerican antiquities now, not secrets. So Lynch desperately offers up his new business partner Ricardo Lopez, the reclusive Mexican billionaire who murdered Jet's wife and child, to lure him back in.


The mere thought of killing Lopez calls to Jet like a needle to the vein calls to a trembling junkie. But pulling the trigger on that fix could backfire on him. Helping a traitor like Lynch is suicide.
He Jet and Maggie will be dodging CIA assassins the second Lynch gets what he wants. But if Jet doesn't help, the unthinkable will happen - war with China.

It's very easy to throw too much into a query.
You only need to entice me read the pages, not tell me about all of the plot points in Act One.

Put the word count, and other housekeeping items here.

With my science background, I was compelled to do proper research. In the process, I was shot at in Mexico, got hammered in Key West, dove with sharks and climbed pyramids in Belize, and fell in love with Panama.
I'm a chiropractor who now cracks creative-writing books. I studied writing at the Iowa Writers' Workshop and with Bret Anthony Johnston, internationally bestselling author and former Director of Creative Writing at Harvard University. Bret is up for providing a blurb, and (movie director) is up for helping me adapt SEA BLADE into a screenplay. With my science background, I was compelled to do proper research. In the process, I was shot at in Mexico, got hammered in Key West, dove with sharks and climbed pyramids in Belize, and fell in love with Panama.

Start with the interesting stuff.
You don't need the creds for your blurbers. If I know them, I already know it. If I don't I google.

Thank you for your time and consideration.

You can break the rules all you want, but it helps to understand WHY they are rules first. Putting the housekeeping stuff at the end is a rule because it forces you to put the story first.

Thus, putting something ahead of the story is ok, but you know to keep it to a minimum; just the info that will boost your chances of the agent reading the query. 

Early interest from someone about the screenplay is great, but you're querying an agent about selling  a book. "Interest from Hollywood" doesn't help sell a book; we know how nebulous that is. 

"Optioned for film" is better, and "started principal photography yesterday" better yet.  In other words, the closer you are to actually getting something made, the more it will help.  

Right now it's all hot air.  The reason you DON'T include it is that if you do, an agent is likely to think you don't understand how nebulous it is.

Sunday, September 23, 2018

#323-revised 1x


Revision # 1

Dear Query Shark,

Prophecies, Princess Willow Starmill has decided, are the worst. Especially the one that says she must marry a prince. The seer’s words prevent Willow from kissing her best friend, Finn Fields, the only mortal on Atlantis, but they don’t stop her from wondering what it would be like.

Let’s talk rhythm here. What you have is a long ass sentence of 29 words:

The seer’s words prevent Willow from kissing her best friend, Finn Fields, the only mortal on Atlantis, but they don’t stop her from wondering what it would be like.

Consider this revision:

The seer’s words prevent Willow from kissing her best friend, Finn Fields, the only mortal on Atlantis. but They don’t stop her from wondering what it would be like.

The shorter sentences are punchier, more rhythmic.

This is the work of revising. Everyone writes long ass sentences on that first draft.

It’s when you dig in, looking at each sentence and thinking “what can I do to make this more hard hitting.”

Timing is everything, and not just in comedy.

That cursed prophecy is all anyone can talk about when a prince unexpectedly visits from another realm. Prince George offers political strength, a marriage proposal, and eternal boredom. Willow can’t give him an answer until she sorts out her confusing feelings for Finn, but the more time she takes, the more dangerous her beloved island becomes.

And again, look at that last sentence. 28 words. Flab flab flab.

Unpredictable weather causes devastating damage. A fast-spreading illness affects half the population. Rampaging beasts, dormant for centuries, injure people beyond magical repair. Willow and Finn barely escape from a winged menace near the forest. Giant claws shred four young men in the mountains. The waters teem with deadly tentacles. Willow’s kingdom used to be a paradise full of bird-speak and flower-song. The only melodies floating on the salty air since Prince George arrived are dirges.

Let’s do a better job of connecting those two paragraphs. Often it’s as simple as repeating a word:

the more dangerous her beloved island becomes.
Unpredictable dangerous weather causes devastating damage.

Then  you just swan off into detail that doesn’t move the plot forward:


You can cut all of this:
Willow and Finn barely escape from a winged menace near the forest. Giant claws shred four young men in the mountains. The waters teem with deadly tentacles. Willow’s kingdom used to be a paradise full of bird-speak and flower-song. The only melodies floating on the salty air since Prince George arrived are dirges.

Without losing any plot.



People whisper about bad luck and ignored prophecies. Marry the prince and end this, they say. What no one understands is if Willow marries George, a piece of her, the Finn-sized piece, will die.

It’s not ignored prophecies, plural. It’s ignored prophecy singular. That’s a HUGELY important detail because one ignored prophecy that falls on Willow means she’s the only person who can change things.

Details like this catch my eye in the query. I really respond to meticulous writing.

Also for what’s at stake “the Finn-sized piece of her may die” is pretty low-rent. If I lived in Atlantis, I’d say “hey Willow, suck it up, people are dying here.”

And in fact, if she’s the noble hero, she’s not even thinking twice, she’s RUNNING down the aisle in order to save her people.


While Willow searches for proof that her prophecy is unrelated to the recent disastrous events, she discovers the truth about Finn’s past. A truth that could set everything right, or send Atlantis crashing into the sea.

So, Willow is trying to avoid her destiny, I get that. But the plans to get her hitched to Georgie better be proceeding full steam ahead, or there’s no tension.

In other words, she IS going to marry George unless she can figure out a way to save Atlantis.


THE LAST REALM is a completed 80,000-word YA fantasy novel that retells the story of Atlantis in the vein of ABC’s Once Upon a Time.

I had to look up this comparison, and it seems pretty apt, but it's also a TV show, and generally you want to use books, not other media forms as comparisons.

I earned my B.A. in English and my master’s in English education, both from Rutgers University. I taught 8th grade and 10th grade English classes. Currently, I am raising four readers who borrow a back-breaking number of books from the library, which makes me proud and my chiropractor happy.


YES YES YES!!! This is a lovely bio, with a delightful zing of humor!!! I knew you weren’t boring.

Thank you for your time and consideration.


So, we may have a problem with the book, in that Willow really needs to demonstrate her heroism by agreeing to marry Boring George to save her people. She can be searching for a way out, but what she can’t do is try to avoid her duty.

The essence of being the hero is that you Do The Right Thing even when it costs you. The hero runs IN to the fire, not away from it; toward the gunfire, not away from it. Make sure Willow does this.

Then revise the query and resend.




---------
Original query

Questions:
  • 1) After reading 318 shark attacks, I have written about 318 drafts of this letter. I feel like this draft meets your criteria and has the most voice. My beta readers are split. My objectivity died a horrible death about 53 drafts ago. Is the writing coherent and the voice clear?
  • 2) I am a SAHM and debut author. If a bio is required, should I just keep it to 2 sentences about my former education and teaching experience and stick it right before the closing? Does a boring bio turn agents off?

Let me stop you right there. I never EVER want to hear you refer to yourself as boring because you are a stay-at-home mom. You may not be curing cancer but you are raising readers, and by god if you don't recognize how important that is, I do, and I'm coming to your house to smack you around with the spiderpus.


Dear Query Shark:

Eighteen-year-old Willow Starmill hates shoes, heavy dresses, and the crown that her mother swears impresses other royals of the Seven Hidden Realms. Willow much prefers to roam the island barefoot, dancing or drawing swords with Finn Fields. When his mother dies, Finn is the only mortal left in the kingdom. Willow would give up her plant-magic, or worse, she would grow dandelions for the rest of eternity, rather than watch Finn wither over time. What good is being an immortal princess on an enchanted island if she can’t even save her best friend?

This isn't bad, or even not-good.
It's well-written.
It doesn't clunk.
But it's also not compelling. It doesn't grab me. It doesn't make me eager to read on.

When Willow learns that Finn will become immortal if she marries him, binding souls on their wedding night, she almost starts planning his funeral. She can’t turn her back on the prophecy given to her on the day she was born, the one that says she must marry a prince. Everyone knows the first day prophecies are never wrong.

This is all set up and backstory. It's not bad, but it's also not that interesting.


Willow’s parents remind her of that fact when Prince George arrives from another realm, offering political strength and a marriage proposal. The longer Willow delays answering the prince, the more dangerous her beloved island becomes. Unpredictable weather causes devastating damage, a fast-spreading illness affects half the population, and rampaging beasts injure people beyond magical repair.

Rampaging beasts? That's kinda fun...but you just toss it in there like a carnivorous rhino with wings is a small detail. (Ok, I made up the carnivorous rhino with wings part but still..)


Are these things happening because Willow is ignoring the prophecy that she has believed her whole life, or is there something darker at work in Atlantis?

Right here is where you finally get to the good stuff, and I had to wade through a lot of set up to get here.

Time is running out for Willow to choose between the alliance or the friendship, her kingdom or her heart.

There's nothing unexpected here, there's no twist. There's nothing that makes me gasp with delight.

I’m seeking representation for THE LAST REALM, a completed 80,000-word YA fantasy novel about first loss and first love. It will appeal to fans of Matched by Ally Condie, The Selection by Kiera Cass, and to barefoot, sword-wielding princesses from any realm.

Matched was pubbed in 2011. The Selection in 2013. Thus both books are too old to be good comps for you. You want books published recently (within 2-3 years)

I chose to submit this to you because, being the only actual fish in the literary sea, you are uniquely equipped to answer my question: On a scale of dwarf lanternshark to megalodon, how necessary are sharks to the success of a novel? Asking for a friend.

Essential.
For you and your friend.
Opinions may vary, but I'm right, and everyone else is wrong.

Thank you for your time and consideration.


Contact Info



As to your question: You can included anything you want in your bio other that the word boring.  You can talk about your eduction. You can tell me you're a stay-at-home mom.  You can mention you're a debut author. Yes, a boring bio turns anyone off, but you're a writer. Make it sound interesting.

As to  whether the writing is coherent and the voice clear? Yes it is, but that's not your problem.

The problem with this query isn't that it's bad. It's not. It's good writing. But it doesn't do the job because it doesn't entice me to read the pages.

The problem is NOT the query; it's the book you're describing. It needs something (a twist of some sort) to elevate it above the pack.

Go back to the fantasy you love to read. What surprised and delighted you about the book/s? Now, do better.

Sunday, September 16, 2018

#322

Questions:
1. My suspense novel is roughly 140k. Is that instant death? Should I not include the word count in the query unless required? There is a second protagonist that plays a significant role and is responsible for about 1/3 of the word count. I left him out of the query because I felt it made the query too cumbersome. This leads to my second question.

2. Is it misleading to not personally include this second POV in the query? He is from Kadyn’s past and is trying to find her. So technically he is represented by what's there already

Dear QueryShark,

The rules of Witness Protection are not only absolutely clear but incredibly simple: Keep a low profile and under no circumstances make contact with anyone from your past.

You’d think it’d be easy, but it’s not. Not for twelve-year-old Kadyn Hopplar. The past is so much more than just a reference point. It’s best friends and great memories. Most of all, it’s a time when she was happy. A time before her father was killed by the bad men.

She’s got the typical challenges of any normal pre-teen starting a new school in a new town, but while she struggles to move forward she also struggles to let go of her past. Only, her past isn’t ready to do the same.

The bad men are still out there, and they’re waiting for the smallest hint of her presence like hungry spiders on a web. When Kadyn learns that something has happened to her ‘old’ best friend and is desperate to find out more, they may just get their chance to pounce.

Walk a Web of Spiders is a 140,000 word suspense story and my first novel. I also write short stories, two of which have been published.

Thank you for your time and consideration.

I'm very VERY leery of a suspense novel that clocks in at 140K, because suspense should be taut, not languid. 

The idea that you just not mention the word count in a query is Textbook Example of Foot Shooting. If I'm intrigued by the query, and request the full, the first thing I do when you send it, is download the manuscript. My word processing program tells me the number of pages and word count automatically.



If you think I won't notice 600+ pages, and 140K word count, you're wrong.
If you think I'll just read it anyway, you're also wrong.
If I think you're trying to pull the wool over my eyes, well, we've gotten off on the wrong foot, and that's Not Good.


But the thing that really bothers me is you've got a 12 year old protagonist, and the plot seems like that of a middle grade novel. 140K is very much too long for a middle grade novel.
Including the second POV seems like a good idea if only to rescue this from sounding like a middle grade novel. In fact, if you start with him, and then talk about Kadyn, it might do the trick even more neatly.

There isn't a lot of plot on the page here. My assumption when reading this is that Kadyn is in WitSec because of something her parents did. But if people are hunting for her, well, the reason for that will help elevate this to a more adult sounding suspense novel.

First figure out how to cut 40K words from the ms. Every person I've ever met at a writing conference who says "this can't be cut" watched me trim 1000 words out of the first 30 pages without fanning a fin. 
Then, start over on the query.  Make sure your reader (me) knows this is an adult novel.

Sunday, September 9, 2018

#321

Question:
I have yet to receive anything other than a form rejection from an agent with this query. To me it feels 'ok' but on life support, meaning it's alive, but barely. I feel that I just need an extra oomph to get it up and running in a manner that would garner attention. This is why I'm fully tossing the chum in the water in hopes of getting a bite.

Dear Query Shark:
The Warrior's Crown:

Eighteen-year-old Adira never imagined herself a hero, much less a savior of the kingdom, but she found herself in the middle of a dark war nonetheless. After learning that a dark entity, thought to have been banished generations ago, has resurfaced, she finds herself targeted for death, just for knowing of its return.

I'd stop reading here. There is absolutely nothing new or compelling about what you've described. You absolutely must make a story your own, and you haven't. "Dark entity" is too generic to be interesting. Darth Vader is a dark entity but what made him scary as all hell was the face mask, the breathing, and his menacing intentions. Even his name sounded evil.

Telling me something is a dark entity is boring. Showing me that he can strangle someone just by raising his hand and using The Force for evil...well, that's much more compelling.
 
Forced to flee her home after her adoptive father is killed by men who pledged their allegiance to the entity, Adira vows revenge.

Of course she does. Again, this is too generic to be interesting.


Seeking refuge at a faraway outpost, Adira hones her fighting skills alongside well-trained soldiers. When an ageless and powerful Seer arrives, Adira finally decides to reveal what she knows. This knowledge, coupled with a shocking revelation about her adoptive father, convinces the Seer that Adira may be the key to stopping the evil from spreading across the land.

Of course she is. So far you don't have anything different that the fifty other YA queries like this that I see every week.

As Adira begins seeking her own personal revenge and fighting alongside new friends to defend the kingdom, a conspiracy begins to unravel and could lead to death for everyone. The entity’s true motives come to light and Adira learns that the only chance for victory may be sacrificing her own life.

Of course it is.


THE WARRIOR’S CROWN is a Young Adult fantasy novel with series potential, complete at 90,000 words. It may appeal to readers of Joe Abercrombie’s First Law series.

You may contact me at (email address) or @(you) on twitter.
 I have your email address already since my email inbox shows the return address, and the place for your twitter handle below your name.

Thank you for your time and consideration,


There's nothing here that's fresh and new.
You haven't put your spin on any of this.
Everything is too generic to be interesting (dark entity, faraway outpost, ageless seer). This could be Star Wars...but would you know?

One of the things that made Guardians of the Galaxy so fun was how the movie played with standard character tropes.

I don't know if the query doesn't do justice to the book, or you haven't written a book I want to read.

Go back to your favorite books in this category and read them again. This time watch for how the author surprises you, or twists a plot.  That's what makes a story individual.  Watch for how the characters are described that lifts them from generic to interesting.

It takes a long time to write something all your own. It's not a character flaw or failure that this doesn't work.  It's a step on the writing path. Every single writer learns how to do this exactly the way you are: by doing.