Saturday, February 26, 2011

#197-Revised once

Dear Query Shark,


Neither of Susan’s parents were dentists, yet they molded their Southern belle to make a perfect impression. Translation……  (use a colon, not an ellipses here) she stifles raging hormones, marries within her class, pacifies her controlling manipulative hubby with Cordon Bleu dinners, and only needs the occasional dusting off as she emulates Jackie Kennedy.



Susan’s Stepford wife marriage goes to hell in a hand basket when she discovers her Rhett Butler spouse prefers Ashley Wilkes clad in leather Harley gear. She can’t run to Daddy; he’s bankrupted the family fortune and one phone call to the Georgia Bureau of Investigation from her vindictive husband will have Daddy wearing stripes.



Betrayal spreads Susan’s legs wide open as she steps down from her virtuous soapbox determined to put the ‘hell’ back in the ‘hath no fury.’ The former belle of the ball reinvents herself as the sultry redheaded Candice Collins, the in-house call girl occupying the penthouse suite at The Regal, a five star Manhattan landmark. Her alter-ego swells as her mattress grows lumpy with lavish tips for her Academy Award performances.



Candice opens her door to rock stars, politicians, CEO’s, athletes, leading men, and oh my God, a business associate of her conniving closet husband. Susan would have panicked and slammed the door, but Candice keeps her wits and turns discovery to her advantage. She’s tired of looking in the rear view mirror. Like any savvy woman, Candice has a few tricks up her sleeve. Only this time, she won’t be the one dropping to her knees.



VIRTUE is commercial fiction completed at 130,000 words.


There's no plot here.
I know you think there is, but what you're missing is what's at stake for Candice.

I know there's been a lot of talk lately about "likeable characters" and I come down solidly in the camp that chararactrs don't have to be likeable. They have to be interesting. 

What trips me up here is the assumption that Susan thinks the best option for revenge is becoming a call girl. 

This is the stuff of 70s Lifetime movies. It requires a suspension of disbelief that I just don't have. 









 =------------------------

Dear Query Shark,


Sometimes between clients, Susan looks back on her life with a dazed bewilderment wondering what she could have done differently. How do you start out as a Georgia pedigreed peach and end up as one of Manhattan’s highest paid call girls?

Just lucky I guess.

Ok, no jokes (and that's an old one) but honestly this is so 70's Movie of the Week  I can't take it seriously.

She laughs at the irony of it all. All those years of charm school are finally paying off, she thinks. It really didn’t matter that Susan kept her reputation and knees unscathed, or that she married within her class. That WASPY white bread silver spooned world all goes to hell in a hand basket when the private investigator discovers that Susan’s southern gentleman of a husband is a controlling, powerful, and dangerous fraud.

We already know she's a call girl. This becomes backstory, not the start of the story. 

And you're using present tense even though you're talking about events that happen at two separate times: that's textbook confusing.


Susan tries to end the marriage with Jeff and he counters with a Sophie’s Choice ultimatum and swears to make her life a nightmarish hell if she were ever to leave him. In sheer panic, she changes her Grace Kelly spitting image identity and flees to Manhattan as the red headed Candice Collins with two thousand dollars and her wedding ring. (Surprise, surprise, even the diamond is filled with flaws.)

Sophie's Choice is about which of her children a desperate mother will save. Does Susan/Candace have children she's leaving behind? If so, do you expect us to sympathize with her? Very tricky to pull that off.
 

Freelance journalism just isn’t paying the rent and that is when Candice meets Mandy, the in-house call girl at one of Manhattan’s swanky five star hotels. Susan would never have given Mandy the time of day, but Candice accepts Mandy for who she is and they become friends. Mandy wants to retire after ten years in the oldest profession, and Candice reluctantly accepts and soon masters both the physical and psychological demands of prostitution with a colorful cast of clients.


And here's where you lose me. This is such a cliche I don't know where to start. I don't believe the premise. The characters are straight out of a B-movie.  I don't care about any of them. And just to make it a real non-starter, there's no plot.  You have description, you have set up, but you don't have choices or stakes.  (Choosing to become a whore isn't the plot as you describe it here-it's the start of the story)



Although Candice finds her new profession surprisingly satisfying and lucrative, she will never enjoy tranquility; she knows all too well Jeff’s insatiable thirst for revenge. It’s not a question of will he find Susan, but rather when. Readers will be licking their fingers turning the pages cheering her on as she outsmarts her conniving husband and transforms from Susan, a soft crumbly biscuit, to Candice, a toasted everything bagel.

Yea, being a whore is satisfying and lucrative. I simply don't believe that, and there's nothing here that gets me to suspend my disbelief. 

Never EVER use the phrase "readers will" and tell me how readers will respond. It's telling not showing. I don't believe you of course, and when you write that in a query letter it's as if you're standing in front of the mirror in the ladies room and when I come in you tell me how beautiful you are.  I'm pretty sure you'd never do that. Don't do it here either.


VIRTUE is commercial fiction completed with 150,000 delicious words.

Words aren't delicious. Stories are.



Thank you for your time,

No plot. Cliche set up.
Form rejection.

#196-FTW

 Dear Query Shark,

Part warm body, part social chameleon, fourths have become an accepted part of the commuting landscape. Since Every highway in the newly-invigorated Detroit is restricted to four-passenger cars, Carpools who that come up short must either take surface streets through dangerous neighborhoods or hire extra riders to fill their cars.

This is instantly intriguing. It works  because I believe the premise. It works because it's not the endless stream of same-old set up. (Demons, vampires, girls who must come to terms with being outsiders cause they're were-cheerleaders)

I always like to edit out "Since" as the way to start a sentence. Use "since" sparingly since it requires a "must" clause, and you end up with long-ass sentences.


It's an easy way to earn some extra cash--or to end up dead. Someone is killing fourths and the only one who seems to care is burnt-out homicide cop Francis LaCroix, who moonlights as a fourth himself.

This neatly solves the problem of stakes (the cop might get killed) and why the protagonist needs to investigate (he's a cop, and he's a potential victim.)

Then LaCroix discovers that the dead fourths were are terrorists sabotaging the highways, causing horrific crashes. Worse, his own nephew may be involved in the plot. With both careers on the line, LaCroix needs a shot at redemption, but continuing the investigation paints a target on his family and leaves the terrorists free to strike again. Suddenly, he isn't so sure bringing the killer to justice is the right thing to do.

And there's the twist that gets me really interested.

Watch the tense of your verbs in a query. Pare out every extra then/that/has/was.

TAKING THE HIGHWAY, a science fiction novel, is complete at 93,000 words.

This isn't science fiction. And I'd STRONGLY urge you to not call it science fiction even if you think it is.  There's a lot of room for cross-over into crime fiction here, and by calling it science fiction you might miss an agent who doesn't handle SF but would read this.   Like...me.

Thank you for your consideration.

Sincerely,

This is a neat tidy job with a good premise that's well presented.  There's no extra stuff mucking up the query. My guess is you'll get requests on this. I'd certainly read pages.

Sunday, February 20, 2011

#195-Revised 3x


Seventeen-year-old hard rock drummer and cupcake addict Zach Pembrook writes a song that inadvertently draws the attention of the world and it brings him unforeseen troubles.

He gets tangled up in a media circus after a world-renowned physicist publicly states that Zach’s song completes the Theory of Everything. Then he almost gets shot by a stranger outraged by fan claims that Zach is the greatest hacker of all time for figuring out the original algorithm to human emotions and spirituality.

But having both the scientist and philosopher camps out to get him is just the start of Zach’s misadventures. 


If you leave out all this stuff, you solve almost all the problems of the first two versions.

When the recording contract he so wanted turns out be a dud, Zach makes the mistake of getting into business with his ex-nemesis Thomas to take advantage of his newfound celebrity status. Soon, Zach’s reputation is virtually annihilated. Without much else to hold on to he insists on merchandising his song’s infamous happiness formula even after receiving anonymous threats against his doing so. He never imagined his sister would get kidnapped as a result.  


But here again, we've got clunky language with long sentences that have no rhythm at all. There's no flow here and this is something that I can't fix because it's the writing, not the structure.


Now desperate, he can’t just sit around and wait for others to get his sister back. With the help of his trusty sidekick Cuproo – a Roomba vacuum in an oversized cupcake costume that he takes everywhere on account of his allergies – he devises an infallible plan that draws on all his expertise as Rolling Stone Magazine guru to repair his fractured family.
Ok, this just moves this off the ledge and right into freefall: a roomba vacuum in a cupcake costume? I don't even know what to say to that.

THE CUPCAKE PLAN, a 60,000-word contemporary YA novel is available upon request.

Thank you very much for your time and consideration, 


You've really improved things by ditching that dreadful E = mc² thing, but what this revision does is put the clunky writing into bold relief.  That's both a good and a bad thing: it shows me that even if we get the query into structurally sound shape, you're not ready to send it out because the writing doesn't hold up.

This is a critical juncture for you as a writer.  You're not ready.  You need to spend some time, and by time I don't mean days, I mean months, if not years, honing your craft. You need to get rid of the clunk and the ONLY way to do that is to develop your ear.  It's clear in three revisions now that you have NOT done that.  You shouldn't feel like that's a failure; it's HARD to do that, and it takes time.

I suggest a long term plan of action: write every single day. Whether it's 100 words or 1000 words, write something new every single day. And read. READ. Read as a writer. Look for sentences that are beautifully constructed. Look for sentences that make you think "wow"  And if you don't see those sentences know one of two things: you're reading the wrong books or you haven't yet developed your eye.

A writing group can often be of help at this stage of your career because looking at OTHER writers' efforts and helping them see flaws will also improve your eye.

Keep a writing journal and look at sentences and analyze why something works and why it doesn't.  One of the things that helped me immensely is keeping this blog.  If you have to say why something doesn't work, and say it succinctly you learn a lot about writing. 

I know for an iron clad fact this isn't what you wanted to hear today.  I do hope however that you'll wait before 1. burning me in effigy 2. dismissing this as twaddle 3. leaping out the window.

this is the stage where a lot of people give up and do something like self-publish.  This is NOT the time to do that. You haven't gotten to the major leagues yet. Work on your writing. Get better. THEN query.



--------------------------------
SECOND REVISION

Zach Pembrook, a Malibu High hard rock drummer with an addiction to cupcakes is hailed as the greatest hacker of all time after writing a song that gives an unexpected use to E=MC² by linking it to happiness. There is just one catch: Zach never meant it as anything more than an acronym. But at a time when every invention that could ever possibly be invented is already old news the pull of the media and the public thirst for a new mystery are too massive to resist.

I'd stop reading right here because you still haven't overcome the problem of E=MC².  What you say here just doesn't make sense.



What did Zach hack?  Hack means something pretty specific: breaking in to a computer system, or specific computer by nefarious codebreaking.



And by pairing it with "every invention that could ever possibly be invented"--a statement attributed to the head of the patent office, and used to illustrate that we don't know what we don't know doesn't illuminate the metaphor---it befuddles me. As does your last sentence.



It's like saying "Zach is a lion, a witch and a wardrobe and Narnia is calling." Whaaa?



Normally I'd jump up and down about being specific in a query.  I even have a screen saver that says "precision is beauty" but in your case, you might want to just ease back from the specifics.



Zach writes a song that inadvertently draws the attention of the world and it brings him unforeseen troubles.

Happiness has been hacked.  I actually like this sentence but it doesn't make any sense either.

Zach’s adventures in hacker stardom begin on a high note and it seems rockers can indeed have more fun, even in the boring worlds of business and science. But then Zach’s ex-nemesis turned newfound best bud Thomas frames him with fraud at an organic t-shirt company they start together and his sister gets kidnapped.

ex-nemesis turned best bud? what??

who's sister? and what??


With a black hole of deceit and loss staring straight at him, Zach decides to take matters into his own hands. With the help of Aetos, a Greek child gangster that shares his love of cupcakes he recovers his sister. Then he gets another shot at the t-shirt gig. Seizing the chance to rescue his reputation, he vindicates all rockers at heart with a recipe for greatness any Rolling Stone magazine fan should know.  

At this point I'm so befuddled I don't know whether to scratch my watch or wind my ass.

THE CUPCAKE PLAN, a contemporary YA novel complete at 60,000 words, is a new, masculine take on Legally Blonde. While this novel stands alone, I have ideas for turning it into a trilogy entitled BE A CUPCAKE, SAVE THE WORLD.



This doesn't sound anything like Legally Blonde.  Not even close.



A query has to make sense. This doesn't.  Last go-round I advised reading the archives again. This time I think you might look for queries that get plot on the page and follow what they did.





---------------------
FIRST REVISION

Seventeen-year-old Zach is being hailed as the greatest code cracker and pattern recognizer of all time. But Zach is no scientist or computer guru. He’s a lyricist-slash-drummer that who happened to use E=MC² as an acronym to happiness in a hip hop song that went viral on YouTube. Now, the media have over-hyped his acronym as the ultimate answer to the ultimate question, the missing link to the theory of everything, and he can’t get a break.


Well, ok, I guess. This sounds like a comic book but I'll keep going. (The writing is pretty clunky though. Long ass sentences will do that to a paragraph)

As Zach deals with the frenzy of scientific attention, all he really wants is to rock on and get a recording contract. But he’s having a hard time convincing anyone to stop analyzing that one song and concentrate on buying his band’s eco-conscious hard rock tunes.



Media over-hype and scientific attention are two VERY different things. As are hard rock and hip-hop. At this point, you've lost control of your query. I'm losing confidence.

With no recording contract in sight and set on making his sweet, musical dream a reality Zach embarks on a high voltage adventure that includes lightning bolts, scandal, a Roomba vacuum in an oversized cupcake costume, a Greek child gangster, and a kickass redemption plan.


That list reminds me of questions on those tests: what doesn't belong in this group.
It's also a list without context.

THE CUPCAKE PLAN, a YA contemporary novel complete at 60,000 words is “Legally Blonde” meets “The Da Vinci Code”.


Honest to chum I don't know what to say to this.  Comp titles shouldn't make me spew coffee. These do. Why? Cause they're NOTHING alike. One is a light frothy rom-com. The other is ...well...something else. 



Comp titles are supposed to illuminate what the book is about. I can't imagine this pairing.


Thank you in advance for your time and consideration.


Power to the sweet,
what??



This is a LOT better than the mess we started with but you've got some serious problems here. Fiction has to feel real.  You've got a huge hurdle with the E = mc² thing but you can get over it if all the other details are right.  But they're not. 

And you've lost one of the main characters, and any kind of reason this book would be called THE CUPCAKE PLAN.

Somewhere in the archives is a template for getting plot into a query letter. Find it. Use it. Revise. Resend.
---------

ORIGINAL
Dear Query Shark:

E = MC², E = mc², the formula of light, is also the formula to happiness. This is what Sarah accidentally discovers under the pressure of heading a growing organic cupcake business.

well, no, it's not the formula of light.  C in the equation is the speed of light. E = MC², E = mc², demonstrates that energy always exhibits mass in whatever form the energy takes. A simple Google search turns that up.

The problem here is that if you want to use this as a metaphor, you have to start with something that isn't just plain wrong.  Metaphors are "wrong" but illuminating.  Calling an agent a shark for example, does not mean you'd wax enthusiastic about swimming as a necessary skill for reading queries.

You'd do better to leave out "the formula of light" and just say E = MC², E = mc², is also the formula of happiness.  The reason you'd do that instead is that this kind of basic fact error (like getting dates wrong in history) makes me crazy, and worse makes me stop reading.

But holding an answer in your hands is nothing if you don't take action.

So she decides to try out the formula by applying it to organize her life and the business. As she starts to see this in action, she wonders what other things around her had she not noticed before that might also be trying to say something to humankind?

Now you've lost me. These is a generalization. It's also going in the wrong direction.  The line above says "is nothing if you don't take action."  The logical sequence then is to tell us what action she takes, not veer off into what she sees in action, or wondering about other things.


Sentences in queries should flow in a logical order.

Light is everywhere, all around us day and night. How could we have missed this one humongous clue? This is the manual to life, the simple answer to happiness that we have been wanting forever. And it has been with us all along. All we have to do is apply its formula:

E = MC², E = mc²


Who the hell is "we"  There is no "we" in querying, much like there is no crying in baseball.  By this I mean, you're slipping disastrously out of third person and into first person here.  This kind of slip is a huge red flag in a query.

Remember, while a query has to tell me about the book, it also shows me how well you write.

And worse, you're now out of the realm of specific action entirely, and into some absurd conclusion that sounds like Dorothy in the Wizard of Oz.  If I hadn't stopped reading before, here is where I really click my ruby slippers and head home.

Her sci-fi daydreams take on a whole, new meaning like this, leading her to find her own dream, that cause for living that she has been longing for. Meanwhile, her best friend and business partner, Tessa, lays comatose in a hospital bed. If only she too could begin to see, really see things under this light.


"like this" requires an example to be logical. No one "lays" in a hospital bed unless they are a poem. It's "lies."




In its current form, Be a Cupcake. Save the World. is a 35,000-word, easy-to-follow guide to happiness that will electrify and empower young adults.



what? WHAT?  In its current form? Does it shapeshift?  No NO NO!  You query only for FINISHED novels. Never ever use that phrase in a query letter.  

And this is a novel right?  Cause "35,000 word easy-to-follow guide to happiness" and "electrify and empower" are NOT the description of a novel. You'd find that in the self-help section.  Making your novel sound like a self-help book is a very very bad thing.


Thank you for your time and consideration of Be a Cupcake. Save the World. for your list!

The only thing I like about this query is the title, and I like that a lot. However, you're punctuating it incorrectly. It's BE A CUPCAKE, SAVE THE WORLD and when you use it in a sentence as I did here, you'll notice there's no period.



This has failed to rise in the convection oven of the slush pile.  In fact, you need a new recipe.  

The only thing I know about Sarah after reading this query is that she runs a cupcake business.  And I don't know anything about what happens in the book.  That's absolutely fatal in a query.

Start over.  Use the recipe you'll find listed in the QueryShark archives more than once. That's the flour, sugar, baking soda and salt. Make it your own by adding lemon, cinnamon, nutmeg and raisins to taste.  

Sunday, January 9, 2011

#194-REVISED 4x

 Dear QueryShark, 

1967. A nameless, but essential feeling tantalizes eighteen year old Nick Alexander to join the Marine Corps. Nick thinks, hopes, that the Corps will provide crucial qualities that he knows he lacks, such as discipline, and also others that he senses he needs, but can’t articulate. Manhood, with all of its trials, is beckoning through the fog, but first Nick needs to defeat Parris Island. Then survive Vietnam.


A nameless but essential feeling is so abstract as to be meaningless. If you delete that whole sentence you're much better off. 

Manhood beckoning through the fog doesn't give us any insight at all. The purpose of a metaphor is to make us see something we know in a different light, or describe something so we see it with fresh eyes. This does neither.

Vietnam. Nick and Rod Moss patrol on the same fire-team, and become the tightest of friends. Nick and Lien, the young Vietnamese woman he saves from being raped, become lovers.


Before his tour of duty started, Nick wasn’t sure how he would be affected by the hungry war. But when Rod gets shot and Lien becomes pregnant, Nick discovers the true meaning of friendship, love and Semper Fi.


There's nothing at stake here, it's just a series of events.

I proudly served in the United States Marine Corps for four years, and feel that my Marine experiences provide authenticity and grit to SUMMER OF LOVE, complete at 78,000 words.



Thank you for your time and consideration,


There's nothing compelling or enticing here. Any book on VietNam is going to have to surpass Matterhorn by Karl Marlantes, one of the best books on VietNam of the last 10 years.  So far, this query does not demonstrate that it will.



----------------------
Dear QueryShark,


Eighteen year old Nick Alexander is struggling to cope with the Age of Aquarius, Vietnam, anti-war protests, virginity in a time of free love, cultural revolution, an abusive mother, no father, and a lack of confidence. Other than that, everything is groovy. His solution: the Marine Corps. The next four years will either be the adventure of a lifetime, or the end of his young life. Nick is hoping for the former.

This is the only paragraph you'll want to keep:
Vietnam. Surviving seems simple enough - mix two parts of Marine training with three parts of good luck. But someone forgot to tell that to the gods of war, friendship, and love. They had their own plans for Nick.

Then tell us what the plans are in short concise sentences.

His new best friend, Rod Moss, asks Nick to be the best man when he marries after their tour of duty is up. When Rod gets shot during an ambush, Nick must save him, not an easy task when you have a rifle pointed at you. Later, after rescuing a young Vietnamese woman, Lien, from a vicious rapist, Nick is graced with love. But can they avoid a war that is always hungry, always hunting for its next meal? Through it all, Nick learns the real meaning of Semper Fi.

OR You might want to focus  on the love story here. Nick is in the middle of a war and falling in love with a woman whose country is on fire.  I'm pretty sure there are some choices and stakes here.

SUMMER OF LOVE is complete at 80,000 words.



Thank you for your time and consideration,



I still don't know what this book is really about.  You've got three main things here: Nick as a boy who wants to have an adventure; VietNam; and now the ambush shooting.


Focus on the first big choice Nick has to make and the stakes attached to that decision.  You don't have to do a lot of set up.  We don't need the virginity AND the abusive mom AND the absent dad.  We don't even need to know why Nick wants to leave home. It's logical that boys at that age do want to.

If you can't find the first big choice Nick has to make, look for his first big realization, and how that changes him, and his response to that change.

This doesn't work yet, but it's not bad writing.  It just needs focus. 


------------------------------------
Dear QueryShark,


Eighteen year old Nick Alexander has a few problems. It’s the late sixties, and he’s struggling to cope with the Age of Aquarius, Vietnam, anti-war protests, race riots, virginity in a time of free love, cultural revolution, an abusive mother, no father, and a lack of confidence. Other than that, everything is groovy. His solution: join the Marine Corps. The next four years will either be the adventure of a lifetime, or the end of his young life. Nick is hoping for the former.

Ok, this gives us a sense of what Nick wants. There's nothing here that leaps off the page enticing me to read this because it all feels very familiar to me. There've been movies and books about VietNam galore. (Most recently MATTERHORN was one one of my sox knockers of 2010)

Vietnam. Surviving seemed simple enough - mix two parts of Marine training with three parts of good luck. But someone forgot to tell that to the gods of war, friendship, and love. They had their own plans for Nick.

You're alluding to plot here, but you've GOT to TELL me what it is.  What happens? What do the "gods of war etc." plan for him??

If the explosive times weren’t already uncertain enough, Martin Luther King and Bobby Kennedy are murdered. Nick fears that not only his future, but also America’s, is in danger.

You've yanked us out of the realm of the personal, back into the US, and back into more global events. You've also not really said anything new: tumultuous times, got it.

I proudly served in the United States Marine Corps for four years, and feel that my Marine experiences provide authenticity and grit to this 80,000 word novel, FROM THE SUMMER OF LOVE TO VIETNAM.



Thank you for your time and consideration,

There's no plot, and I'm not enticed to read this.

I still don't know what the book is about. I still don't have a reason to care about the character. 

Form rejection.

-------------------
Dear QueryShark:


The Vietnam War and the late sixties are twin fires raging across America, scorching some, changing all. Nick Alexander is about to make a decision that will change him forever. He enlists in the Marine Corps knowing he must defeat the severe mental and physical challenges of Parris Island - the rest of his life depends on it. If he flunks out of Marine Corps boot camp, Nick will always doubt himself. There will be no second chance.



Vietnam. Nick fights to survive his thirteen month tour of duty. He returns to an America convulsing with war protests and cultural upheaval, yet savoring free love. America and Nick both struggle during this tumultuous and historic time.



I proudly served in the United States Marine Corps for four years, and feel that my Marine experiences provide authenticity and grit to this 80,000 word novel, FROM THE SUMMER OF LOVE TO VIETNAM.



Thank you for your time and consideration,


This is better than the first go-round, but there's no sense of what the book is about. This is my number one rant about query letters from people who aren't making beginner mistakes (fiction novel, go to my website, sure fire bestseller etc mistakes.)


You've got to give me more than a sense of when it takes place and who the main character is. What happens to him, what choices does he make? What's the tension? What's the plot?

You cannot engage me or entice me unless you give me something to care about.

Go back and read the archives. Concentrate on the queries that got to Yes, or Win. See how they entice someone to read on. There's a list of them on the right hand side of the blog.

The single most valuable thing about this blog is you don't have to make the mistakes everyone else makes. You can learn from them and then make your own.

This is a form rejection right now.

Revise.










 --------------------------------------------
Dear QueryShark:

It is the Summer of Love, 1967. Nick Alexander is skinny, diffident, and about to graduate from high school. He has always been afraid to fight, bullies often kicked his ass. Raised by his unwed, abusive mother, Nick is tantalized by the Marine Corps' whispered promises to provide personal validation and the center of gravity that he needs.

Personal validation and "center of gravity" is self-help speak.  Someone might say it later when reminiscing about their life, but at this moment, my guess is that Nick thinks the Corps will make him a man. Given there's a brutal bloody war on in 1967, he must be pretty desperate to become a man via the Marine Corps. Let us see that. Don't tell us. Show us.

Nick enlists, but knows he must defeat the mental pressure and physical challenges of Parris Island - the rest of his life depends on it. If he flunks out of Marine Corps boot camp, Nick will forever doubt himself. 

You don't need any of that paragraph, and the query is stronger without it. Try really hard not to explain motivation in a query.  SHOW me what someone does.

At brutal Parris Island, Nick is forged - like steel subjected to intense heat and pressure. After more combat training, Nick does well on Marine Corps tests and begins electronics schooling; the Corps is trying to teach him a skill other than killing people. Nick passes the classes with difficulty, but becomes an expert with a rifle during his annual shooting qualification.

After nearly two years in the Marine Corps, Nick is still a virgin. He thinks there should be a plaque in Marine Corps headquarters mentioning this, but smiles, wondering if it would be treated as a disaster, like the sign at Little Big Horn.

Nick meets Johanna, they make-out furiously on their first date, and talk about many things, including Nick's sexual staus

Vietnam. Nick ditches the electronics job he never liked; and with a fire-team of three other Marines, patrols local villages, where death is always lurking, watching, hoping. Every day, Nick wonders if he and his buddies, especially his new best friend, Rod Moss, will survive their thirteen month tour of duty. He also wonders if he will ever be graced, like Rod, with the love of the right woman.

Nick worries about an America convulsing with war protests, yet savoring free love. America and Nick both struggle to stay healthy and sane during this turbulent and historic time.

I proudly served in the United States Marine Corps for four years, and feel that my Marine experiences provide authenticity and grit to this 80,000 word novel, FROM THE SUMMER OF LOVE TO VIETNAM.


I look forward to working with you, Thank you for your time and consideration.


You understand there's no plot here, right?
That's trouble with thinly veiled memoirs as novels: real life doesn't provide much plot. You've got to have a plot for a book.

You have to figure out what the story is here.  What does Nick want? What's keeping him from getting it? If he does get what he wants, what bad thing is going to happen.

And go read MATTERHORN by Karl Marlantes.  I think it might be the best book about VietNam I've ever read.

When you read it, you'll see that story starts when the characters arrive in VietNam. Everything up to that point is backstory.

This is a form rejection.

Saturday, January 1, 2011

#193-Revised 4x


Eleven-year-old Jeremy Bleamy is heartbroken after leaving his dog and friends behind when the 1802 drought forces his family to move from Scotland to London. Too soon, he watches his father die of consumption. A night later, he follows his mother's lonely footprints in the snow where they end at the edge of London Bridge. He almost follows her, but his grief turns to rage and he vows to persevere.


You've spent 71 words here setting the scene. It's not bad but it's not what's important. What's important is the PLOT. What choices does Jeremy have to make? Ok, he makes the choice not to jump in the river, but that's not the plot, that's backstory at this point.

And 71 words is 1/3 of your query: instead of using it on backstory, show us more of the plot and stakes.


Your story starts here------>Hope and money gone, left alone to fend for himself, Jeremy drags his parents' furniture to a corner between two buildings. There, against the landlord, gangs and neighbors' objections, he makes his stand. With his smarts and a club as long as he is tall, he bravely fights off those who try to steal his parents' possessions.

I frankly don't believe this. He's 11. He's armed with a club and "smarts" I don't believe one kid can fight off any group of people. This isn't Japanese martial arts movies.  The fiction in historical fiction isn't about people behaving in unbelievable ways.

And because you lose me here--I can't suspend my disbelief--I'd probably stop reading.  Right now this feels like a very old fashioned morality tale.  Noble child, prevails against all odds---this is Boys Life magazine 1929.


Jeremy ekes out a few pennies a night as a lamp boy, lighting the way for men seeking entertainment on the rough night streets. But as the Duke Street Boys muscle in, demanding a sizable cut, Jeremy pits his wits against them and a growing list of foes – the worst are the orphan hunters, who wish to capture and sell him to the textile mills. They all soon discover this is not a boy to be trifled with.


What terrible thing would happen if the orphan hunters got him? "Selling him to the textile mills" doesn't tell us why he doesn't want that.

I also don't understand why Jeremy is so attached to furniture.

Jeremy almost surrenders, when he returns one evening to find his shelter burning and the hunters awaiting him. Unbeknownst to Jeremy, his neighbors have been watching him and they have developed strong opinions about this brave little orphan. Jeremy's steadfastness and bravery have inspired them – and those who prey on children are about to be taught that this young boy is not alone in the world after all.

You've given away the entire story here. The purpose of a query is to entice us to read on, NOT tell the entire story.

Also "brave little orphan" isn't a phrase you can use without irony in this day and age. It's too over wrought to be taken seriously. You have to show us why we'll care about Jeremy. Right now he's just a Bekins man in the making.


BLEAMY'S CORNER is a YA historical fiction novel complete at 76,000-words


-----------------
Dear QueryShark:


In 1802, eleven-year-old Jeremy Bleamy is orphaned in London when his father dies and his mother commits suicide.  (unless how his parents die is important leave it out, particularly at the query stage. Get to what matters.) Left alone in a city whose dark interior rarely lives up to its supposed standing as the “capital of the civilized world,” he is faced with the options of following his mother over London Bridge or fighting for survival. Jeremy chooses to fight.

this is a false choice. Of course he chooses to fight. If he went over the bridge, there'd be no book. When I talk about choices the protagonist is faced with, I mean choices that are central to the plot. This isn't.

He takes up residence in a corner between two buildings, and he finds a job as a lamp boy—lighting the city’s dark streets for men seeking “entertainment.” The work is profitable, but dangerous, and it is not long before Jeremy makes enemies of the Duke Street Boys, a local gang to whom he refuses to pay “taxes.”

This is all set up. And why does he refuse to pay "taxes?" Surely that's both shortsighted and dangerous? It doesn't demonstrate high moral character if that was what you intended.


During the daytime, Jeremy searches for escape—for anything that can make the task of staying alive more bearable—but what he finds instead are orphan hunters who want to ship him to the textile mills, thieves waiting to rob him of his meager possessions, and a street vendor and his rabid monkey who both have it out for him.

Ok, and? This is a series of events. I don't have any sense of connection to Jeremy. Sure he's a waif in London fighting for survival, but that's a description, not an enticement or a connection.

In time, Jeremy befriends an old man at the post office, another old man who owns a bookstore, and even the Duke Street Boys themselves. But his problems are not at an end, as a war is boiling between the Duke Street Boys and the Mims—a rival gang from across the bridge. As Jeremy becomes the target of the Mims, his friendships, his strength, and even his fearlessness are put to the test.

The problem is we're very removed from Jeremy. There's no sense of connection; of what he's like.

BLEAMY’S CORNER is the story of a young boy, orphaned in London in 1802, who in his fight to survive goes beyond the point where most boys and even most men would quit.

You don't need a recap of what you just told me. 

BLEAMY'S CORNER is a work of YA historical fiction, complete at 72,000-words.

There's no plot here. That's a huge problem.
There's no enticement to read on. That's a form rejection.
Start over. Focus on plot. If you're having trouble figuring out what the plot is, the problem is not the query letter, it's the novel.  You'd be surprised how often that happens to writers.

-------------------------------------
Dear QueryShark:

In 1802, eleven-year-old Jeremy Bleamy is orphaned when his father dies and his grieving mother leaps from London Bridge. Left alone in a city whose dark interior rarely lives up to its standing as the “capital of the civilized world,” he is faced with the options of following his mother or fighting for survival. Jeremy chooses to fight.

This feisty and tough little boy (this is telling not showing)  uses all his ingenuity and fearlessness (telling not showing) to take on the city, battling street-enemies who prey on his vulnerability (doing what?), orphan hunters who try to enslave him (how/why?), and the Duke Street Boys—a local gang who will not leave him alone. (why?)

This is generalization of the worst kind: telling not showing, and telling nothing specific.

Although Jeremy knows little about city life, and even less about survival, he learns quickly. These lessons in survival sometimes come from the swell of friends Jeremy meets along his journey; many other times, he learns these lessons alone, at great emotional and physical cost.

Same thing here: all talk, no show, nothing enticing.

In time, Jeremy finds a profitable but risky job on the dark streets; in the early hours of the morning, he returns "home" to a corner between two buildings.

Same thing.

BLEAMY’S CORNER is not the story of a hero. It is the story of a young boy who does what almost any young boy would do: fights for his right to survive. BLEAMY’S CORNER is a story of triumph, and throughout all of Jeremy's struggles, he holds onto the one thing no one can take away from him: his ability to smile.

If this is 1802 he's lucky he has any teeth.  Again, no specifics.

BLEAMY'S CORNER is a work of YA historical fiction, complete at 72,000-words.


I get no sense of 1802 London, and no sense of the story. The first paragraph is the only one to keep.

Start over. Think of what specific events SHOW what happens, and SHOW character.


Form rejection.







-------------------------
Dear Query Shark:

BLEAMY”S CORNER is a work of historical fiction and complete at 72,000 words.

This gives me pause.  I doubt there's a  fully furnished world with such a low word count.  Historical fiction requires sights, smells, atmosphere: world building.  There are no brand name shortcuts in historical fiction. 

In 1802, London was the largest city in the world. It was the center of trade, commerce, finance, art, and government for the British Empire that devoured whole counties and continents.

Unless London is the main character of the novel, you're starting at the wrong place.  All this may be true, but it's not action. It's not plot. It's not character.

As London wallowed in its glory as the capital of the world, it was ill-prepared to handle the massive increase in population. Inept to handle the needs of such a large city, it was plagued with poverty, and laws were passed that attempted to weed it down. Children and women were hanged for petty theft, same as a man for murder. And if that was not enough, over three quarters of the children born in London died before the age of five. So much for the civilization of the capital of the civilized world.

Again, this isn't plot. It's hyperbole. And it's not very enticing.  If you want me to read 72K words set in London, why are you telling me what a terrible place it is? 

So it was in London in 1802 a festival of people and excitement, but a cold-hearted and cruel place to live. Where the rich and privileged lived in proximity to the poor and homeless; Where intrigue mingled with despair and hope battled misery; Where acts of sacrifice and heroism were often only found in the pages of Gulliver's Travels and Ivanhoe.

None of this is about your book. It's still hyperbole.


BLEAMY'S CORNER follows the life and wanderings of eleven-year-old Jeromy Bleamy, a mostly-wise, sometimes-precocious, and often-proud child who is full of what he would call unshakeable resolve…and what others would call courageous stubbornness.

How about you just tell me what he is instead of invoking other people. This device does not work in a query letter. I cannot over emphasize that you want straightforward simple sentences that tell me what the book is about.

You're trying to be all fancy schmancy here. It backfires.

I'd have stopped reading at this point.


“The evil of the city seems to unaffect those who have wealth and the cruelty of the world is seldom felt by those who have never fought for a meal. I, for one, will never see the world without its ruthlessness ever again. My eyes are not wide to its splendors.” Jeromy Bleamy. London, March 11, 1803.

Don't quote the book in the query letter.  At this point you've told me NOTHING about the plot. You've used up 292 of your 250 words and you've not answered the main question of a query: what is the book about?


Here's where the query should start but you're telling not showing.------->In 1802, Jeromy’s parents were forced to abandon their drought-besieged farm and travel to London. As if such a transition would not be difficult enough on one so young, Jeromy soon loses both his parents. Displaying the sort of resolute ingenuity and fearlessness one seldom finds in children, Jeromy takes on London, becoming a sort of urban Robinson Crusoe, leading the reader through an inspiring, funny, and altogether soaring tale of equal parts misfortune and adventure.


What happens? Specifically. Not "inspiring" not "funny" not "altogether soaring": what happens.

Telling me your novel is an altogether soaring tale is like telling me your kid is good-looking. I'm sure you believe it (I hope you do in fact) but I'm not going to believe you until I've seen the kid myself. In other words: show me, don't tell me.


I have become irrevocably attached to Jeromy and his heroic tale; I know that many readers will feel the same way, and I hope you will give him a glance and find out whether he is able to break your heart and put it back together.

This is a HUGE warning sign in a query.  What you think it means is you're passionate about your work.  What I think it means is you're the kind of writer who is more likely to take rejection personally, not be able to handle revisions with objectivity and be a total pain in the ass.

There's no reason to put this in a query. It doesn't tell me anything about the book, and what it says about the writer is NOT what you intend to convey. 


Thank you so much for taking the time to look over this letter. I look forward to hearing your thoughts.  Thank you for your time and consideration.

This is a form rejection for the usual: it doesn't tell me what the book is about. There are other problems as well, but if I were tallying reasons I'd rejected queries this week, that would be the category for this one.

Friday, December 31, 2010

#192-FTW

Dear QueryShark:


One week ago, Claire's cousin Dinah slit her wrists.

Five days ago, Claire found Dinah's diary and discovered why.

Three days ago, Claire stopped crying and came up with a plan.

Two days ago, she ditched her piercings and bleached the black dye from her hair.

Yesterday, knee socks and uniform plaid became a predator's camouflage.

Today, she'll find the boy who broke Dinah.

By tomorrow, he'll wish he was dead.

Premeditated is a 60,000 word contemporary YA novel. Chapters or a synopsis are available on request.



oh hell yes.  Send pages, send the entire manuscript NOW.

Here's why this breaks all the rules and still works:  

It's got menace in the very rhythm of the writing. It's short and not-sweet.  We know who the main characters are because she SHOWED us, not TOLD us.

And by god, there's nothing better than revenge for the New Year.

Yes, this breaks all the rules I've been yapping about, except the one that really counts: it entices me to read on.

Now, how the hell do you know if you've got something that breaks the rules but works?  First, you write something that doesn't break ANY of the rules.  You write a query that shows, doesn't tell. That's concise, and conveys what the book is about.

In other words, you write to the form of a query letter before you write something that ISN'T to form.

And you pay attention to rhythm.  More than anything else stylistically, it's that rhythm of good writing that's toughest to teach and learn.  When I'm editing manuscripts, I say the sentences out loud a lot. Hearing them helps me see where there are extra words, or too many beats, or misplaced beats.  It's very very slow editing when you are down to moving syllables in sentences, but it's what makes the difference between gorgeous writing and so-so sentences.




Saturday, December 11, 2010

#191-revised 3x for the Win

Dear QueryShark:

Sixteen year old Hope's life went off the rails last year, when a stupid freakin' earthquake took away her awesome mom. Not even a butt-load of pills could numb that pain.


In rehab, she accepts a surprise invitation to spend the summer with her aunt in the Scottish Highlands. When Hope discovers a secret room full of elaborate costumes and a five-hundred year old painting of her mother’s face, she’s sure all the residents of the huge house are bat’s-ass crazy. The truth will test her new sobriety and give her a chance to redeem herself. Her mom isn’t dead. She is trapped in the year 1543. Hope steps into her mother's shoes, and joins the new generation of Viators—time travelers—as they prepare for the longest road trip ever.


The only normal piece of her freak-a-zoid life is the time she spends with local Alex Cameron. But, when Alex appears at Henry VIII’s Hampton Court, Hope realizes she was played. Alex is one of the criminal Timeslippers. Hope’s mom kept them from stealing a book so powerful; (take out the semi colon) its owner can reshape history.

Now, Alex is back to finish the job, and it's up to Hope to stop him. He's also ordered to make sure Hope and her mom never return. Hope swore she would risk anything to rescue her mom, and she’ll be damned if some lying douche is going to get in her way. She'll do whatever it takes, even if it means getting left behind.


A TIME FOR HOPE is my debut Young Adult novel, complete at 91,000 words. Fans of REVOLUTION by Jennifer Donnelly will like this book. I am a member of the Historical Novel Society and the RWA.

Thank you so much for your time.


Well dear readers, I think she's got it.  

The voice is very forceful; that appeals to me.  I also like that we've got a sense of the stakes and a sense of the choice Hope has to make.

Before you send your queries out, make SURE you have an eagle eyed copy editor look this over. You've got an errant semi-colon in this version, a misplaced comma in another.  These aren't the difference between yes and no, but you want to make sure your work is as polished as you can make it.

This works. I'd request pages.




----------------------
Dear Query Shark,


Sixteen year old Hope's life went off the rails last year, when a stupid freakin' earthquake took away her awesome mom. Not even a butt-load of pills could numb that pain.

In rehab, she accepts a surprise invitation to spend the summer with her aunt in the Scottish Highlands. When There she discovers a secret room full of elaborate costumes and a four-hundred year old painting of her mother's face, she demands answers. But, the truth might be more than her new sobriety can take. Her mom isn't dead. She's trapped in the past--in the year 1543.(2) If Hope is strong enough, she can take up the family tradition and begin training with the other new Viators--time travelers--as they prepare for the longest road trip ever.

"strong enough" doesn't tell me much. Is she undergoing GIJane pt routine? Is it emotional strength? What does Hope need to do to get ready? And if this really isn't an important part of the story, don't mention it at the start of a sentence. Just start with She can take up the family tradition


The only bit of normalcy in her life is her budding relationship with local, Alex Cameron. But when Alex appears at Henry VIII's Hampton court, Hope realizes she was played. Alex is one of the criminal Timeslippers, on a mission to steal a book so powerful, its owner can reshape history. She must rescue her mom and keep the book out of the Timeslipper's hands, even if it means Hope will never return.

no comma before Alex Cameron.

"budding relationship" is a phrase I'm confident no teen girl would use to describe herself or how she feels about a boy.

You've also used the second paragraph (2) to ask if Hope is strong enough to become a time traveller. In the third paragraph it sounds like not only is she, she's off at the court of H8. You're wasting time and words setting up a problem that isn't a key part of the book.

Focus on the first choice that Hope has to make. If her first choice is to rescue her mom, I said those weren't very high stakes on the first go round. However, it's clear something went VERY wrong if her mom is stuck in 1543. What does Hope bring to the problem that will solve it?

It's like you don't send someone down into a mine to rescue people without sending a rope and shovels with them. Otherwise you just have more stuck miners. What tools/skill does Hope have that will help her Mom? And if they don't work is she willing to be stuck there in 1543 with her?


A TIME FOR HOPE is my debut Young Adult novel, complete at 91,000 words. Fans of REVOLUTION by Jennifer Donnelly would relate to this work.

I can relate to a lot of things I don't like. Vegemite, shark-fin soup, reserves against returns.


Fans of REVOLUTION by Jennifer Donnelly are the audience for this book.

or
Fans of REVOLUTION by Jennifer Donnelly will like this book.

I am a member and district leader of the Historical Novel Society and the RWA.

Thank you so much for your time.

This isn't bad, and I know the comment column is clamoring to read this, but a query letter has to show me that you can write so well and so crisply that I will want to read this book more than once.

This query doesn't do that yet, but it's getting better.

Revise, let it sit for a while, revise again, then resend.
Make SURE the book itself is getting the same kind of polish you're doing here.

--------------

Dear Query Shark,

Sixteen year old Hope’s life went off the rails last year. All because when a stupid freakin' earthquake took away her awesome mom. There wasn't even a body to bury.


Have I yapped enough about rhythm in sentences? Probably not. Say the first version out loud. Then the revised version. Which sounds better?


Word choice is mostly about the right word, but the final polish is always the right word in the right place. "All because" and "when" mean about the same thing in the context of this paragraph, but one is better than the other because of how it sounds. When writers talk about reading their work aloud, this is the kind of thing they are listening for.

She soon discovered that all the pills in the world couldn't numb the pain, though she gave it her best shot.


Pare away everything you don't need.


In rehab, she accepts a surprise invitation to spend the summer with her aunt in Scotland, who needs her help on a project. Hope doesn't care if it's shoveling sheep crap as long as it gets her out of facing the mess she left back home.


She goes to Scotland with her aunt is about all you really need to say: we intuit that she'd want to get away, and with her mom dead, a relative would step in. Trust your reader to make the logical connections.


What she learns at her aunt’s old house in the Highlands is weirder than any drug-induced hallucination.


RESIST THAT METAPHOR. Metaphor is a powerful tool but you don't need it here. What she learns at her aunt's house is that her mom isn't dead. We get that that is weird. Simplify!

Her mom is not dead. She is trapped in the past, in the year 1543, and Hope is needed to bring her back. She joins the team of new recruits to the society of Viators, time travelelers, as they prepare for the longest road trip ever.

Why is Hope needed to bring her back? That's the key piece of information you're missing here.

Faced with a truth she never imagined and fighting off the old cravings, she treasures the only bit of normalcy in her life. Her budding relationship with a local boy, Alex Cameron. When Alex appears in renaissance England, Hope realizes she's been played. Alex is a member of the criminal Timeslippers. He’s ordered to steal the powerful Libri Atlantius and kill its owner, the young alchemist John Dee. He is also charged with killing anyone who gets in his way. With the book of Atlantis in the Timeslippers possession, they can shape history any way they wish. Now, Hope has to stop the Timeslippers from getting their hands on the book, save Dee, and bring her mother back home. No biggee for a recovering addict.


And here is where you go splat. You don't need all this. You've got a nice set up with rescuing her mom. And your first version had a much cleaner version of this:


The only bit of normalcy in her life is her budding relationship with a local, Alex Cameron. But, when Alex appears at the court of King Henry VIII, Hope realizes she was played. Alex is a member of the criminal "Timeslippers." And he has orders to make certain that Hope and her mother never return.


All you need is one more sentence here telling us about the stakes: keep it very simple though. "A book that allows the reader to reshape history is about to fall into the wrong hands if Hope doesn't confound Alex's nefarious schemes." Or something like that.

A TIME FOR HOPE is my debut Young Adult novel, complete at 91,000 words. Fans of REVOLUTION by Jennifer Donnelly would relate to this work. I am a member, and district leader, of the Historical Novel Society and the FWCA.

Thank you so much for your time.

A TIME FOR HOPE
Genre: Young Adult
91,000 Word count

This is better, but it's not ready yet.

Polish, revise.

------------------------------------------
Dear Query Shark,

Sixteen year old Hope Walton didn't really want to become a time traveler, but apparently it's a family tradition.


Here's the trouble with log lines: they undercut any kind of buildup to a punch line-they destroy tension and suspense. Consider how much more a reveal it is if that log line appears AFTER these next paragraphs.

Her life went off the rails when she learned her mom was killed in a foreign earthquake. All the pills in the world couldn't numb that pain. When her aunt visits her rehab center and asks for help on a project, Hope assumes she means scrapbooking or maybe knitting.

She was wrong.

Now she has the chance to redeem herself. She can rescue her mother, then begin to pull her life back together. All Hope has to do is travel to the year 1543 and bring her mom home. No biggee.



Here's the revised layout:

Sixteen year old Hope Walton's life went off the rails when she learned was told her mom was killed in a foreign earthquake. All the pills in the world couldn't numb that pain. When her aunt visits her rehab center and asks for help on a project, Hope assumes she means scrapbooking or maybe knitting. She was wrong.

Hope Walton doesn't really want to become a time traveler, but apparently it's a family tradition. And her mom isn't dead, just trapped in 1543.

At her aunt's manor in the Scottish Highlands, Hope learns about her strange heritage. She is joined by joins a team of new recruits as they prepare for the longest road trip ever. The only bit of normalcy in her life is her budding relationship with a local, Alex Cameron. But, when Alex appears at the court of King Henry VIII, Hope realizes she was played. Alex is a member of the criminal "Timeslippers." And he has orders to make certain that Hope and her mother never return.

A TIME FOR HOPE is my debut Young Adult novel, complete at 91,000 words. Fans of REVOLUTION by Jennifer Donnelly would relate to this work. I am a member, and district leader, of the Historical Novel Society and the FWCA. I am also under the tutelage of the Young Adult novelist, (redacted).

I'm not sure what under the tutelage means, but leave it out. Your bio is for publication credits and groups you belong to that are relevant. Your teachers, your school, your tutelors--not relevant.

Thank you so much for your time. It is such a precious thing.


A TIME FOR HOPE
Young Adult Category
91,000 word count


Structurally this is an above-average query. However, when I see paragraphs set up with the reveal (or the punch line aka the climax) at the start of the paragraph, it undercuts my confidence in how the book is structured paragraph by paragraph. I see this a lot in otherwise good queries. You need to unfold a story in your query just like you do the book. Set up, then resolve. In other words, don't tell us she's a time traveller before you set up the situation.

And frankly, the idea that someone time travels to the court of Henry 8 is beyond over-used. You've got an opportunity to go anywhere in time, and you choose the one period that has been the subject of more television shows and movies than any other.

And the stakes are pretty pale as well: she has to rescue her mom. Ok, sure, who wouldn't want to rescue their mom, but it doesn't have much pizazz.


This isn't a bad query, but it's getting a form rejection cause it doesn't do the ONE thing a query has to do: entice me to read it.

Sunday, December 5, 2010

#190-Revised 5x FOR THE WIN

Dear QueryShark,



Twenty-three-year old Scott Harris is the most wanted man in Orlando. He’s been tearing apart its wealthiest neighborhoods since turning to a reluctant life of burglary, and is about to get pinched by the city’s best detective, Andre Jones. With one last big score, Scott’s going to get out while the getting’s good. He hits the mansion of Mayor Eugene Stone, and uncovers a lethal secret that will hurt many people, including those he cares deeply about.



The mayor’s top priority isn’t budget proposals or city council meetings. Turns out, he’s using his trusted position as cover, quietly plotting in the shadows. He leads a sleeper cell outraged with what’s happening to their country. The group is ready to change things their way – and ain’t nothing in this world solved without violence.



With the heat cranked up, there’s no way Scott’s going to the cops with what he knows. He begins to use his skills as a thief to set up the mayor and crush his plans. Unfortunately for Scott, there’s bad news creeping up: Jones finds out who he is, and what’s worse – so does Mayor Stone. The mayor sets a deadly trap for the little punk, leading to a brutal showdown between Scott, Detective Jones and the sleeper cell. Outnumbered and out of time, there’s only one chance left for Scott to save his life, and hopefully his freedom – or there’s gonna be a whole lot of killing going on.



INVISIBLE EMPIRE is a novel of suspense, complete at 109,000 words. Thank you for your time and consideration.




Sincerely,

By George I think he's got it!
If you'd asked me to bet cold hard cash money on whether this query would ever work, I'd have laid odds it wouldn't. You proved me wrong. Congratulations.

What I like best here is we have a MUCH clearer sense of voice now.  Read the first version. Then read this.  You'll see. 

Now, apply everything you learned here to the novel before you query. It won't do you a bit of good to have a spiffed up query unless the novel is also spiffy.

But, reward yourself before diving into those revisions, you've earned it.

------------------------------------------------------------------------



Dear QueryShark,



Picking locks, bypassing alarms, cracking safes – for Scott Harris, it’s all just part of the day after turning to a reluctant life of crime. No one would ever guess this seemingly wholesome twenty-three-year old is the person tearing apart Orlando’s wealthiest suburbs. If he were to take an aptitude test, the results would come back: disillusioned and destitute. After boosting jewels and C-notes, life is slowly turning the corner…until he slips up. Now Detective Andre Jones, Orlando’s most talented cop, will do anything to pinch the thief that’s been shaking up the city.

It takes a while sometimes to see where the story starts, but I think it starts here:

With one last big score, Scott’s going to get out while the getting’s good. He breaks into the home of Mayor Eugene Stone, and gets the shock of a lifetime when he finds a deadly secret. The mayor’s top priority isn’t budget proposals or city council meetings. Turns out, he’s using his trusted position as cover, quietly plotting in the shadows. He leads a sleeper cell outraged with what’s happening to their country. The group is ready to change things their way – and ain’t nothing in this world solved without violence.



Scott’s conscious (this is the wrong word. You mean conscience) washes over him like the pounding surf. With so much heat around, there’s no way he’s going to the police. Before the bloodshed begins, he’ll have to depend on his skills as a thief to set up the mayor and crush his plans.



Unfortunately for Scott, there’s bad news creeping up: Detective Jones finds out who he is, and what’s worse – so has the mayor. Outnumbered and out of time, mistakes aren’t an option. He’s got one chance left to save his freedom, and hopefully his life – or there’s gonna be a whole lot of killing going on.



INVISIBLE EMPIRE is a novel of suspense, complete at 110,000 words. Thank you for your time and consideration.





Sincerely,


This is better. Polish it up. Let it sit for a week, and polish it again.


--------
Dear Query Shark,


Scott Harris, a disillusioned twenty-three-year old down on his luck, turns to a reluctant life of burglary and tears apart Orlando’s wealthiest neighborhoods. Now Detective Andre Jones, the city’s most talented cop, is one step behind his every move.

This is good. It's not the most gripping opening, but it's good enough to keep me reading. Agents don't really keep score cards when reading queries. There are a couple things that will get you an instant rejection (fiction novel) but mostly we read till we know whether we want to read the pages.


Scott’s going to make one last big score, then get out while the getting’s good. He breaks into the home of Mayor Eugene Stone, and gets the shock of a lifetime when he moves gets to the cellar and finds a deadly secret.



With a cop hunting him, Scott knows going to the police isn’t an option. Unwilling to stand by, he decides to sabotage Stone’s plan before the bloodshed begins. Detective Jones discovers Scott’s identity - and what’s worse – so has Mayor Stone. Outnumbered…and out of time, Scott must rely on his wits to secure his freedom, and hopefully his life.



INVISIBLE EMPIRE is a novel of suspense, complete at 110,000 words. Thank you for your time and consideration.


This is much much better than the first versions.

The problem is that it's not compelling. It's not enticing. It's flat. You've set up the scene but there's no juice here, no electricity. It doesn't make the cut on "do I want to read this."

Electricty is found in word choice. Go back and look at the archives. Study the ones that were yes on the first version. Really STUDY the word choices.

Revise.





---------------------------
Dear Query Shark,

With a cop and a killer gunning for him, Scott is in way over his head. If he plays his cards just right, he could make it out with his freedom - and his life.

oh, you guys love those loglines don't you. Other than no response means no, log lines are the worst thing publishing has imported from the film industry. Honestly I think log lines don't serve a writer well. You have an entire page to work with here, don't try to condense it to a single sentence. 

This sentence doesn't actually say anything. It uses metaphors that don't apply to anything in the book (cards), introduces a character not in the query (a killer) and tries to set up tension...there's no tension in flabby sentences.

Start with the name of the main character. Describe what he wants and what's keeping him from getting it.

INVISIBLE EMPIRE concerns Scott Harris, a young man who turns to a reluctant life of burglary. He slips up one night and now has Detective Jones, Orlando’s most talented cop, hunting him like a hawk.


The pressure is all too much for Scott to handle, so he’s going to make one last big score, then get out while the getting’s good. He breaks into the home of Mayor Stone, and gets the shock of a lifetime when he moves to the cellar and finds a dangerous secret.


You don't need the first clause. He's got the cops after him; in fact he's got Orlando's most talented cop after him.  It's pretty obvious somethings gotta give.


Too scared to go to the police because of his own criminality, but unwilling to stand by, Scott decides to sabotage Stone’s plan before it’s too late; all while dodging the pursuit of Detective Jones. The Mayor eventually finds out who Scott is, and has every intention of putting an end to the little punk for good, leading to the lives of all three men colliding in a brutal showdown.

I'm not sure criminality is actually word. Even if it is, it's not a good one here.  He's scared to go to the police cause the police are after him.  That seems obvious.  You don't need to state the obvious. 

The rest of this paragraph has all the rhythm of an elephant dancing the hokey-pokey.  Polish it up.

INVISIBLE EMPIRE is a novel of suspense, complete at 110,000 words. Thank you for your time and consideration.





Sincerely,

This is much better than the previous iterations.

You've got the right details in the right place.
Now go back and make sure every single word is right, and the sentences are honed.
This is where you start reading every sentence out loud to see if they sound right.
It takes a while to get it right at this stage. It's like moving day when you've got all the furniture on the truck, then realize all the little stuff still has to be dealt with. That stuff takes just as much time, if not more, than heaving the couch down four flights of stairs.


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Dear Query Shark,

With a cop and a killer gunning for him, Scott is in way over his head(stop), but if  If he plays his cards just right, he could make it out with his freedom, and his life.

You really should start here----->INVISIBLE EMPIRE concerns Scott Harris, a young teacher who becomes unemployed after an excruciating motocross injury leaves him  Scott bedridden, impelling his father to take on three jobs to pay the medical bills. Recovery is slow for Scott after surgery, and pain prevents him from working beyond a few hours at a minimum wage job.

Impelling is an adjective. Impel is a verb. Impelling personality. Something impels him to take on three jobs. 


Knowing his father toils all day breaks his heart, and Scott struggles to find a solution to help him. When he overhears his father being threatened with physical harm if a hefty loan isn’t paid back immediately, Scott decides he can’t watch his father suffer any longer, and believes there is only one option left. He will have to become the type of person he despises, and turns to a reluctant life of burglary.

Here's where you lose me.  I simply don't buy that a man turns from teaching to burglary. You'd do better to leave out all this set up and simply start with Scott as a burglar. 

Scott hits some houses, but also makes a few mistakes. Before long Detective Jones, Orlando’s best investigator, is in hot pursuit. Scott’s pushed his tormented body to the limit while burglarizing, and he begins to take more than his prescribed dosage of OxyContin. This brings forth hallucinations of a demon stalking him, taunting him to abuse the painkiller, and he begins to wonder if his everyday experiences are reality or some type of purgatory. It’s all too much for Scott to handle, so he’s going to make one last big score, then get out while the getting’s good. 


Focus on the main plot of the book. Your query is 400+ words right now. Pare it down by focusing only on the events that move the plot forward.


Scott breaks into the home of Mayor Stone, and gets the shock of a lifetime when he finds a deadly secret in the cellar. Stone leads a white supremacist group planning to hunt illegal immigrants and terrorize institutions they deem to be a threat to the white race. Too scared to go to the police because of his own criminality, but unwilling to stand by, Scott decides to clean up his act and try to stop the extremists himself.




Scott manages to destroy part of their remote compound deep within the OcalaMayor Stone finds out who Scott is, and has every intention of putting an end to the little punk for good, leading to the lives of all three men colliding in a brutal showdown.

INVISIBLE EMPIRE is a novel of suspense, complete at 110,000 words. Thank you for your time and consideration.

Pare down all the stuff you don't need and then you'll have the bones of the query in place.  

The problem with this query though is that I don't see anything compelling.  It's all very cliche: white supremacists, lone wolf hero.  You can have a structurally sound query (well, you could, once you revise) but the book itself isn't doing much for me here.

If this is your first novel, there's a lot of merit to the advice I hear from established writers: put the first one under the bed, and write the next.

When you do that, try to twist some of the cliches into new forms.  Make the white supremacists the good guys. (Now THERE is a challenge!)



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Dear Query Shark,

Scott Harris gets the shock of a lifetime while burglarizing the Mayor’s home when he moves to the cellar and finds a tortured prostitute shackled within a catacomb of horrors, and documents entailing a vicious plot to take over the U.S. government.

And here's where I stop reading. I don't buy the premise of the novel. You get ONE item from the menu: either a tortured prostitute, OR a catacomb of horrors, OR documents entailing a vicious plot to take over the U.S. government but not all three.

INVISIBLE EMPIRE is a psychological thriller concerning Scott, a twenty-four-year old who crashes his motorcycle and becomes injured with a rare and brutal nerve condition. Chronic pain leads him to rely heavily on oxycontin which distorts his mind, bringing forth hallucinations of a demon stalking him, taunting him to abuse the painkiller. He wonders if his every day experiences are reality or some type of purgatory. He becomes bedridden and loses everything, including his girlfriend and job as a fourth grade teacher, impelling his father to take on three jobs to pay his bills.

This is all backstory, and has nothing to do with what you have in the first paragraph.

Scott receives surgery, but recovery is slow, inhibiting him from gaining employment. A massive wave of guilt washes over him knowing his father toils all day. He struggles with how to make money to help his father, and through an oxycontin haze, realizes he will have to become the type of person he despises. Scott develops the skills of a professional thief, and breaks into upscale homes of those who have procured their riches through unlawful ways.



"procured their riches through unlawful ways?" He only robs the home of people most likely to have heavily armed guards and the inclination to kill him if they discover him. That doesn't make sense either. Wouldn't you want to rob the people who don't have alarm systems?

My point is here is that you're making up stuff that defies credulity. Thrillers have to start from a point where the reader thinks "yes, that could happen."

As a result, Scott now has Orlando’s most dogged investigator, Detective Stone, hunting him like a voracious hawk coming in for the kill. This leads to an exhilarating game of wits as Scott continues to steal, barely escaping the relentless pursuit of Stone.

None of this has anything to do with what you said in the first paragraph. Added to the list of things I don't believe: a game of wits with an Oxycontin addict.

Scott meets a young woman and falls in love and begins to question his motivations. He convinces himself to hit one more house for a big score and breaks into the home of Eugene Miller, the Mayor of Orlando. He learns Miller is the leader of a vicious supremacist group bent on overthrowing the U.S. government in a violent uprising, but is discouraged from going to the authorities when he ascertains a few members are local police officers. Scott decides he is the only person that can sabotage their plans and sets out to stop them while simultaneously struggling to elude Stone. Miller discovers Scott’s identity and goes after him with extreme prejudice, leading to a thrilling showdown between all three men.


Finally, some linkage. 

But, you forgot the tortured prostitute and the catacomb of horrors.  You mention that in the first paragraph, then never again.

 Added to the list of things defying credulity: the protagonist deciding he's the only guy to thwart a violent uprising by white supremacists. Honest to godiva, the guy sounds like a nut job at this point.

INVISIBLE EMPIRE blends fast-paced plotting, heart-stopping action and suspense, unpredictable violence and dark humor. It will appeal to the same audience that has made bestsellers of works by Richard Matheson, Cormac McCarthy and Stephen King.

If nothing else, please please please don't compare your books to Stephen King and Cormac McCarthy yourself. Let someone else do it.

And when you tell me your book has fast-paced plotting, heart-stopping action etc, I simply don't believe you. Show me you can write that way in your query, don't tell me.


I obtained my B.S. in Film/Video from (redacted.) I currently teach writing at a public school in (redacted) I have worked in Hollywood on several film projects and hope one day to direct a major motion picture based on my manuscript.

This is NOT a selling point for an author. I want to sign clients who intend to write their fingers to the bone for many many bestselling novels and make me rich and reclusive. Telling me you have another career goal makes it easy to say "not for me." And yes, that's even if I'd liked/loved the book. There are more good books out there than I have slots on my list.

The 127,000 word manuscript is completed and ready to be sent at your request. Thank you for taking the time to consider my work.


Sincerely,


This is a form rejection.