A recap on the four steps:
1) who it's about
2) the circumstance
3) the conflict
4) the hook
Here are the first two:
Kay
Nan Macomb—a spunky thirty-five-year-old Nashville hair stylist who it’s about—works her cut-and-color magic in a tiny home salon while gabby clients keep her up-to-date on the latest hair-raising gossip. Bombarded by one too many anecdotes about music exec Randy Soleman’s cheating heart (and other body parts), she barges into his Music Row office and finds her former lover bludgeoned to death with his own Grammy Award. The circumstance.
Strong evidence implicates Nan, so she recruits her two best friends—a depressed, stay-at-home mom and a country music singer wannabe—to help keep her butt out of jail. The trio combs the Music City, following clues and miscues to uncover theft, infidelity, and deceit in both Randy’s personal and professional worlds. In the process, they encounter more types of addiction than shades of blonde. This is the conflict paragraph, but it feels a little vague. One or two examples of a clue or miscue would be stronger than just a list.
When the apparent suicide of Randy’s brother stymies the police, Nan, a long-time puzzle enthusiast, discovers an encrypted message buried in the words of his suicide note. The message could ensure her freedom . . . if she can get it to the police before the killer gets to her. The hook.
Strong evidence implicates Nan, so she recruits her two best friends—a depressed, stay-at-home mom and a country music singer wannabe—to help keep her butt out of jail. The trio combs the Music City, following clues and miscues to uncover theft, infidelity, and deceit in both Randy’s personal and professional worlds. In the process, they encounter more types of addiction than shades of blonde. This is the conflict paragraph, but it feels a little vague. One or two examples of a clue or miscue would be stronger than just a list.
When the apparent suicide of Randy’s brother stymies the police, Nan, a long-time puzzle enthusiast, discovers an encrypted message buried in the words of his suicide note. The message could ensure her freedom . . . if she can get it to the police before the killer gets to her. The hook.
My diagnosis: I think this is very close. It has a great opening that tells me who it’s about (an interesting character), and her everyday world. The middle section on conflict could use tweaking but it’s close. The hook paragraph is really good, with a solid detail “encrypted message buried in the words of his suicide note”, the kind of thing the conflict paragraph needs.
angelaquarles
After reading this over I’m going to suggest some re-arranging of information.
Isabelle Rochon, a modern American working at the British Museum, has met the man of her dreams. Who it’s about. There's only one problem: he lives in a different century.
To Lord Montagu nothing makes more sense than to keep his distance from the strange Colonial. However, when his scheme for revenge reaches a stalemate, he needs
What is Isabelle’s conflict? You want to state this clearly in an additional paragraph. Right now it feels like Lord Montagu’s conflict. (If he’s not a pov character, then re-write this to be Isabelle’s conflict paragraph with her opinions about Lord Montagu and his scheme stated)
Isabelle must find the case, or she'll be stuck in 1834 where they haven't heard of toilet paper or women's lib. The fact that she's falling in love with Lord Montagu isn't helping either. Staying would be the ultimate follow-the boyfriend move and she can't go through that again. This is okay, but needs the hook sentence. Is she facing an ultimatum? Is her life in danger? Does she have to choose between Montagu and flush toilets?
TO OUR FUTURE is a 95,000 word novel featuring such historical figures as Ada Lovelace and Charles Babbage. Fans of LOST IN AUSTEN will love the modern woman’s fish out of water foibles, while experiencing a more scientific and mechanical London. It is similar in tone to THE SECRET HISTORY OF THE PINK CARNATION, and Katie Macalister’s contemporary romances. It is a standalone novel with the potential to be a prequel in a series of steampunk romances. Nice wrap up paragraph.
Isabelle must find the case, or she'll be stuck in 1834 where they haven't heard of toilet paper or women's lib. The fact that she's falling in love with Lord Montagu isn't helping either. Staying would be the ultimate follow-the boyfriend move and she can't go through that again. This is okay, but needs the hook sentence. Is she facing an ultimatum? Is her life in danger? Does she have to choose between Montagu and flush toilets?
TO OUR FUTURE is a 95,000 word novel featuring such historical figures as Ada Lovelace and Charles Babbage. Fans of LOST IN AUSTEN will love the modern woman’s fish out of water foibles, while experiencing a more scientific and mechanical London. It is similar in tone to THE SECRET HISTORY OF THE PINK CARNATION, and Katie Macalister’s contemporary romances. It is a standalone novel with the potential to be a prequel in a series of steampunk romances. Nice wrap up paragraph.
My diagnosis: A common problem when writing pitches and queries is to discern what part of a 95k manuscript to include. It’s easy to say too much, or to miss the real point. My suggestion is to work at pinpointing the conflict paragraph (s, if there are two pov characters), tweak the beginning and nail a sharp hook sentence.
I'll do two more next Tuesday--stay tuned!












