Thursday, August 7, 2014

Become an Agent #9

Title: ERASING RAMONA
Genre: Thriller
Word Count: 70,000

Query:

It’s 1994 and twenty-seven-year-old Miranda Burgess is returning to Mill Valley. She’s not been back in ten years. Not since the day she awoke inside a strange house and discovered six dead bodies, including that of her boyfriend. With no idea who committed the murders and afraid she’d wind up the prime suspect, Miranda panicked and ran to L.A. where she changed her name and made a fresh start.

After arriving in Mill Valley, an attempted abduction linked to that past crime shows Miranda she’s in mortal danger. With her new identity compromised, Miranda refuses to start over again. Since she fears her fingerprints were found inside the murder house all those years ago, going to the cops isn’t an option. Miranda begins investigating the killings – now known as the Orwell Massacre – in hopes of sparking a memory from that blacked-out night. Sifting through old newspaper stories only gets her so far. To dig deeper and free herself from the past, Miranda must return to the risk-taking and law-breaking of her teens though she fears her actions may destroy the person she’s become.

250:

November 1984

The only items I recognized in the room were my jeans and boots. Everything else – from the four-poster bed and paisley spread to the bare windows and midnight blue carpet – looked unfamiliar. I freed myself from the tangle of sheets. “Billy?” My voice seemed to get lost in the high-ceilinged room.

Where the hell was he? And where the hell was I? Somewhere in the distance, a clock ticked.

My mouth tasted like sour cherry and stale peppermint. An insistent ache pulsed behind my eyes. I stood and grabbed my jeans. Where were the rest of my clothes? A dark sleeve poked from beneath the bed. My shirt. Shivering, I bent to grab it. Underneath my top, I discovered my sweatshirt jacket. Using one of the bedposts for support, I pulled on underpants and jeans then fished in the front pocket for my vial of pills. I shook out a Xanax and swallowed it dry before turning the knit top right-side-out and yanking it over my head. After struggling into socks and ankle boots, I walked to the closest window.

I was on the second floor. Gray sky loomed above rolling hills dotted with alders, sycamore and sequoia. Definitely not San Francisco. Was I back in Mill Valley? Why would Billy bring me here?

Heart pounding in time with the throb from my head, I stepped into the hall. To the right, two doors stood open. To the left, a wide staircase led to the first floor. “Billy?”





Title: ERASING RAMONA
Genre: Thriller (Adult)
Word Count: 70,000

Query:

Twenty-seven-year-old Miranda Burgess has been on the run most of her life: from the law, from the past, from herself. She hasn’t seen her hometown in a decade – not since the day she awoke inside a strange house and discovered six dead bodies, including that of her boyfriend. With no idea who committed the murders and afraid she’d wind up the prime suspect, Miranda panicked and ran to L.A. where she changed her name and made a fresh start. But when her father dies, Miranda takes a chance and returns to Mill Valley for the funeral.

Not welcome to stay at her parents’ house, Miranda checks into a motel. After a frosty reunion with her mother, a strange man shows up at Miranda’s motel saying an old friend wants to see her. When the man drags her to his van, Miranda manages to get away, but ends up hiding on the streets of Mill Valley. Though her new identity is compromised, Miranda refuses to start over again or go to the police. With no idea who the ‘old friend’ is or why a thug was sent after her, Miranda investigates the crime known as the Orwell Massacre. Convinced the answer lies buried in that blacked-out night, Miranda returns to the murder house. There she discovers she holds the key to a fortune and winds up in the cross hairs of a killer. If Miranda can take down the killer, she may finally be able to stop running.


First 250 words:


Where the hell was I? The only items I recognized in the room were my jeans and boots. Everything else – from the four-poster bed and paisley spread to the bare windows and ice blue carpet – looked unfamiliar. I freed myself from the tangle of sheets. “Billy?” My voice seemed to get lost in the high-ceilinged room. In the distance a clocked ticked.

My mouth tasted like sour cherry and stale peppermint. An insistent ache pulsed behind my eyes. We must’ve kept partying after the end of Billy’s gig. But where? Here? I stood and grabbed my jeans. A dark sleeve poked from beneath the bed. My shirt. Shivering, I bent to grab it. Using one of the bedposts for support, I pulled on underpants and jeans then fished in the front pocket for my vial of pills. I shook out a Xanax and swallowed it dry before turning the knit top right-side-out and yanking it over my head. After struggling into socks and ankle boots, I walked to the closest window.

I was on the second floor. Gray sky loomed above rolling hills dotted with alders, sycamore and sequoia. Definitely not San Francisco. Was I back in Mill Valley? Which one of Billy’s friends lived out here?

Heart pounding in time with the throb from my head, I stepped into the hall. To the right, two doors stood open. To the left, a wide staircase led to the first floor. “Billy?” My voice sounded hoarse and thin. I tried again. “Billy?”

14 comments:

  1. The query and first 250 just don't grab me. Try starting the query a little differently. Instead of stating the year, jump in with her discovering the bodies. "Miranda hasn't been back to Mill Valley since she discovered a bunch of bodies and hit the road." Not exactly like that, but something like that would sum up those first two sentences in a punchier way.

    I really like the sensory pieces of the 250.

    No.

    ReplyDelete
  2. This was okay, but not really jumping out at me. The main question I had from the query is WHY? Why is she going back to this place if she's at risk for getting hurt, and she could end up as a suspect?

    The first 250 didn't pull me in at all. She's getting dressed in a place she's unfamiliar with. I don't really get a sense of panic that she has no idea where she is. She doesn't even seem curious about it. You give details about her clothes and getting dressed, but I want to feel like I'm in her head. I want to feel her from the inside, not see her from the outside.

    No. (from #11)

    ReplyDelete
  3. This one was close for me. I like the concept, I like the conflict, but the query is kind of vague--how does the abduction relate to what happened before? What does she do in this new life she might have to give up--what specifically is she going to lose? The writing in the first 250 is solid, but also kind of distant--she doesn't seem scared, or even all that worried. Maybe she's a party girl who's woken in strange places before, but it still should be at least a little frightening. I would be drawn in more if you let me be scared with her, or at least really nervous or concerned. It's a good place to start the story, but the tension could be higher.

    No - 16

    ReplyDelete
  4. I was hooked into your query and want to know more about what happens to her.

    Yes (non-entrant)

    ReplyDelete
  5. I got very distracted in the query wondering if there's some reason this is set in 1994. My first thought is always "No cell phones!" because that can make the story easier sometimes. But if that's the only reason, consider bringing it to the present.

    Anyway, that's not really relevant, except it takes me out of your query, which you don't want.

    I feel like the query didn't really hold my interest. I want more - how is the abduction linked to the past? Why is Miranda back in Mill Valley in the first place?

    I'm also not sure about starting in 1984, because it feels like a prologue unless the story follows her in that time for a while (in which case, that's not clear from the query). Consider if there's a way to work it in later, or even reveal bits here and there.

    I like this, but I don't love it, and I only get 6 yeses (This is my #7). So, I have to say no.

    ReplyDelete
  6. Hi, it's a no from this audience member. I was all right until the last few lines of your query, at which point it turned rather vague for me. "To dig deeper and free herself from the past, Miranda must return to the risk-taking and law-breaking of her teens though she fears her actions may destroy the person she’s become." This just doesn't do it. I think you need to be more specific with what she needs to do to clear her name. The 250 is okay, but seems maybe like a bland place to start? Can you rework to start in the present, let us get to know her a bit, and then take us back?

    ReplyDelete
  7. To give you an idea of my own “agent” so you can understand why I am commenting the way I am:

    If it is YA, I am hoping that it is intelligent YA. One of the best series that falls in the category for me is Harry Potter. Twilight and Divergent, to me, are trite and treat the reader as less intelligent than they are. The concepts, ideas, and language can be more complex. That is what I am looking for in all areas. BTW 30% of YA books right now are read by women in their 30s. Just sayin’.

    NA? It better be intelligent and deal in some type of social commentary. Think of The Catcher in The Rye. This NA romance trend right now, to me, is appalling. Are scratching your head asking why The Catcher in The Rye? It still sells 50,000 copies per year, that’s why. The Lovely Bones fits in here for me as well, although it tracked well with females aged 13 - 20, which would make it more YA than NA.

    Adult, This better deal with complex issues regardless of the genre, and doesn’t need a happy ending. Authors here? Stephen King, John Grisham, etc.

    MG? I read To Kill a Mockingbird, Animal Farm, and The Hobbit in the middle grande range. That would be the level of work I am looking for here.

    Agent #12:

    Yes.

    I really like this query. It is short and sweet and I appreciate the stakes. So many people want to destroy the world or end civilization as we know it, but destroying who we are, to me, is a much more interesting story. I feel for your character and can already see the tough choices she will have to make. The only question for me, as mentioned by another reviewer, is why did she go back? You explain that, and I’m hooked.

    I love the first 250 and can really appreciate where you finished it off and how you finished it off. I would have no problem requesting more pages and want to do so. Your 250 is very well done in establishing tone, mood, etc.

    My 2 cents.

    ReplyDelete
  8. This one is really close. I feel like you're right on the edge of having a really great query. In the second paragraph your words start to beat around the bush about the evidence and her new involvement. Go for direct language. For example: She can't go to the cops because they have her fingerprints.

    The first 250 could be tighter too. This is definitely a close call all around. The query is really close to being a sock knocker, and the 250 is close, but not quite there.

    it's a no (but soooo close) #20

    ReplyDelete
  9. Yes! I found the query tight and to the point, clearly setting the time, place and stakes. The first 250 is compelling. I want to read more!

    ReplyDelete
  10. This is a frustrated No, because it feels so close but not quite there. She's got a terrible thing that happened, and yet I am not feeling a desire to invest in the outcome of what's happening, and I'm wondering why she's headed back there rather than staying put in her hiding place. I don't feel worried for her sake, or connected to her, and I'm not sure why.

    Having the book take place in 1994 also doesn't make sense, and the query doesn't explain the reason for it being 1994 - it's just kind of there in the query for seemingly no reason whatsoever. What's so important about 1994?

    Again, query doesn't explain why the heroine/MC has to return to the scene of the original crime and investigate what happened. The trigger even feels too unclear - it doesn't get explained in how it really connects to the MC beyond it reminding her of her horrible traumatic past experience.

    I'm also uncertain about starting it in what is both a prologue and the character waking up - these are two things many many agents ask repeatedly for people not to do when beginning their story. Granted, it is GOOD writing that feels so polished I can almost see my reflection, but it still doesn't really have anything happening beyond the character waking up - and because it's in the past, we know she lives (so to speak) so there's no mystery (so to speak).

    No. (#5)

    ReplyDelete
  11. Wow, great revision! I didn't comment on the first draft, but the second is most certainly a YES for me. I think your improvements to the query make a big difference, pulling me in more and really driving home the stakes. The first 250 also feel more immediate, and closer in the MC's head.

    Great job!

    (#17)

    ReplyDelete
  12. I think your revision is much better. Some of the query can still be trimmed. we don't need to know about the frosty reunion with mom, or that she's running for the law... etc. just that she hasn't been to the house since the murders.

    the 250 sounds better too. I get a better sense of her confusion. much improved. I'm not sure if we are still restricted to a certain number of yeses, but i like this one. i'd want to see more. I think I'd change this to a yes.

    ReplyDelete
  13. I didn't comment on this before but I think the revisions have improved. I'd read this. Yes #4

    ReplyDelete
  14. I loved your revision. The query was pretty good to start with, but now it is killer. I think you could get away with trimming some, like the others have suggested, but you don't need to. Stick with what you think is important and go with it. I love how clear the stakes are. Good job. I would definitely check out this book. Yes.

    (#20)

    ReplyDelete