Yes, it seems that I’ve decided to critique all of these. I’m insane, I know, but there were some good pitches in there, I’m enjoying myself, and I think you all deserve something. So I’ll keep going until I can go no more. Note that you can continue adding pitches in the original post, Perfecting Your Pitch, until I let you know you should stop (I’ll place a comment to tell you that as well as try to do a post). Pitches placed in the comments of critiques will not be critiqued.
43. heather b. moore
An ancient legend reborn.
For centuries, historians have theorized the Queen of Sheba is only a seductive legend. When OMAR ZAGOURI, an undercover Israeli agent, stumbles onto a tomb in Northern Jerusalem, he unknowingly finds the final clue that could overthrow governments, pit wealthy collectors against one another, and send ruthless archaeologists scrambling to find the queen’s secret burial place. Can Omar prevent the greatest discovery of the century from becoming the most deadly, or will he himself be buried with the very mummies he unearthed?
Mmmm. Interesting. I like this. I think it sounds very interesting and I’m close to asking to see more. My only thought is why is this the greatest discovery and how will it become deadly? And why will Omar be buried? In other words, don’t leave us hanging quite like that. Give it to us! Keep the first up until, “that could overthrow governments.” Why not say something like, “he finds the final clue of the Queen’s life. A discovery that has the power to overthrow governments (why?). Now Omar’s greatest discovery might also be his last. With ruthless collectors tracking him down it’s up to Omar to put all of his work ethics aside and hide the one thing he has spent his life seeking…”? Okay, that’s still too vague. You know, it’s hard to rewrite your pitches without having you here to tell me more. What you need to do is be more specific.
44. anon 1:08
When Anne realizes the world’s emotions are reined by another, darker set of beings and that she is part of it, she has to do a lot more than overcome selfishness…or put up with children with a certain knack for mischief, to stay alive.
Trying to fit too much in without giving us anything. I’m intrigued by the fact that “the world’s emotions are reined (controlled a better word?) by another…,” but I need a better idea of what that means. I also suspect that your last line about putting up with children is a hint to the fact that Anne is probably a mom or teacher? That doesn’t seem important to your pitch. If it is, you’ll need to be more specific since it really threw me. What you need to focus on is the emotions aspect, the darker beings and why Anne is involved and why she needs to do something about it.
45. josephine damian
From my WIP A STUDY IN FEAR:
Everyone believes criminal profiler Caroline Armstrong is a European woman with the quintessential American name. She’s afraid that her ex-lover, forensic psychologist Rhys Garrison, will find out she’s really Nina Gorić, a Bosnian war crimes victim turned assassin who killed so her unborn child could survive. When the two profilers reunite to uncover a sadistic serial killer’s identity, old flames rekindle along with new fears when Rhys suspects Caroline’s violent past and secret identity.
Inside scoop here. Anything doing with a criminal profiler or other such things always gets my attention personally. LOVE THIS! Really, really love this. You tell me who she is and how she is haunted. You tell me what she’s up against now and you grab my attention with a very unique twist on an old but always successful story. I would definitely ask to see this (and of course hope you’d send it).
Just a thought here. Why not pick a ‘winner’ here, when all is said and done, amongst the pitches that are within the purview of genres you rep, and let them get to send a partial? Just a thought of course.
Well, this seems like a silly pitch 😉 Good question. I think instead of asking to see a winner I’m going to say that all of you are of course welcome to later query BookEnds if you think I’d be the right agent for your work. I chose not to do a contest because I really hate judging contests. Instead I want to give feedback to everyone, if possible, to help improve pitches. Those I remark on that I love and would ask for, I mean it. If you aren’t already agented I’d love to see a partial based on your pitch. That doesn’t mean I wouldn’t want to see any of the other works, it just means you should work on your pitch first.
47. zany mom
Ethan Burke has it all–Adonis good looks, a promising career as a veterinary surgeon, a beautiful girlfriend, and a cocky arrogance that lands him a mistress–until a freak mountain biking accident shatters it all. Ethan must now come to terms with his physical limitations. His perspective on life gradually shifts when, in the hospital, he is befriended by an unlikely hero: a five-year-old boy with leukemia.
It sounds too internal to me, and not different enough. I like your first sentence a lot, but now we need to know more about the conflict besides his physical limitations. I also think we need to make sure we get a sense for Ethan. I would assume based on the first sentence that he’s a jerk, but what happens next? Does everything leave him (girlfriend included)? What is the real conflict in this story that makes it stand out from other similar tales (because there are other similar tales)? And what is the tone? Your opening makes it sound light and very genre or commercial, but the plot doesn’t seem to fit that. The plot sounds more serious. More like women’s fiction. I should get a sense of the tone through your pitch. Not easy, I know, but if your opening is great but doesn’t match the tone of the book, it’s not effective.
48. mrs. Revis
YA Fantasy, THE RED THREAD.
There is a perfect good reason for sixteen year old Chloe to be in the middle of the street, crying, and naked. You would be to if you (but not your clothes) were plopped into a world where monsters are real and indoor plumbing isn’t.
The knight in shining armor Chloe thought would save her turns out to be a berserker who tends to go mad with bloodlust at the most inconvenient times. The knight, Heath, is on a quest to save a kidnapped princess and defeat an evil tyrant. After Chloe joins Heath, she learns that the enemy Heath is fighting is linked to her own brother. In THE RED THREAD, Chloe must figure out how she can save her brother, even if he doesn’t want to be saved, and how far she is willing to go for the knight she’s falling in love with…even if he doesn’t love her back.
Too long and a little messy. It’s definitely a case of trying to be too clever and give too much information all at the same time. I’m not a big fan of pitches (or books) that talk to the reader. In other words, I don’t like the phrasing “there is a perfect(ly?) good reason . . .” I think I would like it better if it was something more along the lines of, “Sixteen-year-old Chloe felt no shame about standing in the middle of the street crying. Wouldn’t anyone who was plopped naked into a world where monsters are real and indoor plumbing isn’t? On the search to save a brother who doesn’t want to be saved, Chloe meets with a berserker who tends to go mad with bloodlust at the most inconvenient times and finds herself falling in love with a knight who is more focused on saving a kidnapped princess . . .” (you need one final closer here). And then I think you’ve got it. This one is close, very close, and I suspect any good YA agent would request at least a partial.
I feel like I’m winding down already and I hope it’s not showing in my critiques. Good work, as always. I’ll leave it here for the rest of the readers to give their two cents.