No-one's made one of these yet? Just what it says on the tin! I'll start!
LIFELINES
“My father always said I was an old soul. I never took much notice of it; it was just something he said. A ‘Dad-ism’ if you will.
Boy, wasn’t it a surprise when I found out he was right.”
A year after the accident, artist Natalie Monrow finally feels like her life is slotting firmly back into the groove of normality.
Or it would be if she could stop seeing things.
Ghostly figures, other worlds, it’s enough to drive a person insane (if she isn’t actually there already). Her predicament attracts the attentions of the eerie Watchers, who inform her of her new found powers and of the price she must now pay for them. Forced to go on the run to save her family, she meets up with a rebel group lead by the enigmatic Libby and joins them in their fight to overthrow the Watchers. Battling foes many times stronger than herself while trying to figure out the world she now finds herself in, soon she will have to make the biggest decision of her life; the choice between her family and, possibly, her very soul.
One thing she does know. She won't give them up easily.
Your fifth parapgraph (I think? *goes back to count* The really long one) really captured my attention and definitely makes me want to read. It's lovely and clearly points out the antagonist, the problem, and what the stakes are :)
The problem I'm having is with the opening quote
Taekwondodo wrote:
“My father always said I was an old soul. I never took much notice of it; it was just something he said. A ‘Dad-ism’ if you will.
Boy, wasn’t it a surprise when I found out he was right.”
I'm having trouble figuring out how this is related to the rest of your story. What exactly do you mean by "old soul"? And how would it sound taking this out of the past tense? ex. "My father tells me I am an old soul" "My Father always says that I'm an old soul" "Boy, it was a surprise finding out he was right" Maybe something like that?
Also this
Taekwondodo wrote:Ghostly figures, other worlds, it’s enough to drive a person insane (if she isn’t actually there already).
I don't think the word "Actually" needs to be there. Maybe even "There". "If she isn't there already." "If she isn't already." Maybe play around with it a little?
And on your last sentance, I [personally] would put a colon between know and she. "One thing she does know: She won't give them up easily."
Overall though, I think you're on the right track with your pitch and I love your story idea :D
Thanks for the critique! The first person bit at the beginning was me trying to show what voice my story is written in (first person, past) and show a bit of Natalie's voice.
RE: old soul. You're right it doesn't make any real sense in relation to the rest of the pitch but it does in the story. I'll change it to something else. Possibly "My father always said there would be people fighting over me. I never took much notice of it; it was just something he said. A ‘Dad-ism’ if you will. He probably never meant it quite like this though."
You're right about "if she isn’t actually there already". I'll probably change it to "if she isn't already there"
Taekwondodo wrote:"My father always said there would be people fighting over me. I never took much notice of it; it was just something he said. A ‘Dad-ism’ if you will. He probably never meant it quite like this though."
I like this :)
Glad I could help you!
I'm gonna try to post my pitch later today *so difficult to write* -_-
I agree with the above so I didn't have much else to add. I like your pitch. I just had to say that our stories sound very similar. My novel is also written in first person. I think you presented your story better than I did. :)
Ginaxx already gave all the good comments on your pitch, so all I can really say is that I think the edits really helped. although, from your pitch it sounds like the ghostly sightings only started after the accident, so why would her father be talking about her abilities before they appeared? It might be nitpicky, but I got a bit confused.
Anyway, here's my synopsis for Worth the Bullet (or White Rose. I can't decide which)
Rita stands convicted for a crime she didn't commit. Rather than face a punishment that would force her to give up the only thing she's ever been able to keep safe, her body, she goes on the run. They chase her, of course, but the hunted quickly turns into the huntress as Rita loses herself in the symbol she's become - the White Rose. But when the man who framed her in the first place threatens the only person she loves, Rita will have to either harden her heart one more notch, or give up everything she ever fought for. All Jonathan knows is that Rita's harder to catch than anyone thought she would be. She's a mission, a prize to be won. The price on her head climbs with each successive kill, and Jonathan needs the money to escape his place in the Serpents. But an image of Rita lingers in his head, an image that's too beautiful to destroy. As the noose tightens around Rita's neck, Jonathan will have to decide whether that image is worth losing everything for.
Her father was talking about boys fighting over her (because fathers always think their daughters will be heart breakers).
Anyway, your pitch.
Good beginning, pulls you in. I think we need more on the setting though. You mention that she has become a symbol but not why and that is a bit confusing. Is it because she has gone on the run or for something else?
Who is Jonathan? Is he the man who betrayed her or the one she loves or someone completely different?
Quote:The price on her head climbs with each successive kill
Who's doing the killing? Rita? When did she start killing?
And who are the Serpents? You just kind of throw them in there.
Basically, I think everything I have touched on here can be explained with slightly more background. Give us some setting to ground what's happening. You've given us some good information we just need something to join it all together.
I agree with Taekwondodo's comments, it needs some more background to it.
C.Angelina wrote: as Rita loses herself in the symbol she's become - the White Rose.
Also, this part confuses me a bit, because your pitch doesn't explain what the White Rose has to do with her.
Okay, so I'm working on a couple different pitches right now, but this is the only one I have finished so far. I'm kind of afraid it's too much of an info dump, but at the same time I feel not enough of the actual story is explained -_- (side note--I just reread it and cringed a little). So basically this is the info I'm trying to get across (minus the fact the two character will probably be killed if anyone finds them), I might just need to reword a lot of it. Also, it's about 25 words over (shhh...editing.) Other note--not trying to play the sympathy card right now :)
The Accord was simple: Seelie were not to intrude on Unseelie territory, and the Unseelie would do the same. Breaking the agreement was a crime punishable by imprisonment, death even.
Aiden Cáel broke that agreement when he was captured hunting in a forest bordering the two countries, in Unseelie Territory. Brought to the Court of Winter, the verdict was set instantly: Death. Until a young girl intervened, determined to save the boy [with the pretty green eyes] (might take out the reference to his eyes, which is also a reference to something she said in the prologue)
Three years later Aiden is still alive as a servant in the Castle, though the girl, Viviane, is not too pleased. She cannot stand his attitude or disrespectfulness, but she tries to ignore him, focusing instead on her life and her engagement to her childhood friend, Prince James.
But she does not want to marry so soon. She wants to travel, to meet new people, to live. Determined to prove that she can survive on her own, she runs away, freeing Aiden in the process. They travel to his home, where there is talk of rebellion, talk of peace and talk of blood. All too soon Viviane finds herself in the middle of a brewing war, one that will turn the Courts against each other once more.
And then there’s Peter, an exiled Prince and Aiden’s brother, who may know more about the rumors than he’s letting on
Quote:The Accord was simple: Seelie were not to intrude on Unseelie territory, and the Unseelie would do the same. Breaking the agreement was a crime punishable by imprisonment, death even.
Instead of "death even", why don't you try "even death".
Quote:Aiden Cáel broke that agreement when he was captured hunting in a forest bordering the two countries, in Unseelie Territory. Brought to the Court of Winter, the verdict was set instantly: Death. Until a young girl intervened, determined to save the boy [with the pretty green eyes]
You're right, you don't need the bit about his eyes. How about "determined to save him for reasons of her own"? Or something like that. I also don't think you need "in a forest bordering the two countries" so it just becomes "hunting in Unseelie territory". Possibly could do with something between death and Until. Maybe "That is until a young girl...".
Quote:Three years later Aiden is still alive as a servant in the Castle, though the girl, Viviane, is not too pleased. She cannot stand his attitude or disrespectfulness, but she tries to ignore him, focusing instead on her life and her engagement to her childhood friend, Prince James.
Instead of "though the girl..." try "but the girl, Viviane, is beginning to regret her [hasty] decision to save him."
Quote:But she does not want to marry so soon. She wants to travel, to meet new people, to live. Determined to prove that she can survive on her own, she runs away, freeing Aiden in the process. They travel to his home, where there is talk of rebellion, talk of peace and talk of blood. All too soon Viviane finds herself in the middle of a brewing war, one that will turn the Courts against each other once more.
Don't start with but!!!! How about "Or she tries to, but marrying is not her only ambition." Or something.
Quote:And then there’s Peter, an exiled Prince and Aiden’s brother, who may know more about the rumors than he’s letting on
Hang on! What rumours?! Also, Peter is Aidan's brother first and then a Prince (Seelie prince?). And do we really need this sentence anyway? I don't feel it adds anything and losing it would means you end on a good, strong, interesting sentence.
Anyway, it's pretty good, just some phrasing issues but apart from that nothing I can see. I'm probably not the best at critiques. I get an overwhelming urge to re-write what I'm reading and that won't really help you any. And cringing at what you have written is a natural part of being a writer.
Thank you so much!! I'm gonna rewrite it as soon as i get home tonight :)
sghuoatglkj Peter, why do you make everything so complicated?! Ok, so he's actually a Prince of a third country (can't believe I didn't put that in the summary *facepalm*) but he's also my main antagonist at the moment, which is why he is mentioned here.
Anyways, I would love to sit dicussing how much I love you for commenting, but I'm being pushed out the door right now -_- i'll post the edit later!
LocationIn the land of Cheese Curds, Beer, and the Green & Gold :)
JoinedJune 10, 2010
Posts89
OFFBEAT: A FAIRY TALE
She dreams she’s the princess in a fairy tale. Too bad no one ever informed this princess what happens when fairy tales hit the fan.
Serra Kingston feels offbeat. Aside from her adoptive parents, she loves her fairy tales and little else. She can’t sing to save her life, she's wholly average, and most of the boys at school ignore her unless she trips over their feet. She’s also an easy target for her school’s vindictive Queen Bee.
One tragic day, Serra receives her first kiss from a compelling stranger, who disappears without a word. Her grief forces it from her mind, until strange things start happening.
It's strange when she’s the fairest in the high school overnight. It’s laughable when the pigeons in the park gossip about her and empathic bridge trolls play grief counselor. When her best friend catches her singing in the shower and suggests she join swing choir, she knows something is wrong.
The worst thing about discovering she’s a fairy tale princess though?
Unless she finds the man whose magi-binding kiss awakened her, she won't survive to see seventeen. The Grimm Brothers definitely had the right idea; she would sue Disney first chance she got.
I like your pitch. It sounds like a very interesting story. :)
This sentence seems a bit cumbersome to me: "She can’t sing to save her life, she's wholly average, and most of the boys at school ignore her unless she trips over their feet."
Maybe it could be something like, "She is wholly average, can't sing to save her life, and is ignored by most of the boys unless she trips over their feet." I don't know if my sentence is much better, though. I think the repeat "she" in the sentence is what seems clunky.
I love fairy tales, so this caught my eye. You have a few agreement issues grammatically. Try reading it aloud and see what hits your ear funny.
I'd like to have some clue about what makes the day so tragic that it would block out the memory of her first kiss. And why would she think something's wrong when everything is suddenly going right? I'd like to have a bit more of a hint about why her life is suddenly in danger.
Be careful taking my suggestions though, because I think your pitch is really good as it is. I'd pick it up off the shelf for sure.
Hi all. I would love a critique of my pitch as well. This is the pitch that I submitted to the ABNA contest. I didn't realize there was a board her for pitch critiques or I would have come here for that too! Anyways, since ABNA allows a 300 word pitch, mine is 275 words. Pitchapalooza only allows 200, so I need to cut. Any ideas where I can cut? Thanks!
Family arguments had become a normal part of the day for eighteen-year-old Calista. She was anxious to start college and leave the turmoil behind her. But then her father suddenly leaves with no word. Calista struggles to understand how her warm, loving father could abandon the family in such a heartless way. She also has to deal with her mother, who has become cold, distant, and closed-off. She has no one to turn to for comfort or answers.
More startling, Calista realizes that she can hear, feel, and see things that other people cannot. When she receives a visit from Eliza, an ancestor from 1840s Ireland, she finds out that nothing in her life is as it seemed. She has a connection to Eliza that she doesn’t fully understand, but Eliza proves to be very helpful in revealing something very important that her parents had concealed: her family lineage holds the key to everything.
Calista is too defiant to just accept the fate that she has been given. Instead, she sets out to seek answers. Who – or what – is she? Where is her father? And why is everything falling apart around her?
To complicate things further, she falls in love with a man so forbidden that a relationship with him could threaten the very people she loves.
Ultimately she has to make a choice – should she take the complacent route, giving up an essential part of herself for the sake of safety? Or should she take the riskiest path to independence?
LINEAGE is a novel that explores self-discovery, the desire to seek personal freedom, and the family relationships that tie it all together.
I really love your pitch and it sucks that you have to cut words from it! Instead of posting here every little word you could take out or substitute, I took a stab at shortening it (hope you don't mind!). However, I was only able to get it down to 232, but it's a start :) I had one of my friends look over mine yesterday, and he gave me some good advice: The biggest thing you have to watch out for is the extra details. I know that it's hard to tell your story without those details, but I don't think that it's needed in a pitch - you don't really need to know that Peter is Aiden's brother if you're looking at the back of the book in a bookstore. I do that all the time myself, trying to tell the whole story to someone who only wants the premise right then.
So any word or detail that's not absolutely essential to the plot should just be cut. So that's what I would start with, then go back and make it sound eloquent :)
Here's what I did to shorten it a little: Family arguments are normal enough for eighteen-year-old Calista. She is anxious to start college and leave the turmoil behind.
Then her father suddenly leaves without a word.
Calista struggles to understand how her loving father could abandon the family. She has to deal with her mother, who has become cold and distant. She has no one to turn to for comfort or answers.
More startling, Calista realizes that she can hear, feel, and see things that others cannot. She receives a visit from Eliza, an ancestor from 1840s Ireland, and discovers that nothing in her life is as it seemed. She has a connection to Eliza that she doesn’t fully understand, but Eliza proves to be helpful in revealing something important that her parents had concealed: her family lineage holds the key to everything.
Calista is too defiant to just accept the fate that she has been given. Instead, she sets out to seek answers. Who – or what – is she? Where is her father? And why is everything falling apart around her?
To complicate things further, she falls in love with a man so forbidden that a relationship with him could threaten the very people she loves.
Ultimately she has to make a choice – should she take the complacent route, giving up an essential part of herself for the sake of safety? Or should she take the riskiest path to independence?
Thank you! You're right, it's definitely a start. That's what I'm struggling with...what should I cut? I considered leaving the part out about her falling in love but the forbidden love takes up the whole 2nd Part in a 4 Part book and the events are a huge part of the plot (her dad's disappearance is tied up with the forbidden love).
You've given me ideas where to start though. Thanks! I need to reread the rules for ABNA. I know I can't submit to an agent during the contest but am unsure if I can submit to another contest. I would know on February 24th whether or not I got through first round, though. If I didn't, I should be able to submit to Pitchapalooza with no problems.
I've reworked my pitch and it's now under 200 words. :) How does it sound now?
Family arguments had become a normal part of the day for eighteen-year-old Calista. She was anxious to start college and leave the turmoil behind her, until her father suddenly leaves without notice. She struggles to understand how her warm, loving father could abandon the family in such a heartless way. Her mother is cold, distant, and closed-off; and Calista has no one to turn to for comfort or answers.
More startling, Calista realizes that she can hear, feel, and see things that other people cannot. When she receives a visit from Eliza, an ancestor from 1840s Ireland, she finds out that nothing in her life is as it seemed. She has a connection to Eliza that she doesn’t fully understand but Eliza reveals a secret: her family lineage holds the key to everything.
Calista, too defiant to accept the fate handed to her, sets out to seek answers and challenge the orders that she’s given. Ultimately she has to make a choice – should she take the complacent route, giving up the love of her life and an essential part of herself for the sake of safety? Or should she take the riskiest path to independence?
Here's mine. This is a pretty quick first draft, so I'm well aware there will need to be some changes. Any help you can give would be appreciated! Thanks!
The Fortune Eater
Fable White has never been ordinary. Saved by her mother from government-ordered elimination at birth, she has spent her life knowing she was never supposed to exist in the first place. And when her assigned husband is mysteriously killed less than a year before their marriage ceremony, Fable finds herself isolated even further from the society around her - a society that simply doesn’t know what to do with those who don’t fit in.
Eleven years later, at the age of twenty-two, Fable receives an anonymous letter from someone claiming to have knowledge of her assigned husband. Through it she meets Manevra, a retired fortune teller with an undisguised contempt for the government’s methods of control, and Lolan, a young boy with a unique gift of his own. With their help, Fable must decide what she is willing to risk to discover the truth about her husband - and about the rest of the world as she knows it.
...Awesome... I know this wont be of much help but I can't think of anything that needs to be changed in that pitch. It's interesting, it doesn't give too much away but still gives us enough to capture our intrigue. It gives us info on her background and what's going to be happening. It's really, really good.
Someone else might have more input but I can't see anything you can change. You look like you have some words left so why don't you add a small paragraph saying "The Fortune Eater is a blah, blah, blah book etc." If you know what I mean.
I like it. :) It sounds like a book that I would like to read.
The only minor thing that I see is in this sentence: "...Fable finds herself isolated even further from the society around her - a society that simply doesn’t know what to do with those who don’t fit in." It seems a bit clunky to repeat the word 'society' twice. Or maybe it's just me. ;)
Fable White has never been ordinary. Saved by her mother from government-ordered elimination at birth, she has spent her life knowing she was never supposed to exist in the first place. And when her assigned husband is mysteriously killed less than a year before their marriage ceremony, Fable finds herself isolated even further from the society around her - a society that simply doesn’t know what to do with those who don’t fit in.
Eleven years later, at the age of twenty-two, Fable receives an anonymous letter from someone claiming to have knowledge of her assigned husband. Through it she meets Manevra, a retired fortune teller with an undisguised contempt for the government’s methods of control, and Lolan, a young boy with a unique gift of his own. With their help, Fable must decide what she is willing to risk to discover the truth about her husband - and about the rest of the world as she knows it.
I think this is a very good first effort - and I can tell by the quality of your writing that you want to make it even tighter. I suggest you ditch the first sentence, which becomes redundant immediately by the second.
Try to become more specific without increasing your word count by much. I like the term 'assigned husband' - it says it all in two words. "Mysteriously killed" seems a little trite, and I bet if you focus on rewriting the blurb with more power packed words to tease the reader, you'll end up with a tighter, more direct, blurb.
It's a great premise for a story - and I'm already fascinated by the concept. Make Fable fascinate me just as much, and make me want to follow her story. I need a little more motivation than just the solution to a long cold case; after all, he's only 'assigned husband', not even a name, why should I care why he disappeared, or understand why it's even a problem? Again, I think this can be solved by giving me, your prospective reader, a more driving personal reason for her actions, and the dire consequences. We don't need the secondary characters here, unless you're going to explain why they are pivotal to the story.
You have a nice flair for language and your title fascinates. Good luck with this project!
Thank you so much for the critique! I've been working on rewriting it for the past few days (I decided it was easiest to start from scratch) and this is what I have now:
Fable is Truth.
The Government is Deception.
And one small boy is the only link between them.
Eleven years after a government Seeker delivered the shattering news of her assigned husband’s death, Fable White receives an anonymous note containing three words that will change everything: He’s not dead.
Lured by curiosity and the need to understand her past, she sets out to discover the author of the note and finds an entire world of secrets she never knew existed. She meets Manevra, a retired fortune teller turned anti-government subversive with a quick tongue and a talent for acquiring covert information, and Lolan, a black-haired, blue-eyed boy of nine whose extraordinary ability may hold the key to everything. Fable soon learns that her husband’s supposed death is only one of a multitude of government illusions, and she finds herself faced with an impossible choice: leave her family behind and join Manevra in a search for answers, or stay and put them at risk.
But when a deliberate government attack on her home destroys everything she holds dear, Fable is thrown headfirst into a world of deception, uncertainty, and chaos - and the only way out is to discover the truth.
“The Serpents weren’t very smart, making me a runaway. For one thing, I’m not very good at it, for another, I’m already getting sick of it.”
The majority of the population now lives inside huge windowless and supposedly terrorist-proof skyscrapers. Public transportation via an elevated system of enclosed high-speed trains mean that no one ever has to step foot into the danger of the outside. But not everyone made it into the scrapers before capacity was reached. Rita owes her life to two bullets – the one her father decided she wasn’t worth, and the one a stranger decided she was. Now Rita stands convicted for a crime she didn't commit, and escaping a penalty that would force her to lose her virginity leads to the first deaths.
Rita’s quest for revenge leads her to become the White Rose, a sort of Batman who makes the streets safer at night. But she’s gone up against the most powerful organization outside the scrapers, an organization that won’t give up power. When they threaten the one person Rita’s ever risked getting close to, Rita will have to choose: harden her heart one more notch, or give up everything she’s ever fought to keep.
C.Angelina wrote: The majority of the population now lives inside huge windowless and supposedly terrorist-proof skyscrapers
I would either put quotations around the word “supposedly” or take it out completely. Are they terrorist-proof, or can they be infiltrated?
C.Angelina wrote: But not everyone made it into the scrapers before capacity was reached.
Not really sure how this part is related to the story? Does it need to be here? Did a lot of people not make it into the buildings (I don’t think my sentence was proper English xD), thus making the streets a dangerous place to be?
C.Angelina wrote: Rita owes her life to two bullets – the one her father decided she wasn’t worth, and the one a stranger decided she was. Now Rita stands convicted for a crime she didn't commit,
I might rework the first sentence a bit. I understand what you’re saying, but I think it could flow a little better, but I’m not sure what needs to be added to it, you know? Also, maybe some sort of transition into the next sentence—what, exactly, did she “do”? Assuming that’s not supposed to be a secret. If it is, then, um, ignore that sugestion xD
C.Angelina wrote: But she’s gone up against the most powerful organization outside the scrapers, an organization that won’t give up power
Maybe change “gone” to “going”.
Overall, I really like it :D definitely on the right track!
Three hundred years ago, a research colony on the planet Viridia was cut off from the rest of humanity by an event now known as the Silence. With no more trade from other planets, the people of Viridia learned to get by without a stable supply of industrial metals but with a magic-like planetary life-force called gaia. Originally designed for the research and development of new agricultural technologies, the facility focused on making the most of available resources, and the city that grew up around it, which came to be called Paolo, thrived for generations separated from the rest of human civilization.
Now a discarded research clone named Reynard from the center that has come to be known simply as Arandee has found something buried in Paolo's junkyard that could change everything: a starship's navigational android. As he repairs her he realizes that she holds the key to reuniting Viridia with the rest of humanity - but Arandee is not willing to give up control of the planet so easily.
[i]Dream of a Thousand Stars[/i] is a story of humanity’s ability to adapt and persevere, and the need to understand what it means to be human.
First complaint is that I didn't realize who Arandee was until I went back and read it a couple of times. I think you could probably get away with dumping most of the names, as so many unique words tend to be hard to follow. You mention the center, but that doesn't really seem to be attached to anything, especially since (I'm assuming) you call it a facility in the previous paragraph. And is this story about the people on the planet, or the people in that one city? The sentence where you mention gaia seems important, but I think it could do with some rewording. Right now it reads awkwardly. Maybe chop it into a couple of sentences?
Sorry if I sound harsh, but this sounds like a great book, and I want to help you get the best shot. Anyway, I hope this helps.
I agree that the names are sort of confusing. This sentence is confusing for me: "Now a discarded research clone named Reynard from the center that has come to be known simply as Arandee has found something buried in Paolo's junkyard that could change everything: a starship's navigational android." I had to go back to reread it. I think the part of "the center that has come to be known simply as Arandee" could just be replaced with "the facility" like you called it in the first paragraph.
Thanks much for the feedback! I'm starting to think I should research the difference between a pitch and a book-jacket synopsis, but I'm giving this another edit. So! More feedback?
Three centuries ago, a human colony on the planet Viridia was cut off from the rest of humanity by an event known as the Silence. The colony and the scattered farming villages around it learned to get by without a stable supply of industrial goods, aided by an unusually strong planetary life-force and a research facility that formed the heart of the colony, and despite the loss of so much technology they thrived. Over several generations, the humans of Viridia adapted to using the planet’s life-force to grow their food and heal their sick, and while the research facility’s power was great, it remained unquestioned so long as food was plentiful.
Now a discarded research clone has found a starship's navigational android buried deep under the colony’s junkyard. As he repairs her he realizes that the android, along with a friend of his with his own strange connections to the facility, holds the key to reuniting Viridia with the rest of humanity - but the facility is not willing to give up control of the planet so easily.
Dream of a Thousand Stars is a story about the need to understand what it means to be truly human.
A MAN’S MAN Juvenile Fiction/Social Issues/Bullying Juvenile Fiction/Social Issues/Alternative Family
R.J. Davis hates that life dumped him with his gay father, hates that his dad’s boyfriend lives with them, and especially hates that everyone at his new school will make fun of him when they find out. It’s unfair and seems too much for a thirteen year old boy to handle, especially living on a cow palace of all places.
Following an abrupt move from San Diego after his mother is killed; R.J. quickly learns that Walt Whitman Elementary in rural Silver Lake, Minnesota has plenty of bullies who will make him a target if they know he’s a gay man’s son. Keeping his hayseed father in the closet is his top priority, until R.J. hatches a daring plan of action to eliminate the boyfriend.
It takes courage and strength to turn his father straight once more; R.J. has to deceive everyone in Silver Lake. He calls upon God to help him face the fury, disappointment, and sense of betrayal his lying accusations cause, but he is totally unprepared for the sudden firing of everyone’s favorite basketball coach. Now his father is a different man but the changes are not what R.J. anticipated.
A MAN’S MAN is a coming of age story about a boy finding his way through the social constraints of a small mid-western community. Entertainingly told from R.J.’s first person perspective, enjoy the journey he takes to learn how to be A MAN’S MAN.
I'm ridiculously nervous, but here it goes! What'd you think????
In 1540, young Rhett Rhyn rescues Lady Isla Belle from an arranged marriage in the twilight hours of rebellion, binding their souls together in a forbidden, secret ceremony. As the last words escape the officiator’s lips, arrows meant for the teenaged Romeo, pierce the heart of his spirited Juliet. Isla Belle Thorne, a fiery modern day cynic, has officially armed herself with a Bachelor’s of Science from an Ivy League university. Abandoned by her father, despite her hopelessly romantic mother, she abhors the opposing gender. Regardless of her impeccable ability to control her destiny, fate throws Isla Belle into a political goose chase. She mysteriously discovers herself the focus of centuries old research regarding several women buried throughout history and the very much alive violinist, Rhett Rhyn. A mixture of The Notebook and the Twilight Saga, The Eyes are Always Blue, follows the love and soul of two people bound for eternity; showing that true love conquers time, fear, and death.
The world has been destroyed. Nothing is left on this forsaken planet except for a small population of humans, and the monstrous Kiers. No one will tell me how the world was destroyed, or how the Kiers were created. All I know are three things: 1. The Kiers are an abomination with only a shadow of the previous human hosts. 2. I am alone. My family left me because I was a baby and they couldn’t survive with me. 3. Survival is the only thing left. But there is hope, for I am now old enough to understand why my family left me, and to go after them. My name is Zoey, and with the help of some new found allies, I will do the most dangerous thing known to my people. I am going to search for my family, and find them. I will find that which was taken from me, for I am Strong. Join Zoey on her journey to find her family in this young adult, fantasy novel set in a Post-Apocalyptic era. In Strong, Zoey faces many trials and struggles, so hold on to your seat and enjoy the perilous ride.
Pitchapalooza Pitch Critique
No-one's made one of these yet? Just what it says on the tin! I'll start!
LIFELINES
“My father always said I was an old soul. I never took much notice of it; it was just something he said. A ‘Dad-ism’ if you will.
Boy, wasn’t it a surprise when I found out he was right.”
A year after the accident, artist Natalie Monrow finally feels like her life is slotting firmly back into the groove of normality.
Or it would be if she could stop seeing things.
Ghostly figures, other worlds, it’s enough to drive a person insane (if she isn’t actually there already). Her predicament attracts the attentions of the eerie Watchers, who inform her of her new found powers and of the price she must now pay for them. Forced to go on the run to save her family, she meets up with a rebel group lead by the enigmatic Libby and joins them in their fight to overthrow the Watchers. Battling foes many times stronger than herself while trying to figure out the world she now finds herself in, soon she will have to make the biggest decision of her life; the choice between her family and, possibly, her very soul.
One thing she does know. She won't give them up easily.
Re: Pitchapalooza Pitch Critique
Your fifth parapgraph (I think? *goes back to count* The really long one) really captured my attention and definitely makes me want to read. It's lovely and clearly points out the antagonist, the problem, and what the stakes are :)
The problem I'm having is with the opening quote
I'm having trouble figuring out how this is related to the rest of your story. What exactly do you mean by "old soul"? And how would it sound taking this out of the past tense? ex. "My father tells me I am an old soul" "My Father always says that I'm an old soul" "Boy, it was a surprise finding out he was right" Maybe something like that?
Also this
I don't think the word "Actually" needs to be there. Maybe even "There". "If she isn't there already." "If she isn't already." Maybe play around with it a little?
And on your last sentance, I [personally] would put a colon between know and she. "One thing she does know: She won't give them up easily."
Overall though, I think you're on the right track with your pitch and I love your story idea :D
Re: Pitchapalooza Pitch Critique
Thanks for the critique! The first person bit at the beginning was me trying to show what voice my story is written in (first person, past) and show a bit of Natalie's voice.
RE: old soul. You're right it doesn't make any real sense in relation to the rest of the pitch but it does in the story. I'll change it to something else. Possibly "My father always said there would be people fighting over me. I never took much notice of it; it was just something he said. A ‘Dad-ism’ if you will.
He probably never meant it quite like this though."
You're right about "if she isn’t actually there already". I'll probably change it to "if she isn't already there"
Re: Pitchapalooza Pitch Critique
I like this :)
Glad I could help you!
I'm gonna try to post my pitch later today *so difficult to write* -_-
Re: Pitchapalooza Pitch Critique
I agree with the above so I didn't have much else to add. I like your pitch. I just had to say that our stories sound very similar. My novel is also written in first person. I think you presented your story better than I did. :)
Re: Pitchapalooza Pitch Critique
Ginaxx already gave all the good comments on your pitch, so all I can really say is that I think the edits really helped.
although, from your pitch it sounds like the ghostly sightings only started after the accident, so why would her father be talking about her abilities before they appeared? It might be nitpicky, but I got a bit confused.
Anyway, here's my synopsis for Worth the Bullet (or White Rose. I can't decide which)
Rita stands convicted for a crime she didn't commit. Rather than face a punishment that would force her to give up the only thing she's ever been able to keep safe, her body, she goes on the run. They chase her, of course, but the hunted quickly turns into the huntress as Rita loses herself in the symbol she's become - the White Rose. But when the man who framed her in the first place threatens the only person she loves, Rita will have to either harden her heart one more notch, or give up everything she ever fought for.
All Jonathan knows is that Rita's harder to catch than anyone thought she would be. She's a mission, a prize to be won. The price on her head climbs with each successive kill, and Jonathan needs the money to escape his place in the Serpents. But an image of Rita lingers in his head, an image that's too beautiful to destroy. As the noose tightens around Rita's neck, Jonathan will have to decide whether that image is worth losing everything for.
Thanks for the comments!
Re: Pitchapalooza Pitch Critique
Her father was talking about boys fighting over her (because fathers always think their daughters will be heart breakers).
Anyway, your pitch.
Good beginning, pulls you in. I think we need more on the setting though. You mention that she has become a symbol but not why and that is a bit confusing. Is it because she has gone on the run or for something else?
Who is Jonathan? Is he the man who betrayed her or the one she loves or someone completely different?
Who's doing the killing? Rita? When did she start killing?
And who are the Serpents? You just kind of throw them in there.
Basically, I think everything I have touched on here can be explained with slightly more background. Give us some setting to ground what's happening. You've given us some good information we just need something to join it all together.
Re: Pitchapalooza Pitch Critique
I agree with Taekwondodo's comments, it needs some more background to it.
Also, this part confuses me a bit, because your pitch doesn't explain what the White Rose has to do with her.
Okay, so I'm working on a couple different pitches right now, but this is the only one I have finished so far. I'm kind of afraid it's too much of an info dump, but at the same time I feel not enough of the actual story is explained -_- (side note--I just reread it and cringed a little). So basically this is the info I'm trying to get across (minus the fact the two character will probably be killed if anyone finds them), I might just need to reword a lot of it. Also, it's about 25 words over (shhh...editing.) Other note--not trying to play the sympathy card right now :)
The Accord was simple: Seelie were not to intrude on Unseelie territory, and the Unseelie would do the same. Breaking the agreement was a crime punishable by imprisonment, death even.
Aiden Cáel broke that agreement when he was captured hunting in a forest bordering the two countries, in Unseelie Territory. Brought to the Court of Winter, the verdict was set instantly: Death. Until a young girl intervened, determined to save the boy [with the pretty green eyes] (might take out the reference to his eyes, which is also a reference to something she said in the prologue)
Three years later Aiden is still alive as a servant in the Castle, though the girl, Viviane, is not too pleased. She cannot stand his attitude or disrespectfulness, but she tries to ignore him, focusing instead on her life and her engagement to her childhood friend, Prince James.
But she does not want to marry so soon. She wants to travel, to meet new people, to live. Determined to prove that she can survive on her own, she runs away, freeing Aiden in the process. They travel to his home, where there is talk of rebellion, talk of peace and talk of blood. All too soon Viviane finds herself in the middle of a brewing war, one that will turn the Courts against each other once more.
And then there’s Peter, an exiled Prince and Aiden’s brother, who may know more about the rumors than he’s letting on
Re: Pitchapalooza Pitch Critique
I'll go paragraph by paragraph.
Instead of "death even", why don't you try "even death".
You're right, you don't need the bit about his eyes. How about "determined to save him for reasons of her own"? Or something like that. I also don't think you need "in a forest bordering the two countries" so it just becomes "hunting in Unseelie territory". Possibly could do with something between death and Until. Maybe "That is until a young girl...".
Instead of "though the girl..." try "but the girl, Viviane, is beginning to regret her [hasty] decision to save him."
Don't start with but!!!! How about "Or she tries to, but marrying is not her only ambition." Or something.
Hang on! What rumours?! Also, Peter is Aidan's brother first and then a Prince (Seelie prince?). And do we really need this sentence anyway? I don't feel it adds anything and losing it would means you end on a good, strong, interesting sentence.
Anyway, it's pretty good, just some phrasing issues but apart from that nothing I can see. I'm probably not the best at critiques. I get an overwhelming urge to re-write what I'm reading and that won't really help you any. And cringing at what you have written is a natural part of being a writer.
Re: Pitchapalooza Pitch Critique
Thank you so much!! I'm gonna rewrite it as soon as i get home tonight :)
sghuoatglkj Peter, why do you make everything so complicated?! Ok, so he's actually a Prince of a third country (can't believe I didn't put that in the summary *facepalm*) but he's also my main antagonist at the moment, which is why he is mentioned here.
Anyways, I would love to sit dicussing how much I love you for commenting, but I'm being pushed out the door right now -_- i'll post the edit later!
Re: Pitchapalooza Pitch Critique
OFFBEAT: A FAIRY TALE
She dreams she’s the princess in a fairy tale. Too bad no one ever informed this princess what happens when fairy tales hit the fan.
Serra Kingston feels offbeat. Aside from her adoptive parents, she loves her fairy tales and little else. She can’t sing to save her life, she's wholly average, and most of the boys at school ignore her unless she trips over their feet. She’s also an easy target for her school’s vindictive Queen Bee.
One tragic day, Serra receives her first kiss from a compelling stranger, who disappears without a word. Her grief forces it from her mind, until strange things start happening.
It's strange when she’s the fairest in the high school overnight. It’s laughable when the pigeons in the park gossip about her and empathic bridge trolls play grief counselor. When her best friend catches her singing in the shower and suggests she join swing choir, she knows something is wrong.
The worst thing about discovering she’s a fairy tale princess though?
Unless she finds the man whose magi-binding kiss awakened her, she won't survive to see seventeen.
The Grimm Brothers definitely had the right idea; she would sue Disney first chance she got.
Re: Pitchapalooza Pitch Critique
I like your pitch. It sounds like a very interesting story. :)
This sentence seems a bit cumbersome to me: "She can’t sing to save her life, she's wholly average, and most of the boys at school ignore her unless she trips over their feet."
Maybe it could be something like, "She is wholly average, can't sing to save her life, and is ignored by most of the boys unless she trips over their feet." I don't know if my sentence is much better, though. I think the repeat "she" in the sentence is what seems clunky.
Re: Pitchapalooza Pitch Critique
I love fairy tales, so this caught my eye. You have a few agreement issues grammatically. Try reading it aloud and see what hits your ear funny.
I'd like to have some clue about what makes the day so tragic that it would block out the memory of her first kiss. And why would she think something's wrong when everything is suddenly going right? I'd like to have a bit more of a hint about why her life is suddenly in danger.
Be careful taking my suggestions though, because I think your pitch is really good as it is. I'd pick it up off the shelf for sure.
Re: Pitchapalooza Pitch Critique
Not only did I like the pitch, but I loved the last line. It allows the reader to get a definite taste for her voice.
Re: Pitchapalooza Pitch Critique
Hi all. I would love a critique of my pitch as well. This is the pitch that I submitted to the ABNA contest. I didn't realize there was a board her for pitch critiques or I would have come here for that too! Anyways, since ABNA allows a 300 word pitch, mine is 275 words. Pitchapalooza only allows 200, so I need to cut. Any ideas where I can cut? Thanks!
Family arguments had become a normal part of the day for eighteen-year-old Calista. She was anxious to start college and leave the turmoil behind her. But then her father suddenly leaves with no word. Calista struggles to understand how her warm, loving father could abandon the family in such a heartless way. She also has to deal with her mother, who has become cold, distant, and closed-off. She has no one to turn to for comfort or answers.
More startling, Calista realizes that she can hear, feel, and see things that other people cannot. When she receives a visit from Eliza, an ancestor from 1840s Ireland, she finds out that nothing in her life is as it seemed. She has a connection to Eliza that she doesn’t fully understand, but Eliza proves to be very helpful in revealing something very important that her parents had concealed: her family lineage holds the key to everything.
Calista is too defiant to just accept the fate that she has been given. Instead, she sets out to seek answers. Who – or what – is she? Where is her father? And why is everything falling apart around her?
To complicate things further, she falls in love with a man so forbidden that a relationship with him could threaten the very people she loves.
Ultimately she has to make a choice – should she take the complacent route, giving up an essential part of herself for the sake of safety? Or should she take the riskiest path to independence?
LINEAGE is a novel that explores self-discovery, the desire to seek personal freedom, and the family relationships that tie it all together.
Re: Pitchapalooza Pitch Critique
I really love your pitch and it sucks that you have to cut words from it! Instead of posting here every little word you could take out or substitute, I took a stab at shortening it (hope you don't mind!). However, I was only able to get it down to 232, but it's a start :) I had one of my friends look over mine yesterday, and he gave me some good advice: The biggest thing you have to watch out for is the extra details. I know that it's hard to tell your story without those details, but I don't think that it's needed in a pitch - you don't really need to know that Peter is Aiden's brother if you're looking at the back of the book in a bookstore. I do that all the time myself, trying to tell the whole story to someone who only wants the premise right then.
So any word or detail that's not absolutely essential to the plot should just be cut. So that's what I would start with, then go back and make it sound eloquent :)
Here's what I did to shorten it a little:
Family arguments are normal enough for eighteen-year-old Calista. She is anxious to start college and leave the turmoil behind.
Then her father suddenly leaves without a word.
Calista struggles to understand how her loving father could abandon the family. She has to deal with her mother, who has become cold and distant. She has no one to turn to for comfort or answers.
More startling, Calista realizes that she can hear, feel, and see things that others cannot. She receives a visit from Eliza, an ancestor from 1840s Ireland, and discovers that nothing in her life is as it seemed. She has a connection to Eliza that she doesn’t fully understand, but Eliza proves to be helpful in revealing something important that her parents had concealed: her family lineage holds the key to everything.
Calista is too defiant to just accept the fate that she has been given. Instead, she sets out to seek answers. Who – or what – is she? Where is her father? And why is everything falling apart around her?
To complicate things further, she falls in love with a man so forbidden that a relationship with him could threaten the very people she loves.
Ultimately she has to make a choice – should she take the complacent route, giving up an essential part of herself for the sake of safety? Or should she take the riskiest path to independence?
Re: Pitchapalooza Pitch Critique
Thank you! You're right, it's definitely a start. That's what I'm struggling with...what should I cut? I considered leaving the part out about her falling in love but the forbidden love takes up the whole 2nd Part in a 4 Part book and the events are a huge part of the plot (her dad's disappearance is tied up with the forbidden love).
You've given me ideas where to start though. Thanks! I need to reread the rules for ABNA. I know I can't submit to an agent during the contest but am unsure if I can submit to another contest. I would know on February 24th whether or not I got through first round, though. If I didn't, I should be able to submit to Pitchapalooza with no problems.
Re: Pitchapalooza Pitch Critique
I've reworked my pitch and it's now under 200 words. :) How does it sound now?
Family arguments had become a normal part of the day for eighteen-year-old Calista. She was anxious to start college and leave the turmoil behind her, until her father suddenly leaves without notice. She struggles to understand how her warm, loving father could abandon the family in such a heartless way. Her mother is cold, distant, and closed-off; and Calista has no one to turn to for comfort or answers.
More startling, Calista realizes that she can hear, feel, and see things that other people cannot. When she receives a visit from Eliza, an ancestor from 1840s Ireland, she finds out that nothing in her life is as it seemed. She has a connection to Eliza that she doesn’t fully understand but Eliza reveals a secret: her family lineage holds the key to everything.
Calista, too defiant to accept the fate handed to her, sets out to seek answers and challenge the orders that she’s given. Ultimately she has to make a choice – should she take the complacent route, giving up the love of her life and an essential part of herself for the sake of safety? Or should she take the riskiest path to independence?
Re: Pitchapalooza Pitch Critique
Here's mine. This is a pretty quick first draft, so I'm well aware there will need to be some changes. Any help you can give would be appreciated! Thanks!
The Fortune Eater
Fable White has never been ordinary. Saved by her mother from government-ordered elimination at birth, she has spent her life knowing she was never supposed to exist in the first place. And when her assigned husband is mysteriously killed less than a year before their marriage ceremony, Fable finds herself isolated even further from the society around her - a society that simply doesn’t know what to do with those who don’t fit in.
Eleven years later, at the age of twenty-two, Fable receives an anonymous letter from someone claiming to have knowledge of her assigned husband. Through it she meets Manevra, a retired fortune teller with an undisguised contempt for the government’s methods of control, and Lolan, a young boy with a unique gift of his own. With their help, Fable must decide what she is willing to risk to discover the truth about her husband - and about the rest of the world as she knows it.
Re: Pitchapalooza Pitch Critique
...Awesome...
I know this wont be of much help but I can't think of anything that needs to be changed in that pitch. It's interesting, it doesn't give too much away but still gives us enough to capture our intrigue. It gives us info on her background and what's going to be happening. It's really, really good.
Someone else might have more input but I can't see anything you can change. You look like you have some words left so why don't you add a small paragraph saying "The Fortune Eater is a blah, blah, blah book etc." If you know what I mean.
Re: Pitchapalooza Pitch Critique
I like it. :) It sounds like a book that I would like to read.
The only minor thing that I see is in this sentence: "...Fable finds herself isolated even further from the society around her - a society that simply doesn’t know what to do with those who don’t fit in." It seems a bit clunky to repeat the word 'society' twice. Or maybe it's just me. ;)
Re: Pitchapalooza Pitch Critique
I think this is a very good first effort - and I can tell by the quality of your writing that you want to make it even tighter. I suggest you ditch the first sentence, which becomes redundant immediately by the second.
Try to become more specific without increasing your word count by much. I like the term 'assigned husband' - it says it all in two words. "Mysteriously killed" seems a little trite, and I bet if you focus on rewriting the blurb with more power packed words to tease the reader, you'll end up with a tighter, more direct, blurb.
It's a great premise for a story - and I'm already fascinated by the concept. Make Fable fascinate me just as much, and make me want to follow her story. I need a little more motivation than just the solution to a long cold case; after all, he's only 'assigned husband', not even a name, why should I care why he disappeared, or understand why it's even a problem? Again, I think this can be solved by giving me, your prospective reader, a more driving personal reason for her actions, and the dire consequences. We don't need the secondary characters here, unless you're going to explain why they are pivotal to the story.
You have a nice flair for language and your title fascinates. Good luck with this project!
Re: Pitchapalooza Pitch Critique
Thank you so much for the critique! I've been working on rewriting it for the past few days (I decided it was easiest to start from scratch) and this is what I have now:
Fable is Truth.
The Government is Deception.
And one small boy is the only link between them.
Eleven years after a government Seeker delivered the shattering news of her assigned husband’s death, Fable White receives an anonymous note containing three words that will change everything: He’s not dead.
Lured by curiosity and the need to understand her past, she sets out to discover the author of the note and finds an entire world of secrets she never knew existed. She meets Manevra, a retired fortune teller turned anti-government subversive with a quick tongue and a talent for acquiring covert information, and Lolan, a black-haired, blue-eyed boy of nine whose extraordinary ability may hold the key to everything. Fable soon learns that her husband’s supposed death is only one of a multitude of government illusions, and she finds herself faced with an impossible choice: leave her family behind and join Manevra in a search for answers, or stay and put them at risk.
But when a deliberate government attack on her home destroys everything she holds dear, Fable is thrown headfirst into a world of deception, uncertainty, and chaos - and the only way out is to discover the truth.
Re: Pitchapalooza Pitch Critique
Wow!! What a difference! Much tighter, and much more gripping. Now I have a feeling for the characters! Good job!
Re: Pitchapalooza Pitch Critique
That was fabulous, it's enticing to say the least!
Re: Pitchapalooza Pitch Critique
Here's my second attempt at a pitch:
Worth the Bullet
“The Serpents weren’t very smart, making me a runaway. For one thing, I’m not very good at it, for another, I’m already getting sick of it.”
The majority of the population now lives inside huge windowless and supposedly terrorist-proof skyscrapers. Public transportation via an elevated system of enclosed high-speed trains mean that no one ever has to step foot into the danger of the outside. But not everyone made it into the scrapers before capacity was reached.
Rita owes her life to two bullets – the one her father decided she wasn’t worth, and the one a stranger decided she was. Now Rita stands convicted for a crime she didn't commit, and escaping a penalty that would force her to lose her virginity leads to the first deaths.
Rita’s quest for revenge leads her to become the White Rose, a sort of Batman who makes the streets safer at night. But she’s gone up against the most powerful organization outside the scrapers, an organization that won’t give up power. When they threaten the one person Rita’s ever risked getting close to, Rita will have to choose: harden her heart one more notch, or give up everything she’s ever fought to keep.
Re: Pitchapalooza Pitch Critique
Anybody?
Re: Pitchapalooza Pitch Critique
Very different from your other one! :)
I would either put quotations around the word “supposedly” or take it out completely. Are they terrorist-proof, or can they be infiltrated?
Not really sure how this part is related to the story? Does it need to be here? Did a lot of people not make it into the buildings (I don’t think my sentence was proper English xD), thus making the streets a dangerous place to be?
I might rework the first sentence a bit. I understand what you’re saying, but I think it could flow a little better, but I’m not sure what needs to be added to it, you know? Also, maybe some sort of transition into the next sentence—what, exactly, did she “do”? Assuming that’s not supposed to be a secret. If it is, then, um, ignore that sugestion xD
Maybe change “gone” to “going”.
Overall, I really like it :D definitely on the right track!
Re: Pitchapalooza Pitch Critique
Thanks for the critique. It really helped.
Re: Pitchapalooza Pitch Critique
you're welcome :)
Re: Pitchapalooza Pitch Critique
I needs feedbacks! D:
Three hundred years ago, a research colony on the planet Viridia was cut off from the rest of humanity by an event now known as the Silence. With no more trade from other planets, the people of Viridia learned to get by without a stable supply of industrial metals but with a magic-like planetary life-force called gaia. Originally designed for the research and development of new agricultural technologies, the facility focused on making the most of available resources, and the city that grew up around it, which came to be called Paolo, thrived for generations separated from the rest of human civilization.
Now a discarded research clone named Reynard from the center that has come to be known simply as Arandee has found something buried in Paolo's junkyard that could change everything: a starship's navigational android. As he repairs her he realizes that she holds the key to reuniting Viridia with the rest of humanity - but Arandee is not willing to give up control of the planet so easily.
[i]Dream of a Thousand Stars[/i] is a story of humanity’s ability to adapt and persevere, and the need to understand what it means to be human.
Re: Pitchapalooza Pitch Critique
Trade you.
First complaint is that I didn't realize who Arandee was until I went back and read it a couple of times. I think you could probably get away with dumping most of the names, as so many unique words tend to be hard to follow. You mention the center, but that doesn't really seem to be attached to anything, especially since (I'm assuming) you call it a facility in the previous paragraph. And is this story about the people on the planet, or the people in that one city? The sentence where you mention gaia seems important, but I think it could do with some rewording. Right now it reads awkwardly. Maybe chop it into a couple of sentences?
Sorry if I sound harsh, but this sounds like a great book, and I want to help you get the best shot. Anyway, I hope this helps.
Re: Pitchapalooza Pitch Critique
I agree that the names are sort of confusing. This sentence is confusing for me: "Now a discarded research clone named Reynard from the center that has come to be known simply as Arandee has found something buried in Paolo's junkyard that could change everything: a starship's navigational android." I had to go back to reread it. I think the part of "the center that has come to be known simply as Arandee" could just be replaced with "the facility" like you called it in the first paragraph.
Re: Pitchapalooza Pitch Critique
Thanks much for the feedback! I'm starting to think I should research the difference between a pitch and a book-jacket synopsis, but I'm giving this another edit. So! More feedback?
Three centuries ago, a human colony on the planet Viridia was cut off from the rest of humanity by an event known as the Silence. The colony and the scattered farming villages around it learned to get by without a stable supply of industrial goods, aided by an unusually strong planetary life-force and a research facility that formed the heart of the colony, and despite the loss of so much technology they thrived. Over several generations, the humans of Viridia adapted to using the planet’s life-force to grow their food and heal their sick, and while the research facility’s power was great, it remained unquestioned so long as food was plentiful.
Now a discarded research clone has found a starship's navigational android buried deep under the colony’s junkyard. As he repairs her he realizes that the android, along with a friend of his with his own strange connections to the facility, holds the key to reuniting Viridia with the rest of humanity - but the facility is not willing to give up control of the planet so easily.
Dream of a Thousand Stars is a story about the need to understand what it means to be truly human.
Re: Pitchapalooza Pitch Critique
A MAN’S MAN
Juvenile Fiction/Social Issues/Bullying
Juvenile Fiction/Social Issues/Alternative Family
R.J. Davis hates that life dumped him with his gay father, hates that his dad’s boyfriend lives with them, and especially hates that everyone at his new school will make fun of him when they find out. It’s unfair and seems too much for a thirteen year old boy to handle, especially living on a cow palace of all places.
Following an abrupt move from San Diego after his mother is killed; R.J. quickly learns that Walt Whitman Elementary in rural Silver Lake, Minnesota has plenty of bullies who will make him a target if they know he’s a gay man’s son. Keeping his hayseed father in the closet is his top priority, until R.J. hatches a daring plan of action to eliminate the boyfriend.
It takes courage and strength to turn his father straight once more; R.J. has to deceive everyone in Silver Lake. He calls upon God to help him face the fury, disappointment, and sense of betrayal his lying accusations cause, but he is totally unprepared for the sudden firing of everyone’s favorite basketball coach. Now his father is a different man but the changes are not what R.J. anticipated.
A MAN’S MAN is a coming of age story about a boy finding his way through the social constraints of a small mid-western community. Entertainingly told from R.J.’s first person perspective, enjoy the journey he takes to learn how to be A MAN’S MAN.
Re: Pitchapalooza Pitch Critique
I'm ridiculously nervous, but here it goes! What'd you think????
In 1540, young Rhett Rhyn rescues Lady Isla Belle from an arranged marriage in the twilight hours of rebellion, binding their souls together in a forbidden, secret ceremony. As the last words escape the officiator’s lips, arrows meant for the teenaged Romeo, pierce the heart of his spirited Juliet.
Isla Belle Thorne, a fiery modern day cynic, has officially armed herself with a Bachelor’s of Science from an Ivy League university. Abandoned by her father, despite her hopelessly romantic mother, she abhors the opposing gender. Regardless of her impeccable ability to control her destiny, fate throws Isla Belle into a political goose chase. She mysteriously discovers herself the focus of centuries old research regarding several women buried throughout history and the very much alive violinist, Rhett Rhyn.
A mixture of The Notebook and the Twilight Saga, The Eyes are Always Blue, follows the love and soul of two people bound for eternity; showing that true love conquers time, fear, and death.
Re: Pitchapalooza Pitch Critique
The world has been destroyed. Nothing is left on this forsaken planet except for a small population of humans, and the monstrous Kiers. No one will tell me how the world was destroyed, or how the Kiers were created. All I know are three things:
1. The Kiers are an abomination with only a shadow of the previous human hosts.
2. I am alone. My family left me because I was a baby and they couldn’t survive with me.
3. Survival is the only thing left.
But there is hope, for I am now old enough to understand why my family left me, and to go after them. My name is Zoey, and with the help of some new found allies, I will do the most dangerous thing known to my people. I am going to search for my family, and find them. I will find that which was taken from me, for I am Strong.
Join Zoey on her journey to find her family in this young adult, fantasy novel set in a Post-Apocalyptic era. In Strong, Zoey faces many trials and struggles, so hold on to your seat and enjoy the perilous ride.