Lisa Bradley
Query Letter
Young Adult Mystery
Dear Ms. Sampsel,
To hold onto her childhood and prove love exists after her parents separate, a sixteen-year-old becomes embroiled in solving a mystery about a missing heiress and an abandoned castle that locals would rather keep quiet.
Tessa Teabold retreats to her grandparents’ cottage in a sleepy river town in upstate New York. Her plan is simple: a summer job to help save for art school while her parents work on their marriage.
Tess meets local golden boy Ryan Cafferty, the boss’s son, who’s determined to clear his brother’s name after an arrest. A series of suspicious forest fires draws Tess and Ryan into a fifty-year-old mystery involving a castle on a nearby river island. Caught trespassing by the island’s reclusive groundskeeper, they are forced to flee. Using obituaries, recollections from town elders, and an old treasure map, Tess and Ryan unravel the connection between Temple Island and Ryan’s family. The discovery results in a fiery showdown at the castle that might cost Tess and Ryan their lives.
I enjoyed your interview posted on Adventures in YA Publishing and understand you are seeking YA with a strong voice. ISLAND SHADOWS is a YA mystery with strokes of magical realism, complete at 80,000 words. It will appeal to readers of Melina Marchetta’s Jellicoe Road and Jessi Kirby’s Golden.
ISLAND SHADOWS won the Cape Cod Writers Center Writing Contest judged by Sara Pennypacker and was a finalist for the Beacon Award (2014). Thank you for your consideration.
Name: Lisa Bradley
Genre: Young Adult Mystery
Title: Island Shadows
The tickets in my hand are softened and creased, the text nearly rubbed off in spots. I trace their faces with the underside of my thumb.
Three tickets.
“Maybe later today we’ll go fishing, Tess.” Gramps meets my eyes and then drops his gaze to my hands. “Like old times.”
“I’ll probably draw in my sketchbook.” I slide the tickets back in my sweater pocket.
Gramps’s Oldsmobile ‘88 heads toward town for my morning shift at Cafferty’s General Store. For two weeks now this has been our routine.
Leaning my head against the window glass, I follow the river as it hugs the highway. I can barely see across to the other side, which is Canada, because a dozen wooded islands crowd my view.
I bought the art museum tickets thinking I’d surprise my parents for their anniversary. I’m three-hundred miles away now, and I’m still holding onto them.
“Tessy, I hope you know none of this is your fault.”
I’m afraid Gramps will say something else, but he doesn’t.
My fingers begin to creep toward my sweater pocket, but I make a fist instead.
I count five fishing boats bobbing on the water, reminding me of the mornings when Dad, Gramps and I used to troll for stripers. We’d be up with the sun, nibbling donuts, waiting, trying to lure fish with our sticky crumbs.
I wonder if the people on the boats are feeding the fish.
On the highway ahead, flashing lights pull my eyes away from the boats.
Gramps hits the brakes and we stop beside a young-ish looking police officer standing in the middle of the road. Gramps lowers his window; a smell like burning leaves curls inside. “What’s all this, Officer?”
“Another fire.” The policeman leans toward the window. “Just making sure it’s contained. Keep your speed down the next few miles and stay out of the woods.”
Gramps meets the officer’s eyes and nods once, his face tight. He pushes the button, and the window rolls up.
“Dry these last few days.” Gramps grips the wheel. The freckled brown spots on his hands are darker than I remember, and his blue eyes seem glassier too. “Predicting a shower for tomorrow.”
We pass a ladder truck and a fire and rescue vehicle farther up the road, their lights spinning but no sirens.
Growing up in the city you’d think I’d be used to flashing lights, but for some reason this bothers me. Silver Head seems so untroubled. It’s hard to imagine anything bad ever happening here. That’s one of the reasons I came back.
When my sophomore year ended, my parents agreed to let me spend the summer at Gran and Gramps’s cottage along the Silver Head River. Thought it might help me “deal with things.”
On the highway, the burning leaves odor seeps in the Olds’ air vents making my nose itch. The police cruiser and fire truck lights continue to spin in the side-view mirror until the road curves and I can’t see them anymore.
I don’t know what my face looks like but Gramps must see something there. He clears his throat, the burning leaves must be getting to him too, smiles weakly, but his expression seems rolled up like the window.
We pull in a parking spot across from Cafferty’s. The summer job isn’t the local library like I’d hoped, but Mike Cafferty pays me decent money for helping him and his sons.
“Sorry you have to keep dropping me off.”
Gramps waves his hand like it’s no big deal. Town is too far a walk from the house. Even though I passed my driver’s test earlier this year, there’s only the Oldsmobile to share between the three of us.
After saying goodbye, I cross the street and head toward Cafferty’s. The windows are wallpapered with yellowed ads and fliers. Paint peels along the edges of the windows.
Mike Cafferty’s in the center of three people on the sidewalk, probably exchanging tidbits about the fire or the weather. He salutes me and smiles, his dark eyes crinkling at the edges.
The familiar sounds of bells rattle against the glass as I open the front door. Ryan Cafferty, Mike’s youngest son, who’s about a year older than me, glances up from behind the counter. His sandy-colored hair is a few shades darker, probably still damp from his morning swim. “Mornin’, Tessa.”
Mumbling hello, I stash my backpack in the staff office behind the front counter and get to work.
My drawing pad and pencils go everywhere with me, even though I haven’t sketched in weeks. The block is temporary. I’m sure I’ll be back to it in no time. Money I earn at the store this summer is going straight in my art school abroad fund.
Every morning, except weekends, I ring up Tootsie Pops and bouncy balls for frazzled parents whose children pull at the hems of their Bermuda shorts. I used to be one of those kids. For ten days every summer, my t-shirts smelled like peach juice, bug spray and diesel fuel. Five years ago, when I was eleven, we stopped coming to the river. Right around the time Mom quit painting and took a job at a bank in mid-town.
“Tess,” Ryan calls.
My eyes pivot from Ryan to the register in my little corner of the shop. Crap. The register’s jammed up again. Paper is choking out of the receipt slot and the machine starts beeping. Ryan puts down the produce box he’s hauling and jogs over.
A woman and twin toddler boys stare at me from inside the enclave of the gift shop. The twins are already sucking on their Tootsie Pops.
“Sorry,” Ryan mutters to the mother. He slides behind the counter beside me where it’s already cramped. A familiar not unpleasant whiff of spice mixes with something potent, probably chlorine. Same scent as every morning, not that I notice.
Ryan jabs a few buttons on the cash register and pulls a stream of register tape off the machine. The whole thing takes about three seconds, and while he’s working, I follow his fingernails which are unnaturally white.
The woman pays, and after a curt smile, she guides the children away.
Ryan leans his long torso against the counter, wadding up the wasted register tape in a ball. “So,” he says, dunking the ball in a nearby wastebasket, “what’s with the sweater every day?”
“I—I get cold.” I play with a loose button.
“This. This is warm.” He raises his arms and gives me a hundred-watt smile I bet all the girls fall for. “It’s eighty degrees.”
Bells rattle, and Mike summons Ryan to carry a bag of charcoal bricks out to a customer’s car. “Later,” he says.
My fingers fumble with the button. What I don’t tell Ryan Cafferty is that I prefer the weight of my sweater.
Running my hand down my side, I slide out the three tickets. Shuffling through them, I wish I’d thought to leave them home, two at least. Under my parents’ lamp on the nightstand or on the cork board by the telephone, somewhere they’d find them. Dad wouldn’t let the tickets go to waste.
A part of me wanted to stay in the city and scream, stomp my feet and say they couldn’t do this to our family. But a larger part of me wanted to leave.
Turning toward the wastebasket, I consider tossing the tickets in the trash beside the ball of register tape. Instead, I stuff them back in my pocket and get back to work.
Quick question for readers: In the opening line, is the word "tickets" clear or should I say "The ticket stubs in my hand are softened and creased... I had one person in my local writers group say they were confused. But "ticket stub" to me implies a used ticket and these have not been used. Just curious what you guys think. Getting down to the nitty-gritty. Thank you!
ReplyDelete"tickets" worked for me, but I already knew what they were. I also think of "stubs" as used.
DeleteDitto. In my mind, stubs would be used tickets.
DeleteHi Lisa,
ReplyDeleteI wrote to you last night on my Ipad and it didn't make it to this site??? I think of a ticket stub as being used. I wanted you to know how much I've enjoyed your revisions. You have a very nice way of writing and I was swept into the character.The pacing makes me feel Tess's sadness, but I wonder if you should quicken the pace when you see the sirens and smell the smoke. You mention it bothers you but haven't shown us how. After reading your query there's a lot going to happen and there's no hint in these pages of suspense, danger and mystery. Maybe the fire and and sirens could be a hint there's trouble in this sleepy town. Keep going. This will be great! If you need an extra set of eyes, let me know. You have been wonderful helping me!
Thanks so much, Sheri. I've appreciated your comments. Hopefully we can all stay in touch using FB site for small things, and also the e-mail addresses Erin shared in the introductory e-mail to the workshop.
ReplyDeleteOverall I really like the changes! It's nice to have Ryan be in the store so that she can comment on him more. This is a really smooth opening, and my nitpicks below are just tiny readability things.
ReplyDeleteI like that there is more mention of the fires, but I still think that nothing gives them away as suspicious yet. Even if you didn't change anything that happened, but had her comment something like, "If there's nothing to worry about, why does everyone keep talking about it?" I'm not sure, but hopefully the feedback helps even if I don't have good suggestions.
"I’m afraid Gramps will say something else, but he doesn’t. My fingers begin to creep toward my sweater pocket, but I make a fist instead."
Love these lines. :) I think they'd fit together in the same paragraph, but they're fine apart too.
"He clears his throat, the burning leaves must be getting to him too, smiles weakly, but his expression seems rolled up like the window."
This stuck out at me as a run-on. Maybe if the "burning leaves" phrase was dashes instead of commas? It just disrupted my reading a little.
"Ryan Cafferty, Mike’s youngest son, who’s about a year older than me, glances up from behind the counter."
This also read a little stiffly to me.
Query feedback (obviously Shelby's input will take precedence):
"embroiled in solving a mystery about a missing heiress and an abandoned castle that locals would rather keep quiet."
I wasn't sure whether it was the mystery or the abandoned castle that the locals wanted to keep quiet.
"Tessa Teabold" - great name!
I would rephrase to put the thing about her parents sooner, to give some context for 'retreats':
"Tessa Teabold retreats to her grandparents’ cottage in a sleepy river town in upstate New York while her parents work on their marriage. Her plan is simple: a summer job to help save for art school."
"Caught trespassing by the island’s reclusive groundskeeper, they are forced to flee."
Is this important? It didn't seem to matter to the rest of the description.
Hi Lisa -
ReplyDeleteLike the others, I'm a big fan of yours, especially after reading the query to get a sense of where this is going. Your blurb gives me the sense of a modern du Murier's Rebecca (which I loved).
I agree with the comments above. My only other feedback is that sometimes (esp. at the start) all the 1-sentence paragraphs began to seem a little bit stilted to me. And in a few places, it seemed information was jumping around a little. Examples below:
--I'd rather get the info about what the tickets were for right after she slides them back into her pocket. Then we find out that's why she's with Gramps... Then where they are going, etc.
-- "When my sophomore year ended..." reads a little disjointed there... but if you could combine with the previous paragraph, I think it would be great.
As the others mentioned, I think that bit after the police stops them is a good place to thread in the coming mystery. Gramps comment that it's been dry makes it a little dull, rather than scary or mysterious. Even if he said something like, "Hasn't been dry lately, shouldn't be so many fires." That might help?
I LOVE the extra bits about both Ryan and the tickets. Super well done!
Are you still thinking about the title? As I read your query, I wondered if you might use the name of the island (which is intriguing) Temple Island Shadows - that would make me want to pick it up in a bookstore! Or perhaps draw on the mystery and fire a bit more? Secrets and Smoke if you wanted to be more obvious about the genre? Just brainstorming...
Good luck! I can't wait to read more...
Holy gorgeous revision, Lisa! I am so impressed by your ability to take detailed feedback and turn it into amazing, stronger writing that is still wholly in your own voice. There are still a few awkward sentences (see comments, above) but this is a stunning improvement and, I'd venture to say, very close to submission ready. Maybe 2 more drafts? Again, I'd recommend visiting a few of your favorite contemporary YA mystery/suspense novels (and maybe MASQUE OF THE RED DEATH by Bethany Griffin & POSSESS by Gretchen McNeil) to see how fast they establish the CRIME (murder, debauchery club) to keep readers breathlessly turning pages from the get-go. I guess my final piece of advice (and this is always a hard one for me, personally) would be: Don't be afraid to give stuff away up front-- playing coy with readers for a late-in-the-book big reveal can sometimes lead you to write heavy, slow early chapters which ultimately frustrate readers. You WILL be able to keep the energy, excitement, reveals coming. TRUST yourself to write even more amazing wildness into the story even if you let go some secrets at the top. (BTW, query letter looks good to me but I've always been a fan of not over-thinking them!) BEST of LUCK and do keep us posted on the journey of this ms! Stasia
ReplyDeleteYep. Still in love with this!
ReplyDeleteI really like the pacing/ticket info reveal now. It's spot on in my book. And I love the changes to the store scene ... the expansion of Ryan and the tickets.
I only really have two thoughts for further revision ...
A lot of the paragraphs at the beginning are pretty short, and it makes it read a little choppy. There's dialogue so it's tricky, but maybe blending a few of the "setting the scene" or backstory ones together might help with this?
My other thought is like Stasia and Sheri, I would still love to get more of a sense of the mystery that is to come in this opener. Might she be able to see a bit of the castle from where they are driving? Does it have a connection to the fires that could be hinted at here? Are the townspeople (or the policeman, or her boss, or her grandpa) in on some of the secret? Could they let something slip? Or perhaps reveal some of the backstory of the castle that piques her/our interest? If the "missing heiress" is a ghost that they don't want people to know about because it would be bad for tourism or something, could that somehow be lightly hinted at in a way that grabs our attention, without revealing too much?
Re: the query, I think it looks really good, overall.
The first line, I wasn't so sure about though:
"To hold onto her childhood and prove love exists after her parents separate, a sixteen-year-old becomes embroiled in solving a mystery about a missing heiress and an abandoned castle that locals would rather keep quiet."
The sentence makes it sound like in order to prove love exists she has to solve a mystery ... which in my mind doesn't really add up. Not sure what to suggest here as I am struggling with the same thing in my query.
The other thing I wasn't sure about in this sentence is the use of the word "embroiled" -- to me that reads that she somehow becomes inextricably involved in the mystery ... like she has to solve it *OR ELSE* If this is the case, then I'd love to know more about what those stakes are in the query. What happens if she doesn't try solve the mystery, and just walks away? Or in other words, what's in it for her if she solves the mystery?
Feedback has been so helpful, everyone. Soaking in every last drop ! ; -)
ReplyDeleteHi Lisa,
ReplyDeleteThis opening is so beautiful, and I loved reading your final revision. I think this is so close, and I only have a couple of nits left. While I think the second half reads really strong—pretty much as soon as we pass the fire—I think the first page or two have some passages that could weave together a little bit better. Possibly something like this:
*
The tickets in my hand are softened and creased, the text nearly rubbed off in spots. I trace their faces with the underside of my thumb.
Three tickets.
“Maybe later today we’ll go fishing, Tess.” Gramps meets my eyes and then drops his gaze to my hands. “Like old times.”
“I’ll probably draw in my sketchbook.” I slide the tickets back in my sweater pocket. I bought the art museum tickets thinking I’d surprise my parents for their anniversary. I’m three-hundred miles away now, and I’m still holding onto them.
“Tessy, I hope you know none of this is your fault.”
I’m afraid Gramps will say something else, but he doesn’t. My fingers begin to creep toward my sweater pocket, but I make a fist instead. Gramps’s Oldsmobile ‘88 heads toward town for my morning shift at Cafferty’s General Store. For two weeks now this has been our routine.
Leaning my head against the window glass, I follow the river as it hugs the highway. I can barely see across to the other side, which is Canada, because a dozen wooded islands crowd my view. I count five fishing boats bobbing on the water, reminding me of the mornings when Dad, Gramps and I used to troll for stripers. We’d be up with the sun, nibbling donuts, waiting, trying to lure fish with our sticky crumbs.
*
As you can see, I haven’t changed any of the writing. I’ve just paired a couple things together that I think fit really well. All of the components are there, and your writing is so beautiful. I loved the new bits about Ryan, too!
As for your query, I think it reads great! LOVE the ending line, about the fiery showdown! I do think, if Ryan’s brother is being accused of setting the fires, you could state that outright (to tie everything together from the start). Otherwise, it reads like the arrest isn’t connected to the mystery, but I’m guessing it is. Either way, the feeling of the query really matched the feeling in the opening pages. I think you’ve nailed the emotions here! Awesome work!!
Dear Ms Bradley,
ReplyDeleteI was impressed with your query letter. It has all the important elements; word count, plot summary, credentials, and reason for choosing this particular agent. I did think the sentence, “Tess meets local golden boy Ryan Cafferty, the boss’s son, who’s determined to clear his brother’s name after an arrest” was a little stilted and could be reworded to increase the flow.
I was excited to read your pages after reading your query. The premise seems fresh and innovative. I think there is real potential here. As I was reading though I felt that the narrative was not as fully developed as I would have liked. In striving to convey Tess’s angst, I fear that her voice has become stifled. I want to get inside her head and at this point, it feels like the reader is being kept at arm’s length. It’s hard to sympathize with her when the reader doesn’t fully understand her situation. Clearly, there is a problem with her parents but the reader is in the dark about the severity of the situation. Coupled with Tess’s stifled emotions it’s hard to feel connected to her character. I also feel that these pages would benefit from more description of place. You mention she is from “the city” but which city? You say that Silver Head is near Canada but there is 3,000 miles of the US’s northern border to which you could be referring. Throughout reading these pages, I felt like this was more of a sketch that a story and I was eager for more.
I definitely think this project has potential and I’m a sucker for anything that has a boy with “a hundred-watt smile.” Good luck as you continue!
O.K. I still have 2 more hours to go before our workshop is done, I think! So I will wave the flag with one more request in case anyone reads this.
ReplyDeleteI have heard from more than one agent that my MC, Tess, is too stifled/closed off. Part of her journey is overcoming this knee-jerk reaction to her parents divorce. I really thought I was doing better in this opening and making her more accessible emotionally. I really want/need an example so I get it! ; -) Tell me what this means in a specific example. I will be grateful! I must have blinders on.
Thanks