Name: Sam Everett
Genre: Middle Grade fantasy
Title: THE BELIEVABLE MONA O'NAUGHTON
200 Word Pitch:
Mona O’Naughton is the sort of fairy who sees to
your happiness in the small ways she can, hoping to earn your belief in her so
that fairies and humans might coexist as they did long ago. And though no fairy
truly expects to make contact with her human, Mona’s wings would buzz forever
if she at least achieved the success of her best friend, Kyna.
However, Mona is the cautious type who sees the
carpet stain as soon as the juice glass is set at the edge of the table,
leaving her cursed with the reputation of a fairy more concerned with her
human’s safety than his happiness.
When she is assigned to thirteen year-old human
Holly, it would seem a perfect pairing, for the girl has only barely survived
an attack by a wild animal--an attack which took her hands, and much more. Mona
is charged with keeping the girl safe, a task natural to her.
But she wants more. To shed her reputation, she
vows not simply to protect Holly, but to fulfill her dream.
Of course, that’s before she learns Holly’s
dream is to find the animal who took her hands, and to fight him.
Pages:
Chapter 1
101
Ben Stiglitz died at a hundred and one, a
noteworthy age. There was no real reason for him to have died. He wasn’t sick,
and he didn’t fall down stairs or eat a microwaveable Salisbury steak too fast.
That morning, he simply locked his front door, took a bus to the hospital, and
crawled into a bed to doze off. If he’d had family, they would have heard his
nurse say he died from having lived so long.
From his pillow, his tiny shrug fairy Mona
O’Naughton heard it, and it made her smile.
Fairies had many different jobs, and a shrug
fairy’s was to make her human happy in any small way she could. She was so
named because her magical feats--moving a lost book to a table where a boy has
already looked, vanishing a jelly stain from a poor girl’s church dress--were
the sort to make humans rejoice, mutter I-don’t-know-how-that- happened,
and give their shoulders a shrug. If Ben made a hundred and one years out of
his life, Mona knew he must have been one of the happiest humans to ever have
lived.
She was certainly sad to lose him. He was her
first human. She had seen him every day of his life, even if he had never once
seen her. (This was the way it was with fairies and humans, regrettably.)
But--a hundred and one! Her human! Her first
human!
She didn’t know another fairy whose human had
lived so long, because getting a human to a hundred and one was a lot of work.
When Ben was a baby he put everything into his mouth, and so Mona often found
herself in his gullet deflecting pennies and marbles like a horsetail brushing
away flies. When he grew to walk, Mona held his shoelaces tight so he wouldn’t
fall and cry. When he became an adult, he so liked to sleep that she struggled
to get him out of bed in time for work each morning. His job was being a counter
of some sort at a small desk in a big building. It was the only job he ever
had, though Mona never quite understood what exactly he did. (This was the way
it was with fairies and counting, regrettably.)
The last help Mona would ever be for Ben was
making the remote control to the hospital room television work. This one was
nothing like the model he’d owned for years. Fortunately, Mona received
constant training in gadgets, for they were the things that made humans
happiest and the things humans understood the least. And so she burrowed into
the remote control through the button marked 8 and sprinkled her dust in all
the right places until she heard Ben’s favorite channel crackle on.
“Then he watched the television and shut his
eyes and went to sleep.”
With these final words penned, Mona closed her
logbook and tucked it into her pouch. Sad as she was, a fairy never thought to
take even a moment off. After all, there was so much work to do, and with the
fairy shortage, so few fairies to do it.
Besides, if she was going to get her next human
to a hundred and two, she had better get started. And so she flew immediately
to her godmother’s office for her next assignment.
Her godmother, Maw Nora, conducted business from
a human coffee shop called the Seaside Café. It was decorated in oak wood, and
its ground coffee made for an earthy aroma. In all the fairy province of
Evergood, the café most closely resembled a fairy’s natural forest habitat.
It was not without its own danger, however. A
flabby cat colored black and grey and orange and white lay under an empty bench
outside the front door. Though humans did not believe in fairies, cats did, and
took a wicked pleasure in swatting them out of the air. Thankfully this cat,
appearing old and in poor shape, would have been lucky to graze a fairy only
five feet from him. Mona could never be too safe, and so she put twenty feet
between him and herself on her way into the café.
Once she entered through the keyhole of the
front door, the buzz of fairy wings washed over her. Hundreds of fairy wings
belonging to hundreds of fairies up to provincial business, zig-zagging from
countertop to tabletop, from pantry to pastry rack, careful not to fly through
a waterfall of steamed milk or between the pages of a closing book.
Her godmother’s office sat under an upturned mug
on a high shelf. Mona flew toward it with all the bubbling energy of a child
before the first day of school, eager for her next assignment.
When she touched down outside the mug, she
removed her flight goggles, put on her glasses, and combed the wind out of her
dark hair with her fingers. At the mug’s reception window, she greeted a filing
fairy on the other side of the glass. “I’m here to receive my next human,” she
said, and her feet had to dance to it.
The filing fairy pointed Mona down a spiral
hall, at the end of which she would find Maw’s office. Most days, Mona would
have noticed on one side of the hall the wood-framed portrait paintings of all
the province’s godmothers throughout history. And she would have noticed on the
other side the paintings of all the province’s most celebrated fairies, from
its first shrug Elva O’Farrell all the way to the world’s preeminent fairy,
Aurnia O’Dowd. But this triumphant day, she could not resist letting her
thoughts play in her dreams. The ones in which she herself was a celebrated
shrug. The ones in which she earned a portrait of her own. And so she noticed
neither the paintings nor the dead end of the hallway before she smacked into
the wall.
Maw’s office door recognized she was there, and
it creaked open for her. Inside, a swift and whispery shuffle carried Maw from
a waist-high stack of paper on one end of the room to another towering stack on
the other end. The old fairy appeared as Mona remembered her when she was first
assigned to Ben. Rosy cheeks, a round body and, under her silver crown, white
hair no doubt brushed that morning but wild and shapeless by her second cup of
honey.
The one difference was this morning her
handlebar mustache wavered in her busy breeze. It was no more real than Mona’s
neat and clean chevron, but every fairy day was some holiday, and this day was
Mustache Day.
Maw swept a string of bangs from her face and
made a smile for Mona. “Come in, shrug. I won’t bite, sweet as you might look!”
Mona entered and felt herself blush, which she
hoped masked the mark the wall left on her forehead.
Maw’s voice turned soft. “My deepest sorrows for
your loss.”
“Thank you,” Mona said, and set her logbook down
in one of the few empty spots on Maw’s desk. “At least Ben made it to a hundred
and one.”
The godmother gave a quizzical look. “All of a
hundred and one years in just that one book?” Then her warmth returned. “Maybe
you just have small handwriting!”
“Don’t we all?” Mona joked. But in fact she felt
suddenly prodded by the worry that strikes every student who has ever been
first to finish a test. Could she have, somehow, written more?
Hi Sam,
ReplyDeleteYou're pitch is so sweet. I love it. Her "wings would buzz forever" is my favorite line. I took it to mean she'd be super psyched. :) And you really caught me by surprise with her new charge, Holly. No hands is tragic. But that she turns out to be a little fighter, literally.
Regarding your pages, I like that you pared down the first paragraph, eliminating the people who were at Ben's bedside. We only needed to know Mona was there. That's a good change.
Mona dreaming about her own portrait hanging with the preeminent shrug fairies of the business is genius. You definitely gave us some insight into Mona's goals. Nicely done!
I also love that you take us right to Maw Nora, instead of having Mona talk to the filing fairy. It really moves the story along.
I love everything about your story. Good luck with it in the future.
Amy
Hi Sam,
ReplyDeleteGreat job with this pitch and pages! This is a clear, fun middle grade voice and I loved the dark, gritty surprise revealed in the blurb.
Your writing is very strong. I was left wondering if, as a shrug fairy, she'd stay to see the family come get Ben's body? Since she is responsible for his wellbeing, it seemed that might mean once he's gone, too, just to be sure she leaves him with those that could still take care of him.
Other than that, this story is an engaging, light (for the beginning anyway), and fun setup for what comes later. Great job!
Best,
Kaitlyn Johnson
Hi Sam,
ReplyDeleteThank you for sharing your revision with us today!
I'm going to focus on feedback for the pitch, as I'm a firm believer that writing a great pitch leads to writing a great manuscript. Often, a pitch mirrors some of the challenges in the manuscript, and that's what I see here.
"Mona O’Naughton is the sort of fairy who sees to your happiness in the small ways/
/leaving her cursed with the reputation of a fairy more concerned with her human’s safety than his happiness."
This opening section is backstory. It should be woven throughout the pitch or cut. This doesn't mean your writing isn't lovely. Backstory can be interesting, but it's not ACTIVE. As with a manuscript, the reader needs to get to the active part of the right away. Hook us with the story, not the world-building. There's a similar structure happening in your opening pages, which still read like a preamble, with a good bit of expository information but little dialogue or action, which risks boring the reader. I suggest in both cases that you get to the meat of the story. Introduce not only Mona, but HER STORY GOAL as soon as possible! I say that with such urgency because agents will not give you the luxury of several pages of setup to get into the story.
The next line gets us to the true beginning of your pitch:
"When she is assigned to thirteen year-old human Holly, it would seem a perfect pairing, for the girl has only barely survived an attack by a wild animal--an attack which took her hands, and much more. Mona is charged with keeping the girl safe, a task natural to her."
In this opening, we see what Mona's challenge is...or could be. The lines "it would seem a perfect pairing" & "a natural task for her" indicate there is little conflict in this pairing or this challenge, which doesn't make the situation very interesting. Great stories center on a fascinating character in a sticky situation--a situation rife with conflict! Harry Potter is a wizard, but his family detests magic. Harry is supposed to be a wizard, but has no clue how to be one. The reader is invested in reading his story not because of wizardy, but because they want to see if Harry can overcome his challenges and become a wizard.
This may indicate:
1. your pitch does not reflect the conflict in your story and should be revised to do so
2. your pitch does reflect the lack of conflict in your story, and the manuscript should be revised to include a stronger central conflict
The next part of a pitch should reveal further challenges that may prevent your character from attaining her goal. We see that here.
"But she wants more. To shed her reputation, she vows not simply to protect Holly, but to fulfill her dream."
What is the “more” that Mona wants? Be specific. Harry didn’t want to be "more." He wanted to be a wizard! Internally, what Mona wants is to be more--but EXTERNALLY, in terms of plot, what does she want? Tell us what her dream is, in concrete terms. Without details, it's hard to rally enthusiasm for Mona.
"Of course, that’s before she learns Holly’s dream is to find the animal who took her hands, and to fight him."
Here we get our first inkling of the conflict. Holly's goal opposes Mona's goal, or is in some way undesirable. This conflict is interesting. We need to get here sooner, ideally in the opening line. From there, give us the challenges Mona faces as she tries to resolve the conflict and meet her goal. At the end of the query, leave us with a clear understanding of the consequence Mona faces if she fails--and be specific! Something must hang in the balance. We want the reader to turn to your opening pages with enthusiasm, eager to read on in order to find out if Mona succeeds.
For more input on query structure, I recommend Janet Reid's Query shark blog. Your pitch can get there with revision!
My best,
Melanie Conklin
First Five Mentor
Hi Sam,
ReplyDeleteIt's so fun to read the pitch and get a sense for where the story is going. I love that Mona is so concerned with safety--that tells me so much about her. And I also think it's brilliant then to have her assigned to a little girl that wants to be kept safe. However--what isn't fitting for me quite yet (because I don't see any sign of it in the scene) is that Mona wants to shed her safety reputation. In this scene, Mona's goal seems to be long life for her new charge. How/when/why does she change? I feel like that would already be evident--a thought in her mind as she goes to get her next human assignment. Or maybe Maw would bring it up? One thought: might Mona be proud of her safety status but might she learn--in conjunction with her new human--that living means taking risks? In other words, through the story's journey, Mona could change from being a safety freak to embracing fun and adventure. That would be fun to watch!
You've chosen a very dark assignment for Mona. I think it might be very powerful, but you'll need to be careful to keep the tone as light as fun as you have started, even when you introduce Holly. Right now, you've created an expectation of a fun middle grade and I think you want to deliver on that promise--which you can definitely do.
Good luck with this story! The idea of a shrug fairy is so awesome--and unique--I know it's the kind of story kids will love. Great work!!
Amy
Hi Sam!
ReplyDeleteWowo that pitch takes a rather dark turn! Wasn't expecting that. But that actually makes me more interested in what happens to Mona. I think the only thing that threw me off was the mention of Kyna because she's not mentioned in the early pages. I don't think there needs to be a lot of details about her, but is there a way to give her a short mention somewhere early on? For example, there's "She didn’t know another fairy whose human had lived so long, because getting a human to a hundred and one was a lot of work." Maybe a mention of Kyna could work here?
But that's all I had. I liked getting the introduction to Maw and Mona's reaction to her. I think this interaction works more than the previous one.
I've really enjoyed watching the progression of this story and hope to read more one day!
Good luck!
Hi Sam,
ReplyDeleteHere are my thoughts:
Pitch:
It seems to me the crux of your story is a Happiness Fairy (who in the past has been concerned with safety) has been assigned to someone who has a reason to not be happy. She becomes committed to helping her charge find happiness until she discovers this could get the charge hurt/killed (which implies she may be reverting to safety). What I don’t understand why her duties have changed. If she’s a Happiness Fairy, why is she now charged with safety?
I would leave out Kyna and humans coexisting. They may both be important in the plot, but I think they just confuse the pitch.
My two cents:
Mona O’Naughton is the sort of fairy who sees to your happiness in the small ways she can. However, she is also a cautious type who sees the carpet stain as soon as the juice glass is set at the edge of the table, cursing her with the reputation of a fairy more concerned with her human’s safety than his happiness.
When Mona is charged with keeping thirteen-year-old human Holly safe, it would seem a perfect pairing, for the girl has only barely survived an attack by a wild animal (I would name the animal) --an attack which took her hands, and much more.
But Mona wants more. To shed her reputation, she vows not simply to protect Holly, but to fulfill her dream. Of course, that’s before she learns Holly’s dream is to fight (kill?) the animal who took her hands.
Pages:
It is a lovely world and concept that you’ve created here. I love the sweetness of the voice, and Mona is a delightful character. Having read your pitch, I now know her new human will be a challenge for her. I’d love to know how she handles it.
My issues with this revision are, for the most part, the same as before. Like one of the other commenters mentioned, the beginning feels like a preamble or prologue. The story opens up for me when she gets to the shop.
I think you have the makings of a lovely, sweet story. Best of luck to you.
Lynn
Mona O’Naughton is the sort of fairy who sees to your happiness in the small ways she can, hoping to earn your belief in her so that fairies and humans might coexist as they did long ago.
ReplyDeleteI think it would serve the story better to say that Mona sees to her human's happiness, hoping to earn their belief, etc. Because this sets up that the story is about her and the human she cares for.
And though no fairy truly expects to make contact with her human--this makes it sound like all fairies are female. Is that true? If so--great!
However, Mona is the cautious type who sees the carpet stain as soon as the juice glass is set at the edge of the table, leaving her cursed with the reputation of a fairy more concerned with her human’s safety than his happiness.
I'm not sure how knocking off a juice glass makes her unsafe. Maybe a clutz. I'd have something a bit more perilous because we go from a stain on the carpet to a wild animal attack, that's like Mach 2.
a task natural to her.
This is redundant.
Tighten and watch those commas: But Mona wants to shed her reputation and vows not simply to protect Holly but help her fulfill her dream.
I really love the changes, the addition of emotion, the increase in forward movement.
Good luck!
Heather Cashman
@HeatherCashman
Sam,
ReplyDeletePlease forgive the delay in posting my comments. It's been a heck of a week.
Pitches are hard. There is no question about that. I saw someone mentioned Query Shark, which is a great resource. I also got most of my information off of Nathan Bransford's blog, back in the day when he was still an agent. It's still up and has some great information on it, as well.
Because I'm so late to the party, I don't have anything new to add to the above comments. I won't be redundant.
I wish you the very best of luck with Mona and her story. I fully expect to see this on bookshelves someday, and I can't wait so I can read it with my daughter.
Audrianna