Cover letter and synopsis

by Georgiana Derwent
6th August 2015

A few weeks ago I shared the first chapter of my novel on here and received some really useful feedback. I've made some revisions and am now more or less ready to submit. But before I do, I'd love to hear members' thoughts on my cover letter and/or synopsis, both posted below. I'd also be interested in views on whether "Checks and Balances" works as a title.

And hopefully once I've submitted this to a few agents, I'll have time to comment on other people's work too, instead of just cheekily asking for thoughts on mine...

Thanks, Georgiana

COVER LETTER

Dear X

Some call the First Lord, who took power through violence and keeps it with terror, a monster. I call him my beloved husband. Traitors say our government is a dictatorship driving Britain into dystopia. I say we've changed the country for the better.

I’m seeking representation for my novel, Checks and Balances, a political thriller with dystopian elements and an “anti-heroine” narrator. It’s told through the eyes of the scheming wife of a British dictator in the idealistic run-up to and brutal aftermath of a military coup in the UK – think Gone Girl meets 1984 with hints of House of Cards.

June 2035. Britain labours under the totalitarian regime of the First Lord, Julien St John Helmsley, the man who led a coup against the Government and made himself a king.

The only people standing between Julien and despotism are the Treaty, a once powerful band of rebels whom the Regime have crushed by air strikes, informants, and repression. But now David, the leader of the Treaty, has a plan. He’ll send in his mistress, Marianne. She’ll seduce the First Lord, expose his secrets, and assassinate him in the throes of passion.

Marianne is only too ready to go to the palace. But she has a secret. The Treaty think they managed to kill the First Lord’s wife tyrannical wife years ago – in fact, she’s been hiding amongst them all this time.

Finally given some freedom by David, Marianne intends to make it to York, reveal her true identity and throw herself on the mercy of the garrison leader. Instead, she’s captured and tortured by soldiers of the regime, until the First Lord himself recognises his beloved wife and welcomes her back into the fold. But can she learn to be the First Lady again, and where do her loyalties truly lie?

I love dystopian fiction, but it’s always been the villains that fascinate me. I tend to wonder how and why they bent a country to their will and earned the hatred of the freedom-fighting heroes. Surely, no one ever decides they want to take over a country purely to make the people suffer. Surely, they started out with the best of intentions.

Checks and Balances explores this concept and considers how these good intentions can turn to bad realities. It’s been heavily influenced both by my university history thesis, on the behind-the-scenes influence women were able to play in UK politics in the nineteenth century, and by my professional life as a civil servant working at the heart of UK Government. I was also inspired by research into real-life wives of dictators, in particular, Asma al-Assad, the British-born former boarding school girl and banker who appears to be a staunch supporter of her husband and the Syrian regime.

I’m super keen to be represented by X agency for Y reasons

Georgiana

SYNOPSIS

MARIANNE and JULIEN meet as students, fall in love, and vow that one day they’ll rule Britain. After graduation and marriage, Julien becomes and army officer, while Marianne is elected as an MP.

Marianne persuades the strongly republican Lord Chancellor to attempt to abolish the monarchy. In response, Julien leads the Household Cavalry in an attack on Parliament – supposedly in defence of the King, in reality, as the culmination of their plans – and kills most of the Government. The grateful monarch asks Marianne, as the only Government MP still standing, to become Prime Minister. She accepts, and declares martial law.

The “First Lord and Lady” set up a base at Somerset House and consolidate their power. They face protests, and ultimately a bomb attack by a hardcore of protesters, known as the Treaty, which kills five people, including some of Marianne and Julien’s close friends.

Problems only intensify until they are faced with civil war. They argue about whether to launch a bombing campaign against the Treaty-held towns of the north, but Julien overrules his wife.

Marianne disguises herself, then flees to the Treaty stronghold of Nottingham and warns them that a bombing raid is imminent. DAVID, the leader of the Treaty, welcomes her and heeds her warning.

The attacks force the Treaty to flee into the surrounding countryside. Secretly, Marianne is delighted with the tragic outcome. Far from trying to stop the bombing raid, she was the one arguing for it. Once Julien insisted it would be a humanitarian disaster, she realised that the only way to change his mind would be to disappear and convince him that the Treaty had murdered her.

Five years later, air strikes and repression have ground the Treaty down. David decides to send a still incognito Marianne back to Somerset House, to attempt to seduce and kill the First Lord.

An army patrol imprison Marianne as a Treaty member, but Julien rescues her and welcomes her back into the fold. They renew their relationship, and she resumes her position as First Lady.

Months later, PETER, Julien’s Head of Propaganda and best friend, insists to Marianne that he has evidence she was a willing Treaty recruit. Marianne accuses him of trying to usurp Julien’s position.

Venturing out of the confines of Somerset House, Marianne is confronted by David, who knew who she was all along. He gives her an ultimatum: kill Julien as planned, or he will send him footage showing her working for the Treaty and sleeping with him, which is likely to result in her execution.

Marianne takes her gun and heads for Julien’s chamber. Alerted by screams and gunshots, Peter appears and confronts Marianne amidst the carnage of the bloody room.

Peter declares himself First Lord. Before Peter can imprison her, Marianne flees back to David and tells him she has killed Julien. She urges him to strike immediately, in an all-or-nothing mission, while the Government is in disarray. David agrees, and readies the troops to attack three strategic locations.

The first two groups find their targets deserted and die in a bomb blast. The third group storm Somerset House and survive just long enough to kill Peter, as Marianne had hoped.

Marianne reveals to David that Julien is alive after all – she’d admitted what she’d done, begged his forgiveness, and then persuaded him to fake his own death so she could provoke the Treaty into self-destructing. She then shoots David dead in his moment of greatest despair.

With the rebels defeated and their marriage strengthened, Marianne announces that she is pregnant with the Regime’s heir, and she and Julien them plot to extend their rule beyond Britain.

Replies

'Some call the First Lord, who took power through violence and keeps it with terror, a monster. I call him my beloved husband.' Take out the part inside the commas: it works much better and avoids a repetition of ideas with the dictatorship comment in the next line.

'Some call the First Lord a monster. I call him my beloved husband. Traitors say our government is a dictatorship driving Britain into dystopia. I say we've changed the country for the better.' Snappier; avoids unnecessary explanations, and fixes the character of the speaker as one who doesn't feel a need to elucidate the obvious.

Britain is not a country; it's an island.

'...an anti-heroine narrator. It’s told through the eyes of...' a form of repetition. You can't tell something through the eyes - you can only see it. Try:

'I’m seeking representation for my novel, Checks and Balances, a political thriller with dystopian elements. The anti-heroine narrator is the scheming wife of a British dictator in the idealistic run-up to, and brutal aftermath of, a military coup in the UK' - Britain or UK?

The book opens in 2035, with Britain governed by a military dictatorship, and the resistance preparing for their last stand.' If Britain/the UK is already ruled by a military dictatorship, how can this be the run-up to a military coup, as you've said earlier? Surely they're already in power? This is becoming confusing! Put the start of the next paragraph before this one, and all will be made clear.

'The story involves two parallel timelines' - 'involves' is wrong: it is told in two timelines. The timelines aren't parallel - the telling of them runs in alternating chapters, and not necessarily in correct historical order. For them to be parallel, you'd have alternate universes existing side by side.

Would it be fair to say it's set in 2035, with flashbacks to pre-coup days?

'In reality, she is the estranged wife of Julien, the despotic First Lord, whom both sides have long assumed to be dead.' This says that both sides assume Julien to be dead. 'She is the estranged wife, long believed dead, of Julien...'

'The novel is heavily influenced both by my university history thesis on the behind-the-scenes power women wielded in UK politics in the nineteenth century' - clumsy. Try:

'my history thesis on the power wielded by women behind the scenes in UK* politics in the nineteenth century.' *decide which you want to use throughout - UK or Britain - and be consistent.

I may sound picky, but this is, as I've said before, your shop window and it has to be perfect. Every word has to count.

Lorraine

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Lorraine Swoboda
14/08/2015

Thanks Jimmy and Lorraine. You've both raised some really useful points.

I ought to point out that the "I'm super keen to be represented by X" was a jokey way of saying "insert tailored paragraph about each agent here." I wasn't really going to use that term, I swear.

I also intend to italicise where appropriate, most notably for the opening paragraph. Irritatingly, this site doesn't seem to allow any formatting.

Lorraine, on the synopsis, that's about my third draft. It was originally about three pages long, so I've already brutally cut it down. I guess I just need to keep going. It's tricky as the book is quite plot heavy, but I think it's getting there.

Jimmy, did you get the copy of the manuscript? If so, I look forward to hearing what you think. If not, I'll resend.

Anyway, here's another shot at the letter, which hopefully incorporates most of the suggested changes

G

Some call the First Lord, who took power through violence and keeps it with terror, a monster. I call him my beloved husband. Traitors say our government is a dictatorship driving Britain into dystopia. I say we've changed the country for the better.

I’m seeking representation for my novel, Checks and Balances, a political thriller with dystopian elements and an anti-heroine narrator. It’s told through the eyes of the scheming wife of a British dictator in the idealistic run-up to and brutal aftermath of a military coup in the UK – think Gone Girl meets 1984 with hints of House of Cards.

The book opens in 2035, with Britain governed by a military dictatorship, and the resistance preparing for their last stand. It focusses on Marianne, seemingly a high-ranking resistance fighter. In reality, she is the estranged wife of Julien, the despotic First Lord, whom both sides have long assumed to be dead. When the First Lord’s Army capture her and discover her identity, she is forced to resume her old life as the perfect consort.

The story involves two parallel timelines, told through alternating chapters. One spans a ten-year period in which Julien and Marianne meet, fall in love and rise to power. The other focusses on the months after Marianne’s return to court, as she tries to readjust to being the First Lady. Until the very end, Marianne’s loyalties and intentions remain deliberately unclear, leaving readers to wonder whether she is a hero, a villain, or simply a woman blinded by love.

I love dystopian fiction, and am particularly fascinated by the villains. I always wonder how and why they bent a country to their will and earned the hatred of the freedom-fighting heroes. No one ever decides they want to take over a country purely to make the people suffer. They must have started out with the best of intentions.

Checks and Balances explores how these good intentions arise and how they ultimately turn to bad realities. It juggles hard politics and big questions with a tale of lust, obsession and betrayal.

The novel is heavily influenced both by my university history thesis on the behind-the-scenes power women wielded in UK politics in the nineteenth century, and by my professional life as a civil servant working at the heart of the UK Government. My writing is also inspired by research into real-life wives of dictators, in particular, Asma al-Assad, the British-born wife of the leader of Syria, as well as Kim Jong-suk, wife of the first ruler of North Korea, and of course, Eva Peron.

[And then where appropriate, a specific paragraph about "why this agent".]

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Georgiana
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Georgiana Derwent
12/08/2015

Hi, Georgiana,

Put the first two lines in italics or quotes: the first person voice here isn't yours.

No inverted commas at anti-heroine - it's a perfectly acceptable description.

'once-powerful' - needs the hyphen.

'the man who led a coup against the Government and made himself a king.' - two points: he has made himself a king out of plasticine, presumably; and he isn't titular King, he's the First Lord. This needs to be changed.

'whom the Regime have crushed by air strikes, informants, and repression.' - can one crush by informants?

'But now David, the leader of the Treaty, has a plan. He’ll send in his mistress, Marianne. She’ll seduce the First Lord, expose his secrets, and assassinate him in the throes of passion.' This line is really weak. It doesn't belong in the letter, but in any case, it sounds facile, and an agent reading that would get such a skewed idea of your novel that they would reject it out of hand. Marianne is to be sent in to assassinate him - that's all you need to say here.

Rather than give the synopsis-type explanation, you'd be better off explaining who Marianne is and what she plans to do - give an overview. 'The novel centres on Marianne, the estranged wife of...' - that sort of thing. Keep it short and to the point.

You've used 'dystopia/dystopian' in this letter - change one of them.

'I love dystopian fiction, but' - no buts! You need to make a stronger statement than this implies; 'and' would be better.

This isn't a discussion: 'I tend to...Surely...surely' have no place here. Tell them what you think - don't ask for a response.

No comma after 'thesis'.

'I tend to wonder how and why they bent a country to their will and earned the hatred of the freedom-fighting heroes.' - you've moved into past events here, whereas Asma al-Assad is very much present. Keep it all current. Is Asma the only such woman to inspire you, or can you name others and so leave out the potted biography here?

'influence women were able to play' - one doesn't play influence - one has it, uses it or wields it.

'I was also inspired' - change of tense here from present to past. Try 'I have also been...' or 'I am inspired'

'super keen' is again facile; rather too teenager!

Synopsis:

'kills most of the Government' - again, this is such a facile comment; feels like a computer game. Actually, as Marianne is the only MP alive ('still standing' is really not a good phrase) he's killed more than just 'most of the Government' - he's all but annihilated it. Do you need 'Government MP'? Isn't 'MP' enough?

'Far from trying to stop the bombing raid, she was the one arguing for it. Once Julien insisted it would be a humanitarian disaster, she realised that the only way to change his mind would be to disappear and convince him that the Treaty had murdered her. ' - keep it in present tense, not past.

'still-incognito' (hyphen needed)

'who knew who she was all along' - 'who reveals he has always known her real identity.'

'the carnage of the bloody room.' - a form of repetition.

'Peter declares himself First Lord. Before Peter can imprison her,' - 'Before he can imprison her'

'The first two groups find their targets deserted and die in a bomb blast.' - two groups, two locations, one bomb blast?

'She then shoots David dead in his moment of greatest despair.' - lose 'then'

'she and Julien them plot to extend their rule beyond Britain.' - then, not them - but lose it anyway. Why not 'begin to plot...' - presumably a reference to a second volume?

It's incredibly hard to write both letter and synopsis, and you'll be editing and re-editing before you get it pared down to the essentials. Remember that this is your shop window - it should show off your wares enough to tempt the agent to open the door and step inside.

Everything on show should be of top quality and attractively placed. No dead flies, no bits of thread, no coffee-cup circles on the carpet!

Hope this helps.

Lorraine

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