otherside89girl wrote:*edit*
Thanks so much for the help
(I deleted my pitch out of sheer embarrassment, but I will take the advice to heart!)
Oh no! The pitch wasn't so terrible it deserves embarrassment. It had the germs of inspired creation. The only shortcomings it had to my thinking is a generic sense of what the narrative's about. Generic is as good a place to start as specific, which for pitches can be equally frustrating. It nonetheless is a place to start and build upon.
Given by the pitch without overstating the obvious; young adult coming of age theme; compelling Setting, the party scene, potentially causal, tension driving, and antagonistic and life complicating and accessible complications from the Setting and the supporting Characters, or the main facets of Plot; Idea, that's theme in a nutshell; Characters, I felt a touch of rapport for Shelly because I at one time was attracted to the party scene, a rebellious love interest, and the odd friend out of the pack of norms; Event, hmm, I have a question there, what event specifically complicates Shelly's life; and Discourse, the pitch's voice suggested to me Shelly's naivete regarding her desires; which is stellar.
Anyway, that's five out of six of SPICED's pivotal facets suggested. I'd say tighten up the event facet, be specific about how an event is pivotal to inciting Shelly into action and compelling her toward change, and the pitch would be on its way forward. I'm also guessing preparing the pitch is a precursor to draft writing. That's an excellent method for beginning prewriting.
Event isn't just situational, it's emotionally compelling for the sakes of reader empathy and curiosity. Actually, I feel a little pity for Shelly, thus some rapport, going young into the meat grinder party scene, which is a start. Got me to making comparisons with Jacqueline Susann's
Valley of the Dolls.
Spread the love of written word.