Your Fiction Book Query Letter/Proposal is your first contact with the literary agents or publishers that you have chosen to pitch your work. This is your big chance to impress them and to interest them in eagerly requesting to see your full book manuscript.
This Query Letter/Proposal is very different from its Nonfiction Book Query Letter and Proposal cousin. As a result many potential authors have asked Goldilocks to help them understand the differences. You can look at the following Methodology/Process that Goldilocks works through to write a very engaging Fiction Query Letter.
Here is a handy checklist of all the components that Goldilocks has included in the more descriptive discussion as noted above.
Remember that a book is not considered as such until it is published and beforehand it is a "work" or a "manuscript." Before you query literary agents/publishers, your fiction manuscript must be completed and fully edited as if it were to be placed directly Online or packaged with a book cover/binder and sold at a traditional bookstore.
Continue with each of the following pieces of information on a separate line.
–"A Novel" should be considered the subtitle unless you actually have a real one in that case enter this info after it.
-Why you are writing the letter − seeking representation of your work (for an agent) or offering your work for potential publication (for a publisher), the latter is not the normal case.
-You've been vouched for or referred by an agent's existing client or if you're querying a publisher, you might be referred by one of their authors.
-Maybe you met the agent/editor at a conference or pitch event where your material was requested (in which case, your Query Letter doesn't carry much of a burden).
-You heard the agent/editor speak at a conference or you read something they wrote that indicates they're a good fit for your work.
-Mention excellent credentials or awards such as, you have an advanced writing degree from a school that an agent is known to recruit clients from, you've won first prize in a national competition with thousands of entrants, or you have impressive publication credits with prestigious journals or New York publishers.
How do you know what your genre is?
Think of where you'd find your novel in a bookstore.
Would it be in fantasy, science fiction, paranormal, romance, or somewhere else?
These are general genres that are safe to use. Young adult is also one, so if you write for the under-eighteen crowd, this is what you should use. Keep in mind that a memoir is a nonfiction genre but is written in story form like fiction.
-Never report the number of pages in your manuscript. This can change based on your font and spacing, so it's not an absolute. Plus, once your novel is typeset for printing, the page number will be drastically different, the word count will likely be the same, though.
-Mention only the main characters you meet in the beginning of the story and sidekicks can be left out. Usually, the best thing to do is to feature the character who is the focal point of the story and the antagonist.
-It should talk about the main character's goals, motivation, and the conflict that stands in the way.
I have a completed (word count) (genre) entitled (title) about (protagonist name and small description) who (conflict).
What does your character want? Why does he want it? What keeps him from getting it?
(Character name and description) and (the conflict being faced) and (the choices being considered).
That unique little thing that sets your work apart from all others in the genre, and makes your story stand out, that shows it is uniquely yours. Sizzle means, this idea isn't tired or been done a million times before.
-Does your hook consist of several meaty paragraphs, or run longer than 200 words?
-Does it reveal the ending of your book?
-Do you mention more than three or four characters?
-Does your hook get into minor plot points that don't affect the choices the protagonist makes? Do you really need to include them?
Will a specific element be meaningful or perhaps charming to the agent/editor?
If you can't confidently answer yes, leave it out.
-Should you mention self-published books?
That's totally up to you. Sooner or later this information will have to come out, so it's usually just a matter of timing. Lots of people have done it, and it doesn't really hurt your chances.
–What if you have no fiction writing credits?
-Should you say you're unpublished?
Absolutely not, that point will be made clear by fact of omission.
–Thank your literary agent, but don't carry on unnecessarily, or be incredibly subservient, or beg.
I know you're very busy and I would be forever indebted and grateful if you would just look at a few pages.
-Make sure your Query Letter/Proposal includes, somewhere, your phone number, e-mail address, and return address. (Include a self-addressed stamped envelope for snail mail queries.) -It is recommended that you put your contact information at the very top of your letter. It is not necessary to repeat it again at the bottom of your query submission unless you are sending your submission via E-Mail, in that case this is where to enter this information.
-It's not a good idea to introduce the possibility of an in-person meeting. Don't say you'll be visiting their city soon, and ask if they'd like to meet for coffee. The only possible exception to this is if you know you'll hear them speak at an upcoming conference, but still don't ask for a meeting. Just say you look forward to hearing them speak. Use the conference's official channels to set up an appointment if any are available.
-Remember to offer sample chapters (if the agent does not accept sample chapters in the initial query) and/or the complete manuscript (only if it is finished, of course).
-It is not necessary to state that you are simultaneously querying multiple literary agents or publishers. Everyone assumes this, send them out in batches of three to five or more, if you're confident in your query quality.
That being said, there is a great big "BUT" and that is that each query you send out should be personalized for each literary agent/publisher you are querying. Otherwise the rest of the body of your letter/proposal can remain the same from one submission to another.
-If your manuscript is under consideration by another agent or editor, state that fact if or when someone else requests it.
Unless you are told otherwise, include the first three chapters (and yes, a prologue is a chapter), but no more than 50 pages of your manuscript. Make sure they are complete, are the first chapters, and if the third one ends at page 51 send 51 pages. If chapter three ends at page 80 then you only send two chapters. Just use good judgment. Literary agents really like authors who can make good decisions.
If you need to include a Synopsis, Place it at the end of the package.
Do you really want people to read this first?
Remember the last thing that they read in your submission should leave them with a really great impression such that they eagerly contact you to see your whole book manuscript.
-If your manuscript is under consideration at another agency, then mention it if/when the next literary agent requests to see your manuscript.
Find out how exciting it is!
See how it's going to be a bestseller if only someone would give it a chance!
How much the world needs this work!
-A Query that runs longer than one single page single spaced shows that you have said too much and you should look back over the page and figure out what information is less important and can be deleted.
-If your novel's word count is much higher than 100,000 words, you have a much bigger challenge ahead of you. Eighty thousand words is the industry standard for a debut novel.
-Ensure you've specified your genre, without being on the fence about it.
-Direct comments on the quality of your work.
-On the flip side, don't criticize yourself, or the quality of the work, in the letter.
-Refrain from editorializing your story for the agent/editor, almost as if you were writing a review of your work.
-Explanations of how or why you came to write your book, especially if your motivation is so common as to be a cliché.
-A discussion of trends in the market or your work's target audience. You need to sell the story, not the genre.
-For those authors who have previously self-published their work, including that detail in the query presents a minor dilemma. These days, self-publishing doesn't usually hurt your future chances of traditional publication, but self-publishing credits don't make you more desirable as an author either.
-Talk about how you've wanted to write since you were a child.
-Avoid heavy use of adjectives, adverbs, and modifiers. In fact, try creating a version of your query without any modifiers, and see what happens.
How can you format the E-Mail Query properly?
-Send the Query without any formatting including any indents (block style is preferred).
-Don't use address, date headers, or contact information at the beginning of the e-mail; put all of that stuff at the bottom, underneath your name.
-Some writers structure their E-Queries differently than their paper cousins (or make them shorter). Consider how much the agent can see of your E-Query on the first screen, without scrolling. That's probably how far they will read before responding or hitting delete. Adjust your Query accordingly. Usually the hook should go first, unless you have a strong personalization angle.
If you have any questions or would like some help crafting your Fiction Query Letter/Proposal then contact Goldilocks and she will be very happy to assist you.


Tiger's Still Got It : Blog Of The Nation In Rocco vs. Tiger... Tiger takes it, but barely.
No one wants to say it. Tiger Woods doesn't want to say it. Phil Mickelson doesn't want to say it. But I will. Tiger has no chance of winning the U.S. Open this week at Torrey Pines Golf Course.
By now, you've probably heard how the weekend went down, how the unlikely Rocco Mediate took Tiger into golf-overtime: a full-on extra game to break the tie Tiger forced in the final round on Sunday. It even went into sudden-death on Monday! Doesn't sound like the golf I (sort-of) know, which is why Carlos joins us today with the full story... and to eat a little crow.


This truck is the result of what happens when you have a plan for your truck, and you go through with it. Dubbed project Soul Stealer, this massive and richly detailed '15 Ram Sport Quad Cab, owned by Steve Burkett, has made the rounds of almost every local custom car and truck show—always winning awards. The build list on this truck is longer than most, as the intention was to take it to SEMA 2017. That is exactly what happened; it was a part of the RBP booth. And this was not Steve's first rodeo, either, he appeared in Truckin way back in 2012 with an '08 GMC Yukon riding on 26-inch Lexani wheels.
In this pre-SEMA buildup, Steve still had a ways to go with a sound system and interior swap next on the build list. He called up Rezurxn Speed and Marine in Hesperia, California. In their capable hands, the Ram would finally be as beautiful on the inside as she was on the outside. The plan of attack was to tear the inside of the truck down and build it back up. Next, the truck would wired for sound and have an entire cattle's herd of leather in the interior. However, it wouldn't be simple. After some light discussion, Steve settled with Rezurxn owner Paul Ferris to build a blow-through speaker box and do up the interior with custom boxes for speakers, amps, and anything else that needed to be tidied up.
So follow along to Rezurxn Speed and Marine while they strip the interior of this '15 Ram Sport Quad Cab 4x4 and give it a bevy of audio parts from AudioControl, Lanzar Pro, Ohio Generator, Orion, a six-pack of Reikken batteries to power it, and FatMat Rattle Trap sound deadener to insulate it all. Watch as the Rezurxn team transforms the interior with new seats, custom door panels, and a custom SPOD install to control all the preexisting exterior lighting and the newly installed LEDs.
Photo 2/28 | Here is a small sampling of what went into this audio install: Two Orion HCCA 15-inch subs installed into a custom blow-through going from the bed to the cab, two Orion HCCA 5000 monoblock amps set into a custom box under the rear seats, a total of 12 Orion XTW250FD 1 1/4-inch 320W MAX XTR tweeters will join eight Orion 6 1/2-inch door speakers, boosted by an AudioControl DM 810 DSP Processor, powered by six Reikken Batteries.
Photo 3/28 | Our '16 RAM was being transformed for SEMA, so by the time this photographer caught up with the build at Rezurxn the seats, carpet, door panels, and headliner had been stripped out. They had laid down a layer of FatMat Rattle Trap sound deadener, too. The pros at Rezurxn painstakingly laid it down so the graphic matched from seam to seam.
Photo 4/28 | A blow-through speaker box built by Rezurxn starts in the bed and comes through into the back of the cab. To do that, they stripped the covering on the rear wall of the cab and relocated some electronics. The factory door lock module directly in the middle would only need to be flipped on its two-bolt bracket, and they measured our box and cut the cab and bed.
Photo 5/28 | This box was custom made in-house at Rezurxn to hold the two Orion 15-inch subs. It is built in two pieces with the box itself amplifying the sound, like any sub box does. The step-down that our installer Jesse is holding will poke through to the cab. An accordion boot seal will bridge the area between the cab and bed, and the box will rest on top.
Photo 6/28 | Our custom Ram's tonneau cover had to remove before cutting into the bed. Jesse will lay the box in the bed and trace it to get the blow-through dimensions.
Photo 7/28 | The box itself was measured against the back of the cab to trace a template out, which was roughly 1-inch taller than the box to accommodate the accordion boot seal.
Photo 8/28 | Jesse quickly cut out the bed using an air saw and used the cut out portion of the bed to transfer the cut line to the inside of the cab.
Photo 9/28 | Inside the cab, the cutting went just as quickly with the air saw. With two gaping holes in the truck, there was no turning back now! Our Ram was going to get its blow-through box soon!
Photo 10/28 | The edges of the inside and the outside of both cuts were sanded smooth to accept the accordion boot seal for the box to rest on. The small D-shaped hole on the lower right had a plastic grommet before that Jesse will cut to fit and reinstall.
Photo 11/28 | Here, the accordion boot seal is installed. The 3-inch-wide flexible rubber seal not only protects the box but also keep the elements out of the cab. It was first test fit and cut to size. They laid down a quick layer of spray adhesive to keep it locked in place, so it won't slide out when the sub box is installed.
Photo 12/28 | They removed the panels to prepare to cut the door panels, install the Orion tweeters and 6 1/2-inch speakers, remove the window regulator and frame, and line the door itself with more Rattle Trap insulator.
Photo 13/28 | Both of the front door panels are ready to be altered for the speaker array. The wood frame was cut from a piece of MDF and is solid all the way around. As you can see, the speaker array will take up most of the door panel.
Photo 14/28 | Our door panel is coming along. The speaker mounting rings were cut out from MDF, too, and mounted inside the framework. These Orion 6.5s kick out 1400 watts apiece and must be solidly mounted.
Photo 15/28 | The rear door panels were done a bit differently due to the layout behind the panel. They first made a template of cardboard (above) and cut it from MDF (below). The speakers would be mounted directly to them.
Photo 16/28 | The wood frames received a metal mesh screen that will later be engraved with the Orion logo. All four panels got the same treatment with this custom metal strip.
Photo 17/28 | Here is the final product. Our door panels were sprayed textured black, the Orion 6.5s and tweeters were mounted in their custom frames with a vinyl backing. The panel itself will be backlit with a blue LED strip that matches the exterior paint.
Photo 18/28 | A total of 12 tweeters were used: eight in the doors alone and the other four spread all over the cab in the factory locations. This one was placed in the upper left driver's side of the dash.
Photo 19/28 | With the doors all cut and wired our installer Jesse moved to the Orion HCCA amps. A custom box was built to house the two amps, and their wiring, keeping everything nice and clean. The whole thing would fit neatly under the rear seats.
Photo 20/28 | The finished amp box matches all the other custom work on the doors and in the bed. Sprayed textured black with lights, it looks amazing. When the rear seats are in use, only the rectangular lighted area will be seen peeking out right in the middle.
Photo 21/28 | Back in the bed, our box was mocked up into place, but not installed, so our battery rack could be mocked up as well. Six Reikken batteries would be lined up side to side to give this system the power it so desperately needs. A MDF box was built and texture coated just like the sub box. A seventh Reikken battery went into the stock location in the engine bay.
Photo 22/28 | All of the dress up pieces custom made for the doors, including the amp box and sub box, were made in-house at Rezurxn. This Orion logo destined for the back of the sub box was made in-house, too.
Photo 23/28 | Both the sub box and the battery box were installed into their final locations with all their dress up pieces. They were wired for both power and lights. These custom touches really set off the bed itself, and separate a good shop from a truly creative one. It's these touches that will help our truck owner win awards at shows and get noticed at SEMA.
Photo 24/28 | With everything properly wired with Lanzar Pro cables and the power flowing correctly, Jesse had to adjust the levels in all the speakers using the AudioControl DM 810 DSP Processor, mounted under the passenger seat for easy access, and his trusty shop laptop connected with a USB cable.
Photo 25/28 | With all of our speakers and batteries in place, the Rezurxn team moved to engine. A heavy-duty alternator from Ohio Generator will help power this complicated system. At 12 volts, 300 amps, and more than 4,800 watts, it should be stout enough to keep up with the power demands of our Ram.
Photo 26/28 | This SPOD unit will be installed in the engine bay, tucked up on the firewall, and control the existing LED lightbars and pods around the exterior. It also controls the interior LEDs on the door panels and all the LEDs on both the blow-through and battery boxes.
Photo 27/28 | With the audio all buttoned up, they reinstalled the interior carpet and headliner. With every other inch of this rig completely custom, the interior wouldn't be complete without these custom skinned seats! The custom seats were installed by Ridin Dirty Upholstery out of Hawthorn, California.
Photo 28/28 | Our '15 RAM was ready to hit the streets with its new booming sound system, courtesy of Rezurxn Speed and Marine. Its Orion-based sound system is now integrated into the interior with custom lighting and dress up pieces, as well as a six-pack of Reikken batteries and an Ohio Generator heavy-duty alternator to power it all! It'll make a splash at SEMA 2017 for sure!


MAGISTRATES jailed a man caught with heroin and cocaine.
Robert Cox, 24, of Red Wing Court, Portsmouth, admitted possessing heroin and cocaine, class A drugs, on April 20.
Portsmouth magistrates imposed a six-week term for each offence, to run together at the same time.
Cox admitted both charges at Portsmouth Magistrates' Court, where his sentence was ordered to run concurrently to one previously imposed in May.


The East African Global Music Campus (EAGMC) begins with a meeting of the 11 partners in the consortium from 26 to 27 April in Kampala to plan the new two-year project.
Participants of the Global Music Campus in South Africa in 2012.
This will be followed by the first phase of the project, a nine-day organisational development workshop running from 28 April to 6 May. The workshop will be attended by directors and administrators from music schools and training centres in Ethiopia, Germany, Kenya, Malawi, Mozambique, Sierra Leone, South Sudan, Tanzania, Uganda and Zimbabwe.
The workshop will provide skills training on how to run a sustainable social enterprise offering courses in music school administration and management, IT skills training, content management training, accreditation, cultural management and project development.
The proximity to the East African Performing Arts Market (DOADOA) will allow the participants to network with stakeholders in the region and present their organisations.
The idea of creating the Global Music Campus came after a fact-finding mission commissioned by the German Foreign Ministry in 2009 and conducted by the Global Music Academy in Southern Africa. The aim of the campus is to test ideas for a new practical music education system that focuses on the music of the region and uses modern teaching methods and curricula.
Campuses have since been held in South Africa, Uganda, Zimbabwe and Ethiopia, with workshops taking place in Ethiopia, Kenya, Uganda and Tanzania.
By enabling young musicians to acquire the necessary skills to perform, read, write, document and transmit their own music cultures, the campus empowers them to be active in the preservation and promotion of their rapidly eroding heritage, engage in local and interregional markets and contribute to the development of a diverse music sector.
The second phase of the East African project begins in September with the 23-day East African Global Music Campus, which will be staged in Addis Ababa, Ethiopia. Here the focus is on training seven youth workers as music teachers for the partner schools in Ethiopia, Kenya, Sierra Leone, South Sudan, Tanzania and Uganda.
The Global Music Campus has been developing an innovative two-year curriculum since 2010 to provide professional training for aspiring young musicians through the region's music schools. The trainee music teachers will be trained in the use of the curriculum with a group of experienced facilitators from Africa and Germany, who are also responsible for designing the curriculum.
The ultimate aim of the programme is to create a network of music schools throughout the continent using a complementary system that will enable them to exchange teachers and students, best practices and cooperate inter-regionally and internationally.
The project is co-funded for the next two years by the Erasmus + Programme of the European Union and the Goethe-Institut through the Goethe-Institut in Ethiopia, which is also a partner of the project.
Meanwhile, another initiative funded through the German Foreign Office Kulturerhalt programme will run in Zimbabwe this year. It involves film documentation of the drum cultures of Chiweshe, the mbira and sungura guitar styles. There will be interviews with surviving old masters, from which teaching videos and material will be produced.
Here's a film made during the 2012 Global Music Campus in Soweto, South Africa.


We are building the backbone of global trade.
Our ideas, visions and technology are powered by a great team and a unique culture.
FreightHub is a digital asset-free freight service provider located in Berlin (HQ), Hamburg, Cologne and Hong Kong. Our ultimate goal is to create the best freight-forwarding experience for our global customers. We achieve this by leveraging state-of-the-art technology to provide seamless processes and best-in-class service.
We assemble the greatest minds and use the latest technology to create the best customer-oriented logistics platform.
FreightHub was founded in 2016 by Ferry Heilemann, Erik Muttersbach, Michael Wax and Fabian Heilemann in Berlin, Germany. The team has a mutual entrepreneurial track record that dates back to 2009 when Ferry, Fabian and Erik were among the early contributors to the German digital industry, setting up the local couponing marketplace DailyDeal. In 2011, they sold it to Google Inc. for over 100 million USD.
In 2015, the four founders re-joined forces and mapped out what the perfect digital freight-forwarding experience for the shipper of the 21st century would look like: a one-stop shop and single face to the customer that would cover the entire process chain from quotation, booking, document management, track and trace all the way to proactive exception handling and supply chain data analytics.
Since its foundation, FreightHub has grown its partner network to more than 1000 shippers and evolved into the leading European digital forwarder across sea and air freight between Europe, Asia and North America. A growing team of over 100 technology experts and logistics enthusiasts located in Berlin (HQ) and Hamburg combined with more than 23 million USD in funding from reputable VCs have laid the foundation for future growth.
Join us now in taking the success story of FreightHub to the next level! We are looking forward to learning more about your intentions and what you want to achieve within and for FreightHub!
company information and press releases.
FreightHub is headquartered in Berlin, while we have also established growing offices in Hamburg, Cologne and Hong Kong.


When it comes to gift giving and the holiday season, I love to make lists. This year I am so excited to share my lists with all of you!
Today begins my six week series of gift guides! With Christmas only 38 days away, everyone seems to be getting in the holiday spirit… I know I am! Each Monday until Santa comes, I will be posting a themed gift guide! I will be sharing the perfect gifts for everyone on your list- from the beauty obsessed to the tech lover to your sweet parents and bff! And every Friday until Christmas, I will be sharing holiday outfit ideas! Stay tuned!
This Monday, I am excited to kick things off with the Jetsetter guide, because everyone seems to be jetting off to somewhere special during the holiday season. Whether your special "gift-ee" is headed to NYC for some holiday shopping, the Caribbean to soak up some sunshine, or Colorado to hit the slopes, this guide covers it all!
P.s. I could not kick off this series without mentioning how grateful I am to be able to celebrate and rejoice this time of year over the most perfect and wonderful gift of all: our Lord and Savior, Jesus Christ. It is because of Him that this holiday season is so meaningful and special. During this busy and exciting time, it is my hope that we would all remember the true joy and peace that comes from knowing Him and remembering his incredible birth.


What does Conversational Search mean and how to make the most of it—given the possibilities and the restrictions that come along with this paradigm?
Currently, our understanding is still too limited to exploit the Conversational Search Paradigm for effectively satisfying the existing diversity of information needs. Hence, with this first Dagstuhl Seminar on Conversational Search we intend to bring together leading researchers from relevant communities to understand and to analyze this promising retrieval paradigm and its future from different angles.
Among others, we expect to discuss issues related to interactivity, result presentation, clarification, user models, and evaluation, but also search behavior that can lead into a human-machine debate or an argumentation related to the information need in question.
Moreover, we expect to define, shape, and formalize a set of corresponding problems to be addressed, as well as to highlight associated challenges that are expected to come in the form of multiple modalities and multiple users. Correspondingly, we intend to define a roadmap for establishing a new interdisciplinary research community around Conversational Search, for which the seminar will serve as a prominent scientific event, with hopefully many future events to come.


text:
Baker Theatre (Rochester, N.Y.) (3) + -
May Bragdon Diary, April 21, 1908 – September 1, 1909, p. 62
Bragdon, Chandler (12/15/1907 - 1/3/1969), Crawford, Letitia (b. 1863?), Cutler, James Goold (4/24/1848 - 4/21/1927), Cutler, Anna Katherine (1845? - 1924), Cutler, Joseph Warren (7/13/1857 - 1934), Davis, Charlotte Gleason (4/12/1861 - 1938), Hutchinson, Bessie J. (1877 - 1954), Dickins, Mary Belle (9/9/1876?), Joiner, Edith M. (7/3/1868 - 7/4/1935), Baker, Marie (b. 1845), Baker, Lura Ophelia (8/13/1870 - 1922), Davis', Wilkinson, Henry Wilhelm (11/20/1869 - 12/8/1931), Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Bragdon, Claude (8/1/1866 - 9/17/1946), Arnold, James Burns (1881 - 1957), MacArthur, Nellie (b. 4/4/1867?), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Bragdon, George Chandler (4/29/1832 - 8/7/1910), Baker Theatre (Rochester, N.Y.), Samovar (Rochester, N.Y.), Cro' Nest (Rochester, N.Y.)
Bragdon, George Chandler (4/29/1832 - 8/7/1910), Cutler, Joseph Warren (7/13/1857 - 1934), Baker, Lura Ophelia (8/13/1870 - 1922), MacArthur, Nellie (b. 4/4/1867?), MacArthur, Mary (3/12/1869), Baker, Marie (b. 1845), Davis, Frank Allen (3/21/1873 - 6/1/1953), Davis, Frances Graham (9/9/1906 - 10/6/1983), Hutchison, Laura B. (b. 1870), Goler, Caroline Chandler (b. 3/16/1869), Cutler, James Goold (4/24/1848 - 4/21/1927), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Gilmore, Joseph H. (b. 9/9/1863), Bragdon, Claude (8/1/1866 - 9/17/1946), Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Bragdon, Chandler (12/15/1907 - 1/3/1969), McLaughlin, Florence (1877? - 1945), Dickins, Mary Belle (9/9/1876?), Hutchinson, Bessie J. (1877 - 1954), Sibley's (Rochester, N.Y.), Highland Park (Rochester, N.Y.), Genesee Valley Park (Rochester, N.Y.), Flinch
Cutler, James Goold (4/24/1848 - 4/21/1927), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Baker, Lura Ophelia (8/13/1870 - 1922), Davis, Hamilton Clark (10/14/1864 - 2/10/1947), Bradshaw, Alice (b. 3/14/1889), Hutchinson, Bessie J. (1877 - 1954), Dickins, Mary Belle (9/9/1876?), Crawford, Letitia (b. 1863?), Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Bragdon, Chandler (12/15/1907 - 1/3/1969), Bragdon, Claude (8/1/1866 - 9/17/1946), Rowe, Marguerite H. (1886 - 1967), Arnold, James Burns (1881 - 1957), Steinhausen, Meta (1879 - 1969), Duffy-McInnerny Co. (Rochester, N.Y.), Sibley's (Rochester, N.Y.), Flinch
Hutchinson, Bessie J. (1877 - 1954), Dickins, Mary Belle (9/9/1876?), Rogers, Mabel S. (b. 11/17/1870), Bradshaw, Alice (b. 3/14/1889), Cutler, James Goold (4/24/1848 - 4/21/1927), Bragdon, Claude (8/1/1866 - 9/17/1946), Cutler, Joseph Warren (7/13/1857 - 1934), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Gridley, Mary R. (1876? - 1956?), Bragdon, Chandler (12/15/1907 - 1/3/1969), Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Bragdon, May (5/16/1865 - 3/21/1947), Sibley's (Rochester, N.Y.), Charlotte (Charlotte, N.Y.)
Cutler, James Goold (4/24/1848 - 4/21/1927), Baker, Lura Ophelia (8/13/1870 - 1922), Baker, Marie (b. 1845), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Bragdon, Chandler (12/15/1907 - 1/3/1969), MacArthur, Mary (3/12/1869), Tappan, Robert (b. 1885?), Bragdon, Claude (8/1/1866 - 9/17/1946), Rowe, Marguerite H. (1886 - 1967), Hutchinson, Bessie J. (1877 - 1954), Dickins, Mary Belle (9/9/1876?), Fenner, Louise (5/3/1877 - 5/17/1950), Bragdon, Eugenie Julier (11/16/1870 - 11/6/1920), Sibley's (Rochester, N.Y.), Powers Building (Rochester, N.Y.), Cro' Nest (Rochester, N.Y.), Mechanics Institute (Rochester, N.Y.)
Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Crawford, Letitia (b. 1863?), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Williams, Herma Louise (1885 - 1957), Arnold, James Burns (1881 - 1957), Bragdon, Claude (8/1/1866 - 9/17/1946), Bragdon, Chandler (12/15/1907 - 1/3/1969), Cutler, Joseph Warren (7/13/1857 - 1934), Cutler, James Goold (4/24/1848 - 4/21/1927), MacArthur, Nellie (b. 4/4/1867?), Aroix, Jean Baptiste, Bragdon, George Chandler (4/29/1832 - 8/7/1910), MacArthur, Mary (3/12/1869), Joiner, Edith M. (7/3/1868 - 7/4/1935), Baker, Lura Ophelia (8/13/1870 - 1922), Hutchinson, Bessie J. (1877 - 1954), Dickins, Mary Belle (9/9/1876?), Hubbell Park (Rochester, N.Y.), Cro' Nest (Rochester, N.Y.), Seneca Park (Rochester, N.Y.)
May Bragdon Diary, February 21, 1908 – February 22, 1908, p. 45
Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Bragdon, Chandler (12/15/1907 - 1/3/1969), Hutchinson, Bessie J. (1877 - 1954), Cutler, Joseph Warren (7/13/1857 - 1934), Cutler, James Goold (4/24/1848 - 4/21/1927), Gilmore, Joseph H. (b. 9/9/1863), Flack, Ethel L. (b. 1877), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Chapin, Fuzzy muzzle Club
Rowe, Marguerite H. (1886 - 1967), Bragdon, Claude (8/1/1866 - 9/17/1946), Arnold, James Burns (1881 - 1957), Tappan, Robert (b. 1885?), Cutler, James Goold (4/24/1848 - 4/21/1927), MacArthur, Mary (3/12/1869), Baker, Lura Ophelia (8/13/1870 - 1922), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Bragdon, Chandler (12/15/1907 - 1/3/1969), Wolfe, Alice Louise (b. 1857?), Stern, Herbert Morland (1882 - 1977), Davis', Davis, Frances Freeman (1838? - 1915), Davis, Charlotte Gleason (4/12/1861 - 1938), Hutchinson, Bessie J. (1877 - 1954), Dickins, Mary Belle (9/9/1876?), Warner, John Foster (1859 - 1937), Warner Castle (Rochester, N.Y.), League
May Bragdon Diary, April 4, 1909 – April 10, 1909, p. 176
Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Bragdon, Chandler (12/15/1907 - 1/3/1969), Hutchinson, Bessie J. (1877 - 1954), Bragdon, George Chandler (4/29/1832 - 8/7/1910), Boyce, John L., Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Cutler, James Goold (4/24/1848 - 4/21/1927), Davis, Katharine Bement (1/15/1860 - 12/10/1935), Zoroaster (d. 1909)
Cutler, James Goold (4/24/1848 - 4/21/1927), Hutchinson, Bessie J. (1877 - 1954), Dickins, Mary Belle (9/9/1876?), Bragdon, Claude (8/1/1866 - 9/17/1946), Arnold, James Burns (1881 - 1957), MacArthur, Mary (3/12/1869), Davis, Hamilton Clark (10/14/1864 - 2/10/1947), Baker, Lura Ophelia (8/13/1870 - 1922), Clark, Edith E. (1884? - 1934), Wolfe, Alice Louise (b. 1857?), Arnold, Helen Ann (4/18/1888 - 1983), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Wolfe, Gurdon C. (8/1890 - 1928), Bragdon, Eugenie Julier (11/16/1870 - 11/6/1920), Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Bragdon, Chandler (12/15/1907 - 1/3/1969), Rowe, Marguerite H. (1886 - 1967), Weller, Frieda (1889 - 1926?), Sibley's (Rochester, N.Y.), Cutler Building (Rochester, N.Y.), Cutler Manufacturing Co., Manas Press
Cutler, James Goold (4/24/1848 - 4/21/1927), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Baker, Lura Ophelia (8/13/1870 - 1922), Wolfe, Alice Louise (b. 1857?), Bragdon, Claude (8/1/1866 - 9/17/1946), Davis, Charlotte Gleason (4/12/1861 - 1938), Rowe, Marguerite H. (1886 - 1967), Dickins, Mary Belle (9/9/1876?), Hutchinson, Bessie J. (1877 - 1954), Dossenbach, Hermann (4/10/1868 - 1/28/1946), Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Hoyt, Susan R. (1854 - 1936), Bragdon, Chandler (12/15/1907 - 1/3/1969), Sibley's (Rochester, N.Y.), Duffy-McInnerny Co. (Rochester, N.Y.), Baker Theatre (Rochester, N.Y.)
May Bragdon Diary, February 7, 1909 – February 13, 1909, p. 165
Bragdon, George Chandler (4/29/1832 - 8/7/1910), Bragdon, Chandler (12/15/1907 - 1/3/1969), Bragdon, Claude (8/1/1866 - 9/17/1946), Bragdon, Henry Wilkinson (9/6/1906 - 3/15/1980), Steinhausen, Meta (1879 - 1969), Hutchinson, Bessie J. (1877 - 1954), Dickins, Mary Belle (9/9/1876?), Bragdon, Katherine Elmina (12/30/1837 - 9/6/1920), Cutler, James Goold (4/24/1848 - 4/21/1927), Flack, Ethel L. (b. 1877), Gilmore, Joseph H. (b. 9/9/1863), Wilkinson, Alfred (6/3/1858 - 5/27/1918), MacArthur, Nellie (b. 4/4/1867?), Davis, Charlotte Gleason (4/12/1861 - 1938), Cro' Nest (Rochester, N.Y.), Duffy-McInnerny Co. (Rochester, N.Y.), Baker Theatre (Rochester, N.Y.)

redpajama_set_name: RedPajamaCommonCrawl


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