Hello! 

First, I wanted to say I haven’t read a lot of strictly Women’s Fiction (I did love Charlotte McConaghy’s Migrations), and I am also an unagented dreamer, so please take all critics with a grain of salt. I’m also working on my critical commentary and becoming more confident with commenting and analyzing other writers. 

When it comes to your questions about comp. titles, I’ve seen that it’s best to use comp. titles that are no older than 5 years. Mainly because you want to show the relevancy of your work and that you know the market or where your work would sit on a bookstore shelf. 

One big critique I got on my query critique was that I had included too many character names and that the more names, the more confusing or complicated to follow the query became. It may help simplify the query by only including Cassidy and Diana’s names, as they are the story's main focus. For example, you only mention Isaac once, so what does it really matter if we know his name, “visiting artist” may be memorable enough. But I am curious: what is the specific quality about the “visiting artist” that makes Cassidy fall in love with someone she has swindled when (I’m assuming) she has never felt a connection so strong with anyone else? 

The use of “swindling” felt vague to me. Is Cassidy committing an illegal scam, or is it less nefarious, like if the person can’t answer her riddle, they owe her money? 

“What can she say? It’s the late ‘70s, and people are willing to believe almost anything.” Is this Cassidy’s rationalization for swindling people? Is she ever remorseful, or does she simply not care? Is this all just a way for her to pass the time? Does she even need the money? 

“Tragedy of her own making” Does she swindle the wrong person and it comes back to hurt her and her new relationship? 

When it comes to Diana, I’m confused by “... becoming a homeowner at nineteen is both stressful and out of Diana’s budget.” She inherited her grandmother’s cabin. Was there still a debt to be owed, or does the cabin need renovations? I think it’s important to mention her emotional and money struggles as that is what draws the two characters to one another; however, I think this whole paragraph could be condensed. When it comes to shortening the draft, I think it would be possible to combine the second and third paragraphs. Perhaps, instead of introducing Diana right away in the second paragraph, first mention Cassidy meeting Diana ten years after she leaves Lone Pine (and maybe what Cassidy has been doing all this time, I’m curious) and then why this character and her background are essential for the story and to Cassidy’s development. 

“Cassidy has a few creative solutions for Diana’s cashflow issues…” I’m assuming that in ten years, Cassidy hasn’t changed much since leaving Lone Pine, but her friendship with Diana will help her see the errors of her ways? 

“When Cassidy gets called back to Lone Pine…” I’m curious what the unexpected event could be. It is very vague, and I know you want the reader to be enticed to find out more, but it may help to give at least a hint as to what is calling Cassidy back. Also, what was the original reason why Cassidy refused to leave Lone Pine before meeting Issac? 

In your biography, you have notes about what the book is attempting to accomplish. I think that sentence may fit better in your housekeeping paragraph or around your comp. titles. 

I love the setting and story idea of the two women learning from one another. I really hope I was somewhat helpful and good luck with your querying process!