REGINA GRIFFIN, Editor

I do not make up a Style Sheet while reading (marking down what make of a car a character drives, how a nickname is used), but I do use an old-fashioned legal pad while I read, which I fill with questions, comments, anything that I want to consider later. Regarding an example: It all depends on the book, so every single one I ever do is different for every single author.

A flag is generally in response to a specific point. It could be “Will kids have the background knowledge—understand this context?” if an author employs a reference that adults would know, but young kids would not. Say, a metaphor using banking terms or a reference to King Canute and the sea. Or pointing out repetition of words that is probably not intentional.  

Also, I flag anything that I notice and want the writer to consider. For example, perhaps I notice that several characters in a novel sound exactly alike throughout; I’ll flag that. Or every romance scene reads almost the same way. If there is no tension in part of a mystery, I’ll flag that. Sometimes a female author is writing a boy, and two-thirds through, this boy starts commenting on clothes in a way that reminds me of the female author, but not this character—I flag that!

I use my legal pad for such things as: is this one tragedy too many (in response to a story in which the main character might lose her parents, then her house burns down, then she catches a disfiguring disease). Is this solution too convenient? Or, is this entire section (chapter, whatever) a detour—does this well-written scene detract from the narrative of the novel?

The legal pad becomes the basis for more general comments; the flags for more specific questions, such as repetition of language in a scene, unlikely dialogue in a section of the novel, or a scene that doesn’t deliver what the author wants it to.

FIONA KENSHOLE, Agent

I read for story. My first response is intuitive. I then use my intellect to analyze this gut response. I take notes only on a second reading. My first reading is done in the same way any reader reads—to see what happens. I don’t follow a formula. I comment on things that delight me, moments of exceptional writing, and anything that stops the flow and brings me out of the story.

ANNEMARIE O’BRIEN, Author

Author of Lara’s Gift (Knopf), Annemarie is a PCCWW alum and former adjunct faculty.

I read a manuscript at least twice. The first time I read, I jot my impressions in the margin. The second time, I read for story arc, character development and emotional arc, the opening and how effective it is as a hook, the ending and whether it is earned and satisfying. Then I give a hard look at the middle scenes to ensure they aren’t sagging. I point out areas that should be shown versus told, as well as lovely language, voice, and evocative details.

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