II. SUBMISSIONS, continued

c) Manuscript Elements and Edits

What’s your usual response time to manuscript submissions?

From one to four weeks after I’ve requested.

How many pages do you read before deciding to continue or decline a manuscript?

Even if I am wild about a story concept, I can always tell within a few pages if the writing style grips me. However, if I am buying the writing style and liking the story idea, it often takes me until about the middle of the manuscript to realize I am having a problem with the story’s pacing or character development. Sometimes, if all those elements seem to be working but something doesn’t feel quite right, I have even been known to read a book a few times to figure out why it doesn’t have that magical spark for me.

Voice is often touted as a desirable element in fiction, yet it’s difficult to pinpoint (“I know it when I see it”). What does voice mean to you? How can it help create and/or define a character?

Voice is probably the most important element for me in any story. If I love a voice I will, for example, follow the comic-tragic adventures of a teenaged alcoholic—as in my National Book Award Finalist novel, The Spectacular Now by Tim Tharp. Tim’s voice is so exuberant and makes you see the world in a new technicolor way.

A strong voice also allows me to approach date rape—as in one of my new novels, Something Happened to Ali Greenleaf by Hayley Kirscher. Narrator Ali manages to be so funny and shocking and real all at the same time. But one thing I love most about this book is how the author convinces me that Ali is a teen today, in 2012, not back when the author was really a teen herself. Hayley is completely up-to-date with lingo, technology and other aspects of being a teen today. Though she writes about an extremely troubling topic, Ali’s very real narrative helps readers cling to her humanity and humor as she finds the strength to deal with adversity.

Voice helps you to know a character, to experience what it’s really like to be someone else for a while. Without this alchemy, fiction loses its power to transfix.

What self-editing tips do you suggest; what are common flaws in manuscripts you see?

Of course it is important to write cleanly and with your own unique voice, but here are a few explicit things to think about: often writers start their books in the wrong place. Think about where your story really begins and think about starting your book there. It may help with problems like pacing and character development.

Sometimes there is a tendency to make antagonist characters too evil or villainous. I really like stories that explore the nuances in every person, even the bad guys!

What are memorable, perhaps elusive, story qualities that hook you?

I love a book that introduces me to something new—a new sport, a new city, or best of all a new, lovable person. I like a voice that feels like it’s coming from a multi-dimensional real person. I relish a book that loves language and plays with words in an assured and sophisticated way.

Tell us about your approach to revisions in an accepted manuscript—one for which you’ve provided an editorial letter and/or invitation to re-submit.

When I read a revised manuscript, I am not looking for a writer who has faithfully followed all of my suggestions down to the letter. Instead, what really makes me excited is a writer who has taken my ideas and made them his or her own. Often my ideas are meant more as jumping-off places, or rather they are meant to show a writer areas that need more development. Good writers are far more equipped to expand their own books than I am, so I get very inspired when I find a person who can take my broader ideas and run with them.

What doesn’t work for me is a writer who argues about my suggestions. I don’t have any agenda beyond making the book the best it can be, so if I am having concerns about one element of a story, that means some change needs to occur, even if it does not occur in the way I suggested. Often, I will know after one round of revisions if I will be able to work well with an author, even if his or her project still needs further work.

III. ON A PERSONAL NOTE

How has meeting writers at events affected you and/or your work? What do you enjoy about workshops?

Writing workshops are just as important for agents as for writers.  After all, we can’t do our job without you! I love to meet people personally instead of just reading their work on the screen. It’s a great reminder of how much effort goes into each submission and helps to get me inspired to help writers shape their manuscripts into the next great masterpiece for young readers. I love sharing ideas with other industry professionals and just being a part of this amazing community. Whenever I attend a conference, I realize that there are so many groups and so many people doing such interesting things; I am glad to be part of the writing community and have an important role to play.

Advice for workshop attendees about how to benefit from your critiques?

Keep an open mind about revision, but also remain an advocate for your work. Consider my suggestions as alerts about places in your work that need further development. My ideas may ring true or inspire you to think of your own revisions.

What would you like writers to know about you, the individual who scrutinizes (and sometimes rejects) their literary labors of love?

As I say in all of my rejection letters, please keep in mind that I am only one person and others may very well have a very different reaction to your work. I come to your submission with the desire to find a project I love and can represent. I need you as much as you need me. However, I only want to offer representation if I can stand behind it completely and enthusiastically. Everyone deserves an agent who loves his or her book.

On a personal note, I am one of those rare book industry professionals who reads all day for work and then reads all night for pleasure. Working in the book industry has only increased my love for a good book. There’s nothing quite as magical as getting lost in a story, and I strive to help foster books that will inspire in children a lifelong love of reading.

Read this agent’s bio and author testimonials.

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