II. SUBMISSIONS, continued

b) Craft and Critiques

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 define a character?

A story with a voice means that you can relax knowing you are in a safe pair of hands. The writer knows the story he or she wants to tell and how to tell it.

Sarah Dessen says, "I never start a book until I have the first scene, last scene, climactic scene and first line all in my head." Cheryl Klein’s Second Sight references arcs (such as climax) within each scene. What tip or exercise do you suggest for making fiction scenes emotionally satisfying? Conversely, what makes a scene fall flat?

There is no single way. Some authors plot in advance, others wing it. Both can come up with satisfying stories. It’s a matter of personality. If you love your characters, they will show you what they need… I have to love the character and care what happens to them. If I stop caring, then I can’t continue.

Our workshop enrollees critique peers’ full novels. However, many writers are experienced in critiquing only shorter excerpts. What helps you keep track of everything in a novel?

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.

Do you read the synopsis before or after reading a manuscript—or do you bypass the synopsis entirely? (Why?) How and when might a synopsis prove useful to you?

I read the synopsis with the first three chapters of a novel to decide whether to request a full. (Sometimes I read it before and sometimes after the sample chapters.) I always need a good synopsis. No fixed rule. I'm looking for good storytelling.

What kind of flaws do you commonly see in otherwise well-crafted manuscripts? In general, what self-editing/craft tips do you suggest?

You would be surprised how often there are punctuation errors, which is careless and irritating.

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. How would you describe your agent-author working relationships?

The first letter for the first book is a process of getting to know each other. Every writer works in a different way, and it’s my job to find out what will work most effectively to get them to deliver their best. As the relationship evolves, there are a number of ways of working together: some people like detailed line notes, some people are perfectly happy with three bullet-point headlines on the back of an envelope, others need a full day brainstorming together. I will do whatever works best for the author and the book. I am hands-on, many of my authors have become lifelong personal friends. I am the first audience for their work, the midwife, and I take that role very seriously.

Often when we discuss the areas that need revision, I put my finger on a soft spot that the author knows was there. That shows I am doing my job properly. My notes are often a barrage of questions to encourage the writer to dig deeper.

III. ON A PERSONAL NOTE

Undoubtedly, you love innumerable children’s books, both classics and contemporary. Please cite three favorites, including two MG/YA. What makes each unforgettable?

I Will Surprise My Friend! An Elephant and Piggie book by Mo Willems. I love all the Elephant and Piggie books. They have all human emotions deftly shown. So simple, so concise, and so funny.

Moon Over Manifest by Clare Vanderpool. An extraordinary debut which won the Newbery. Every single character has an arc, even the tiniest bit part. Keeps you guessing to the end. Historical detail is so strong it’s like being there.

Fat Angie by Eunice Charlton-Trujillo. Such a compelling protagonist—this book is all about voice. She’s unexpected, bold and brave, and the end leaves you crying and cheering.

What would you like writers to know about you, the individual who scrutinizes (and may reject) their literary labor of love?

I have immense respect for anyone who is brave enough and committed enough to put their words on paper… and braver yet, to show a stranger. You are already extraordinary for doing this. When I take on a writer, I know I want everyone to read her work, I want to stop people in the street and make them read it, I want to sing about it from the rooftops. Therefore I only take on writers whose work makes me feel like this—then I can convey my passion to the publishers, scouts, producers and everyone else who I submit to.

If your work is not to my taste, it is only my opinion. If it’s not right for me, find someone else who loves it. Even Harry Potter was rejected. Find the right person for your story.

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