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?

Voice is a combination of how the narrator or author sees the world and the way language is then used to communicate that viewpoint. The reason it’s hard to pinpoint is that voice, as an output, is the result of countless inputs: observations, values, beliefs; diction, syntax, style. It’s a bit of everything that leads to this unknowable thing we call voice. The key is that it has to feel organic, so it should grow from the characters and events.

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 scenes emotionally satisfying?

Just make sure you are keeping track of what has changed by the end of the scene in terms of plot, tone, and character development. If these things are the same at the end of the scene as they are at the beginning, then it will fall flat. Emotionally, too, there should be good range—enough ups and downs that the story remains engaging.

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

As I'm reading, I take notes in the manuscript wherever they occur to me, or wherever I have questions, then I keep another pad of paper next to me to keep high level notes on theme, characters, pacing, and so on. As I begin edits, I tend to start by thinking a lot about theme and character arcs, as I find that's a good way of getting a sense of what the entire novel is trying to achieve. Then I drill down from there.

Often, I will also ask my authors to create a chapter outline for me in Excel, where they keep track of the timeline in each chapter (how much time passes, and where we are in time compared to the previous and following chapter), and what happens in the chapter. Having this type of overview is immensely helpful to see where a story might need work or rearranging.

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

Often, I bypass it entirely—it’s not required as part of our submission process. But sometimes I ask for a synopsis of a novel I’m writing notes for, as it helps to have the bird’s-eye-view.

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

I often find repetition of language and of information. It can be hard to know whether you are getting a point across without overemphasizing it, so this is where using critique partners can be helpful—ask them to mark anything that feels redundant.

Another common problem is not getting enough of a character’s motive on the page—actions without motive will read flat or forced. As you go through your manuscript, mark each instance where your character makes a decision. Then really question whether that choice is properly motivated and true to the character.

Please 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.

I typically read the manuscript one or two more times, and I write notes in the margin of the manuscript (or via comments in track changes). Then I send the manuscript, with these comments, back to the author along with an editorial letter that both tackles macro issues and helps summarize and contextualize some of the comments throughout the document.

Some of my comments are more mechanical (plotting, structure, logic issues); others are just questions meant to make the author go deeper with characterization and theme. Sometimes clients want to also have a phone conversation to talk through the notes. With some clients I will read the next draft; with other clients I will read intermittently as they’re writing, depending on how they work best and on what the specific book needs.

Enrollee question: If editors request a client’s manuscript, how soon do you send the manuscript?

I generally send it to those editors that day to capitalize on their enthusiasm.

How would you describe your working relationship with your authors?

I love working with my authors. It is an interesting relationship because by the nature of the job it’s both a business relationship and a creative relationship; I am lucky to work with a group of writers who are as personable and gracious as they are talented.

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