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 kind of vague and amorphous and yet it’s everything. I enjoy all sorts of stories and forms of storytelling, but when I find something with that indefinable voice, that’s when I fall hard. I think of it like this: some writers seem able to pour their hearts and minds, their private and heartbreaking truths, into their characters and onto the page. It makes your hair stand up. It makes you laugh and cry. To me, that’s voice. It’s ineffable, like soul. And like soul, I’m not sure anyone can tell you how to get it. You might have to live your way there.

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?

Scenes are boring if nothing happens that matters to anyone. In each scene ask yourself: who is affected by what is happening here? And how?

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—e.g., do you make notes after each chapter; if so, on what?

I make notes everywhere as I read, both on the manuscript pages and on sheets of paper. When I'm reading something for the first time, I let my notes be a big mess of questions until I've read it through. I start by identifying what kind of emotional journey I think this writer wants to take me on, as a reader. Then I go back and organize all those scribbled notes and questions into a shape that is informed by that ultimate goal. How are the various pieces of the novel—plot, character arcs, relationships—working to take readers on that journey?

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

Even the best writers have certain words and phrases that they tend to overuse. It can be hard to be aware of repetitive language in your own work. It helps to have someone else read your manuscript with an eye to that in particular.

A lot of otherwise good manuscripts I see have a certain amount of bagginess in the middle. They need tightening up. It’s good to ask yourself if something essential happens in each scene, and if not, cut it.

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.

When I get revisions I like to dive in and read as if I’m reading for the first time. I want to see how the whole work has been affected by the changes, and how it holds together. I make notes as I read so I can tell the author what I think is working really well and what might still need some shaping.

How would you describe your working relationship with your authors?

I like my working relationships with my authors to be close. Every writer is different in terms of how much input and feedback they want at various points, but I want my authors to know I am there for them at every stage.

Next page »