II. SUBMISSIONS, continued

b) Craft and Critiques

Our workshop enrollees critique peers’ full novels. However, many writers are experienced only in critiquing partials. What helps you keep track of everything in a novel; what tips can you offer writers for doing whole-novel critiques?  

As I’m reading/editing, I usually create a second document where I write a list of all of the macro ideas I want the author to address. These are more global changes that will effect multiple areas of the manuscript, or ideas that may need to be rethought or added to the current draft. These are often the main points I include in my editorial letter as areas to focus on. I also find it helpful to sometimes highlight entire sections of a manuscript (digitally, of course) where I know I have something to say, but don’t quite know how to articulate my thoughts yet. The highlighting is a great visual representation of sections I want to come back to, and often, I find that what I read later in the manuscript influences my thoughts on that earlier area. See more faculty tips on whole-novel critiquing.

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 compelling voice is at the foundation of every book I acquire. If I find that I’m not connecting with the voice of the character you’ve created, then I’m not invested in their journey. You could have the most amazing world-building I’ve ever read, but if the voice of your main character isn’t there, then personally I’m not as interested. This is a very subjective element and will vary among editors. But what really draws me to a character’s voice is authenticity, being raw and honest, emotional resonance, and having qualities that a real human being would possess. Your characters may be fictional, but they need to have a certain relatability to them in order to resonate with a reader. I find that internal monologue is a great way to learn about a character’s quirks because you are directly inside their head hearing their thoughts and opinions on everything and everyone they encounter.

Cheryl Klein’s Second Sight references arcs within each scene. What tip or exercise do you suggest for making scenes emotionally satisfying? Conversely, what makes a scene fall flat?

Each scene you write needs to have a clear purpose and driving force because they are the little pieces that make up your overall story. For every scene you write, think about the following questions as a starting point: Is my main character learning something new that is integral to the plot? Am I introducing the reader to a secondary character who will play a larger role in the story? How will this scene effect the climax of the novel? What is the takeaway? Is this scene important to my character’s arc? Is this scene needed to move the plot along, or is it fluff?

I find that a scene often falls flat at the same time that the pacing has slowed down. There are some novels that are told as more of a slow burn, but even those maintain a consistent pace throughout. If the pacing is lagging, I often attribute that to a scene that isn’t needed, or a scene that can be condensed or tightened. Every element you add to your novel feeds off the other, and I think these two in particular are usually directly correlated.

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

The Death of an Ending, Close But No Cigar: I often see writers create an incredibly lush world, or write a particularly smart and innovative plot point that they then don’t flesh out in the end. They either rush the ending and try to wrap everything up in a neat bow, or they gracefully bow out too early and choose not to address elements they wrote early on in the manuscript. I don’t know the reasons for this, but I find that it often leaves readers asking a lot of questions and sometimes leaves them feeling angry. Of course, you don’t need to know the future outcome of every character, and everything in the plot doesn’t need a perfect ending—sometimes the appeal of the unknown is worth its weight in gold. Plus, that’s what might get people buzzing about your book. But to rush an ending or leave something too open-ended when it clearly doesn’t need to be just seems a bit lazy and like the author isn’t willing to put in the additional work to create an ending that is just as fitting for the novel as the plot that came before it.

Johnny Who? —Characters That Don’t Have a Purpose: Secondary characters are extremely important, but make sure each character you write has a specific purpose to the overall story. I find that I’m often writing, “This character feels too one-dimensional.” What I mean is that it’s clear the character needs to be there, but it’s unclear as to why. Sometimes that could mean that more backstory is needed, or maybe a new scene needs to be written with them and the MC, so we can better understand who they are as a person. If it’s unclear as to what needs to be done, then you most likely can cut them from the novel. Don’t add several characters who only say one to two lines and then drop off never to return; give them dimension and a reason to be in 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 usually read the synopsis before I start reading the manuscript. It reminds me what the story is about, which is helpful from an editorial perspective when we are receiving multiple submissions every day. I use the synopsis to remind me why I was so excited to read the manuscript, and that mindset often sets the tone for my entire reading experience.

Would you consider a manuscript you'd declined in the past few years--but now, after revisions, it's being shopped by a different agent who advises you of the revisions and loves the manuscript? Or is once a no always a no?

It depends on why I initially rejected the manuscript. If I rejected it because we have a similar book on our list, or if I didn’t connect with the voice or the concept in general, then I would not want to see it again. But if I rejected it because I thought some plot points needed to be re-thought, or characters needed to be fleshed out—basically if it was something tangible that could be revised—then I would definitely be open to seeing a revision. I usually state in my rejections if I’d be open to seeing a revision (or if I want to see additional work from that author). At our workshop, I can speak to a specific example where I’ve done this with great success; aka, I acquired the novel!

Describe your working relationship with your authors. How often do you communicate; how ”hands-on” are you?  

It’s important that I have a collaborative relationship with my authors. I provide them with as much knowledge and insight as I can, but in the end this is their book. They need to be on board with the edits I suggest and they need to make sure that I’m not losing the integrity of their novel. Brainstorming with an author is a great way to get our creative juices flowing, but to also make sure that both of our opinions and ideas are heard. During the editing process, I’m as “hands-on” as the author would like me to be. Before we start working, I often ask them how they like to work, especially when it comes to revisions. Do they like open-ended suggestions that leave room for brainstorming and exploring multiple options? Do they want me to make a specific suggestion? Everyone likes to work differently and it’s important to know how to approach the editorial process in a way that is beneficial to both parties.

Beyond the editorial process, I want my authors to not be afraid to come to me with any questions they may have throughout the publishing process. It is my intention to be as transparent as possible, and it’s important that I try to reply via email to my authors within 24 hours. I think it’s also important to show your excitement and passion for your author’s work. They need to know that you are someone who is going to be a great advocate for their novel, while also being their number one fan.

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