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 for whole-novel critiques

I keep notes when I’m reading—often organized by category, such as “point of view” or “setting”—so it’s easier to form fully connected opinions by the end of the manuscript. I also jot down specific lines or page numbers that I want to review again once I’ve read the entire manuscript.

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 so hard to describe! Voice is certainly something I look for in manuscripts because it’s that spark that makes the characters come alive. I tend to think of it as the character’s personality coming through so it’s clear the reader is experiencing the story through that lens.

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?

It’s so important for each scene to have a clear goal as well as forward momentum contributing to the manuscript’s overall goal. Scenes that tend to fall flat might focus only on demonstrating a certain character’s personality traits or introducing a new setting. The strongest scenes weave together all the elements of the story while pushing the plot forward.

Please define “own voices.” Explain why these stories are important, and why the focus is/needs to be shifting in this direction. Which factors do editors and agents generally consider when deciding whether a work is publishable (authentic and representative)?

#DVPit, the Twitter pitch competition for diverse voices, has a helpful outline on what qualities as #ownvoices, although definitions can vary and some people understandably aren’t comfortable with any label.

The industry has been dominated by primarily while, middle class, cis women, as both authors/illustrators and those working within the publishing industry, for far too long, and this is reflected in many facets of the books that are published. There are many indicators of how much work still needs to be done in this area, including the CCBC’s Diversity in Children’s Books, Lee and Low’s Diversity Baseline Survey, We Need Diverse Books, and many of the conversations surrounding these topics.

As a white, middle class, cis woman, I don’t see it as my position to determine if an #ownvoices work is authentic or representative enough; that is for the authors writing from their own personal background to determine, especially because one author isn’t representative of an entire group. Authors may use resources beyond personal experiences—such as research and sensitivity readers—to ensure their work doesn’t have blind spots, harmful representation, or other issues.

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 very rarely rely on synopsis to make a decision regarding representation, except in the case of graphic novels. As a matter of fact, The Bent Agency’s querying guidelines don’t ask for one.

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

One of the most common craft flaws I see is info dumps. Info dumps are where a writer gives the reader a lot of information in one fell swoop, be it in a descriptive paragraph or dialogue or some other means. This information is often very important, but presented all at once means it’s hard for the reader to digest it and it breaks up the manuscript’s forward momentum. I always recommend writers think about what information the reader needs to know right then in that moment versus what can be withheld until it’s relevant. On the same hand, writers can break up info dumps with action and dialogue. 

You’re satisfied with a client's revisions, then pitch the manuscript to editors who request a submission. How soon do you respond? How many editors might you pitch or submit to—and over what time frame?

My strategy for submission is very case by case, depending on the category or genre of the project, general timing, and also a conversation with my client about their publishing goals, both for this book and their career. Sometimes a client has a certain publisher (or type of publisher) in mind or they had a positive interaction with an editor at a conference; I always take these elements into consideration when putting together a submission list.

How would you describe your working relationship with your authors? How often; how ”hands-on” are you? Other aspects?

Based on my background as an editor, it’s probably no surprise that I really enjoying being hands on. How, though, can depend on the specific clients. Some clients might want help brainstorming a next project; some might only want an edit letter after they’ve revised their manuscript based on critique group feedback. Some clients want weekly updates when we’re on submission; other clients only want to hear good news. In all cases, I let my authors take the lead in how—and how often—we’ll communicate, but I make efforts from the very beginning of our relationship to ensure they are comfortable communicating with me because knowing what they need is essential for me to do my job to the best of my abilities.

Next page »