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| l to r: Aaron Hartler, Nancy Conescu, Rachel Griffiths, Michelle Poploff |
SCBWI's own Aaron Hartzler moderates a panel of editors offering post-critiqe advice. Here are some highlights.
Nancy Consescu (Dial): Revision is a process. Post critique, you have to consider the various comments, decide how to address things, and try different things until you get to what works. She asks her authors to start with making big changes that will resonate through the manuscript. She suggests really looking at your chapter endings and be sure you're giving readers a reason to turn the page. Also really look at the dialogue specific to each character to be sure what they say rings true to each character. She stresses, as you work with an editor, that there's a period of digesting the suggestion that must take place.
Rachel Griffiths (Scholastic): She hopes that a manuscript has been revised maybe ten times by the time it gets to her. She suggest that writers pay attention to what you're feeling as you read it--does your mind wander, is something is confusing? If you're ever stuck on a revision, you just work on it, go over things over and over again, and it eventually it can turn into something magical. She reads through and looks for one flash of greatness in a mediocre manuscript, and suggests her authors revise the rest of the pages to get to that level. She hopes that's authors take about 50% of her revision suggestions and that they don't work with the suggestions that don't feel true to them. She stresses the importance of working on your craft because that's what makes you get better and better and grow as a writer.
Michelle Poploff (Delacorte): (Note: She was the editor for this year's Newbery winner MOON OVER MANIFEST by Clare Vanderpool, the first debut author to win the award in 30 years. Also note: She's found four authors at SCBWI conference over the past few years.) The revision process between writer and editor varies depending on authors preferences and working style. She always tells authors to read out loud and she's a big fan of writers groups, saying that if you belong to a writing group, they can be very helpful advocates. She also suggests writers let things percoloate for a while as you revise. Revision is like redecorating, and sometimes you rearrange all the furniture in the room, and still there's still a lamp that's in the wrong place. She wants authors she works with to take their time to do the very very best they can on revising.
Aaron: Recounting advice from Little, Brown editor Jennifer Hunt. An editor is like that really good friend who things you have a beautiful smile, but you have a little spinach in your teeth.
Nancy: We do want to help make that smile beautiful. Our feedback is always about making your work better. It's helpful to point out things like did the dialog sound authentic, is there a character that grabbed you, etc.
Courtney: Today everybody in the room's job is to see the spinach in your teeth. Use the time to talk about the spinach and figure out how to fix it.
Michelle: Sometimes editors are hardest on the things that we feel have the most potential. Those may be the ones we really pick apart because we want them to be great.
Courtney: Sometimes editors might come to you at an event like and say they see potential in your manuscript but it still needs work. If I see something in your writing and offer to work with you to get it in shape for acquisitions, take advantage of that. At that point, all I can promise you is my time, but I'm not going to take time to work with a writer on something that I don't think has that potential.
--POSTED BY ALICE
Nancy: We're looking at manuscripts a puzzles and trying to figure out the best way to make everything come together, so we focus on the parts that aren't working so the parts that are can be even better.
Aaron: When you come to something that needs to addressed, what's the best way to go about looking for solutions?
Michelle: That's a take-home. One don't solve things in 12 minutes. Part of my job I love is when I give a note to an author, and they run with it. You have to take notes and figure out how to make it work for you.
Courtney: This might be the first time you're getting professional feedback. Every agent or editor is different and will offer different feedback, but we're all going to point out the problem and things that feel off to us. You're the writer--it's your job to fix it. For us, what we're seeing is a first draft to us.
--POSTED BY ALICE
SCBWI's own Aaron Hartzler (who looks dashing is his bow-tie) is moderating the kick-off panel of the Annual Winter Conference Writers' Intensive on taking feedback on your work. The editor panelists include:
- Courtney Bangiolatti, Simon & Schuster
- Nancy Conescu, Little, Brown Books for Young Readers
- Michelle Nagler, Bloomsbury
Aaron: What works and what doesn't?
Courtney: Have a pen in your hand, write down comments, and really consider what both editors and agents have to say as well as your writer peers. Remember, we do this for a living. We want to make your manuscript better.
Aaron: What are you looking for as you start reading and giving feedback?
Nancy: You're looking for those sentences that grab you and good character. Be receptive to the feedback whether you agree with it or not. Really things about what editors and peers are saying. Focus on listening.
Michelle: Write down comments. Try really hard not to be dismissive. Put yourself in your critiquers shoes. We read and evaluate manuscripts constantly, considering not just whether your writing is good, but whether it's salable, has an audience.
--POSTED BY ALICE
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Setting work down and revisiting it a day or two later is a terrific idea. I pass this on to my students. Great tips.