II. SUBMISSIONS

Queries, Craft and Critiques

a) Queries

(a) Many publishers are closed to unsolicited submissions. Do you consider unsolicited queries; i.e., those without a referral (not a workshop attendee, etc.)? (b) What are your usual response times—to queries and requested manuscripts?

It just depends on what the submission is and what’s currently on my desk. It can be anywhere from 1 day to 6 months.

Are query letters peripheral for you, or are they an important reflection on the author and manuscript? What makes a query irresistible to you—or not?

I don’t tend to read query letters as my submissions generally come from agents who will pitch over the phone or write a submissions letter, which I guess is akin to a query letter, but I find submission letters from agents are more geared toward selling and get to the point a lot sooner than an average query letter.

If I get a query letter from an author because I attended a conference, I will certainly scan it, but the query letter doesn’t really matter to me if I don’t like the book. So I check out the writing sample with a more focused eye than I do a query letter. I may be an anomaly, though. Query letters may be quite important to other editors.

How many pages do you usually read in a manuscript before deciding to continue reading, request a full, or reject the manuscript?

I can tell pretty quickly if a manuscript is for me or not. I will read anywhere from 10 to 20 pages before rejecting. Sometimes more, depending on subject matter and what is or isn’t resonating with me. Since I get submissions from agents, I will always have the full. I imagine that if it’s a writer querying me, I would request a full if I enjoyed all the pages I did receive.

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?

I may skim a synopsis either before or after reading a manuscript and sometimes not at all. A synopsis usually proves useful if I’ve acquired the book and now need to put together a description for in-house use.

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 everything and indeed, I do know it when I see it. I don’t know that it helps create and define a character, but voice definitely IS the character. Voice is an immediate sense of intimacy and an organic sense of trust in this character; trust that they are full-bodied and real. It has to be memorable from the first word. And that means one’s character has to be memorable from the first word—someone I not only want to go on a journey with, but absolutely have to ride shotgun because I’m mesmerized.

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

Too much dependence upon dialogue. Purple prose.

Enrollee question: Please tell us about your approach to revisions in a manuscript—one for which you’ve provided an editorial letter and/or invitation to re-submit.

I don’t do editorial work with an author not on my list, so invitation to resubmit may happen, but I don’t provide in-depth editorial feedback.

[For an author on my list,] it depends on the author and how the author likes to work. Generally, I read the manuscript a few times, then write an editorial letter that highlights places in need of massage and work. Then the author and I have a conversation. The author then goes to work. Sometimes, I hear from the author every day about the progress and function as a sounding board for ideas, answer questions. Sometimes, I never hear from the author until revisions are due and we do it all again. Just depends. But I work according to what my author needs to revise well.

III. ON A PERSONAL NOTE…

Please cite three favorite children’s books—classic and contemporary. What specifically makes each book unforgettable to you?

To Kill a Mockingbird and The Westing Game are probably my favorite classic children’s books. I love the storytelling in both, especially the circular narrative in To Kill a Mockingbird.

How does meeting writers at workshops such as PCCWW affect you, your perspective, and your work?

I like connecting with writers in person, hearing their process and perspectives on the market. I also like the hands-on approach to craft and discussing/teaching craft.

What would you like writers to know about you, the “godlike” individual who may reject your literary labor of love?

One editor is never the final word on your career. Persist until you prevail.

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