MANUSCRIPTS

Much of this web page refers to masterclass critiques, referred to as Group B. In 2011, we also offer selected writers whole-novel critiques, referred to as Group A (more info soon about this group). Teens have a concurrent workshop, referred to as Group C.

Critiques are critical to a writer’s growth. Below, we look at your manuscript’s journey into the hands of our faculty and peers.

Cover Sheet/Feedback Form

Instead of a standard cover sheet (author’s name, manuscript title), you’ll use our workshop’s Tips-and-Guidelines Cover Sheet. We’ve designed this page to make faculty and peer feedback as useful to you as possible.

The Cover Sheet suggests how to evaluate a story and offer criticism. Categories in which critiquers may comment: Strengths, Areas Needing Improvement, Synopsis, Pitch, and Impromptu Feedback. Critiquers are also asked to make notes within the manuscript. A manuscript’s author may pose questions for faculty and peer critiquers; e.g., “On page three, does this character’s behavior seem credible?”

When you submit your manuscript, attach our workshop’s Cover Sheet (teen or adult version) for peer and faculty critiques.

PEER CRITIQUES and PRE-WORKSHOP PREP

Writing peer critiques can help you as well as the manuscripts’ authors—especially with our masterclass, open-clinic format. Suggestions: Read as many manuscripts as possible, but commit to critiquing at least four masterclass manuscripts—and, ideally, one whole-novel manuscript so you may observe the author’s two consults with faculty. (Manuscript selections are mainly your choice.) Then bring these critiques to the workshop, where you may compare your reviews with those of the pros.

Following these guidelines can develop your self-editing skills—invaluable in improving your own novel. For example, in our masterclass clinic you might conclude, “Both the editor and agent considered one writer’s flashback intrusive. I glossed over that passage. Now I know why—it threw me out of the current story, giving me more info than I needed at this point. I’d better rethink my own flashbacks.”

It’s always fortunate when a critique hits the mark, or ricochets to help multiple writers. Our masterclass format increases that likelihood for you.

In doing peer critiques, you’ll be asked to provide sensitive, conscientious feedback, giving each manuscript the same consideration you’d want for yourself—not only as a courtesy to colleagues, but to maximize your own learning. The more carefully you critique our workshop manuscripts, the more you’ll benefit from faculty reviews and discussions.

From the first fleeting notion through multiple revisions, novelists knead words.

Our workshop can sprinkle professional “yeast” to help you rise to the occasion!

FACULTY CRITIQUES

We’ll also take care to match you with faculty who are most interested in your type of story. This is possible (and practical) because we limit enrollment to a relatively small number of writers. Thus, we can serve each one—including you.

Group A  Our faculty editor and agent will each select three whole-novel manuscripts from those submitted with a timely application. These will be stories that intrigue faculty, enough that they’d like to help shape it for possible publication. Critiques address points in our workshop’s Cover Sheet/Feedback Form, but are written as an editorial letter. This letter is somewhat less detailed than if the faculty were not meeting in person, twice, with the author at our event.

Group B  A panel of qualified individuals will review submissions for this group, sometimes in conjunction with faculty. Like peer critiquers, the faculty fills in our Cover Sheet/Feedback Form for each Group B manuscript submitted. Faculty also makes brief notes within the manuscript. To clarify even further, our editor and agent check a box to indicate whether they’d like to see more of your manuscript, possibly pending revisions.

Group C  Teen manuscripts are critiqued by adjunct faculty experienced with youth. All critiques are written, with some in-person reviews during group sessions.

ALUMNI TIPS: MASTERCLASS CRITIQUES

Allow 60 to 90 minutes per masterclass manuscript, then review each critique a second time, on a different day. Pace yourself. Cramming may result in a blur and poor critiquing.

If you’re scheduled for a masterclass (in-person) critique, come prepared with questions about your manuscript. Be proactive—maximize your time with faculty!

Read more about our master classes.