Super-agents Kristin Nelson and Kate Schafer-Testerman were gracious enough to spend several hours dissecting the first pages of aspiring writers' manuscripts. As they've read thousands of first pages between them, I couldn't wait to hear their thoughts on what made for a strong (or weak) beginning. I figured most of those in attendance would be newbies like me, but my colleague pointed out multiple published authors in the crowd which surprised me. Since the event, Kristin has blogged about her experience from an agent's perspective so I'm here to give a writer's opinion of the process. On her blog, Kristin also includes examples of her own clients' first pages which offer amazing insight into what makes a great opening.
This SCBWI event involved the first two pages of a manuscript being read aloud by a volunteer. To demonstrate how Kate and Kristin read through their 'slush pile,' they would stop the reader when they had heard enough to make their decision -- then they'd give feedback about why they stopped. From a writer's perspective, it was an intense experience. They gave the option for people to back out if they didn't feel comfortable having their work read aloud but nobody declined. Kristin also stopped several times throughout the event to ask how the attendees were feeling which I found thoughtful. I'd guess there were about 50-60 people in attendance and I believe a total of 18-20 first pages were read aloud. As there were no queries or synopses attached, they based their opinions totally on the first 2 pages of the manuscript. Many times, it took them only a paragraph. For confidentiality purposes, I'm not giving specifics on the manuscripts -- just the feedback.
Trends in Feedback aka Things Kate and Kristin Didn't Like
* Characters waking up or beginning the story with a dream (the dream creates a faux conflict that doesn't really apply to the story)
* Abundance of alliteration :)
* Use of exclamation points at beginning of story before you've set up any real suspense
* Not connecting with the characters
* Tense switching, grammatical errors
* Humanizing animals -- they both really liked one that included this element and really didn't like all the other ones that did. I was surprised at how many stories involved animals. NOTE: If your story involves talking animals, it better be flippin' amazing.
* Story started in the wrong place -- this was a common one. They'd notice something interesting on page two of the story but felt page one was lacking.
* Flat narrative -- this one seemed harder for them to articulate being that there wasn't a specific stopping point, but more of a "I'm really not into this" feeling. I suspect this is one they catch in a minute when reading on their own and don't need to explain it -- they just know it's not working for them.
* Stories that have an 'education for children' vibe -- this was a huge turnoff for both agents. Tell a good story and leave the lecturing to parents/teachers (okay, this was my interpretation but you get the idea.)
* Stories sounding like an adult writing for MG. Yes, everyone attending was an adult, but the point was not to 'write down' to your audience. It's condescending and kids know the difference.
* Too quirky or confusing. As Kristin pointed out, you want the agent to keep reading because they have to know what happens, not because they're confused and have no idea what's happening. You can give teasers but don't deliberately withhold important information.
Personal Feedback Trends
Both agents said that they wouldn't represent something that was too similar to something they already represent or have already sold. For instance, one agent didn't want another superhero story and one didn't need another environmental issues book. These are things you might not know ahead of time unless you do a lot of research on each agent. NOTE: See my prior post on researching agents.
One page they both really liked (involving the aforementioned humanized animal) had a distinctive voice that was very humorous. I laughed out loud several times while it was being read, as did others around me. Kate and Kristin also interspersed their feedback with reading successful first pages of their clients which was extremely helpful. Overall, I can't state enough how invaluable the experience was for me. I learned a ton and greatly appreciate the time they took to do this event.
In Conclusion:
For me, the voice was what stood out most in the examples of successful pages. So if you go through the DON'T list above and feel good about it, check the voice of your story. Read your 1st 2 pages aloud or, better yet, have someone else do it so you can hear it from another perspective. I'm in the process of reading my entire ms aloud which has greatly helped the revision process.
Whatever you do, don't write a story about Sid the Superhero Squirrel who struggles with narcolepsy while trying to educate dumb children about recycling. I'm pretty sure Kate and Kristin don't want it.
Showing posts with label SCBWI. Show all posts
Showing posts with label SCBWI. Show all posts
Monday, February 1, 2010
Tuesday, December 8, 2009
Why Critique Groups Rock
So, you're an aspiring writer and have accomplished the amazing task of actually finishing a novel. Chances are you either patted yourself on the back or went shrieking through the streets proclaiming that you're a novelist (depending on your personality). However, then the moment comes that you sit back and think "Now what?" Well, here's what I think a fabulous next step should be - before spamming the entire publishing community with the genius that is your manuscript. Join a critique group. "Why?" you might ask as defensive thoughts flood your mind. "My book is brilliant, I don't want outside influences muting my 'voice', I don't want anyone stealing my never-been-thought of-in-the-history-of-time idea about space monkeys and their quest for the perfect banana..."
Here's why. If you find a GOOD critique group, be it online or in person (and there are pros and cons of each), they can do the following:
1) They are objective about your work. Well, at least more so than you. It can be extremely difficult to be objective about your own work. For instance, those of you with kids, how many of you think your child is not the cutest/most brilliant/talented example of small humanity out there. When you're attached to something - and after working on a novel for 6 months or 6 years, who isn't - it's difficult to step back and see where you might need help. Your critique group has that distance and can often point out problem areas much more easily.
2) They make you a better writer. Yes, really. No matter how great you think you are - and you might be great - you can get even better with the help of a good group. Writing in different POV's, characterization, story arc and use of dialogue are just a few examples of how the group can push you to do your best. They also can help point out your individual writing quirks - be it overuse of a certain word or the dreaded telling rather than showing. Also, critiquing the work of others in your group also makes you a better writer.
3) They encourage and support you. And not in a Paula Abdul, smoke up your ass kind of way. We share our ups and downs and have a "we're all in this together" mentality. Writing can be a tough and solitary experience, so it's nice having a built-in support group. When someone gets good news, it's so much fun to celebrate as a group and gives hope and motivation to the others. Plus, it's fun going to conferences where I actually know people there.
4) They serve as a collective barometer for your work. After getting a bunch of feedback from different personalities, part of your job is to decide which changes to incorporate and which don't serve your story. One of the best things about group feedback is you know there's a legitimate problem when more than one person points out the same issue with something in your story. For instance, I had multiple people tell me a line in my first chapter was funny but that the reference would be outdated by the time the book was published - so I changed it. On the flip side, when you have multiple people give you compliments on the same thing, you know it's well-earned and not the smoke up the ass thing.
5) They are a wealth of resources. I feel fortunate to be part of two wonderful critique groups and everyone has information that is shared with the group. Some of the published authors in my one group share information about publishing houses and editors that they like. Just this week, one woman in my group sent me a list of agents she thought would be a good fit for my book after reading my query. I've learned so much about the business end of things from my critique groups and it's been invaluable information.
As you can guess, I LOVE my critique groups. They consist of amazing, talented, persistent women who love writing as much as I do. So there you have my top 5 reasons to be in such a group. If you're in a group that doesn't have these 5 elements and feels more negative in nature, then maybe it's time to look for another group. NOTE: I found both of mine through SCBWI.
So, what have I missed? What are your favorite things about being in a critique group?
Here's why. If you find a GOOD critique group, be it online or in person (and there are pros and cons of each), they can do the following:
1) They are objective about your work. Well, at least more so than you. It can be extremely difficult to be objective about your own work. For instance, those of you with kids, how many of you think your child is not the cutest/most brilliant/talented example of small humanity out there. When you're attached to something - and after working on a novel for 6 months or 6 years, who isn't - it's difficult to step back and see where you might need help. Your critique group has that distance and can often point out problem areas much more easily.
2) They make you a better writer. Yes, really. No matter how great you think you are - and you might be great - you can get even better with the help of a good group. Writing in different POV's, characterization, story arc and use of dialogue are just a few examples of how the group can push you to do your best. They also can help point out your individual writing quirks - be it overuse of a certain word or the dreaded telling rather than showing. Also, critiquing the work of others in your group also makes you a better writer.
3) They encourage and support you. And not in a Paula Abdul, smoke up your ass kind of way. We share our ups and downs and have a "we're all in this together" mentality. Writing can be a tough and solitary experience, so it's nice having a built-in support group. When someone gets good news, it's so much fun to celebrate as a group and gives hope and motivation to the others. Plus, it's fun going to conferences where I actually know people there.
4) They serve as a collective barometer for your work. After getting a bunch of feedback from different personalities, part of your job is to decide which changes to incorporate and which don't serve your story. One of the best things about group feedback is you know there's a legitimate problem when more than one person points out the same issue with something in your story. For instance, I had multiple people tell me a line in my first chapter was funny but that the reference would be outdated by the time the book was published - so I changed it. On the flip side, when you have multiple people give you compliments on the same thing, you know it's well-earned and not the smoke up the ass thing.
5) They are a wealth of resources. I feel fortunate to be part of two wonderful critique groups and everyone has information that is shared with the group. Some of the published authors in my one group share information about publishing houses and editors that they like. Just this week, one woman in my group sent me a list of agents she thought would be a good fit for my book after reading my query. I've learned so much about the business end of things from my critique groups and it's been invaluable information.
As you can guess, I LOVE my critique groups. They consist of amazing, talented, persistent women who love writing as much as I do. So there you have my top 5 reasons to be in such a group. If you're in a group that doesn't have these 5 elements and feels more negative in nature, then maybe it's time to look for another group. NOTE: I found both of mine through SCBWI.
So, what have I missed? What are your favorite things about being in a critique group?
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