I just spent a great weekend in Gettysburg, PA, at an SCBWI conference—incredibly well organized, plus delightful, inspiring keynote addresses by Patricia MacLachlan and E.B. Lewis. My only regret is that I wish I could have sat in on the break-out workshops and speeches, but I was booked solid with one-on-one manuscript critiques all day Saturday and Sunday morning. For each critique, I was sent the first 10 pages of a YA or MG novel, plus a one-page synopsis, in advance of a 15-minute session with the author. Which leads me to the question at hand…
Whenever I have a lot of critiques in a row (fifteen, in this case), as the day goes on I usually end up identifying one or two key issues that come up in multiple manuscripts. This time out, it seemed like a lot of the openings were rushed—to me, it almost felt like authors were consciously trying to smush all the key ingredients of characterization, setting, conflict, symbolism, voice, etc., into those precious ten pages for my review. However, when I asked if any had tailored their samples specifically for the critique, the answer was a resounding “no.”
Hence, I’m wondering: What’s the main thing you look for in a story? Do you want to meet the main character? Find out the central issue of the book? Dive right into the plot? Or do you want it all? I will say, in several of these critiques I found myself advocating for the author to slow down and let us get to know the main character before diving headfirst into the plot. But maybe that’s just me—which element gets you turning the pages?

November 15, 2011
John
