I’d mentioned ages ago that I would share the feedback I received at the Festival of Writing, so today I’m finally getting around to it. Along the lines of my post last week, the 10-minute one-on-one sessions were geared toward discussing the marketability of my story based on its first chapter (which the agent/author read in advance). I met with UK literary agent Juliet Pickering of AP Watt and author Emma Darwin (yes, she’s related to Charles), and this is what they wrote on the standard session form…
Market Appeal: Is the concept of your MS well-designed for the market?
JP – “Literary fiction – female readership? Any authors you could reference in intro?”
ED – “Always room for well-written high-end commercial women’s fiction, but it still needs to be strong in narrative drive, and the history-plot needs to have an effect on the story of the modern strand.”
Me: Juliet had a harder time discerning who my market would be exactly, so she recommended being more specific in my query letter. I’m still not exactly sure what authors I would list…My inspirations for story came from Rumer Godden’s A Fugue in Time, Penelope Farmer’s Charlotte Sometimes, and Henry James’s The Turn of the Screw to an extent, but I kinda modeled my approach (*wishful thinking*) after more modern books by Audrey Niffenegger and Gregory Maguire (Lost, not his fairy tale retellings). I haven’t aimed to copy anyone’s style nor do I want to, but I guess I’d aspire to Kate Morton if I did.
In any case, during our session, Juliet did say she thought the ghost-story element of my manuscript is marketable at this time. I have two threads of narrative running through the manuscript of different time periods, so Juliet had also echoed what Emma later said about one narrative needing to have an impact on the other. Rest assured, they do relate, though the interaction only gradually becomes clearer by the second half, and I leave the reason for this relationship open to speculation until close to the end. Right or wrong, I’m relying on the mystery of that to keep the reader going and give the ending its ta-da!, so hopefully it’s okay that the connection isn’t readily obvious from the start.
Prose Style: Is your prose style strong enough to sustain an agent’s interest?
JP – “Yes”
ED – “Potentially rich, and very evocative at its best, but it is over-written: too many elaborate words getting in each others’ way. Also I think it’s blinding you to where you’re using words loosely or wrongly, or a sentence doesn’t actually make sense.”
Me: Juliet’s commentary during the session was short-in-sweet on this point, too. Emma, however, was invaluable in calling me out on what I do get criticized on time and again. I had a professor in grad school who told me, “You’re a very good writer. You could be great if you relaxed it more.” The indie publisher who previously offered me a rewrite opportunity likewise said that my writing at the outset of my story was “very ‘erudite’ sounding with lots of metaphors and description, lots of almost ‘purple prose'” and needed to be “simplified a bit to make it more accessible so as to meet with the expectations of our typical readers.” So let’s just say I know this about myself and have for quite some time. I was also reading A.S. Byatt and stuff like Of Human Bondage and Victorian Gothic fiction at the time I started, which made a lot of old-school formality creep in. I’m working on it.
Interestingly enough, that publisher found my language to evolve over the course of the book, which no doubt has to do with practice making, well, closer to the elusive “perfect.” The act of writing itself is the way to become a better writer, and, not having tackled such a lengthy project before, I know that I fell into a more natural groove as the story progressed and had been applying other lessons learned along the way. So I’ve been concentrating lately on these opening chapters to make the writing more consistent. And when Emma says, “using words loosely or wrongly,” ha! Ouch! She’d noted specific instances in my first chapter, and they were definitely parts where I let myself drift into a bit of prose poetry without considering whether I’d let myself get too experimental/abstract. I’m hoping my writing prompts or Eda vignettes will be my outlets for that sort of thing and help get it out of my system for longer prose that should be more straightforward. 🙂
There are a couple other items on the list that I’ll leave for Part 2. In the meantime, happy writing-to-write-better, everyone! And please do tell what feedback YOU’VE received on the two questions above. How did you respond?