Before I found my literary agent, I'd read everything agents said regarding what they were seeking. More often than not, the number one criterion was "voice." (Besides "an NYT bestseller." Thanks, very helpful.) It was incredibly frustrating, considering voice usually got defined as "It's impossible to describe, but I know it when I read it."
Over the years, I've figured out that "voice" relates to how someone's work makes you feel. Does it make you happy? Confused in a great, tense way, wanting to read more? Maybe it even creates electric sparks. It's personal, of course, but the best writers' voices soar above everyone else's.
Caitlin has voice. There's so much distinctive personality built into this puzzle, from the expressive OH MY GOSH to I DON'T HAVE ALL DAY to STINK EYE. Something old (HAIR TONIC), something NEW AGERS, something BLENDED IN, something STAGE CREW.
Apparently, I still don't have voice.
Such fantastic use of her long slots, not a one I didn't like. STRAIGHTS could have been ho-hum, but not with a clever clue. [They're in good hands]? That's poker hands, that is!
Strong technical merit, too. I've appreciated how her prior crosswords have been so carefully built, avoiding crossword glue much more so than other constructors. Need to smooth out a region? Use cheater squares (the black squares in the upper left and lower right), absolutely!
(Note that not all editors are lax about cheater squares, especially those in the grid's corners. Rich Norris at the LAT frowns mightily upon them, for instance.)
(Also note, I'm fine with ADOS as a plural noun and MIROS as in "what did you think of the Miros on display?" I have no problem with IN ON or HAD IT, either, both of which can stand on their own.)
A couple of amazing clues rounded out the exemplary solving experience. My favorite was NOAH as famous for "seeing double." But close behind was the T.REX "bearing small arms."
A sparkling themeless, outstanding in every way. If I were a crossword agent, I'd sign her in an instant.