Jennifer Represents...

Book Birthday: DROWNING INSTINCT by Ilsa J. Bick

2012-02-01T10:20:00.000-08:00

If you liked ASHES by Ilsa J Bick... well, this has nothing to do with ASHES. It is in fact a contemporary thriller of sorts, with plenty of issues and drama and the page-turning pace that Ilsa is always known for. There are zero zombies in these pages... but you'll find yourself racing through them anyway. :-)

DROWNING INSTINCT is a fairy tale with teeth: The story of a damaged adolescent and a flawed adult that refuses to firmly fix blame but instead considers the devastating impact of secrets and self-deception.

About DROWNING INSTINCT:

There are stories where the girl gets her prince, and they live happily ever after. (This is not one of those stories.)

There are stories where the monster gets the girl, and everyone cries for his innocent victim. (This is not one of those stories either.)

And there are stories where it's hard to be sure who's a prince and who's a monster, who is a victim and who should live happily ever after. (These are the most interesting stories of all.)

Jenna Lord's first sixteen years were not exactly a fairy tale. Her father is a controlling psycho and her mother is a drunk. She used to count on her older brother--until he shipped off to Iraq. And then, of course, there was the time she almost died in a fire.

Mitch Anderson is many things: A dedicated teacher and coach. A caring husband. A man with a certain...magnetism.

DROWNING INSTINCT is a novel of pain, deception, desperation, and love against the odds--and the rules.

As a child psychiatrist, Ilsa Bick has treated many Jennas and Mr. Andersons, and so she knows: Good intentions make for a damned slippery slope.

Want to buy a copy of the book? Click.

Want to WIN a copy of the book? Click.

Book Birthday: PRINCESS OF THE WILD SWANS by Diane Zahler

2012-01-31T16:19:00.000-08:00

This book was not sold by me, but Diane Zahler is a new client... and I LOVE her writing. I'm extremely happy to tell you about her brand-new book from HarperCollins, PRINCESS OF THE WILD SWANS! If you love fairy tale retellings, books like Gail Carson Levine's FAIREST or Juliet Marillier's WILDWOOD DANCING, you should definitely be on the lookout for Diane Zahler's books.

Princess Meriel's brothers have been cursed. A terrible enchantment--cast by their conniving new stepmother--has transformed the handsome princes into swans. They now swim forlornly on a beautiful heart-shaped lake that lies just beyond the castle walls.

Meriel will do whatever it takes to rescue her beloved brothers. But she must act quickly. If Heart Lake freezes, her brothers will be forced to fly south or perish.

With help from her newfound friends Riona and Liam--a pretty half-witch and her clever brother--Meriel vows to finish a seemingly impossible task. If she completes it, her brothers may be saved.

But if she fails . . . all will be lost.

Diane Zahler lives with her husband, son, and dog in New York's Harlem Valley, in an old farmhouse held together by magic spells and duct tape. Diane is the author of The Thirteenth Princess, which was chosen as an ALAN's Pick, praised for its "delicious descriptions" (Kirkus Reviews), and deemed a "graceful and cohesive romantic drama" (Publishers Weekly), and A True Princess, out in paperback today.

She is spending the next six months in Belgium (she left today in fact!) - you can follow her as she blogs about adventures in the land of Beer, Chocolate & Waffles here. Or you can follow her on twitter here: @dianezahler

The Fine Art of Zipping It, or XYZ PDQ

2012-01-26T08:50:00.000-08:00

Look, I keep my private life private, but let's just put it this way: I am a city girl. I have lots of different kinds of friends, with lots of different kinds of private lives, and some of them are quite expressive about them. I am friends with people who are dancers and actors and drag queens and sex therapists and racy comedians and wild-eyed-probably-high college students, and all sorts of things in between. The content that they post on social networks reflects that, and that's just great.

I'm also friends with lots and lots of writers. Some of them are semi-insane ranting penmonkeys, or sassy romance or YA authors. Sometimes they post things that make me blush a bit... and THAT'S fine too. But writers or not, what do all these people have in common? The tone of their social media content reflects the tone of their work.

Now of course they might be MORE conservative in social media than they are in their work, but they are rarely more salacious. In other words... a YA novelist may choose to tweet about breakfast, or she may choose to tweet about pop culture or politics or any other dang thing that one talks about in public... but she probably won't start tweeting naked pics. An burlesque dancer might tweet about all of those things including burlesque-pics... but she probably won't start tweeting links to snuff films.

Personally, my blog is pretty much exactly how I would talk to my boss, or an editor, or a client, or my mom, mild cursing and all... nobody is going to get a big shock or be disturbed if they read the blog and then meet me, because the tone of my social media reflects the tone of my work.

So consider this a public service announcement.

If you are an author of children's books, could you please not post raunchy comments and explicit posts on your public social media sites? Come on now. This isn't your private living room. You've followed me, and maybe I like the looks of your book, or maybe I've already read and liked it. You've followed a host of other booksellers and librarians and teachers, editors and agents, readers and potential fans. Why did you follow those folks? So they'd get to know you and your book, right? So they'd help you promote it, bring it into their library, read it at storytime, put it in a kids hand? So that maybe they might want to buy or read (or rep! or publish!) the next one? Of course.

So you know very well that you are talking to not just your friends, but to a group of people who work with kids and/or kids books all day long. Do you seriously think I, or any one of those other professional children's book people, will want to bring you in for an event, or tell the marketing team about you, or otherwise promote your picture book when we know you are making comments about the looks of 16 year old "jailbait" on youtube, publicly bemoaning your erectile dysfunction on facebook, instagramming pictures of your rum-soaked bachelorette party, posting unfunny pedophilia jokes on your blog, or talking about MILFS at a school event on Twitter? Do you imagine a PARENT would see all this and give your book to their KID? Are you nuts?

Seriously. If you want a locked twitter or a private facebook for just you and your wild hockey team pals or fellow members of your Bad Medicine cover band or Mile High Ladies Fan Club or whatever, go for it, and god bless.

But if you have a public account on which you are promoting your work for children, and you are friending/following readers, teachers, librarians and publishing professionals, use your dang noodle. And not THAT noodle, mister.

"But Jennifer, that is CENSORSHIP!" -- nope, I think it's actually just common sense. "But we're all ADULTS! Little kids aren't reading my facebook posts!" -- sure, that's true. So if you're truly passionate about a topic, go for it. I would just suggest that if it is content that could not be printed in a newspaper, you're probably on the wrong track. I think of public social media like a cocktail party with colleagues and your boss... not a bachelor party with drinking buddies and a hooker.

What do you guys think? Am I hopelessly conservative and out of touch? I don't think so, but I am interested in other points of view.

Happy Book Birthday: MY HEART WILL NOT SIT DOWN

2012-01-10T07:00:00.000-08:00

MY HEART WILL NOT SIT DOWN by Mara Rockliff, illustrated by Ann Tanksley

In a village in Cameroon, a teacher tells his class a story about his home country. Across the great salt river in America, there is something called the Great Depression. There are not enough jobs. People are homeless, starving and begging on the street.

Young Kedi is moved by the plight of the Americans. Though her village has little money, and must work hard for the food and shelter they have, they've got love to spare. She wants to share what she has with the people she has heard about in school, even though they are strangers. And she inspires others to do the same.

MY HEART WILL NOT SIT DOWN is based on true events. From the author's note, "In 1931, the city of New York received a gift of $3.77 to feed the hungry. It came from the African country of Cameroon."

MY HEART WILL NOT SIT DOWN is the perfect book to share with children if you want to inspire them to look outside their small world and make a difference in the larger world. And, if you are anything like me, it will make you cry. It's just wonderful.

You can buy the book from your local bookstore, or from MY local bookstore, or online. Heck, buy two, and share it with others! :-)

OMG 2012 Open Thread

2012-01-04T07:31:00.000-08:00

HOW is it 2012 already?! WoWza. IT'S THE FUTURE.

And... it's time for another Open Thread!

You know the drill, kids -- ask me questions. They can be agentish, bookish, or anything else your curious little heart desires. If I can answer, I will, in the comments. If it is a longer answer, I may make a blog post about it. When I get sick of answering (in a couple days probably), I'll shut it down.

Have fun, and play nice!

My 4th Agentversary

2012-01-02T07:58:00.000-08:00

I officially became an agent (as in, my profile went live on the website and I started getting queries from strangers) at the stroke of midnight on January 1, 2008. That's cool, because I am forgetful about dates like that, and the New Years date is super-easy to remember. Plus it means I am like a racehorse. (This is the same reason I set Moxie's birthday to Jan 1 - she's three now.)

This is the post I wrote a year ago on my 3rd Agentversary. It's a lot about how I sold my first book, FLASH BURNOUT. That particular sale was on my mind a lot when I wrote the post, because I already knew that my dear friend and author LK Madigan (Lisa) was sick, and she passed away six weeks or so later in February of 2011.

Lisa's loss is felt keenly, and colored all of 2011 for me. Not a day goes by that I do not think about her in some way - sometimes with a tear, but just as often with a smile. And then a tear. I miss her a lot.

Lots of other stuff happened in 2011, of course. Great new clients. Great sales. I sold my 75th book (holy moly!) and have 26 on the shelves. I had my first anniversary of living in New York, and am finally (sorta) used to it. I traveled plenty, made new friends, read heaps of great books, and spent lots of time hugging the dog. But still... a somber year.

Anyway. I love you, internet friends. I wish you all an extremely productive and fascinating and wonderful and joyous year. Oh and I wish that for myself, too. I am choosing to be happy.

LET'S KICK ASS IN 2012.

Have a Wonderful Holiday!

2011-12-19T15:02:00.000-08:00

Thanks, everyone, for being a part of a wonderful 2011. Here's to a happy holiday, and a fantastic and book-filled 2012! xo Jenn

Holiday Card art by Ward Jenkins - Click on image to embiggen!

Book Angel Project

2011-12-15T21:18:00.000-08:00

Every year, Oblong Books "adopts" several local classrooms of underprivileged kids and makes sure that each of them get new books for the holidays. In many cases, these are kids who have never had books of their very own, let alone NEW ones chosen just for them -- so we try very hard to be sure that they are getting things they will really love, and that will be the right level for them. We set up a Book Angel Tree. Each star stands for a specific kid, with their grade level and interests listed. Lots of neighborhood families will come in and pick a star to shop for. It's a great tradition.

So we'd gotten maybe half the kids sorted this year. Still a fairly long way to go, a full trees-worth of stars. I have no doubt that we would have gotten them all eventually, but the project ends on Sunday, so this afternoon I decided to take a picture of the tree and tweet about the project, to remind local people to come in and pick a star, or call and donate to the cause. And... something amazing happened.

Within minutes of my twitter post, the phone had rung with enough donations to get brand-new books for six kids. Then ten. Then twenty. In about two hours, we completed the entire tree! That is THREE classrooms full of needy kids in the Hudson Valley - 75 kids in all - who will each have two to three* brand-new, specially chosen for them, totally awesome books each to unwrap this holiday.

Donations were coming from California and Idaho and Canada and Arkansas, as well as closer to home. I'm not gonna lie - it made me teary.

And guess what? People are STILL asking how they can help.
While our Book Angel project is complete for the year (well all except the wrapping, anyway!), there are still many kids in this country (and probably in your own neighborhood) who have never had a book of their own. And Christmas would be a great time for that to change. Something like 42% of families live in poverty (a number that is on the rise). And according to RIF, two-thirds of those families have NO books at home. If you didn't get the chance to be a Book Angel through our bookstore this year, please consider a donation to First Book or Reading is Fundamental.

A huge THANK YOU to everyone who donated or helped spread the word. And HAPPY HOLIDAYS! xoxo

*For novel-length books, we chose two books per kid - for those who are still on those very thin early readers or 8x8 picture books, we chose three

It's Not the End of the World.

2011-11-28T08:56:00.000-08:00

Q: HELP. I am scared my agent is about to drop me. WHAT DO I DO?

I gave basically this answer to somebody on a message board recently but realized that I get a variation on this question all the time. So let's tackle it here.

The fact that you are asking a stranger about this is a bad sign, to be honest. To me, it means you don't have a good enough relationship with your agent to have a frank conversation with her.

Either:

A) You are right, she is not jazzed about your book anymore (or your next book, or whatever it is) -- in which case you need to TALK TO HER and find out what the problem is, and if she has lost faith in your book you need to find out why and discuss the possibility of revisions, or tell her the other awesome idea you have up your sleeve, or part ways with her, or SOMETHING. But nothing will get accomplished if you don't talk to her. You sound like you are stuck in a rut right now, and something needs to change for you to move forward. Or...

B) You are being a neurotic stressball (common in the writer community) and you need to TALK TO HER and realize that she still adores your work and is waiting until after the holidays, or is swamped and not being the communicator she should be, or SOMETHING, but again, you can't find that out unless you talk to her. She is probably not psychic and will not know you are upset unless you tell her.

If you haven't had a conversation about your fears with her, ask yourself why. Is it because she is hiding from you? Or because you are avoiding saying what is on your mind? In my opinion, not communicating what you need and expecting somebody else to just magically know it it is not just passive, it's passive aggressive, and it is a sure way to sabotage yourself.

If you have the conversation you might both end up pumped, re-energized and ready to do another round, or see what happens next.

But if by chance she does end up dropping you (OR vice versa)... it won't be the end of the world. In fact, you might find it a blessing in disguise. Even if you really like somebody as a person, you don't want them as an agent if they aren't excited about your work. And you certainly don't want to work with somebody you don't trust enough to talk to.

For a bit of inspiration -- and this is for ALL writers -- I link you to this post I liked by THE INTERN on Nova Ren Suma's blog. (Actually all the inspiration posts on that blog are great). I urge you to remember that seriously, in the grand scheme of things, all this neurotic crazymaking stuff that is so easy to tear your hair out over? Really... just... doesn't... matter. Stop obsessing and freaking out, take a big deep breath of fresh air, and be brave.

Exclusives on Slush? Oh Hell No.

2011-11-25T18:39:00.000-08:00

Paraphrased from a ton of queries:

"I'm sending this to you exclusively. You're the only agent to see this because I know we're such a great fit!"

My (short) response:

NOOOOOOOOOOOOOO!!!!!!

My (long) response:

What are you, NUTS?

Even if you read my twitter, follow my blog, have met me in real life - you don't know me. You don't know how much time I have, or what other people already on my list are currently in the midst of writing. I reject 99% of what I get. Even if you ARE the 1%... I'll be the judge of that, thanks. Don't presume we are "such a great fit" that you are willing to sabotage your own career on that basis.

Yes, giving exclusives when they aren't requested IS sabotaging your own career.

An agent or editor may take weeks, or months, to get back to you. Frankly, they may never get back to you. They quite rightly prioritize authors that they are actually working with, and some have policies of "no response means no."

You might think that an "exclusive" will make me speed up. Nope. I read queries in the order I get them. When I get to your slush query a month after you've sent it, that is the first time I have ever seen your name, and you say something like "this is an exclusive submission" -- but why? I had no idea! I didn't ask for that! You were seriously going to wait a month, two months, or FOREVER?? And then send it to one more person? And wait a month or two months or FOREVER??? Noooo! You will be like Rip Van Winkle at the end of it all.

And let's say you DO get a favorable response? Let's say I read it and love it and offer. Well great. But you have no idea if I am actually the agent who will love it best. Or let's say that editor says "OK! I'll buy it." But... you have no idea if other offers would be better, and no leverage to improve the offer. Argh.

I'm sorry to be so keyed up, I am obviously emotionally invested in this. But... I really really REALLY want authors to give themselves a fair shake. I think exclusives are a poor idea and BAD FOR YOU.

These are the times to give exclusives:

* When you already work with an editor, and enjoy them, it is totally appropriate to give them the "first crack" at your new work.

* When you already work with an editor, and this is a project that they have asked for specifically - a sequel, or another work set in the same world as your first, or they've asked you for a book on a specific topic, for example.

* When the agent or editor has worked with you extensively, and given you tons of specific editorial feedback, and has asked you to revise and indicated that they WANT to read it again, and you have revised the book specifically FOR THEM. Then it is totally appropriate to give an exclusive on that version of the manuscript, for a window of time. But all of those factors have to be in play. And you have to TELL the editor or agent that they have x-number of weeks to look. After that point, you are quite free to send the material to other people.

You notice how NONE of those times are "when you are a slush puppy and nobody knows who you are yet"?

Big Sur Conference - registration closing soon

2011-11-18T19:06:00.000-08:00

It's that time of year again - Big Sur time!

The first weekend of December, my agency hosts the Big Sur Children's Writers Workshop - and I can truly say it is THE BEST and MY FAVORITE conference. So much craft ... so much warmth ... you really get to know the faculty... it ROCKS!

The weekend consists of small, intense workshops where you get valuable critique on your work from agents, editors and other writers. And, because we are in a gorgeous but isolated setting (in the great pine forest, on a cliff over the Pacific ocean!) with no TV, no internet, and very little other distraction, you get a ton of writing done. I've seen "meh" work on Friday become "WOW!" by Sunday. It's pretty amazing and inspiring.

This years faculty includes editors from Penguin, Chronicle Books and Random House, NYT Bestselling authors, and of course, a good number of the ABLA agency crew. The author/faculty ratio is about 4 to 1, so you really do get a chance to meet everyone at our communal meals or just hanging around the lodge, even if they are not one of your "advisors."

There is still space for this December. Registration closes in a couple of days. Join us!

http://www.henrymiller.org/CWW.html

Holiday Gift Giving - Agent Edition

2011-11-17T08:31:00.000-08:00

Q: I have an agent I love, although she's not had success (yet?!) selling my book. The ever important question: what is appropriate for an author to do for her agent at the holidays? Just a card? A gift? What kind of gift? These are the things that keep me up at night! Thanks.

May seem silly to some, but I get this question with surprising frequency, so I am going to pull on my white gloves for an etiquette lesson.

Your agent needs and expects nothing for the holidays. You are under NO obligation to spend money or time on gifts your agent for holidays, or at any time of year. Even if you and your agent are friendly... even, in fact, if you and your agent are friends.

If you are the card-sending "type" and sending cards is already on your agenda -- go ahead and send a card. That's nice. But don't go out of your way to do it if you are not "cardish" by nature. Otherwise, an e-card, or just simple greetings in regular correspondence, such as you might give to anyone you do business with, are of course polite. You may not know what, if any, holidays your agent celebrates... so I'd suggest keeping it to a neutral "happy holidays", "happy new year" etc, unless you know for a FACT that your agent is a practicing member of a specific religion. (I usually say "stay warm!")

If you have a book deal to celebrate, or if you just love to give gifts and you REALLY WANT to give your agent a present, I'd suggest keeping it small - no need to go overboard. Perhaps something bookish, or some cool token related to your book. If she works in an office with other people, some nice chocolates or cookies to share. If you know she likes a certain kind of coffee or booze, some of that would be appreciated (provided it is not too pricey). Your agent will be delighted to receive a gift... but again, she is NOT going to be expecting one, nor will she be disappointed if one does not come.

DON'T buy something lavish, particularly if your book has not yet sold. (If your book sold for a million bucks, by all means splurge on the luxe cashmere scarf ... but if your book hasn't sold yet and you are barely holding down a job at Dairy Queen, it will make your agent worry. You want your gift to inspire delight, not concern.)

DON'T send perishable items to the office over the holiday break - nothing quite so gross as a box of decomposing pears leaking onto your desk when you come back from vacation. I'd also steer away from things that have a scent (perfumes and soaps), and items of clothing that have a size.

DO remember that people go out of town and offices are closed over the holidays. Check for the best address before sending.

DO Let common sense be your guide. And DON'T worry!

MORE Book Birthdays! Wow...

2011-11-09T06:15:00.000-08:00

Sparks: The Epic, Completely True Blue, (Almost) Holy Quest of Debbie by S. J. Adams (aka Adam Selzer)

Do you feel lost? Confused? Alone?
(Circle one): Yes or No.
The Church of Blue can help. We are not a cult. $5 for a holy quest is a good deal.

Since sixth grade, Debbie Woodlawn has nursed a secret, heart-searing crush on her best friend, Lisa. But all those years of pretending to enjoy Full House reruns and abstinence rallies with Lisa go down the drain when her friend hooks up with Norman, the most boring guy at school. This earth-shattering event makes Debbie decide to do the unthinkable: confess her love to Lisa. And she has to do it tonight--before Lisa and Norman go past "the point of no return." So Debbie embarks on a quest to find Lisa. Guiding the quest are fellow students/detention hall crashers Emma and Tim, the founding (and only) members of the wacky Church of Blue. Three chases, three declarations of love, two heartbreaks, a break-in, and five dollars worth of gas later, Debbie has been fully initiated into Bluedaism--but is there time left to stop Lisa and Norman from going too far?

SPARKS is a great choice for:

*Those who love goofy/touching/funny/romantic
* Those who love John Hughes movies
* Anyone who has ever had an unrequited love that has driven them to go to semi-crazy lengths
* Anyone who has ever started their own religion

Extraordinary*: *The True Story of My Fairygodparent, Who Almost Killed Me, and Certainly Never Made Me a Princess
by Adam Selzer (aka S. J. Adams)

Jennifer Van Der Berg would like you to know that the book ostensibly written about her--"Born to Be Extraordinary" by Eileen Codlin--is a bunch of bunk. Yes, she had a fairy godparent mess with her life, but no, she was not made into a princess or given the gift of self-confidence, and she sure as hell didn't get a hot boyfriend out of it.

Here's the REAL scoop . . .

EXTRAORDINARY is great for:

* Twi-Haters
* Anyone who thinks that vampires & werewolves are probably NOT so great in the romance department and that unicorns are probably pretty gross to clean up after
* Those who like their "paranormals" with a heavy dose of satire & humor
* Anyone who would prefer to read about a bad-azz Fairy Godmotherf**ker rather than a frilly Fairy Godmother

Update on Big Book Contest coming soon...

Falling Leaves open thread

2011-11-01T15:25:00.000-07:00

It was an absolutely gorgeous day today - crisp, sunny, bright, lots of leaves still left to turn... oh and there was still snow on the ground from our pre-Halloween BLIZZARD! Yikes. While I am busy nomming on leftover candy and cleaning up the yard, I can certainly answer some open thread questions.

SO. Hit me with your agentish/publishingish/bookish or whatever questions, or just talk about books or pets or whatever. I'll do my best to answer you, until I get sick of it (usually I can go a few days or a week).

Long answers may get their own blog post - short answers will be addressed in the comments.

OK GO!

Two Book Birthdays

2011-10-25T08:47:00.001-07:00

Two new books OUT TODAY! Woooo!
AMPLIFIED by Tara Kelly

Short description: Jasmine lies her way into a band, then has to prove herself. Hot story, hot guy, hot music - LOVE IT.

Long description: When privileged 17-year-old Jasmine gets kicked out of her house, she takes what is left of her savings and flees to Santa Cruz to pursue her dream of becoming a musician. Jasmine finds the ideal room in an oceanfront house, but she needs to convince the three guys living there that she's the perfect roommate and lead guitarist for their band, C-Side. Too bad she has major stage fright and the cute bassist doesn't think a spoiled girl from over the hill can hack it. . . . In this fresh new novel by critically acclaimed author Tara Kelly, Jasmine finds out what happens when her life gets "Amplified."

"Kelly's background in music is evident in her electric descriptions of Jasmine's evolution as a performer." --Publishers Weekly

This book is great for:

* Music lovers - especially girls who rock!

*Those who like smexy guys

* Fans of fun-to-read contemp YA

Buy the book at your local store or on Powells.com BN Amazon

BETWEEN THE SEA AND SKY by Jaclyn Dolamore

Short description: Mermaid + Winged Dude = Problematic Relationship. If Jane Austen wrote mermaid books... charming and swoony!

Long description: For as long as Esmerine can remember, she has longed to join her older sister, Dosinia, as a siren--the highest calling a mermaid can have. When Dosinia runs away to the mainland, Esmerine is sent to retrieve her. Using magic to transform her tail into legs, she makes her way unsteadily to the capital city. There she comes upon a friend she hasn't seen since childhood--a dashing young man named Alandare, who belongs to a winged race of people (and is a MAGICAL WINGED BOOKSELLER!!!). As Esmerine and Alandare band together to search for Dosinia, they rekindle a friendship . . . and ignite the emotions for a love so great, it cannot be bound by sea, land, or air.

This book is great for:

* Upper middle grade and young YA fantasy enthusiasts

* Fans of adorable fantasy, such as might be found in Miyazaki / Studio Ghibli films

* Fans of MAGICAL WINGED BOOKSELLERS.

Buy the book at your local store or at Powells.com BN Amazon

CONTEST CLOSED

Book Birthday: OVER AND UNDER THE SNOW by Kate Messner & Christopher Silas Neal

2011-10-19T06:57:00.000-07:00

In the northern forests, there is a space that develops between the ground and the winter snowpack. This, the Subnivian zone, is occupied by a fascinating assortment of animals whose stories remain invisible to all but the most careful of observers. As a girl and her father spend the day on skis, gliding over the snow and through the hushed white woods towards a good meal and cozy beds, they see evidence of this secret animal kingdom beneath the ice. Deer graze and voles scurry, bears sleep and beavers build. And father and daughter (and reader!) watch.

Written in a spare poetic style, and with glorious illustrations by Christopher Silas Neal, OVER AND UNDER THE SNOW is not just a picture book about animals, but about how things are not always what they seem, about a child truly experiencing nature, and about a father and daughter and the magic they share when they stop -- and listen.

I love this book a lot and I hope you will too. But don't take MY word for it. Here's what the Wall Street Journal had to say. This is the starred review from Publishers Weekly. Let the Eric Carle Museum tell you about it. Then buy the book yourself and see what everyone is talking about.

Finally, here's a fascinating interview with Christopher Silas Neal on Kate's blog -- check out the evolution of the AMAZING artwork for this book!

*** If you would like SIGNED COPIES of Over and Under the Snow, and you'd like to help support the rebuilding of the Adirondack libraries that were devastated in Hurricane/TS Irene, consider ordering copies from The Bookstore Plus in Lake Placid. More info about their great fundraiser, and how to order even if you are far away, is up on Kate's blog. ***

No from one, No from all... REALLY?

2011-10-17T06:38:00.000-07:00

Q: I know that some agencies are a "no from one is a no from all", but... what if I want to query more than one of the agents anyway? I mean, different people like different things, you're always saying this business is subjective, why not? And who ever got successful without bending a few rules, anyway, particularly dumb and arbitrary ones?

I feel like I have probably answered this before, but what the heck. Forgive me, loyal readers, if you've read this info before.

My agency is a "no from one means no from all" agency. We provide lots of info about each agent on our website so that hopefully you can target your submissions. We really do share material.

One of the biggest agency-wide peeves is when people query multiple of us at the same time, or "shotgun query" us one after the other. We really do share work with each other - both the good and the bad - and while simply sending to one of us is not a guarantee that your work will get passed around... if it is memorable, it will. And then, yanno... WE'LL REMEMBER IT. Because it is MEMORABLE.

If you query an agent and she is into your work, and she brings it into a meeting to share, then she realizes that one or more of her colleagues is also looking, she'll likely be irritated. I know I would be. We all have pretty full client rosters as it is, and if we love something, we want to be able to offer on it unimpeded. You are making the relationship fraught and weird from the outset, and you've proved from the outset that you don't follow the simplest of directions. Not a good start. We aren't going to fight with each other over you, so we'll probably all end up rejecting you. You've wasted all of our time, and your opportunity with the agency.

If you got a full request and you got notes and the agent really put time into it, she will likely be irritated if you then turn around and approach another agent at the agency. Anyway, I know I would be. She is already invested in you to an extent. At the very least, give her the opportunity to look at your next ms, or a revised version of this one if you used her notes to revise. She doesn't have to say yes -- but it is courteous to ask. Something like "I edited this extensively using your insightful feedback as a springboard for the revision. I truly feel this is a better, stronger manuscript for the work. Would you be open to taking another look, and if not, may I query one of your colleagues perhaps?" She'll probably say yes, or give you leave to query somebody else at the agency. She might even pass the ms to that person herself.

If, however, you got rejected (and especially if it was a "no response") at the query stage, and you think your query might not have even gotten a second glance, and you want to query another agent at the agency too, there is a way:

* WAIT several months after the rejection, or after the "no response" time-frame is up (3-6 months would be appropriate)

* REVISE both your query and your work during that time

* BE HONEST in your next query. "I queried Jenn Laughran with an earlier version of this manuscript back in the spring and got no response. Since then I have revised significantly and I feel it is a much stronger work..."

It's like Stop, Drop and Roll... but hopefully less flammable. Remember it.

Good luck!

ROCKTOBER Open Thread

2011-09-30T08:28:00.000-07:00

Hey kids,

I realize that I never did one of these bad boys for September... whoopsie! I guess we all need a break from the usual routine now and again.

I'm spending the next few days getting ready for a big conference in Texas next weekend (yeehaw!) and generally reading and puttering and such - but in the meantime, I figure, why not answer some questions? WHY NOT INDEED.

So if you have agentish - publishingish - bookish - booksellerish - doggish - or whatever other questions, feel free to posit them to me here. Short answers I will deal with in comments, some long ones might be selected for their very own blog post.

Yay!

More about Contests

2011-09-26T06:59:00.000-07:00

First of all, don't forget that the contest to win a full set of BRILLIANT FALL OF GIANNA Z is open until 8pm tonight. Get on it, kids!

Also, a pal pointed out this fun-looking contest from MeeGenius:

MeeGenius* is a picture book app for the iPhone, iPad, iTouch, Google TV, and the web. They're a fast-growing company, and in addition to publishing original digital picture books, one of their goals is to become a community for children's book writers and illustrators; a place for them to get to know each other, learn more about publishing, exchange ideas, and get published online! To that end, they're launching a "Book Challenge," and are inviting writers to submit manuscripts. Here's a link to their announcement page.

My POV on contests is pretty much, don't think of it like "this is my chance to get published!" or in any way taking the place of the work you are doing toward being published in a traditional way. That would be like just playing the lotto instead of getting a job. Fun, perhaps, but not a great way to get the rent paid on time.

Personally, I think of contests like this as just pure fun. At worst, it's a bit of a timewaster - at best, it could be a neat opportunity for people looking to get into the children's book world to become involved, learn from their peers, and get exposure. Plus, looks like the prizes are pretty sweet. Good luck!

*(Although every time I see the word "MeeGenius" I have to say it in this voice...)

Brilliant CONTEST of Gianna Z!

2011-09-22T06:51:00.000-07:00

There's this book I represent, by Kate Messner. It's been out a couple years... it won the EB White readaloud award... it's super good. It's called THE BRILLIANT FALL OF GIANNA Z and it looks like this:

It's about Gianna, a 7th grade girl who has a lot going on. Her family is slightly nutty, she is dealing with a mean girl at school, she sort of has a procrastination problem which means she might not be able to run at her track meet, and she has this HUGE leaf project that is basically ruining her life. And she needs to pull it all together, like, now.

BRILLIANT FALL is a wonderful story -- warm and funny and full of heart. If you are the parent or teacher of 9-12 year olds who like family stories and school stories, you really ought to know this book. And hey - it's seasonal. AND you can't beat the price, hello paperback!

So here's the deal. I have a box of these rascals to give away. I think that they would be best off either in a couple of mother-daughter book clubs, or in a classroom or other literature-circle type situation.

If you want to win a set of Giannas, here's what you do:

Write an email to: GiannaContest at gmail.com

Include your name & contact info, the kind of group you are, age of kids and number of kids participating. And what you would do with the books if you won.

And answer, in any way you choose, the famous question, IF YOU WERE A TREE, WHAT KIND OF TREE WOULD YOU BE?

Contest ends at 8pm Monday, 9/26. Judgement rendered by me, based on my own whim. Creativity might help you. There may be more than one winner.

For more info about the book, and to see how some famous kids book authors answered The Tree question, click here!

Tumblog About Books

2011-09-18T15:01:00.000-07:00

So I've resisted the siren call of Tumblr for a while, but... I realized that I want a place to specifically talk about books that are NOT "my books." To just plain recommend stuff that I love, but that are off-topic for this blog.

And you might get a sense of my taste if you take a look at the types of books I read and enjoy when I am NOT working. I try to read pretty widely, but there are definitely some trends that I find cropping up as I make lists of what to review. (Do keep in mind, though I review grownup books on the tumblr, I still only rep kids & YA books.)

Anyway, enjoy, comment, feel free to recommend titles to me (though my reading time is pretty limited) - I am always curious to hear what people are loving! :D

http://literaticat.tumblr.com/

Not ALL about the Benjamins...

2011-09-14T06:02:00.000-07:00

From Twitter: "[I] stopped reading a blog after the 2nd sentence, "being an agent is less about art and more about money." @literaticat tell me it's not true"

Actually I think that is accurate.

The statement isn't "being an agent is NOT about art and ONLY about money." That would not be true. After all, most agents probably become agents at least in part because they love books and reading and thinking about books and talking about books. So art comes into it.

I can't speak for anyone else, but I take on projects that I love...but I have to also that I think that I can sell them, otherwise it isn't worth my time. Seriously. Taking on a new project is a major commitment of time, energy and mental bandwidth, and I don't get paid unless I sell the thing. So from a purely self-interested standpoint, certainly, money matters.

And it SHOULD.

You aren't getting an agent to be a critique partner (though some give great critiques). You aren't getting an agent to be your editor (though some are great at editing.) You aren't getting an agent because they are a great writer (though many are.) You aren't getting an agent just so they'll hang around praising you all day and telling you how rad you are (though my clients ARE rad, for the record!)

You are getting an agent to handle business for you. To sell your projects well and make sure you get paid. To negotiate for you. To be a bully on your behalf. To support you and your career in many ways, but particularly in all matters business related.

So, less about art, more about money?

Unashamedly so.

ASHES Free Sample

2011-08-31T05:52:00.000-07:00

So this is a very cool addendum to the previous post about the ASHES giveaway.

You can read the first 100 pages of ASHES for free on io9 right now. A mere taste of the scary stuff to come, I guarantee it. :-)

Then preorder your copy and enter the contest!

ASHES Giveaway

2011-08-26T09:06:00.000-07:00

I'm extremely excited to have a giveaway in honor of ASHES by Ilsa J. Bick, exclusively for my blog / twitter readers.

What's ASHES? Well, the editor says “It’s a ‘sleep with one eye open and double-check the locks’ type of novel.” I say, it's a completely addictive thriller that left me breathless... and sleepless. What's it about?

Ashes begins when an electromagnetic pulse sweeps through the sky, killing the vast majority of the world population and zapping every electronic device. Everyone still alive has changed considerably—some for the better (those who acquired a superhuman spidey-sense) while others for the worse (those who acquired a taste for human flesh).

Among the few teens and children who are spared are Alex, a resourceful teen running from her own demons; Tom, who left the war in Afghanistan only to find something much worse at home, and Ellie, an angry eight-year-old girl whom the two must rescue. This improvised family will need to use every ounce of courage they have just to survive in this chaotic new world.

The author, Ilsa J. Bick is a former U.S. Air Force major and forensic psychiatrist, and now a full time writer. You can follow her on twitter here.

SO. The contest.

From now until 11:59pm on Sept 5, any preorder of ASHES at any online OR bricks and mortar bookstore will get you a treat, AND make you eligible for one of several big and AWESOME prizes.

Yes: EVERYONE who preorders and proves it to me will get my eternal love, plus one of the following: limited edition ASHES Dog-Tag or cool ASHES pin or bookmark.

In addition, you will be entered into a drawing for awesome big-prize gear from Egmont USA. They'll be giving away some exclusive ASHES survival packs and an ASHES-skinned tablet/e-reader. AWESOME.

All you have to do is:

1) PRE-ORDER. Pre-order the book from a local bookstore, or Amazon, or B&N, or Powells, in person or online.

2) PROVE IT. Send a forward confirmation email, screenshot with confirmation number, or scanned receipt to ashescontest@gmail.com -- don't worry, we don't want your credit card #, feel free to black that out if you are scanning a real rcpt.

3) GET STUFF. Be sure to include your name and address so that we can send you your swag and put you in the drawing for the grand prizes.

There will be other ways to enter the big Egmont drawing - but this giveaway is the only way to get the ASHES dogtags and pins without going to one of Ilsa's tour stops in person!

Sorry, this contest is only open to US residents.

So, What If Your Book Doesn't Sell?

2011-08-23T06:20:00.000-07:00

There's a piece in The Millions today that got under my skin a bit: "Shutting the Drawer: What Happens When a Book Doesn't Sell?"

First of all, I don't think the author of this essay needs to have to have the funeral service for her book quite yet. Nine months is a long-ish time, but it isn't actually a LONG time. Particularly if there are warm responses from editors - why not tweak the book and try another round, for crying out loud? Sheesh. But whatever, that is between her and her agent.

This goes out to the rest of you.

Thing is... and I am not sure there is a gentle way to say this, but... just because you want to be published, doesn't mean you automatically get to be. Not even if you are super smart. Not even if you are super smart and SPECIAL. Not even if you have lots of published friends or an MFA or a great agent or whatever.

Maybe your book hasn't sold because you just haven't found the right editor yet. Or MAYBE your book hasn't sold because it just isn't good enough. So REVISE, or write another, better, book.

Sometimes books don't sell. Sometimes they take a long time to sell. I've sold books after YEARS of trying. A recent agency book was sold after 4 years of submission and 45+ editor rejections, and now has starred reviews and is going places. It happens, it really does.

Sometimes you have to revise them before they sell... or revise them again. Sometimes you have to take a break and come back later with fresh eyes. Sometimes you have to shelve it and then cannibalize that book for parts. Sometimes you have to shelve it and move on. Sometimes you have to shelve it and move on... more than once.

I've said it before: first books are very often like first pancakes. Sort of a mess. A shame to waste food, but if they are not in servable condition, you have to throw them away. Or better yet, eat them yourself while you cook better ones.

The good news is, those ugly books aren't a waste. You'll be a better writer because you wrote them. The only way to learn to be a writer is to WRITE. The only way to learn to write novels is to write some novels. That doesn't mean they should all be published - but it also doesn't mean that they weren't worth writing. I have never heard of somebody becoming a WORSE writer with practice.

If the book that doesn't sell is the book that taught you how to be a better writer, it was worth spending time, blood, sweat & tears on.

Now keep going!

Scamsters Want YOU

2011-08-21T19:00:00.000-07:00

While going through some of my childhood stuff on a recent house-move, I found a photo album full of pictures I'd cut out of trashy teen star magazines when I was in elementary school. I remember poring over these rags with my friends, reading them from cover to cover, even the ads in the back.

Draw Tippy the Turtle and you could go to Art School! Find true love by calling this number! Have your fortune told over the phone!

Of course we never FELL for any of them... until... Amazing weight loss tricks & glamour model lessons, and if you order now, FREE French Sunglasses!

Well obviously we wanted this. I mean, hello. We were 10 year old girls, the promise of glamour was catnip to us. But $15.99 or whatever it was was way out of reach. Unless we all put our money together... so we did. And I sent off the form, and the money. And we waited. And waited. And waited. Nothing. NOTHING.

Now, I wasn't a stupid kid. I knew that the "secret" to losing weight was to eat healthy food and do more exercise. I knew that models worked hard, were genetically blessed, and generally older than fifth grade. But... I REALLY REALLY WANTED THOSE GLAMOUR LESSONS. Weeks passed. Nothing. Seeds of doubt were planted in my heart. Months passed. I wrote them a letter. Nothing. I wrote them a FANCY letter on my mom's lawyer stationery.

Finally, one day! Six months later! An envelope! A dirty, thin envelope. With... a crummy, illegible quarter-page flyer in it with some smeary fake "model tips." I was crushed. And bitter. And mostly, just so, so embarrassed. HOW could I have been so dumb? And I'd not only spent my own money, but also had to explain to my friends that I'd lost their money as well. AND DID NOT EVEN HAVE FRENCH SUNGLASSES TO SHOW FOR IT. *woe*

So what does that have to do with you, my doves?

Well, gmail and similar companies have ads which target you based on what your emails are about. Every time I check my gmail, the ads on the sides and top of my email are all about writing and publishing. The thing is... they are all scams. ALL. SCAMS.

I barely notice them. It doesn't register with me, because I am not their target audience. But you... you, my pretty and innocent little writer friends... you who are unpublished but want to be, who can't seem to get the attention of agents and editors, who are maybe even to scared or confused to know how to TRY to get that attention... YOU ARE THEIR TARGET.

And as much as I would like to give each and every one of you some French Sunglasses, I can't.

So here instead are some words of wisdom.

IF IT SEEMS TOO GOOD TO BE TRUE, it's a scam.

WRITING WELL IS HARD. PUBLISHING IS HARD. THERE IS NO SHORTCUT. Writing takes practice. Lots of practice. Traditional publishing is very competitive, and generally quite time consuming. If somebody is offering you a shortcut, it's a scam.

MONEY FLOWS TO THE WRITER. Agents do NOT get paid until you do. Traditional publishers pay YOU, not vice-versa. While there are totally legit services you can hire to help you edit your book and the like, if somebody is offering to be your "agent" or "publisher" and they say you will be traditionally published, but they want you to write them a check, it's a scam.

"PUBLISH AMERICA" ARE SCAMSTERS.

WHEN IN DOUBT, LOOK IT UP ON PREDITORS & EDITORS. While the website is not infallible and there have been mistakes or instances of miscommunication on there, if an agency or publisher is marked "caution"... do yourself a favor and pay attention. And take a look at their warnings page, more ways to spot a scamster.

These scamsters are CRIMINALS, and they are able to operate because they are practiced and smooth, and because so many writers are so full of hopes, dreams and wishful thinking that they don't use their noodles. And then are often so humiliated at having been scammed, or so confused, that they don't or can't warn others.

If you get taken by one of these schmucks, you stand to lose much more than $15.99. A scam publisher can potentially take you for hundreds or thousands of dollars, can take the rights to your work, can take your words and your dreams and your dignity, and yes, even years of your life, because that's what you'll spend in trying to get your money back or living in regret.

I CAN'T FLY EVERYWHERE IN MY MAGIC PLANE AND FIX IT. PLEASE PROTECT YOURSELF.

YA Event Tomorrow

2011-08-13T09:39:00.000-07:00

Tomorrow's Hudson Valley YA Society event features Micol Ostow & Nova Ren Suma, and it should be extremely fun. I'm just saying - FAMILY and INVISIBLE GIRLS are both amazing, and this should be a smashing time.

Sunday, August 14 · 4:00pm - 5:00pm
Oblong Books in Rhinebeck

ALSO I WILL BE THERE!

And we can all go out for a fancy drink or piece of cake afterwards! :D

You can rsvp on Facebook if you are so inclined. Or leave a comment here. Or heck, just show up, I won't complain. ;-)

The Great Big TOUR POST

2011-08-09T08:12:00.000-07:00

There are certain things that happen to some writers that other writers may look upon with envy. Being "sent on tour" for example, is not something that happens to every writer, and if you've never been sent on tour, you might be tempted to believe that it is all Ritz Suites and Stretch Limosines. (Hint: Ritz Crackers and Some Stranger's Buick le Sabre are a bit closer to the mark.)

While it is awesome to get to (hopefully) connect with readers and booksellers in far-flung towns, tours can also be really physically and mentally grueling. They can mean weeks of disrupted routine, rarely if ever seeing spouse or kids or pets, sleeping in a weirdly different bed every night, abrupt time-zone changes, strange itineraries that involve going through Chicago to get from Portland to Seattle, daily plane trips (with all the attendant drama there, we all know how efficient and fun plane travel has gotten!)... add to that the pressure of being, you know, put together, not a wreck, friendly and "ON" when you get wherever you are going (because nobody likes the complainy grump with bags under her eyes snapping at Iowa schoolchildren...) Yeah. I don't know. I personally wouldn't sign up for it, I value my sleep time and cozy bed too much.

ALL THAT SAID - sometimes genius writers have to crawl out from their genius-writer-holes, strap on their outgoing smile, and go where their publisher tells them. One of my authors is headed out next month for almost two straight months of travel and appearances, and she had a slew of questions for me -- and I was hoping maybe some of my author-friends who have been in her shoes can advise?

This post can then serve as the go-to whenever one of my authors asks such questions in the future.

* I told her she should get bookmarks or buttons or similar to bring with and give to fans when they get their books signed.

* And a little book with which to put down the names of all the stores she visits and who the events coordinator was so that she can send thank you notes, and she can have an area in there where people can sign up for her mailing list if they want to, or give her their twitter-handle, so she can tweet them, etc etc.

* And her laptop of course, plus any special cords she might need if she will be doing powerpoint presentations at schools or anything.

Any other must-brings? What about clothes? Do you check baggage, or no? How do you pack for two weeks solid with no home-time? Tips/Tricks? (This is Sept/Oct, US/UK, school visits + book fairs + bookstores + possibly a couple of posh dinner type things.)

GIVE ME YOUR WISDOM!

thankyou.

Editorial Agent, or what?

2011-08-06T06:54:00.000-07:00

I read this blog post from Authoress Anon with interest yesterday... particularly the comments section. It seems that everyone wants an "editorial agent" who is really hands-on. And most agents I know describe themselves as "editorial agents."

It made me think about myself - am I an "editorial agent"? I don't think I am. I am not an editor, I am a SELLER. I want editors to edit. But I do give advice, when needed. I certainly comment on most everything my clients give me, and suggest tweaks, etc. That is editorial...

Hm. SO WHAT AM I?

The only analogy I can come up with is a real estate analogy.

If your manuscript is a house you are trying to sell, I am the agent, and editors are prospective buyers.

I will certainly give you advice on things to clean up to help me show it to its best advantage (repaint that garage door! bake some cookies!) I will "stage" the house. I will create an awesome listing that helps turn potential negatives into positives.

Cramped? No, "Cozy."

Sinkhole? Try "Seasonal pond."

No closets? "Classic style."

Needs work? "Great potential."

Falling apart? "Handyman's dream!"

I will take potential buyers on a tour and make them see what their lives could be like here. Sure it'll take a bit of elbow grease, but the attention they pay and the touches they give it are what will make a house a home. Won't they be the envy of the neighborhood when they show off this beauty? Don't they love it? Now let's negotiate.

Yay!

However... I am not an architect. I am not a general contractor. I am not even a handyman. I didn't build the house, and I can't just go in and fix the house myself.

I can point out the problems that might keep you from selling it, but the house has to have good bones to begin with, and you have to do the hard work. It is YOUR house.

This analogy falls apart once the book is sold, because of course, it is STILL your book and you have to do the hard work. But at this point, you'll have not just one, but a group of experts to help you get it to that next level. Which, in this now completely broken analogy, would presumably be a spread in Better Homes and Gardens.

OK, OK, I'll shut up now. Anyway... I'll pose the same question to readers of this blog. What do you think? What kind of agent are YOU looking for? (Or if you are agented, what kind of agent do you have?)

Notes from the Career Development Desk

2011-08-02T05:17:00.000-07:00

Q: From what I've read, the best way for someone without professional editing/publishing experience to elbow their way into the publishing industry is an internships. All but a few internships are unpaid. Nearly all publishing internships are based in the northern/northeastern states. Of those, most are in New York. Assuming those very general assumptions are correct, here's my question...

What's a broke Southerner to do? Unpaid internships work for those with a nest egg, I suppose, but New York is an expensive place that's even pricier when one factors in relocation. I know this can't be right, but by all appearances, the deck seems to be rigged in favor of New York natives or people wealthy enough to move and live on the pay of a part-time job (assuming they can find one) while interning. Is there something I'm missing? Something that exists that hasn't been said that changes the above set of assumptions?

It is very generous of you to imagine that "this can't be right." In fact, you are right. I'd say the deck is rigged toward a) the wealthy, b) NY natives, or c) the very ambitious, who are willing and able to happily live on a tight budget.

Publishing jobs are very often in NYC or other major cities, and even once you have a real job as an editor, you will in general be paid VERY POORLY. I cannot stress enough that these are not jobs you take because you are money-hungry. Prestige? Sure. Snob appeal? Totally. But 'easy way to pay rent'... not-so-much. I am not saying you have to be a trust-fund baby - I'm saying, you have to prepare to be stone broke for a while.

Agents, as it happens, almost universally make zero (0) dollars when they start, and sometimes for a really long time. When I started at my agency, my boss told me in no uncertain terms that I was unlikely to see money before a year, and unlikely to be able to live off my earnings for five years. I was very lucky and started selling right away... but she still wasn't TOO far off. This is why many agents are: a) independently wealthy/from wealthy families, b) married, (and/or) c) have a second job/work as an assistant when they are new.

Editorial is slightly different as you'll at least get some sort of paycheck, but, assuming you are coming in with no experience, you'll still have to slog for a long while as an intern or lowly assistant, then slightly less lowly assistant, before you actually become an editor. And even when you are an editor, you aren't going to be pulling in huge dollars. Again, this is a job you take for the love, not for the money.

And it's a part of the reason publishing has a long history of being called things like a "gentleman's business," and why you do find a relatively high percentage of over-educated, privileged white folk in the halls of publishing. (I am not excluding myself from this description.)

Of course this means that, gatekeeper-wise, there can sometimes seem to be a dearth of unique perspectives and world-views. It would be really great if there were more opportunities for people of color, people from different places and socioeconomic backgrounds, etc. All I can say is -- it's a known problem. Many companies [claim to] strive to be pro-active about reaching out to different kinds of people. Most major publishers DO offer paid internship programs. (Click here to find a listing of many internships - you'll see some paid, including Random House, Scholastic, Macmillan...) But of course, those internships are also likely to be very much sought after. And they mostly all in NYC, which, as you mention, is a bear of a place to live in while broke.

Here's what I would do, if I were a Southern college student who wanted to be an editor: I'd try to find an internship at a local small publishing house or literary agency. Yes, these places do exist, even in the south, depending on where you are. I'd try to get a paying job at a bookstore (hopefully you have one near you!) I'd work my butt off in school, and save as much money as possible until graduation. I'd make friends in NYC, or local friends who also have NY ambitions.

Then I'd probably do what generations of broke kids have done in NY, and that is couch-surf or live with a ton of roommates, hustle to apply to as many (paid) internships in NY and entry-level jobs as possible, and/or see if there are ways to get scholarships or financial aid for the Columbia Publishing Course or NYU Publishing Course. (I personally have no idea if these options are offered - but hey, you can ask!). Also, learn to budget if you don't know how already, and get to like the taste of rice and beans.

But maybe I myself am missing something. I know lots of editors and editorial assistants... maybe some of you can chime in with some advice for our new Southern friend?

**

ETA: So what, we can get one Southerner an internship or a job, possibly, maybe... How does any of this fix the BASELINE PROBLEM - lack of diversity in NYC publishing? Well, it doesn't. But if you would like to comment on that, I would love to hear it.

Awesome August Open Thread

2011-07-31T05:55:00.000-07:00

I have three big posts going. One of them is an FAQ with a billion links, and it is taking forever. Two of them started as useful and ended up turning on me and becoming ranty -- need a bit of space before I go back and edit them for public consumption.

Soooo... I am starting the August open thread early. I will be away from my computer a lot the next couple of days, but I will hop on and answer periodically whenever I have the chance. So hit me with your publishing/agentish/booksellerish/etc questions. Or post pictures of cute animals, jokes, or whatever, that's fine too! ;-)

* Things I've answered a thousand times will go in the FAQ post.

* Things that require huge answers may get their own post.

* Everything else will be answered in the comments.

OK... GO!

Heatwave Linkfest

2011-07-23T07:02:00.000-07:00

It is still a brazillion degrees here with thick air. Hope you are all staying cool. Drink plenty of water! This is good advice even if you aren't somewhere hot. (Also, if you aren't somewhere hot, please invite me over.) In honor of laziness, I'm just going to throw some awesome links at you:

I really admire this classic post by Neil Gaiman. I'm going to quote liberally because I like it so much. This is in response to a fan who is pissed that George R.R. Martin is blogging about things rather than being hard at work on the next book in his series, and WHY should GRRM be doing anything other than creating the thing that this reader wants? Neil says, in part:

"You don't choose what will work. You simply do the best you can each time. And you try to do what you can to increase the likelihood that good art will be created.

And sometimes, and it's as true of authors as it is of readers, you have a life. People in your world get sick or die. You fall in love, or out of love. You move house. Your aunt comes to stay. You agreed to give a talk half-way around the world five years ago, and suddenly you realise that that talk is due now. Your last book comes out and the critics vociferously hated it and now you simply don't feel like writing another. Your cat learns to levitate and the matter must be properly documented and investigated. There are deer in the apple orchard. A thunderstorm fries your hard disk and fries the backup drive as well...

And life is a good thing for a writer. It's where we get our raw material, for a start. We quite like to stop and watch it."

And the most important takeaway? "George R.R. Martin is Not Your Bitch."

************
A wonderful review of Kate Messner & Brian Floca's MARTY McGUIRE is up on Fuse #8:

"When it comes down to it, this isn’t your typical early chapter book. Messner likes to upset expectations once in a while... It’s a smart little novel that uses just as many words as it needs to. No more. No less. For those seeking relief from the onslaught of ubiquitous royalty, here is the answer to your prayers."

***********
Author Extraordinaire Saundra Mitchell had great points to make about aggressive book-blogger schwag-tactics in her recent post, "The Shake-Down." Remember:

"Most authors, even big name authors, have to pay for their own schwag. We pay for it to be designed and to be printed. We pay for the books that we send out on request. When we give away other authors’ books, we pay for those, too. And of course, we pay the postage. So when I’m figuring my budget, I have to decide when and where to spend that money very carefully... It’s a tricky, symbiotic relationship we have going on online right now. And I know we’re all still trying to figure out how it all fits, and works together...

************
Finally, at 7-Imps, Jules has posted a terrific profile of two of my favorite (nonclient) illustrators, Sophie Blackall and Lauren Castillo. Ohhhh man their stuff is adorable. Please take a look.
ARE YOU AWAKE in particular makes me crack up:

“Mom? MMM? Is Daddy awake? I HOPE SO. Why do you hope so?
BECAUSE HE’S FLYING A PLANE.”

“Why is he flying a plane? TO TAKE THE PEOPLE WHERE THEY WANT TO GO. But why do they want to go at night? SO THEY CAN BE THERE IN THE MORNING.
Is it morning yet? NO. Why isn’t it? BECAUSE IT’S STILL NIGHTTIME.” :-)

A whole lot of info about Picture Books

2011-07-16T15:45:00.000-07:00

Q: My question is about children's picture books. Some say you need an agent for them and others say that you don't. I would like to find an agent but understand the market is quite competitive now. What can a children's picture book writer do to help their submission stand out from the rest?

This seems like a few different questions to me, so I am going to separate them out if you don't mind.

1) Is the market for picture books quite competitive? YES, it absolutely is. That is not to say that publishers are "not buying" picture books - they are! But the picture books they are buying look different from what was popular 5, 10, 20 years ago. And of course, in a bad economy, $17.00 for a 32 page book can seem a bit steep for many parents, and we all know that library budgets are being slashed - so publishers are being rightly conservative about what they choose to acquire.

2) Do I need an agent for picture books? Yes! Or No! Yes, an agent will absolutely help you get in front of the eyes of the larger publishers. But many agents do not represent picture book authors, and picture books are one of the few categories in which some publishers, particularly smaller publishers, still accept unsolicited material "over the transom." So get yourself a book like the Children's Writers & Illustrators Market, or prepare to roll up your sleeves and do some online research, to figure out which route is right for you. And note the following:

* Author-Illustrators: This is not a must, of course... but if you are a superb illustrator, brush up on your storytelling skills. You'll just open yourself up to more opportunities if you are able to do both with ease. Most people cannot. Maybe you can. Great author-illustrators can be more appealing to agents than straight pb authors, because (to be frank) they tend to make more money.

* PB + Novels = Yay!: If you are not an illustrator - don't freak out! But you might consider trying your hand at chapter books or middle grade writing, too. Nothing wrong with being well-rounded. I myself only rep author-illustrators, and picture book text authors who also write novels - I have no authors who are text-only pb-only.

* Multiple texts: If you ARE text-only, pb-only - I would suggest querying when you have three polished texts. It will just give an interested agent a much better idea of your style and capabilities, since pbs are so very short.

3) So what IS sparking editor and agent interest in terms of picture books nowadays?

This list is by no means exhaustive, but I have certainly noticed that books that have the following attributes tend to have a better shot at publication:

* Short. - NOTHING over 1,000 words. Under 650 is better. Under 450, better still. Some of the most popular current picture books are also among the shortest and most spare. (Think QUIET BOOK, etc.) Remember - a picture book is a very small, very well-lit stage. Absolutely every word must count. This is pretty much required.

* Reread power! As I mentioned - $17 is pretty steep. So nobody wants a one-shot deal. This should be a book that adults won't mind reading over and over, and kids won't mind hearing over and over. It is terrific if the book works on different levels for different age kids, so that it is something whole families can read together. This is pretty much required.

* Character driven - a funny, cute, winsome character like Fancy Nancy, Pigeon, Ladybug Girl, Buglette, etc - either a child, or a proxy for a child, that the child reader will relate to - who can have many adventures in the future (not to mention lunchboxes, costumes, plush...) - this is appealing to publishers and agents, no doubt. Not required, but appealing.

* Interactive - PRESS HERE is a perfect example of what I mean by an interactive picture book. If you haven't seen it, get thee to a bookstore! SHARK vs TRAIN and CAT SECRETS, and yes, our friend Pigeon, are other great examples of picture books that invite the child listener to participate in the reading. Not required, it's just something that is popping up a lot, that I think is cool.

4) And what is sort of a turn-off, picture book wise: Again, anything too long is a no-go. Also traditional folk tales are faring badly nowadays - not to say that they won't ever be bought, but... unless you are an established folklorist, I probably wouldn't go there if I were you. And there is quite a glut of books on topics like "Bedtime," so if that is where you are going with your book, you had better either be an illustrator with the CUTEST illustrations ever - or else be bringing something fresh to the topic (which at this point is pretty difficult, but can be done.)

TIP: I'd suggest that all folks who are really interested in writing picture books go spend a few hours every week at the library or bookstore. Look at a hundred or so picture books published in the past three years. Make a note of your favorites. Do they fit into any of the categories above? Ask the librarian or bookseller which ones are most popular and what their favorites are. Can you see similarities? Who published your favorites? Are those publishers open to unagented submissions?

ETA: To be perfectly clear - I am not suggesting you COPY anyone or "write to a trend" - you just need to know the basic parameters, what works and what doesn't and how picture books are put together, before you can create your own piece of amazing. At the end of the day, commenter DP below is quite correct:

"Ignore what's been selling, make what appeals to you--and make it so good it can't be ignored."

Any other PB tips I am missing or questions I didn't address? Feel free to add in comments.

Fireworks Open Thread

2011-07-04T08:25:00.000-07:00


FunCheapSF's city fireworks guide

Happy 4th of July, Americans!

This week I am in San Francisco helping my sister move house and attending agency meetings, among other things, and access to the interwebs is spotty at best. However! I will still happily do an open thread this month, as it is tradition - and because then I can pop by and answer questions whenever I have time during the week.

So if you have a burning question about agentish stuff, publishing, books, or whatever, feel free to ask. If your question does not appear for a while, it is in the moderation queue, don't worry. Annnnnnd.... GO!

Summer Break, pt 1

2011-07-01T21:25:00.000-07:00

Hey kids - sorry for the radio silence on the intern thing. You know, the thing about this job is, you can have your days and weeks as neatly plotted out as you want - but inevitably, people have crises or dilemmas and fires need to be put out somewhere else and everything you have planned gets pushed back. So it was this week. Oh and last week. Oh and pretty much every week. :-)

So, the thing is, I'm going out of town for a couple of weeks. I'll be working a bit from the road, checking email and whatnot, but I know that blogging will be sporadic, and I can't promise to get to the intern thing while I am gone either. But I'll try.

More to come. And have a great holiday weekend, Americans!

xo JL

Intern Audition

2011-06-25T15:27:00.000-07:00

Thanks everyone for retweeting, blogging, etc.

I got over 100 applications in less than 12 hours - I think that is enough to be going on with. I'll certainly re-post if I don't find a match in this batch, or when there is another opening. If you are still working on your app, go ahead and send it in - I'll look at all of them starting tomorrow.

Meanwhile, if you missed this opportunity, you might try looking here for internships in both agencies and publishing houses. And if you are in the San Diego area, I know that my subrights agent Taryn is also looking for an intern (in-office), and she would be an amazing person to learn from.

Book Birthday: SEA MONSTER'S FIRST DAY by Kate Messner & Andy Rash

2011-06-23T20:59:00.000-07:00

A couple years ago now, a friendly sea monster splashed his way onto my desk. He was nice enough, and funny, but to be honest, he had some problems. He was seeing a shrink and telling her all his secrets in his first incarnation CONFESSIONS OF A SEA MONSTER. I said that it read a bit like a New Yorker cartoon, rather than a children's book.

Brilliant author Kate Messner could have been discouraged. But instead she dug around till she found the 'kid-friendliest' root of the story. And the book turned into ERNEST McSEAMONSTER WANTS TO GO HOME, about the anxiety of a first day at school. This is the version Kate's editor bought.

But then together, they turned the main character into a bit less of a scaredy-monster. In the version you'll see in bookstores starting this week, Ernest is lively and adventurous (and still has that quirky personality!) as he encounters life in his new school (of fish). And look at what a difference a year or two makes. SEA MONSTER'S FIRST DAY is absolutely gorgeous, thanks to the lively artwork of Andy Rash.

SEA MONSTER'S FIRST DAY is a great book for the new kindergartener or entering first grader in your life. Here's a bit more about the book.

You can buy the book from your local bookstore, or from Kate's.

Congrats, Kate! <3

Selling Yourself, and Selling Yourself Short

2011-06-20T06:48:00.000-07:00

"I'm the first to admit that I'm not much of a writer, but I have stories burning inside me, and I want a professional book editor/agent such as yourself to help shape my work..."

This is not an actual quote, but it might as well be. I get similar in the inbox several times a week.

Problems with this thinking:

First, I am not an editor, and though I might wear a fancy cape on occasion, I am also not a magician.

Oh, I can certainly help my authors put the polish their already-terrific manuscripts, but turning your uncooked lump of Idea Dough into a delicious Book Pie is not my job. That you've presented your query in such a way shows a real lack of understanding about what agents are for, and is a sure sign that you are not ready yet.

But more importantly, the line "I'm not much of a writer" is a real turnoff. The query is the only thing I have on you at this point. Self-deprecation is unattractive. If you are saying it because you are being coy, or because you don't want to come off as braggy, or because you really think that you aren't a writer unless you are published, I have news for you: Writers write. If you write, you are a writer. It isn't a title that has to be bestowed on you by the Queen of Booklandia. I read a tweet yesterday that I liked and retweeted:

RT @jimchines "You're not a writer till a writer says you're a writer." -Harlan Ellison // Okay then. "All you people who write? You're writers." -Me

I work for writers. Real, professional-level writers. If you "aren't much of a writer," I will never, ever sign you as a client. Call me crazy, but I really do want writers who are GREAT AT WRITING. It is a prerequisite, in fact. I have a ton of faith in the writers I represent, and even when they are feeling low about it, I know that they can do amazing things with words. They've proved it to me.

But as a person querying, I don't know you yet. I can't possibly have more confidence in your work than you do.

I'm not suggesting you puff yourself up or brag. Just be straightforward. If you're applying for a job as Town Blacksmith, you say that you're a Blacksmith, not a Baker. Or better yet, you say nothing about it, and let the 'smithing tell the story for you.

Linkety-link!

2011-06-14T21:46:00.000-07:00

A wee link roundup for you, so I can close some tabs:

The Big Black Cat did a fun interview with me, including NO questions about queries, and a little contest!

Two great links about the Pinkwater/Brown collaboration, Edward Lear for the 21st century, HIS SHOES WERE FAR TOO TIGHT! First up, a shout out from Jules, writing for Kirkus. Also, a swell mention on Anita Silvey's Children's Book-A-Day Almanac. *swoon*

If you are a teacher, librarian or book club leader who would like a free, groovy Marty McGuire discussion guide, Scholastic would love to send it to you.

Talented client Gwenda Bond edited the all-YA edition of Subterranean Online.... and it features a story from other talented client Tiffany Trent (among others!) - Check it out.

Oh did I mention that THE REVENANT by Sonia Gensler is now officially out in the world? Yes. Yes it is. Buy two! (Especially if you were a fan of A NORTHERN LIGHT by Jennifer Donnelly, or if you like ghost stories and romance!)

Have a great week, all - not sure if I will have time to post for a bit, but I am thinking of you.

Book Birthday: THE REVENANT by Sonia Gensler

2011-06-14T04:09:00.000-07:00

Finally! The gorgeous story by Sonia Gensler that I fell in love with long ago (and have been unable to shut up about for two years) is at last available to you.

If you like Mystery! Ghosts! Romance! Doomed Romance! Suspense! Thrills! Victorians! Murther! Boarding Schools! Secret Identities! (and really, who among us does not like at least SOME of those things...) then I feel confident you will like this book.

THE REVENANT is a Victorian ghost story set in an all-Cherokee girl's school in the Old West. 17-year-old Willemina Hammond has "borrowed" some credentials so she can get off the farm and get into what she expects will be a cushy teaching job. What she doesn't expect is that her new Cherokee pupils will be high-strung and refined young ladies, divided by prejudice and snobbery - nothing like the rustic natives she imagined. She also doesn’t expect to be confronted with the ghost of a former student. Willie determines to learn more about the girl's death, but the closer she gets to unraveling the secrets behind the murder, the closer she gets to becoming a victim herself.

Read an Excerpt Here

Find out more about Sonia Here

Buy the Book

"An eerie and suspenseful work of historical fiction in which everyone is a murder suspect... Readers should be drawn in by the mystery and moved by Willie's struggles to fit in and negotiate her independence."
   -Publishers Weekly

"An intriguing look at a little-known piece of American history... the well-drawn characters and suspenseful plot should keep readers fully engaged."
   -Kirkus Reviews

"A compelling ghost and love story... The uncommon setting and time period add to the appeal."
   -Booklist

"Stunningly taut and entirely compelling, this blend of historical fiction, supernatural mystery, and romance will please fans of Jennifer Donnelly and Saundra Mitchell."
   -Bulletin of the Center for Children's Books

On Boredom

2011-06-07T19:13:00.000-07:00

A lot of YA and MG slush pile offerings open with something like this - a totally made up example:

"There was nothing to do in this dumb subdivision. Every house looked the same. Cookie cutter. The heat was oppressive. I idly tossed a crumpled up piece of paper at the trash can and missed. Sweat made my t-shirt stick to my skin. I fell back onto my pillow and stared at the popcorn ceiling. Nothing to do today. Nothing to do all summer long. This was the most boring place in the world."

This is a personal pet peeve of mine. When I was a kid I did a lot of whining about how I was bored, and my wise grandmother would say, “bored people are boring.” And I'd get insulted, because I certainly did not think of myself as boring. But guess what? It also made me pipe down and find something to amuse myself with. (Particularly when she combined that with the follow-up, "If you're so bored, I'll give you something to do." And a meaningful look at dustrags.)

The point is, your main character has to be DOING something. They have to be an active, non-boring person. There has to be a reason you are telling their story, for pity's sake. Don't make hanging around with them a drag. Because truly, pages of characters hanging around complaining about how there is nothing to do is just not compelling. Your readers - kids - already KNOW there is nothing to do in the suburbs half the time – that is why they spent $16 bucks on a book.

Don’t make them turn to drugs instead.

Slush Pile Triage

2011-06-07T09:57:00.000-07:00

I am going to start off by saying, I have never worked in a hospital or on a battlefield or at a vet's office or even played Operation (well, I had a set when I was little but it only worked half the time and it was always missing Tennis Elbow).

But I wanted to talk about how I deal with the constant influx of queries, and the metaphor that comes to mind is "triage."

Once I was in an emergency room, and I saw a triage chart. I remember asking what it was all about, and the nurse explained that it the system that dictates how they decide who to treat first in a hospital. Let's say there is a disaster and dozens of people are brought in at once. The victims have to be prioritized and sorted into groups to allow the doctors to do their jobs most efficiently and allocate resources appropriately.

If a person is dead, he does not need help. MORGUE

If a person has something very tiny wrong with them, they can wait - but in a crisis it'd be advantageous to just patch them up and get them the hell out of the emergency room quickly so that more people can be admitted, or so they themselves could help. MINOR

If a person is in severe pain with a complicated problem, or is definitely terminal, but the pain can be managed by use of a painkiller, then it behooves the hospital to give them the painkiller, make them comfortable and move on, and come back to that person later when they have the time and manpower to solve the issue. DELAYED

If a person is dying, and they must be treated RIGHT NOW to live, then it can't wait. IMMEDIATE

"So what the heck does this have to do with MY QUERY, Jennifer? ARE YOU SUGGESTING THAT I SEND IT TO THE MORGUE!?"

Shhhh, honey. It's OK. It's only a metaphor. You know how I always say that I look at submissions "In the order received"? That is true. HOWEVER...

Think of me as that nurse, sorting through slush pile. Managing the query inbox is essentially like figuring out how to tag items.

MORGUE: First I look at the pile (inbox) as a whole and quickly assess what I can delete immediately. These are queries that do not follow guidelines, and/or are for types of books I simply do not rep. I can sort them at a glance.

MINOR: These are quick passes. With a quick read of the query and pages, I can tell that this is not resonating with me. I need to get it out of the inbox as fast as possible. (How fast this is entirely depends on how much I have stacked up, but response time goes from about one day to about 4 weeks.)

DELAYED: These are queries that seem really cool, or the author comes recommended, but I have to give them more thought. I will generally star and hold onto the queries a bit and re-read after a bit of time has passed. If I am still unsure, I'll request fulls for these queries, both so I can read more and because that buys me time. (Response times vary but at the moment are anywhere from 3-6 months - though I actually hope to remedy this soon and make it faster, as I think am catching up.)

IMMEDIATE: These are queries from VERY well published authors, or there is some sort of a deadline that makes it hot, such as somebody who has a publishing contract in hand. Also, if I have a full that receives an offer of rep from another party, they will get bumped to this category. ("Immediate" is relative, but, it typically means about a week.)

ETA: TO CLARIFY: Just because something is "immediate" does NOT mean that it is a Yes. In fact, much like how the red-zone people in our hospital scenario often don't make it, if I have to make a quick decision on a manuscript, the decision will often be No. It will ONLY be a Yes if I love it enough to go down fighting for it, because I probably won't get the opportunity to ask for revisions or anything else before signing the person. "Delayed" manuscripts are a bit more likely to make it out of the hospital alive, because if I like it but it needs some work, I'll have the time to think about it, write a revision letter, chat with the author, etc.

Naturally, there is another triage situation that goes on with client manuscripts (books that need a major edit might take longer than books that have already been revised, etc.) AND with daily regular emails (ads get sent to the morgue immediately - yes or no answers pretty much get dealt with immediately - answers that require more thought get starred and dealt with later). And I am sure that anyone who gets 100+ emails a day for their job can probably relate to that.

So does that make things simpler, or more confusing?

Pitchapalooza!

2011-06-02T16:54:00.000-07:00

I am blogging yet again today, because I have to remind everyone that I am going to be judging on a panel at an awesome FREE and FUN pitching event, along with agent Miriam Altshuler, agent Arielle Eckstut and bestselling author David Henry Sterry. Here's what you need to know about this event :

Pitchapalooza with The Book Doctors!

Sunday, 06/12/2011 4:00 pm

This event will be held at Oblong Books & Music, 6422 Montgomery St. (Rt.9), Rhinebeck, NY.

You must RSVP for this free event. rsvp@oblongbooks.com

The Book Doctors, aka, Arielle Eckstut and David Henry Sterry, authors of The Essential Guide to Getting Your Book Published, will be making a house call. They want YOU to pitch your book at their acclaimed event, Pitchapalooza, which was recently featured in The New York Times, and in a mini-documentary for Newsday. Pitchapalooza is like American Idol for books--only without the Simon.

Writers get one minute to pitch their book ideas to an all-star panel of publishing experts including literary agent (and author) Arielle Eckstut of the Levine/Greenberg Literary Agency, Bestselling author David Henry Sterry, and special guest agents: Miriam Altshuler of the Miriam Altshuler Literary Agency Agency, and Jennifer Laughran of the Andrea Brown Literary Agency.

The winner receives an introduction to an appropriate agent or publisher for his/her book. Plus, anyone who buys a book gets a free consultation worth $100.

About the Authors: Arielle Eckstut has been a literary agent for 18 years. She is also the author of seven books and the co-founder of the iconic brand, LittleMissMatched. David Henry Sterry is the best-selling author of 12 books, on a wide variety of subject including memoir, sports, YA fiction and reference. His last book appeared on the cover of the Sunday New York Times Book Review. Together, they’ve helped dozens and dozens of talented amateur writers become published authors. They’ve appeared everywhere from NPR’s Morning Edition to USA Today, and have taught publishing workshops everywhere from the Miami Book Fair to Stanford University. Find more at www.thebookdoctors.com.

Here’s what people are saying about The Essential Guide To Getting Your Book Published:

“I started with nothing but an idea, and then I bought this book. Soon I had an A-list agent, a near six-figure advance, and multiple TV deals in the works. Buy it and memorize it. This little tome is the quiet secret of rockstar authors.”—New York Times best-selling author Timothy Ferris, The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich

"It is a must-have for every aspiring writer… thorough, forthright quite entertaining.”—Khaled Hosseini, New York Times bestselling author of The Kite Runner

“Before you write your own book, read this one first.”—Jonathan Karp, editor-in-chief, Simon and Schuster

Who to Query First

2011-06-02T10:33:00.000-07:00

Q: Do I query my favourite agents first or second? Please help.

This has come up a lot lately and I don't get it.

I am told that authors don't want to "burn bridges" by sending out substandard queries to their A-List of agents - so they send them to the B-list of agents instead, figuring that that way, they'll have time to hone the query if it isn't working, and then send the stronger material to the A-listers.

Huh?

First of all, it's extremely rude to ask someone who you don't really want as an agent, to read your work just because you want feedback. What if they love the book and say YES? Are you going to tell them, oh yeah, no, you aren't actually my first choice, I was just testing the waters? Are you going to let them sit there and twiddle their thumbs while you send out MORE queries? What a waste of their time.

Then, are you going to query your "dream agent" but say, "Oh sorry, you have to rush, I know you're extremely busy but I already have another agent on the hook, so can you read this by the end of the week"? If they are really your "dream agent", why are you treating them with so little regard?

Your query is not an EXPERIMENT. It should be great. Send it when it is great. Here's how I would do it:

1) If you don't know how to write a great query, learn. Consider joining a message board like the VerlaKay Blue Board (for kids & YA) or AbsoluteWrite (for YA and adult), and soak up some wisdom there, or have your query critiqued in their forums. Visit the Query Shark for wise words and examples of what NOT to do.

2) Once your query is all polished and shiny and beautiful, make a list of agents. On the list: Agents that you have heard of - agents that rep books that you love - agents who rep your type of book, that you find via a service like AgentQuery or QueryTracker. This will probably be a long list.

3) Look up every single agent in at least three places: A) Look them up on Preditors and Editors. Cross their names OFF THE LIST if they are noted as a scam or bad agency. B) Google them and look up their website. Most agencies do have some sort of web presence at this point. C) If you can afford a $20 month-long subscription to Publishers Marketplace, you can look them up and find out their sales. Note that not all agents list their sales - but lots do, and this should give you a good sense of what kind of books they do. C2.) If you CAN'T afford that subscription, try googling something like "Agent Name" Interview and see if you can't find more info about them that way.

4) Weed the list: Now at this point your "LongList" should be free of all the awful scam artists, people who don't really rep what you write, people with no sales from shady agencies, etc. (NOTE: Newer agents, who might not have many sales, but are with great agencies, can be a good opportunity because they are often actively building their lists.) So everyone on the longlist is at this point reputable. And you know a bit more about all of them. Now think about this list. Really think about it. Divide it into "who I would swoon for" "who I would probably like a lot" and "who I actually wouldn't like, now that you mention it."

5) GET RID OF GROUP THREE. If it isn't an agent you'd want to do business with, don't query them. Getting rid of any ones you feel negatively about means that now you ONLY have good agents that you'd like to work with on your list. Do NOT get hung up on the concept of a "dream agent" - you want a good, reputable, communicative agent who clicks with your work and will be a great rep for it, but you won't know who that is until they have actually read your work.

6) Create a batch: You can choose your own way of doing this. But if I were doing it, I would choose about 10 agents - a healthy mix of 'rock stars' and fairly new up-and-comer agents at established agencies. Make sure you know their submission guidelines, and follow them.

7) Hit them with your awesome, supersonic query... and see what happens. You are prepared - you've done your research - you have the awesome. So if you get nothing but form rejects, there is something wrong with your query or sample pages and it isn't actually supersonic. Then you recalibrate - check again for supersonicness - and make another batch, this time another healthy mix of agent types. Nobody on the list you've is bad, everyone is vetted for scamlessness and has the taste to rep the books you write, so it is just a matter of finding the one that clicks with your work. Yay!

Make sense? Or did I totally miss the point of the original question?

Go Team Writemoreplease!

2011-06-01T07:56:00.000-07:00

Yesterday, twitter-peep @BriaQuinlan asked the following questions of her followers:

QUESTION: What does it say to you when you see that an agent's clients are tight on twitter (or blogs, etc)??? Anything? ...[if] there's an obvious bond of some sort inside an agency - do you think that means anything about the agent herself? ... Would you feel like you were missing out if you joined an agency where the clients didn't have this "team" feeling?

So you might wonder, hey there Jenn, why should this provoke a response from you? After all, um... she's kinda sorta talking about agents like YOU.

And it is true. I have a group of clients who are very active on Twitter (as, of course, I am myself) - and they have been known to refer to themselves jokingly as the "Literaticult" (ha ha). Lots of my clients share manuscripts with one another, are critique partners, or are just pals, online or off. I try to offer galleys of my clients work to any other client who wants to read and asks me (subject to availability, of course.)

Also, I know some agents who host client retreats and say it is an amazing experience. I can't speak to that, I've never been to one, but I know people love them. The agency DOES host the Big Sur Writer's Conference, which many clients do attend (though it is open to the public, is mostly NON-clients who attend, and client attendance is by no means required or expected.) It is always great fun to be able to hang out with authors and talk books, and writing, in such a beautiful setting.

Anyway. Back on topic. I'm going to tell you a little story.

A certain client (who I LOVE btw, and who is a princess of social media, and I am in no way disparaging her glee or good intentions), when I signed her up, was swept away with enthusiasm."Jennifer!" she exclaimed. "I am going to start a LIST-SERV for your clients! And we'll have a GROUP BLOG! and you can do RETREATS! And we will be RAD and BRAG ABOUT EACH OTHER ON TWITTER and and and it will be soooo awesooome! Woooo!!!!"

Pretty sure that is a direct quote. ;-)

I told her to slow her roll. I think she might have been surprised that I wasn't into this idea.

But the fact is, though all my clients do have websites of some sort, only maybe half of them are active on Twitter or Facebook or have active blogs. Yes. The All-Powerful "Literaticult"... isn't. It only consists of half the people I rep. Less, even, when you consider that many folks have an account that they rarely use.

I don't want my authors who are not all over Twitter to ever feel like they are not one of the "cool kids." I don't want people who can't afford to fly to some far-off location for a retreat to feel like they are missing out on something important. I don't want people who just aren't interested in blogging or socializing with virtual friends or getting tons of newsy list-serv emails from strangers to feel like they are somehow being punished for having different priorities. Or for 'outsiders' to feel jealous, or like I am promoting cliquishness, because I am really really not.

Of course, I think that all my clients are adorable geniuses. I love all their books and think we all have similarly good taste, and so chances are good that they will like one another's books too. And I am glad that so many of them do seem to get along and have organically become friends, because I think they are all genuinely really great and talented people. So of course, I am totally fine with it if my clients meet up and have fun together. If they want to start their OWN retreats amongst themselves. If they want to be cheer one another on, be Twitter Pals or Blog Buddies or Crit Partners or whatever. I just don't want it to feel like any of this is something that you must do to be "IN."

Fact: If you know who an agent's clients are because of social media, and read their books, it might give you insight into their taste, which might help you target your submission with accuracy. Fact: The "team" feeling definitely makes some authors, particularly newbie authors, feel a part of something, and gives them an automatic group of people who know what they are going through, which is all very nice for somebody starting out in this often-confusing business. Fact: When you are a full-time writer, it can be isolating - social media friends can help enormously, especially if they "get" where you are coming from. Fact: It is good PR for the agent to have high-profile clients talking to one another about their books, and today's newbies coming up together are tomorrow's stars.

But...

It is really easy for people in the blogosphere, or the twitterverse, to assume that everyone important is in the blogosphere or the twitterverse. But they really aren't. Not even close. Most people aren't big on Twitter. That's fine. If this is not your "thing", never fear.

If I had to choose one, I would 100% rather my clients be writing their next book than being goofballs with each other on the internet. The writing always has to come first.

SO... what do YOU think? Does it matter to you if you see these seeming agency "teams" on Twitter and the like? Do you feel that it tells you something about the agent? And if so, what?

June-Bugs Open Thread

2011-05-30T19:19:00.000-07:00

BEA madness is officially over for another year, and I managed to get out of it with only a scratchy throat rather than the full-fledged flu that usually occurs. Then the long Memorial Day weekend has been full of blissful reading (client manuscripts and - gasp! - an actual book, too!) Miss Moxie has been napping through most of these recent hot, muggy days, but we did do a quick stroll through the Vanderbilt estate yesterday. (She likes to pretend she is owned by fancy people.)

I know that I will have time tonight and tomorrow to answer questions... and I know I will NOT have time later in the week. SO, I have decided to open the open-thread a bit early this time around. You know the drill:

Regale me with your agentish (or booksellerish) questions. Short answers will go in the comments, long answers may merit a post of their own.

Annnnd.... ACTION!

Response, No Response, Autoresponse

2011-05-29T17:41:00.000-07:00

A peek behind the curtain at the Agency:

Some weeks ago (a month or more, actually) ABLit underwent a server change. Now, that may not mean much to you (it didn't to me, until it happened) - but the repercussions were, well, irritating for us, and for many of you as well. To wit: I didn't get email at all for a couple of days, at least. And once that was fixed, there was still the little matter of Querys.

The Great Autoresponder Crisis of '11.
Autorespondergate.
Gotterdamurautoresponder.

We realized we had a problem when writers started panicking. They'd write, or just resend queries over and over, or call the agency up, or post mean things about us on message boards, because DID THEIR QUERIES GO THROUGH???? Then came email... after email... after email... to our valiant webmistress and various People Who Know Things About Things. Then more a month or more of MORE emails, where everyone at the agency processed the fact that, apparently, for whatever reason, our new server made our Query Autoresponder null, and impossible to restore. Sigh. We all went around in circles about WHAT TO DO ABOUT THE AUTORESPONDER.

At a certain point I just wanted the whole thing to go to the devil and start taking paper queries again. Who even needs a computer? But now, thank goodness, sanity has been restored.

When you query me, if you follow submission guidelines and put "query" in the subject line of the email, you should get an email that looks something like this:

This is a confirmation that your email was received.

Because of the high volume of submissions we receive, we are not always able to respond personally to every query. If we are interested in your work, we will follow up with you by email or phone. However, If you haven't heard from us within 6-8 weeks, please assume your work is not a fit for our agency.

We do understand and appreciate the effort that goes into getting your work out, and we wish we had time to respond personally to all submissions. Unfortunately, this is no longer a business reality.
Thank you for thinking of Andrea Brown Literary Agency in regard to your work.

I am sharing the contents of this automatic message with you here on the blog so I can make a few points about it. And, because I get questions about it all the time, and I like to be transparent, I'll share with you my method of query-reading, and a bit more on our response policy.

1) This is merely an automatic message. It is in no way a judgment about the quality of the work you have presented. It is not a rejection. It is not anything. There is no need for a response to this.

1b) In fact, if you respond to this, because I have threaded email, your query will move farther away from the front of the line, because I read queries in the order received. (It doesn't matter too much, but just a point of fact.)

2) Because we are, theoretically, a "No Response Means No" agency, a lot of writers get quite distressed, thinking we might not even GET their query, and how would they know? This automatic message seeks to remedy this problem. At least you know that the query got to us.

3) The reality is, we get a crushing amount of email every week. Most of my colleagues adhere strictly to "No Response Means No." And they will probably want to strangle me for saying this (sorry guys). But... I really do try to respond to things, at least with a one-line form rejection, despite the fact that our official policy is "No Response Means No." It is just a personal quirk of mine, I truly hate leaving loose ends.

I read everything myself. EVERYTHING. I do not have a reader for slush. I tend to read things a few days a week, sort them into folders, and then respond all on one day a month. My response time is generally 4-6 weeks or less. However, there have been times where that is just impossible despite my best intentions, and I don't want you to be endlessly on the string... so, yeah. If you haven't heard in 8 weeks, consider it a no. And I do not respond to material that falls outside the scope of what I represent, nor to authors who have failed to follow our (very simple) query guidelines.

Remember: Client reading MUST come first, Slush reading MUST come last. I like you, but you are not a priority... which is, of course, something that my clients appreciate. And you will too, if you become a client.

4) You really don't have to respond to form rejections, either. In fact, it is just more stuff in the query box to wade through, and I'd rather you didn't. I don't need thanks, and I just don't have time for follow-up questions of the "who WOULD like this, then" variety - that is research you should be doing yourself. Though a "thanks" for extensive notes on a full is appreciated, if only so that I know that you got them.

5) If something is good, but not right for the agent you have selected, we will share it with our colleagues. For this reason, a "No" from one of us is a "No" from all of us - even if it is of the "no response" variety. The only exception to this is if you have made a connection to one of us at a conference or similar and we have requested your work -- but if so, please be up-front about your query history at the agency.

I apologize personally for any confusion that this dark period in our email lives has caused. If you have questions, or anything about this is unclear, feel free to ask in comments.

(Book) Siblings are Good. Twins can be Trouble.

2011-05-18T08:36:00.000-07:00

Q: People say when you're researching agents, you should look at the acknowledgements of books like yours to find out who reps them. But yesterday I saw you tweet that sometimes books are "too similar" and you reject them for that reason. What gives?

Yes. You should find an agent who reps the type of books you write, has similar taste to yours, and seems to "get it." This probably means doing research about some of your favorite writers and finding out who reps them.

But also yes, when you get right down to it, an agents list can really only have so many of one type of book before it starts getting boring and repetitive. And as far as specific plots and such, one will do. As @earthwards on twitter said, "Think complementary, not competing!" Some for examples:

1) If you look on my sidebar you will see that I have two mermaid books. They are very different. One is contemporary and has to do with the world of Northern California surfing. One is romantic and historical and very much a fantasy-land story. They are not competing with one another. But I also don't need any MORE mermaid stories.

2) Or, to use a made-up example, maybe I have a funny and heartfelt contemporary YA about an Arab-American girl struggling to fit in and get out from under her controlling family. I have tried but so far haven't been able to sell it. I don't need another story about an Arab-American girl struggling to fit in, no matter how good it is, because I haven't been able to sell the one I've already got.

3) Or, let's say I do take on two similar folks. Illustrator A draws super-cute retro characters with a high-action, cartoony feel. I love his work. I've repped him for two years. He's busy, but always looking for more illustration work.

Illustrator B draws super-cute retro characters with a high-action, cartoony feel. I love her work. I say, what the hell, it is like A's work... but I like it! I'll rep it. She's new, and building her resume.

Editor calls. "I need a cool illustrator who does super-cute retro illustrations with a high-action, cartoony feel. Can you send me samples from your best illustrator who fits the bill?" But I have two people like that. Who do I send? What if I pick one and the other one finds out they didn't even get considered because I didn't show their work? What if I send both but one of them finds out that they didn't get the job because my other illustrator did? Ew. Not good.

4) OR, Author A writes a comedic paranormal about zombie tapdancers. I love it! So I take it on. I shop it a bunch of places, it gets a whole lot of rejections, and finally I sell it.
Author B writes a comedic paranormal, about zombie ballerinas. I love it! So what the hey, I take it on. Oh but... where do I shop it? I can't sell it to the same publisher that just bought A's book. Nor can I send it to any of the editors who passed on A. I am sure I could find more folks with some footwork, but then what if I sell the book, and the two are published at the same time, by different publishers?

Now Book A and Book B are directly competing with one another. Of course ALL books are competing with one another... but there is no way that these two authors in this scenario will not feel like they are each other's biggest competition. Every book review will mention the fact that there is another Zombie Dancing book, every publisher will look at the numbers next to each other, and one of them will probably do better than the other. Recriminations fly. Zombie Tapdancer feels like his publisher didn't do enough to sell the book. Zombie Ballerina is angry about all the goodreads reviews that call her a copycat.

I'm the agent, who is meant to take the author's side... but... they are BOTH my author. Awkward. There is really only room for one comedic paranormal Zombie Dancer on the list.

Get it?

Wordcount Dracula

2011-05-15T20:28:00.000-07:00

Q: My middle grade novel is complete at 250,000 words, and have five sequels planned which will each be approximately the same length. I know that this is considered "long" but I really can't cut anything, it is all integral to the story. What do you think?

Hold that thought, I am tying a noose.

In all seriousness... while this actually happens to be a fake question, I get queries for books this long all the time. And really? The idea of reading 1.5 million words, or even 250k words, makes me feel dead inside. Your story does not need to be this long, I promise you. (If it DOES need to be this long, it is not a middle grade, or it should be divided into 20 books, not 6.)

YES, if you are hugely successful with your first book, your publisher will want lots more books from you. YES, the more successful your books, the longer they will get to be without anyone batting an eyelash (see: Harry Potter series). But no publisher will let you publish a debut novel that needs to be a lengthy series in order to make sense, or a debut children's novel of 200,000+ words. This is the reality.

I am on the record as saying I don't really care about word counts unless they are so off-the wall out of bounds that it is absurd. And it is true. But there are generally accepted norms for this sort of thing that you should be aware of. I've pulled some new and classic examples in each fiction category so you can see how they vary.

PICTURE BOOK: 0-1,300 words. Sweet spot: 300-550*
Where the Wild Things Are by Maurice Sendak: 336
Mostly Monsterly by Tammi Sauer: 348
Fancy Nancy by Jane O'Connor: 418
Ladybug Girl by David Soman: 721
* Note: I really advise clients to keep their picture books under 600 words - 800 at the very top. Picture books in the 1,000+ word range are generally folktales and fairy tales... and are not exactly in fashion. Unless you are a really gifted folklorist, I would not go down this road. There are very few such authors in the country. They know who they are.

EARLY READER: 100-2,500 words. Sweet spot: (depends on level)*
Elephant and Piggie: Can I Play Too? by Mo Willems: 199
On the Go with Pirate Pete and Pirate Joe by AE Cannon: 1,180
Dodsworth in London by Tim Egan: 1,293
Little Bear by Else Minarik: 1,630
Frog and Toad All Year by Arnold Lobel: 1,727
*Note: Because these books are meant for brand-new readers, these books are often marked according to level - the higher the level, the more sophisticated/longer the text can be. Publishers may have their own specific guidelines about these leveled readers, even requiring a certain number of syllables per page for readability.

CHAPTER BOOK: 4,000-13,000 words. Sweet spot: 6,000-10,000
Magic Tree House Lions at Lunchtime by Mary Pope Osborne: 5,313
Junie B. Jones and the Stupid Smelly Bus by Barbara Park: 6,570
My Father's Dragon by Ruth Stiles Gannett: 7,682
Judy Moody was in a Mood by Megan McDonald: 11,049

REALISTIC MIDDLE GRADE: 25,000-60,000 words. Sweet spot: 30,000-45,000
Crooked Kind of Perfect by Linda Urban: 29,052
Bridge to Terabithia by Katherine Paterson: 32,888
Ruby Holler by Sharon Creech: 44,907
Brilliant Fall of Gianna Z by Kate Messner: 48,454

FANTASY MIDDLE GRADE: 35,000-75,000 words. Sweet spot: 45,000-65,000
Juliet Dove, Queen of Love by Bruce Coville: 43,912
White Mountains by John Christopher: 44,763
Book of Three by Lloyd Alexander: 46,926
Midnight for Charlie Bone by Jenny Nimmo: 65,006
Harry Potter & the Sorceror's Stone by JK Rowling: 77,508

REALISTIC YA: 35,000-75,000 words. Sweet spot: 45,000-70,000
Jumping Off Swings by Jo Knowles: 40,480
Great Call of China by Cynthea Liu: 52,532
Flash Burnout by LK Madigan: 67,186
Looking for Alaska by John Green: 69,023
Harmonic Feedback by Tara Kelly: 71,935

FANTASY YA: 50,000 words to 150,000 words*. Sweet Spot: 65,000-85,000 words.
Magic Under Glass by Jackie Dolamore: 55,787
Tithe by Holly Black: 66,069
Wicked Lovely by Melissa Marr: 73,426
Great and Terrible Beauty by Libba Bray: 95,605
City of Bones by Cassandra Clare: 130,949
Eragon by Christopher Paolini: 157,000

* It is really not advisable to go over 100,000 words as a debut author, unless you already have a following. Consider yourself warned - 100k is often the magic number that makes editors and agents curse, cry, and possibly delete. Not that you CAN'T be published over 100k, it definitely happens for select super-awesome YA fantasy in particular... just that it really will be yet another hurdle for you.

In every category, there are also a few random outliers, like Sarah, Plain and Tall (a middle grade at 9,000 words) or This Is All: The Pillow Book of Cordelia Kenn (a YA at 250,000) ... but for the purposes of this exercise, let's assume that you aren't Patricia MacLachlan or Aidan Chambers.

ETA: Remember, this list is by no means exhaustive and should not be considered law. Don't get too freaked out about it... just find the average word count for books similar to your own, and try to be somewhere vaguely in the ballpark.

So how can you find these numbers yourself? Well, while the Accelerated Reader program is lame in a lot of ways, this is a very handy tool: To find pretty much any kids / YA word count, you can use the AR BookFinder. (Click 'librarian' or 'teacher' and then search for books like yours - click on the titles to get all kinds of info about them, including wordcount!)

May Day Open Thread

2011-05-01T09:14:00.000-07:00

Happy flowers! Sunshine! Trees! IT'S SPRING! (actually this pic was taken during a spot of rain - but I like the flowers.)

ANYwhoo, I'm romping outside today, but when I come back I will answer questions on the open thread. If you have inquiries about agentish stuff, publishing, books in general, dogs, or whatever, throw them at me. As always, short answers will be in comments, long answers may warrant their own blog post.

Annnnnd.... GO!

WTF is up with cursing in YA?

2011-04-30T12:33:00.000-07:00

I answered this one in the April open thread, but it was buried and since I know a lot of people are curious about this stuff...

Q: I've come to disagreement w/ a friend over acceptable word choices for YA. The main cause of argument is the word "boner." The MCs are a 14 y/o girl and a 15 y/o boy. I can't see the word being acceptable, yet, she disagrees 100% with me. I realize boys, in fact, use the word but do I want my 13 or 14 y/o daughter reading it? No.

BONER is about the least offensive word to do with erect penises that I can think of, and if you are writing a YA set in high school that includes those body parts, it is ok to use. I wouldn't even call this a curse, really -- in some circles, it still means "to mess up" (like "pull a boner" is the same as "boneheaded maneuver") -- and not "erect penis."

Does that mean YOU have to use it? No. Does it mean YOU have to allow your daughter to read books that contain it? No. But will it be fine to publish for high school students? For sure. Provided of course that it is right for the character, that it makes sense in context and you aren't just randomly throwing words around.

Now, of course, there is such a thing as clean YA, in which you pretty much want to avoid any blush-inducing "downstairs" business. But if you are writing scenes in which boners come into play, I am assuming that you are not writing strictly clean. (Still, you might look at a book like E. Lockhart's FLY ON THE WALL, which if I recall correctly was pretty clean, considering the fact that it takes place almost entirely in a boy's locker room... maybe there are other words you can use.)

Q: The first line of my manuscript uses the f-word twice. Line: "I can sum up my entire life in either of two words: f**k this or I quit. Maybe a grand total of four: f**k this, I quit." Would things like this turn agents away?

F**K no. ;-)

I am kidding, of course. MOST agents and editors who rep a lot of 14+ YA will think a few well-chosen curse words are no problem. And yes, that includes the asterisk-free "F-bomb." You want to use it fairly sparingly, I think, but sometimes, for some characters, in some situations, there just might not be a better word. Again, you aren't going to sell these books to inspirational publishers, or to editors who focus on Clean Tween / "younger YA" fic, or who rely mostly on school/library sales - but those wouldn't have been appropriate publishers anyway, from the sounds of it.

Myself, it wouldn't stop me from reading more. But I might question whether that has to be the first line of the first page. First, because I wouldn't want somebody just glancing at the book to get the wrong idea of it. And, I sorta feel like I want to get to know a character and be rooting for them in a way before I start seeing all the unsavory parts of their personality. A couple pages in, after (presumably) we understand WHY he might have an "eff this" attitude, it will come off differently than if that is the first thing we ever learn about him. Your first page sets the tone for the whole thing, and if the whole thing is going to be like this, it might be sort of tiresome 200+ pages in. (Again - I haven't read your book - maybe it works perfectly as-is. But without context, this is what crosses my mind.)

You might also consider seeing what other YA authors have done. Lots (like the previously mentioned E. Lockhart, as well as John Green and many others) use made up slang to express the feeling without relying on the actual curse. Sometimes unique word usage actually helps create a well-rounded character, because cursing CAN be a lazy writer's way of making a character seem "edgy."

Link Roundup!

2011-04-29T19:19:00.000-07:00

Let's close some tabs, shall we?

Here's a thoughtful post from Janni Lee Simner about the not-death of traditional publishing. Yes! Publishers are still good for some stuff after all, it seems. Surprise!

RomCom author Tawna Fenske pulls together some eye-opening posts about authors & money.

A great post from Jennifer Crusie about the basics of fiction writing.

Nathan Bransford warns against the "Spaghetti Agent."

And this just in from Client Pimpage Central:

Love funny stories? Love Dogs? Love Jews? Love funny stories about Dogs and Jews? UNCLE BORIS IN THE YUKON by Daniel Pinkwater is available again at last from Simon & Schuster.

The CORSETS & CLOCKWORK anthology is out from Running Press and includes stories from my own authors Tiffany Trent and Jackie Dolamore. Book Pixie has a contest to win a copy - ends 5/3.

Book Birthday: MARTY McGUIRE by Kate Messner & Brian Floca

2011-04-27T09:40:00.000-07:00

This was one of the first books I ever sold, waaaay back when. I am not gonna lie - it was not always the smoothest of journeys to bookdom. Three editors and three years later, there were times when I truly did not know what would become of little Marty. But she has a PERFECT illustrator in Brian Floca, and a WONDERFUL home at Scholastic, and everyone there is treating her like a princess - muddy shoes and all. :-) She's out in stores a week early... and I'm so excited to introduce you to her!

MARTY McGUIRE by Kate Messner (Scholastic)

Marty McGuire would much rather spend recess pretending to be a scientist like Jane Goodall than dressing up as a floofy pink ballerina. When her third grade puts on a play and Marty is cast as the reluctant princess lead, she realizes that there are some things a lot scarier than a wild gorilla. But after a special lesson in the art of improvisation, Marty comes up with her OWN plan to IMPROVE the play... with semi-disastrous results. But in the end, Marty's one-of-a-kind performance makes for an unforgettable show. Maybe Marty CAN live happily ever after, after all!

Marty has a unforgettable comic voice, perfect for 7-10 year olds, and Brian Floca's illustrations are a joy. (If you've only seen the ARC, you must look at the finished book - it is gorgeous!)

Kirkus says: "Believable and endearing characters in a realistic elementary-school setting will be just the thing for fans of Clementine and Ramona."

Simultaneous hardcover-paperback launch. Further adventures of Marty will come early next year, with MARTY McGUIRE DIGS WORMS.

Check out the first few chapters on audio!

Buy the Paperback! or the Hardcover!

More about Kate

On Agency Agreements

2011-04-25T08:37:00.000-07:00

Twitter-Q: What sorts of clauses should we watch for in the agent contract? Do authors ever have an attorney review before they sign?

I've been asked a variation of this question several times in recent days. I can trace the current anxiety surrounding this issue to a specific blog post from last week, this one from agent Kristen Nelson. I could have sworn that I'd written about this topic before, but I couldn't find in the blarchives, so here's my take:

I prefer to call the document in question an "Agency Agreement" rather than "contract" -- it is a contract, of course, but in my experience it is a much gentler, more genial, and much less confusing document than a publisher contract, and "agreement" more accurately fits the tone of the thing. Plus then it doesn't get confused with all the actual publishing contracts we will be negotiating on your behalf down the line. :-)

The agency agreements I've seen have been quite short and easy to understand. There should be nothing "gotcha" or secret about the terms set forth in the agreement. You should not need a team of lawyers or experts to parse the language, in fact, since the terms of the agreement are often so simple ("this is our commission" for example), they are often non-negotiable, so a lawyer would be a waste of your money. (That said, of course you may spend your money however you like... I'd just look at it before you start getting lawyered up.)

The agent you are signing with should make time to walk you through the agreement. If you feel totally freaked out by the complexity of the agreement, and are too scared to ask questions, or don't understand the answers... you might be signing with the wrong agent.

Here's are the big points an agency agreement should contain, and things to watch out for. NOTE: Some agencies have no agreements at all, it is all verbal/handshake. Some agencies will have more or less items, or have these worded in different ways, or in a different order, but these are in general items that should be covered either in your written agreement or in your conversation pre-"handshake" deal:

1. Scope of Representation: What is the agent repping? (books? short stories? magazine work? subrights? everything?) Is this a one year contract, or open-ended? I know that some agencies do a year at a time, and the contract renews (or doesn't) each year. Some do a book at a time, and the contract renews (or doesn't) when there is a new book. It is my experience, however, that many or most agents are "at-will" - in other words, we are your agent until such time as either party decides to part ways. Make sure you know what the agent is going to rep for you, and if this is a contract that has a specific term, or if it is open-ended.

2. Commission: How much the agent gets paid, and for what, and how the money will be distributed. Notes:

* Agents typically get 15% on regular book sales, and 20 or 25% on subrights that involve one or more co-agents (ie, Hollywood or foreign). I've heard of slight variations on this, but wildly different commission rates would set off major alarm bells for me.

* Money typically goes from the publisher to the agency, they take their commission out and forward your part to you. It is my understanding that legally, this has to happen within 2 weeks of the agency receiving the check. I would want this in the agreement.

* Expenses: If you request unusual services such as courier, overnight delivery, etc, you may have to pay for such expenses (I have never once had to charge expenses in this fashion, because my clients don't request unusual services. Regular postage, office supplies, etc, I pay for). In addition, you may have to pay for shipping of your own book overseas for foreign sales. This is normal. Any such charges should be well-explained to you, and documented/invoiced. NOT NORMAL: Requiring you to go out of pocket for special 3rd party editors or "consulting services" or similar. Major. Red. Flag.

* Agents typically get their commission for any book that they sell, for the lifetime of that publishing contract. When the book goes out of print and rights revert to you, 20 years from now or whatever, you've gotten a new agent and she sells the book to a publisher who re-prints it, the first agent should not get any % from that sale. Likewise, the new agent will not get any % from the first agent's sale. I have clients who sold their first book with another agent, or by themselves - I get no % from that. But if I sell that book to France, that is a new contract, and I get the %. Make sense? However THIS is where the "in perpetuity" problem that K.N. talked about in her blog post comes in. Do make sure that the agency is only receiving commission for what they actually sell, not on the book in any permutation in perpetuity. UNLIKE K.N., I have never actually seen this wording in an agency agreement, but I have no doubt that it sometimes exists.

3. Termination: This will set forth how either party can "break up". It will probably say something like, you must notify the other party in writing (or possibly by registered mail). Some agencies, you are able to move on effective immediately, BUT any and all work subbed by the first agent will continue to be repped by that agent. So, you can get a new agent tomorrow - but if we get an offer because of work that I did and a submission that I made, I will negotiate that contract and your new agent will have nothing to do with it.

At other agencies, there may be 30, 60 or even 90 days built in here where the agent can tie up loose ends, withdraw books that are on submission, and during which you would be obliged not to get new representation. This is just an additional guarantee that the agent will be protected should you decide to go rogue after they've made a sale for you. Make sure you understand what is involved if you decide you need to part ways with your agent. You don't want to cause bad blood, or worse, get in a situation where two agents feel they have claim over your work. If the agent is asking for longer than 30 days "leeway", I'd ask to shorten it.

Annnnnd... that's pretty much it. Pretty straightforward stuff. Again, some agencies might have NO formal agreement, or more clauses in their formal agreements, but none of it should baffle you, and if it does, that is what asking questions is for. There are a lot bigger and scarier contracts in your publishing future, so you need to know that your agent will be able to translate for you if necessary. Sometimes an agent might use shorthand or throw around jargon that you don't know. And yeah, Google will help, but when it comes to something as important as your career, as my lawyer parents taught me:

NEVER, EVER, SIGN SOMETHING WITHOUT READING AND UNDERSTANDING IT.

AND NEVER, EVER, BE AFRAID TO ASK QUESTIONS!

Pants on Fire

2011-04-22T08:21:00.000-07:00

Every year or two there is a story about a nonfiction writer who just made up a bunch of bullshit and called it his life story, or copied a bunch of info from other books without any attribution, or a fiction writer who lifted paragraphs or chapters from other books and called them her own.

We know that lying is wrong, and that copying other people's work is cheating. That's still covered in like, kindergarten, right? But still... writing a good book is HARD. And cheating can seem easy, and painless, by comparison. Particularly when there are thousands (or even millions) of dollars riding on your whipping up a good story on a deadline.

Publishers can't exactly compare every line of your book to every other book ever written, or make you take a lie detector test to prove you climbed the Himalayas that one time. But they do make you sign a contract. And that contract always includes a Warranties & Indemnities clause. This section is easy to gloss over because it doesn't contain any $$$ signs, but it is interesting and important to know about. Of course it will differ from publisher to publisher, and can get quite long and complex, but in general, it looks like this (LIBERALLY TRANSLATED):

a) You promise that you aren't plagiarizing this. You haven't stolen any of it. You aren't committing libel. This is not a violation of any obscenity laws. This has never been published before. You wrote this all by yourself and you have the right to publish this. The book does not contain recipes or instructions for anything that might cause somebody harm. ("Timmy read Magic Under Glass and learned how to bring the grandfather clock to life, and then it strangled him!")

b) You assure the publisher (and by extension anyone the publisher works with, foreign publishers, movie producers, whomever) that you really, really told the truth just now and they will not be sued for any reason because of something in your book. If it turns out that you were lying about any of that stuff before, you have to pay the damages and attorney fees. (Um, so don't lie.)

c) Provided that you DIDN'T lie before, you are covered under the publisher's insurance policy, so if for some reason you are sued, they will provide legal counsel and you are required to work with them to defend the case. (Generally, if you also want to hire your own lawyer you can at your own expense, but the publisher's lawyer has to be in charge of the case.) You still might be liable for some expenses, but otherwise you are covered -- unless of course it comes out that you were lying about any of that stuff that you promised you didn't lie abut before, in which case the insurance is off, and your publisher will leave you to twist in the wind, and did you know that lawyers in New York are very expensive? They are.

Aside from the financial burden, you will of course also ruin your reputation, and become a laughingstock and/or a pariah. Though it doesn't mean your career is necessarily over (bad pennies do keep turning up), people in publishing do loooooove to gossip, and media likes to get ahold of these stories when they are big, too, so it is safe to say that there will be repercussions far into the future.

Also, you will make your agent cry. :-(

No, Really. Finish the Manuscript.

2011-04-07T17:01:00.000-07:00

Twitter-Q: "[I] would love to know why a full mss is always required, it would save time and heartbreak to know five chapters in the book sucks"

I get variations on this pretty much every day, like so: "Do I have to finish my ms before querying?" Yes. "But ... do I REALLY have to finish my ms before querying?" Yes. "OK, but, let's say I query before I finish my ms..." Don't. "But it takes so long to get an agent, and I've got a good 50 pages finished..." Sigh.

See the thing is, I just can't critique your work, or tell you if you are wasting your time, or whatever. Really. I think you are great, but I can't help you with those things. It is not my job.

Sort of like, when the landscaper comes to your house, you don't show them into the attic and leave them there. (Well... I guess you might do that, but it would be super weird, and probably lead to a bad lawn and possibly a lawsuit.) It just... isn't their job to talk to you about insulation. They are outdoor folk.

I am not a critique partner. I am an agent. I take your (finished) manuscript, help you polish it, then play "matchmaker" and sell it to a publisher. So I am looking for a manuscript that I not only love, but that I think I can sell. I am not making a match between your random, unwritten notions and a publisher, much in the same way that modern matchmakers generally make the match between two consenting adults, and don't marry off unborn children. If you are sending me unfinished material, you are not even close to giving me what I am looking for, because I can't sell it.*

*This advice void if you are already well-published and/or famous.

Big Book Week

2011-04-06T08:25:00.000-07:00

Taking a moment out of what has turned into an insanely busy week to tell you about some new books.

Just in time for National Poetry Month comes HIS SHOES WERE FAR TOO TIGHT, a book of funny and fresh nonsense poetry by Edward Lear, collected and introduced by Daniel Pinkwater, with illustrations by Calef Brown.

This book is huge and gorgeous and a wonderful introduction to Lear. I am so proud and excited about it! I would like to live inside of this book. Please check it out.

Also out this week, paperbacks for Middle Graders: ADVENTURES OF A CAT-WHISKERED GIRL by Daniel Pinkwater, and HARD KIND OF PROMISE by Gina Willner-Pardo! Wooohooo!

April Showers Open Thread

2011-04-02T09:07:00.000-07:00

It's the top of the month which means that it is time once again for a brand-new open thread!

Have agentish questions? Need advice or encouragement? Want to talk about the new Sweet Valley High book? Have wacky pet pix to share? GO ON, THEN, COMMENT!

Short answers I will take care of in comments, longer ones may become blog-fodder.

Book Birthday: ODD GIRL IN by Jo Whittemore

2011-03-22T07:04:00.000-07:00

About ODD GIRL IN:

Alexis "Alex" Evins is a first-class prankster. When she plays a particularly disastrous prank (hair + fire=bad), her dad sends Alex (and her older brothers) to a character-building after-school program. There, the Evins siblings are faced with the ultimate test of teamwork, leadership, and responsibility. Can the "Evil Evins" pass the course in one piece, or are they destined for an epic fail?

"...witty, laugh-out-loud romp. Whittemore handles not only the comedy but deftly portrays Alex's and her brothers' advancement into a more mature state of mind. It should keep middle-schoolers laughing from start to finish. Funny and perky."--Kirkus

"Secondary characters have surprising depth. There's plenty of humor along the way to redemption and healing as Alex and her brothers learn to work as a team and as a family."--School Library Journal

Here's the deal. Jo is ADORABLE and HILARIOUS. This book is ADORABLE and HILARIOUS PLUS. For real folks? If you have a sassy and funny 9 to 13 year old in your life (9 year old who is sophisticated, or a 12-13 year old who is not quite ready for teen fare) ... or if you are a "tween" at heart, get this book.

Follow Jo on Twitter: @jowhittemore

Buy the book at Jo's local indie, BookPeople or at B&N

When Your Agent Isn't Feeling the Love

2011-03-20T13:26:00.000-07:00

Q: I am agented and my agent has sold several books for me. But he told me last week that he really doesn't like my latest book and he doesn't think he can sell it. I don't know what my next step should be. I really like working with him and trust his opinion, but I have to say... I love this book and it might be my favorite thing I've written. And he hates it??? Ack. My confidence has really taken a hit. I'm freaked out. What do I do?

Oh sweetie, this is a tough one.

The fact of the matter is, no matter how sympatico a client and agent might be in terms of taste and and personality, there are bound to be some occasions where you don't quite see eye-to-eye. This is normal, and OK. Agents aren't always right... but by the same token, manuscripts aren't always good.

Sometimes your agent will advise you to drop a project because it is something that they think they cannot sell. Other times they are thinking of your career as a whole, and how this book might be problematic for you in a big picture way. Or they think that this particular effort is just not good enough, and they want you to always put your best foot forward. And of course, sometimes they simply don't get it, are dead wrong and missing the boat.

In any event, getting an agent was likely a relatively fraught process to begin with. You may have a lot of time invested in this relationship, and it isn't something you want to throw away. But you need your agent to be out there confidently representing you and your work, and if he HATES it... well, that's no good.

So I think you need to do a gut-check.

1) You adore this manuscript. Why? Do you love it so much because it is truly the best you've written, or is it a pet topic or theme that you might have an attachment to for some personal reason, but that other people may not "get"?

2) Have you shown it to trusted crit partners or beta readers? Ones who tell the truth? Have they also had reservations, or have they loved it as much as you do?

3) After a day (or three), having had the chance to calm down and breathe, have you had a heart-to-heart conversation with your agent? Does he ACTUALLY hate it, or were you over-reacting? Does he have a problem with the topic, or the execution, or does he object because he thinks it will be bad for your career, or what? Does he think it is unredeemable, or does he just think it needs some work and the problems he sees are possible to tweak with revision?

4) Would he be willing to at least shop it a few places, perhaps editors you've had close calls with in the past? Maybe if the book starts to get good feedback from editors he trusts, it will make the him feel more excited about the possibilities, and more comfortable sending it widely. Alternatively, maybe if the project gets BAD feedback, it will be enough to convince you to chill out on it for a while or rework it.

5) Do you really trust your agent? Do you think that he has generally good taste and good advice?

6) Are you willing to put this manuscript away for a while, or perhaps forever?

If the answers are YES this is really the best book you've written, YES your unbiased readers agree, YES you've had a talk with your agent, but NO he doesn't think you should bother revising, and NO he won't send it out, and most of all NO you don't trust his judgment and NO you aren't willing to set the book aside... well then it is time to part ways. I'm sorry. It's a sucky situation to be in.

But the good news is, if having to find a new agent is the worst thing in your world, you are lucky. And if your manuscript is really that damn-hell awesome, you'll have no problem getting a new agent.

Otherwise it is probably a good idea to work on something new and let this one rest for a while. Then later, try coming back to the project with fresh eyes. See if you still feel so strongly about it, and if any of your agent's comments made sense. Perhaps you will decide to revise, or if you can't revise it, maybe you can cannibalize it for parts. Whatever you do, remember that any manuscript you write, whether you sell it or not, is something you will learn and grow from as a writer. No manuscript is a waste.

Writers For the Red Cross

2011-03-17T10:08:00.000-07:00

I have two (2) different auction items up at Writers for the Red Cross. These auction items will only be up till 8pm eastern time, Sunday 3/20/11. Please consider bidding.

ITEM ONE: BASKET OF BOOKISH DELIGHTS! I will be your personal book-shopper and personally choose at least a dozen awesome books for you (kids or YA) - based on your preferences, and what you've already read (in other words, we'll communicate and you can let me know if you already have something so you aren't getting doubles). Items may include rare ARCs, brand-new hardbacks, or even cool foreign editions, audio books and other surprises. Prepare to be DELIGHTED AND ENTHRALLED.

ITEM TWO: QUERY & PAGES CRITIQUE! I will read, evaluate and give you feedback on the ~~query and first 10 pages of your YA or MG novel.~~ UPDATE 3/19: Because of the extreme interest in this item, I have ADDED TO IT. The TOP FIVE BIDS OVER $1000. will win a FULL manuscript critique. If there are not five bids over $1000, then I will do however many there are over $1000 (at this point, two, fingers x'ed for more!)

There are loads of other awesome prizes up on the site too - let's raise some money, people!

Tweet-a-Query Challenge & Conclusions

2011-03-13T16:43:00.000-07:00

Earlier this evening, I issued a unique challenge to my tweeps: Tweet me a query, including type of project & a killer log-line, in less than 140 characters. The project could be real or fake - the challenge was to come up with something irresistible in the short space given.

An hour and literally hundreds of tweet-entries later, I've come to some conclusions. Of course this was just an exercise for fun, and some of these projects are jokes, but I think the lessons here are applicable to the regular query process too:

* You only have a few words. Use the right ones, and make them all count.

Transplantee Mishca's heart is not her own, now someone wants it back. Fight's on where she's most venerable - her dreams.-- Venerable? or Vulnerable? Totally different meanings, totally different stories.

* When you introduce a bunch of foreign or peculiar words & names, the reader gets lost fast.

Krishani brings war to Avristar and the girl he loves sacrifices herself to save him. Wait, what? Perhaps pick a word to tell us what kind of person (?) Krishani is, and what Avristar is, to ground us in the situation?

Can L`Arc live with Maria in happiness or will The Sodalis end it all again? -- Huh? Am I supposed to know what L'Arc or The Sodalis are?

* Remember that the book you sell today will probably not be released for a year or more.

Tabby isn't a terrorist but when her bro blows up a genetics lab she might as well be. She's accused and in 2012 that = death. -- Really? 2012? Like, less than a year from now? I know it's an election year and all, but um...

* Premise is not the same as problem. Sometimes a unique enough premise can be enough to pique interest in a book (Werewolf Roller Derby!)... but usually we need a bit more than that.

Eccentric family of inventors live in a zeppelin & fly around the world solving weather-related mysteries. -- OK, this is a setting, but so what? What happens? What is the problem? (And yes, I am interested in eccentric families, inventors, mysteries and zeppelins... but I still need to know that something happens in the book.)

* Beware the List of Awesome

A mashup of scifi, gaming, jedis, genetically enhanced heroes from space, a girl, an evil Mistress and a guy named Scrappy. I am totally guilty of doing this "list of awesome things" pitch myself - and sometimes it works, particularly to set the scene or give a feeling of tone. But a list of awesome things, no matter how awesome they are, can't take the place of telling us what the problem is.

* Cliche is a shortcut, but it's also a crutch and your query will be stronger without it.

All Miah brought home from band trip was a hungry mosquito's gift of lycanthrophy. As if high school wasn't bad enough. -- The first sentence was pretty hot, actually. But then the second ruined it. It would have been much better to introduce a specific reason or reasons why high school sucks for this kid, or to introduce it by saying what the kid EXPECTED to get out of Band Camp. ("Summer band camp was a break from getting slushee facials in the hall, but..." or "All he wanted from Band Camp was a shot with the sexy clarinet player, but instead...")

* Don't Editorialize.

The heartwarming story of a Mathlete turned Sexpert. -- This is one of my clients books, full disclosure - and I think she is a great writer. But this is problematic as a pitch, primarily because of the "heartwarming story." Don't editorialize with "hilarious", "uproarious", "heartwarming", "pageturning", "unputdownable" or similar. Heartwarming? I'll be the judge of that. I'd have rather she used this space to tell us a tiny bit more about the Mathlete, or the Sexpert, or the setting, or what MAKES the Mathlete turn into a Sexpert.

* It has to make sense. Beware derailing & straying too far from the point.

4 new grads get first real jobs, find they can't cook, & set out to learn, while figuring out the mystery at work. -- I am not sure how any of these things have to do with the other. Is the problem that they can't cook and have to learn? What does that have to do with getting jobs? What mystery, and what does that have to do with cooking? They all work at the same place? Why didn't you say so? This leaves me with a lot of questions.

Taken by humans and made into a sex slave, 15 yrs old Effie struggles with PTSD and the deadly butterflies that consume her. -- If she's taken by humans, that implies that she is NOT a human... so please tell me what she is. Does she have PTSD because of being taken and abused, or did she have it before? Are the deadly butterflies real, or imaginary? Are they literally consuming her? I am confused.

All that said, there were a few that made me crack up (Dude Looks Like M'Lady made me laugh for like, a full minute) -- and a lot of really fun sounding entries. These were my favorite, and I am going to let YOU guys vote on the winner. Please pick one (1) of the following & vote in comments or by tweet. Winner gets something nice:

BLOOD OF WOLVES is a reverse Beauty and the Beast tale set in a pre-steampunk world of ice, alchemy and monsters.
Boy finds blank book, when he touches it it fills with his life story. Will he commit to his destiny or rewrite it?
12yo overachiever leads world's worst boy scouts in earning toughest merit badge yet - saving the world from alien invasion.
A student at one of the most competitive schools in Paris by day, a jewel thief on the city rooftops by night.
Werewolf Roller Derby. Splitting hairs, bones and wheels for the sake of the pack.

ETA: Based on extremely scientific polling data here and on twitter (ahem), WE HAVE WINNERS - #3 is the winner, #5 is the runner up. Books are on their way! Wooohooo! :D JL

My Kinks

2011-03-11T08:19:00.000-08:00

These are elements of a story that I am a total sucker for. I do love regular old contemporary YA and middle grade stories too, and I love plenty of stories that have NONE of these elements -- but these are my (not-so-secret) kinks. Seriously - if any of these are present I am almost guaranteed to like the book/movie/tv show/story, or at least give it a huge chance.

TIME PERIODS / SETTINGS:

* Regency / Victorian / Edwardian Era - UK, Europe and US (1811-1910)

* WW1 / between the wars / WW2 / Blitz / Relocated Children - England

* 1920's - 1940's USA (especially Hollywood & NYC)

* Wiemar-era Berlin (or anything with German Expressionist flavor)

* British Raj / Partition India

* Boarding School / Prep School / Drama School

* Secret Societies / Insular Groups different from "norm" society

* Ensemble Performance / Behind the Scenes - in other words, the reality behind busy restaurant, theatre, hotel, newspaper, sports team, movie set, etc.

ELEMENTS / PEOPLE:

* Girls Dressed as Boys / Drag Queens / Dandies / Disguises / Secret Identities / Cross-dressing

* Makeovers

* Fashion Shows / Modeling / Clothes & Fabric

* Star is Born / Rags to Riches stories (Or even better: Riches to Rags to Riches, a la Little Princess)

* Theatre / Circus / Vaudeville or other Artist/performer

* The Olympics / Olympic-level training (esp: Skating, Gymnastics and similar 'artistic' solitary sports)

* Charismatic Older Men Taking Care of Young Girls and Vice-Versa (think: The Professional, Daddy Long-Legs, Paper Moon, True Grit -- or, Bela Karolyi & Nadia Comeneci)

* Con Artists / Art Fraud / Grifters / Mafia

* Prostitutes / Dance-Hall Girls / Rough Trade

* Gypsies / Fortune Tellers

* Servants / Butlers / Governesses "goings on below stairs" stories

* Assassins / Spies / Sleuths / Genius Problem Solvers (Sherlock, Dr. Who, Jeeves)

* Golems / Manikins / Androids / Humanoids / Automatons

--

What about you? What are the 'kinks' that you tend to go for in a story?

ETA: I am cheating - my client Jackie Dolamore did her own post on the subject, and I want to take all of her answers too! LOVE!

No Fighting, No Biting

2011-03-07T08:43:00.000-08:00

In case you have been snoozing in a sunny hammock for a week (in which case, may I say a hearty grrr to you), you've probably noticed rumblings about the supposed "YA Mafia." I am totally not going to get into it here, as it has been pretty well discussed and dissected by everyone everywhere, and the topic is done as far as I'm concerned. YA Highway has a great roundup in case you missed any of the kerfuffle and are still interested.

One sort of side-tangent that has been mentioned by a few folks is the rumor that AN AGENT WON'T TAKE YOU ON IF YOU PUBLICLY HATE THEIR CLIENTS WORK. Am I missing something? This doesn't seem like a threat, it seems like a very obvious and non-scandalous fact to me.

But the reaction I'm reading seems to be that such agents are obviously short-sighted, crazy, "in the pay of the YA Mafia", idiots, etc etc.

Uhh...

I'm extremely passionate about any book I rep. I LOVE IT.

Besides the author themselves, I was probably the first person to be a total champion for the book. I've read it many times, sometimes over the course of years. I might have helped edit it, or at least thought about it hard, possibly through multiple drafts. In some way, maybe a big way or maybe a small, I helped that book be what it is. I am quite proud of them; each book really means a great deal to me.

If you love my books too, we might have very similar taste. The chances are good that if you are an excellent writer, with taste similar to mine, we might be a very good fit.

If you love some but are ambivalent about others, or like a couple but are "meh" about some, or even thought some were fine but privately disliked a couple, hey, that's cool, not everyone can like everything, everyone has their own opinion, that's what makes the world go round. (Well that and like, science.)

But if you totally hate a book of mine, like seriously detest, and have gone out of your way to slam it publicly...why would you even want me as an agent?

Your agent is your partner, hopefully for many years and through many successes (and yes, often failures as well.) You will be talking to them quite a lot. You have to be able to trust that they understand and "get you."

Your agent also needs to trust that his or her clients are relatively stable, happy, and not going to turn on each other or start getting into online (or real life!) monkey knife fights with one another. Drama creates a hostile work environment for all and can escalate to toxic levels quickly, which results in a loss of productivity, which results in a loss of money. Feh. Not for me, thanks. I would rather have fun, sell lots of books, and make money. Wouldn't you?

You will also more than likely be in situations where you are in a group of your fellow-clients, out at a dinner, at a conference, or a school visit, or on a retreat. These are your colleagues, again, hopefully for many years. If you totally hate their work... ugh, awkward! Why would you possibly want to knit your future together with people you hold in contempt?

Basically, if you loathe the books I represent, we clearly have very different taste. That isn't bad or good -- it's just a fact. Pick an agent who seems to like the same kind of stuff you do. Obvious, right?

*ETA: I am not suggesting that people should not blog, or be honest, or censor themselves, or anything of the kind. I have book bloggers as clients. Go forth and blog! I am just saying, you put out into the world what you want to get back. You can't say you HATE something, but then turn around and want to be just like that thing.

Like, I like gold, and I like lemon yellow, and I like orange, but I hate certain shades of the color yellow (to wit: Goldenrod). Seriously. Worst. Color. Ever. I've said it on my blog, and I will say it to anyone who asks. I'd say it to Yellow's face. I am not allowed to be surprised if Yellow doesn't hire me as its spokesperson.

Facebook Stuff

2011-03-06T07:43:00.000-08:00

Hey there -- For those of you who are interested in keeping up with ALL SORTS of news about my authors (from interviews, upcoming events, new book releases, book reviews etc) - and want to know when my upcoming conferences and similar are - I've started a Facebook page just for that purpose.

This way my friends and family won't have to read about my work all the time, and people who want book news won't have to wade through baby pictures and such. ;-)

Yes, big stuff will probably still show up in my personal Facebook, and on this very blog, but The Page will be really specifically a catch-all location. So clients, if you have news to share, let me know and I will post it!

Link Roundup

2011-03-04T22:13:00.000-08:00

There have been a lot of goings-on lately - time for a LINK ROUNDUP!

A totally phenomenal review of the reissue of Lizard Music by Daniel Pinkwater, from B&N Review.

Should you be blogging to help your writing career? Or is it a big waste of time?

A lengthy interview with me at the wonderful Shrinking Violets blog, about self-promotion, introversion and more.

A slightly more goofy interview at the Middle Grade Ninja, with fave movies and more - as well as what I am looking for.

If your local Borders is closing, you might take a look at this list of nearby indie bookstores.

Finally (and perhaps most importantly) - 22 Manly Ways to reuse an Altoids Tin - from tiny bbq to electronics lab!

Namedropping in Picture Books

2011-03-03T05:54:00.000-08:00

Q: What is the general rule regarding naming movies, song titles, book titles in a manuscript? For example, in a PB manuscript, mentioning that the MC loves to pretend she's Fancy Nancy or reads Madeline?

It can be OK to namedrop characters, movies, songs (provided you aren't quoting directly from songs, or if you are, you have the proper permission) in a middle grade or YA. I can think of dozens of examples of main characters who are bookworms, for example, and who reference real books that they've read.

Picture books are a different story.

I assume you'd be using these examples as a sort of shorthand way to show the sort of kid your character is. To me, this shorthand of referencing somebody else's character almost feels like cheating; you've let the other author do the heavy lifting on characterization. Plus, what if the actual young readers enjoying your book haven't gotten to Fancy Nancy or Madeline yet? The shorthand won't work for those kids, and you'll have lost them.

Even more importantly, though, picture books are just... sooo... short. Most that sell nowadays are less than 500 words long. The picture book is like a very small, very well lit stage. Every single word has to mean something and be there for a reason, because every single word will be measured and judged and tweaked and pondered over. There is no room for anything extra, any word that is not moving the book forward or in some way doing work.

You are creating your very own tiny world here, and you have so very little room to spare... why drag somebody else's world into it?

That's my opinion. Doubtless I am forgetting some big huge example that will prove me wrong. Readers, can you think of any examples of picture books that have referenced real movies, songs or picture books by other authors (in the text, not in the illustrations) successfully?

March Madness Open Thread

2011-02-27T06:22:00.000-08:00

OK so I am done with February. I know there are a couple days left, but I can't take it anymore, I'm calling it a wrap.

Also I want to amuse myself, and I'll be away from home when March actually begins. SO. I call upon you, dear readers, to divert my attention with whatever you like. Agentish questions for me to answer. Funny pictures of animals. Good news. Jokes. And more agentish questions for me to answer!

I'll handle questions in the comments, unless they require a LONG answer, in which case, I'll do a post about them.

Forward, March!

Thank you

2011-02-26T09:35:00.000-08:00

Thank you everyone for your wonderfully warm condolences and for posting your memories of LK Madigan. It has been really amazing to see how much she touched so many people - a fact that I knew intellectually, but didn't really process until I was able to see the flood of posts from all corners of the writing and reading world.

Lots of folks have asked how they may help Lisa's family.

A trust fund has been established to benefit Lisa's son; donations may be sent to the Nathan Wolfson Trust, c/o Becker Capital Management, 1211 SW Fifth Ave., Suite 2185, Portland, OR 97204.

Her husband Neil posted this info on her blog; I know that any donations would be extremely appreciated.

A Very Sad Day

2011-02-23T16:42:00.000-08:00

I'm heartbroken to report that my beloved friend and client Lisa (LK Madigan) passed away this morning.

Lisa was not only a dear friend but a truly remarkable writer. I had the great privilege to help bring two of Lisa's books into the world, and I hope that through those stories, many many more readers will have a chance to be touched by Lisa's brilliance, humor, heart and generosity of spirit in the years to come.

I know that many of you knew Lisa, at least online or through her books, and had her in your thoughts during her illness. She cared deeply about her readers and her community of writers, and I feel certain that your support and good wishes meant, and continue to mean, a great deal to her and to her family. And to me, as well.

Plans for a memorial will happen in the coming days and weeks. Meanwhile, I think that Lisa would encourage you all to give great big hugs to your friends and family, and follow your dreams, as she did.

Thank you all so much, and please take care of yourselves.

Love,

Jennifer

For more about LK Madigan, please visit her blog. For the adorable story of her first book deal, go here. For the possibly even more adorable story of her long-awaited Mermaid Book, go here. For the entries where she memorably channeled Tim Gunn, go here. For an interview where she dishes about the Morris Award and more, go here.

To buy FLASH BURNOUT or MERMAID'S MIRROR, follow the links or visit your local independent bookstore.

Crafting the Editor Submission List

2011-02-21T07:01:00.000-08:00

I often get asked how agents create editor submission lists. I can't speak for everyone, of course, but from where I sit this is almost like a puzzle or game, and while I enjoy doing it, it is not always exactly simple.

First you must know that an "imprint" is a division within a large publisher. Various imprints specialize in either different styles of book, or a particular editor's own aesthetic. Like, for example, Simon Pulse is almost always going to be highly commercial, edgy YA fare. Puffin is almost always going to be paperback reprints. Little Simon is always going to be board, pop-up, novelty and picture books for the PreK-K crowd. Arthur A Levine books might be anything from Picture Books to YA, but will almost always be special, literary books with something of a timeless feel.

You can get to know the types of books each imprint publishes by looking them up online of course (here's a list of all Penguin imprints with each one's history, and here's a list of Harper childrens imprints) - but to my mind, nothing beats spending a lot of time in the bookstore or library and keeping your eyes peeled for the publishers colophon (fancy publishing word for logo) on the spine. You will see, as you read more and more and pay attention to who publishes what, that most imprints really do have their own discernible style.

Here are some examples of children's and YA imprints, by publisher.*

Macmillan - includes FSG, St. Martins, Bloomsbury/Walker, Feiwel&Friends, Holt, Roaring Brook, Tor among others

Penguin - includes Dial, Dutton, Putnam, Viking, Razorbill, Puffin, among others

HarperCollins - includes HarperTeen, Katherine Tegan Books, Rayo, Balzer&Bray, among others

Random House - Knopf, Bantam/Delacorte/Dell, Schwartz&Wade, Wendy Lamb Books, RH Kids, among others

Simon & Schuster - Atheneum, McElderry, Little Simon, Beach Lane, Pulse, among others.

Scholastic - AAL, Scholastic Press, Orchard, among others.

Then there are places that I consider "one-and-done", where the editors seem to work together more and don't really have significant divisions, including Candlewick, Chronicle, Egmont, Hyperion, Little Brown, Flux, Sterling, Sourcebooks etc. They might have different lines for different types of books (like Sourcebooks Fire YA line, Little Brown's Poppy line or Candlewick Sparks early readers) but those don't quite constitute their own departments with their own dedicated staff.

Within each imprint there may be anywhere from a couple to a conference-room-ful of editors. Every one of those editors have different tastes and specialties. There may be only one editor at an imprint who likes fantasy, or nonfiction, or whatever it is, or there may be several. We want to target the book not just generally ("This seems like a Knopfy kind of book") but also specifically (Who at Knopf is looking for a book like this? Whose taste would this suit? Who has something too similar in tone already?). That is why it is so important for an agent to know not only the style of each imprint, but the tastes and preferences of as many editors within each imprint as possible.

Some publishers allow simultaneous submissions to multiple imprints, some do not. But actually, even when it is theoretically allowed, it is not a practice I am personally fond of. Unless there is some pressing reason to submit a project to two imprints at once, they both won't be able to offer, so I feel like that can just cause bad blood and political wrangling that is not worth it.

Still, even if one can only submit to one editor at an imprint at one house at a time, that is still a lot of imprints, right?? RIGHT??? Welllll... not exactly. Because we also have multiple PROJECTS going out at once. I personally try hard not to send two projects to the same editor at the same time because I don't want to "burn them out" (though frankly sometimes it is just unavoidable). This might be my own personal issue - I feel like it is really hard for anyone to seriously consider two projects at once. What are the chances that they are really going to buy both of them? My projects have enough competition from the outside world, thanks, I don't need to create my own competition.

I also hate to send the exact same kind of project to an editor in quick succession. I feel like, if they reject a paranormal romance from me, and then the following week I come back to them with another paranormal romance, that is likely to elicit a big sigh.

As I am sure you can see, that means that the available-editor list is getting smaller and smaller. Let's say I have two fun fantasy projects going on at the same time, and I don't want to repeat any editors. One of them might go out to 8 editors and sell right away (yay!) but the other one goes out to a different 8 and doesn't. I end up going a second round of editors, or even a third. Eventually I am going to run of editors. And if during that time another big fantasy project comes along, but I still have project B out with a bunch of folks, and I just sent project A out not so long ago... Yeah. Gets a bit intricate.

Now if you'll excuse me, I have to get back to my list-making hidey-hole!

*ETA: this list of publishers & imprints is for example only, and is by no means exhaustive. And I am referring only to USA children's book publishers.

How Slow Can You Go?

2011-02-15T11:07:00.000-08:00

At the writer's conference over the weekend, I dazzled (or possibly terrified?) attendees with stories about just how long some books take from the point of selling them to the time they actually appear on bookstore shelves. Especially picture books (though all aspects of publishing can be slow.)

I know folks who have waited 3, 5, 7 or more years for a bought-and-paid-for book to be published, because the publisher couldn't choose an illustrator, or the chosen illustrator had other things on their plate, or the first (two) editor(s) left the company, etc etc. You just never know how long a book will take and it depends on numerous variables that are mostly totally out of the author's control.

Quick example from one of my own clients. Keep in mind that none of these is especially slow or unusual. I just think it is interesting because the one I sold first is coming out last:

In early 2008, I sold a picture book called OVER AND UNDER THE SNOW by Kate Messner. It will be on shelves in time for Christmas of 2011. (4 years, 1 editor)
Some months later, in Spring 2008 I sold a chapter book called MARTY McGUIRE by Kate Messner. It will be on shelves this coming May, 2011 (3 years, 3 editors)
Some months later still, in Summer of 2008, I sold a middle grade novel called BRILLIANT FALL OF GIANNA Z. by Kate Messner. It came out in hardback in early Fall 2009, won the EB White Readaloud Award in spring 2010 and appeared in paperback in Fall 2010. (1 year, 1 editor)

Anyway, after the presentation a nice man came up to me and asked a question. "Why, in this age of modern technology, do books take so darn long to come out?"

At first I will admit that I was a bit brusque with him. "That's just the way it is. Because." I said. But really, there are lots of reasons, and I know some of them. So I thought it might be nice to share them with you so that man will not think that I am always such a big meanie.

The Joy of Sketch

I love illustrators. But they are involved in the making of a book, that book will always take longer than a novel. Why? I guess because they are making great art by hand, that's all, what do you want, sheesh!

Anyway, once a short-list of illustrators is chosen and one accepted (a process that in itself might take an age, as many illustrators might say no for any number of reasons), it will probably take six months to a year for an illustrator to finish a book. Now imagine that there are three books in line ahead of yours, each of which has to go through sketches, and changes, and final art, and changes, and the illustrator sometimes is allowed to get up from his easel and eat, too. And once all the art is done, the book still has to be properly put together, so it will be done early enough (see below). It all adds up, yeah?

Life Gets in the Way

Have I ever mentioned that pretty much every step of the way to publication takes a long time and input from multiple people? Well, at least one of those people is always on her honeymoon, on maternity leave or at a conference. Fact.

Timing, Timing, Timing

Each publisher will have their own timeline of when things should be done. But in general, your book will be in fully copyedited and ready-to-go form 8 months (or even more) from publication date, to prepare for bound galleys that can start appearing anywhere from 4 to 6 months (or even more) early. Why should the book be ready so early? Well, maybe so that you can get blurbs from great people in time for them to make it onto the finished book. And so bookstores, who order quite early, can see the book first, all the better to fall in love with it and order lots. And so that reviewers can read it and write intelligent reviews. And so that librarians, booksellers and other big-mouths have a chance to get their hands on a copy, read it and start buzzing about it, of course

The calendar matters, too. If you have a poetry book, it might be a good idea for it to come out in early March to take advantage of the fact that April is National Poetry Month. If you have a Get Ready for School book, it is a good idea for it to come out during the summer, to take advantage of First Day of School displays. All of this seems obvious, right? But just how many poetry books can one small publisher crank out in March? This brings us to...

Juggling to Fit the List

As the months pass, your season will begin to actually hover on the horizon. "Spring 2012" (or whatever) are words that have beat a tattoo on your heart for the past year. But what the publisher meant by "Spring 2012" when they said it back in Spring 2010 might have been more like "Oh, Spring 2012, or so, we'll see how it goes when the time comes."

Yes, your date is subject to change. This is (probably) not because everyone hates you. Rather, when the time comes, the good folks in charge at the publisher will actually take a hard look at what is on the upcoming schedule for all the imprints at the publisher. They want their lists to be dynamic, full of books that are different enough that each will make a splash, not too heavily weighted toward one type of book. So if they feel that two books on the list might compete with one another to the detriment of either, one of them might get moved. Like for example, if they realize, OH HELLO, we have two realistic middle grade dog stories slated to release within a month of one another, yeah, it is very possible that one of them will get moved to a later date.

This is not a bad thing. How pissed would you be if your charming THE DOGS OF CAMP FRISKY that you spent a year writing came out a month after Suzie Q. Author's THANK DOG IT'S FRIDAY, from the same publisher? All the bookstores who ordered from a catalogue chose Suzie's book over yours (because they don't need two different new dog books at the same time, and hers was first in the catalogue), and the publicist pitched both books to media but people went for the first one, so your book was in no stores and nobody was talking about it and Suzie won the Schipperke Fanciers Book Prize and you got screwed? QUITE pissed, I imagine. So let the publisher move things around if they need to, to maximize opportunities for both books.

So you Sold? So What.

I know, I know. Getting a publishing deal is really big. It will change your life FOREVER and nothing has ever been as important and OMGYAY the universe has a new axis around which to spin. Right?

But the thing is, from the publisher's perspective, this is a cool book, and yeah, they are happy, but guess what? They have lots of cool books that they are happy about. Like... LOTS of them. You have to get in line, because only so many can come out each season, or they risk getting completely lost in an already way overcrowded field.

Get some perspective. Your book isn't the most important, it is just the most recent. And, as we've seen above, it isn't coming out for at least a year and more likely a couple of years. So, no matter how excited the editor is that she got to buy your book, as soon as the celebratory mini-bottle of champagne is done being quaffed, she has to return to her regularly scheduled programming: dealing with fires that need to be put out RIGHT NOW for books that are coming out way sooner than yours.

Yes. Lots of extremely busy people in a far-off metropolis are ignoring your baby. I bet it makes you feel like one of those moms on Toddlers and Tiaras. Don't you worry, Mama, your little princess will have her time to shine! Just not quite yet. This is where yogic breathing and ~~making a pretty new baby~~ writing a great new book will come in handy.

Make sense?

Conference Wrap-up

2011-02-13T05:34:00.000-08:00

I had a terrific time at SCBWI's upstate NY "Cabin Fever" conference in Syracuse NY. Home of the world's largest snowplow. (No, really). The icicles were sharp, the snow was swirling, but the company was totally delightful. Thanks to superstars Amy Emm and Ellen Yeomans for the hard work and kindness!

My talk was fun, but I totally ran over time and could have gone for another hour probably with Q&A. For those who are curious, here are the topics I covered in AGENTS 101

1. Who the hell I am, anyway, and what kind of books I represent

2. What is "trade publishing" and how does it differ from educational markets and others? What are "the big six" publishers?

3. How is has the recession, etc, affected publishing?

4. What does an agent even do? How do they help authors navigate the publishing world?

5. How do you get an agent? How to do the research, a bit about queries, synopses, publication credits, personalization, submission guidelines and the like.

6. On rejection, and what "subjective" really means.

7. Why it is a terrible idea to compare your path to others, how each book has its own way of being sold and published. I had copies of about ten of my books up there and I gave the unique circumstances and timeline of each, bumps along the way, and gave the "shock-and-awe" portion which is how very long it can take for some books to make it to print.

8. MYTHBUSTERS! I gave each participant a quiz in their handout - 20 myths that I hear over and over from published and nonpublished writers alike - and went through each one and busted them. (Some came from my summertime Mythbusters blog post, some were new.)

and then Q&A! I got one very interesting question that I have never addressed here, which I hope to get to in the coming days.

Anyway... now I have a train to catch, the real world awaits. But thanks again, Syracuse! MWAH! *waves*

Agents 101

2011-02-04T04:29:00.000-08:00

Hey all -

Time for you to give me some advice.

Next week, I am doing a talk at an SCBWI event in Syracuse. It is to be on the topic AGENTS 101 - as in, questions and issues that an absolute newbie would bring up, along with some stuff for people who have been around. It will be a mixed crowd, probably mostly unagented. (But I am actually guessing about that a bit.)

I've given similar talks before and felt that maybe I was going over people's heads a bit, so this time I want to have an outline of topics and thoughts at hand that I can choose from, so that I can make it a bit more interactive and don't either bore or bewilder the majority. (Possible anyway, but.) In other words, I can say, "OK, who here knows what an agent does." - and if only two people out of a hundred raise their hands, that would be the place to start.

So I'd like you to give me ideas of topics to cover. What would you have liked somebody to explain to YOU when you were a newbie? What have you always wanted to know, but were afraid to ask? No question or topic idea is too silly -- and even if you are repeating other people, that is OK, I am interested to see how much certain things come up.

Thanks in advance!

Snow Day! OPEN THREAD.

2011-02-01T06:37:00.000-08:00

Hot Cocoa & Jammy Time

It is the first of February which means it is time for a brand-new OPEN THREAD. Feel free to ask agentish (or any other) questions in the comments to this post.

I will likely be snowed in for a day or two so I'm curled up with manuscripts and hot cocoa, and I'll take breaks to answer. Short answers will be in comments, long answers may make the blog.

And if you're going outside in this weather, dress warmly, drive slowly, play nicely and don't stay out too long.

One arrow to shoot at the target?

2011-01-30T08:03:00.000-08:00

Q: If you are only supposed to submit/query one MS at a time, how will an agent know whether you have the ability to write more books and build a brilliant career. Especially since it is in an agent's interest to find clients for the long haul.

It feels like authors have one arrow (the MS you're submitting) to shoot at the target. What advice can you offer?

To be clear before I start: I AM NOT COMPLAINING ABOUT READING. I like to read, and I like that so many people want to submit material to me. Just the thing is, as I mentioned in my last post, agents can get overwhelmed fairly easily when dealing with submissions from people that we have no knowledge of or stake in. See, if a client writes to me a million times or asks follow up questions or gives me a bunch of stuff to read at once, well... I'd tell them to knock it off, probably, but I'd mean it with love, and they'd know that. If a stranger does it, the much more likely response is automatic shutdown of my brain systems.

So my suggestion is, to query with what you think is your VERY STRONGEST piece of work, and only that. You may choose to mention (in one brief sentence, at the very end of your query) that you have other picture books, or another MG work in progress, or whatever, but this is not a must and don't hit it too hard.

When the agent falls in love with that piece of work and has an email or phone call with you, you can talk about some of the other projects you have cooking, and they will likely ask to read some, particularly if they are picture books. At this point they already like you and are paying attention, so they are going to go into reading the material with a positive attitude.

Now, while you are querying, you should be polishing up some of that other work, so that you have more material with which to dazzle. If your quest doesn't work out the first time around, you will have another VERY STRONGEST thing to offer, and you can begin again.

WARNING! WARNING! WEEEEWAAAA WEEEWAAAA (that was a siren noise). The following scenario happens all the time. WEEEWAAA WEEEWAAAA WARNING! WARNING!


Moxie wouldn't stand for this, unfortunately

DO NOT. I REPEAT. DO NOT respond to the rejection of the first book by saying "that's OK, I've revised it, here's a newer version!" or "that's ok, what about this one?" and attaching another manuscript(s). Even if we've said we'd be happy to consider something else in the future. Not only is this exhausting (didn't we JUST get done thinking about this and saying no? Seriously?) - but if you are responding to the rejection, you are likely to just end up getting thrown away because we won't know it is a new thing. And if you are going to query a revision, make sure it is really completely different now - that is not something that I will believe can be done overnight.

Give it some time. Allow our feeble brains the opportunity to recuperate from thinking. Then, after a month or two (or six, or twelve), take another shiny arrow out of your quiver, and aim again.

Nancy Drew and The Case of the Guilty Silence

2011-01-27T19:17:00.000-08:00

Q: I queried an agent back in June, and she requested a full MS of my YA novel. I sent it along. When I hadn't heard from her four months later, I emailed and gave her a polite nudge. She wrote right back and said she was still interested in reading it but hadn't gotten there yet, and she asked me to nudge her again in a month if she hadn't contacted me. A month later, I nudged her again, and she didn't respond. She still hasn't gotten back to me, and she's had the MS for seven months now. Should I give up on her and consider myself rejected, or should I keep emailing? At what point does it stop being reasonable and start being annoying? (I have, of course, been submitting elsewhere in the mean time.)

This is a tough one. On the one hand, maybe she has lost your manuscript in the shuffle, maybe you should give her the benefit of the doubt. On the other, if she isn't responding to your emails, maybe she isn't worth your time worrying about. And I hate to even say this, but...

...I totally have manuscripts that I've had since over the summer.

Am I proud of this? NO! It is, in fact, a constant source of worry and stress for me. Seriously. But reading non-client manuscripts isn't my job. It is not even in my job description. My job is to take care of my existing clients - searching for new ones is cool, but it is the last thing on my plate, and it will get shoved off the plate entirely if there are client issues taking up all the room.

The amount that I have to read varies a lot from week to week, but what doesn't vary is, I only really have time to read during non-work hours. As of right now I've read about 1,000 pages this week. At the moment I have about 4,000 more pages of manuscripts that I absolutely MUST read before I tackle anything else. That is several client manuscripts, that I have to not only read, but think about, and give detailed feedback on. Also a couple of non-client manuscripts where I know the author in some capacity so I can't keep them waiting too long. A couple of non-client who have revised for me. And something where I know the author has other offers, so I am going to read as quickly as I can.

That is not counting the 30 or so regular fulls that I have waiting for me, all of which I do read a great deal of, if not all of, and most of which I also give notes on (so hopefully it is worth the long wait.) These fulls have to come after everything else. That doesn't mean I am not interested in them - obviously I saw something there if I requested the full. It just means, you know, I'm busy. I try to read these fulls in order. Though again, if I am really fascinated by the premise, or you have another offer, or I know you, you'll get bumped up in line. It's triage.

When you status query me, I'll say something like "Still haven't gotten to it, sorry" -- but honestly, if I had gotten to it, wouldn't you know? Now maybe I read it and just am still thinking about it, or whatever, but if I'd made a decision about it, you'd be the first to know. If you keep status querying me... I am probably going to stop answering, because there is only so many times I can say "still haven't gotten to it, sorry" without feeling like a jerk. It won't make me move any faster, it will just pour salt in the wound of how jerky I feel.

Does that mean you should assume that I passed? Well... kinda.

Other agents may disagree, but here's what I'd suggest. If it has been more than three or four months, DO send a polite and friendly status query. After all, things do get lost. Then by all means nudge every 4-6 weeks. But if you aren't getting any response, DO treat it like a rejection. DO sub elsewhere. DO work on the next stuff. DO move on with your life.* Then when the agent writes to you, because they've finally gotten around to reading your book and they love it, they will have to grovel.

*That said, even if you are "treating it as a rejection", please do let the agent know if you get another offer in the meantime, or if you've decided to withdraw the manuscript for whatever reason. That way they can either read quickly, or take the manuscript out of the pile.

LIZARD MUSIC by Daniel Pinkwater

2011-01-26T13:12:00.000-08:00

It's official: LIZARD MUSIC by Daniel Pinkwater is once again available in bookstores, in a gorgeous hardcover edition from New York Review Books Childen's Classics collection. I am extremely proud of this book. (It was a childhood favorite of mine, and now I am the agent for it. Crazy!) This really is a true classic, and I am over the moon that NYRB did such a phenomenal job bringing it back.

Make me happy and feed your brain something weird and special and magic. GO BUY IT.

“Lizard Music is. . . funny, properly paranoid, shot through with bad puns and sweet absurdities, and all about a baffled kid intent on tracking reality (as slippery as lizards) in a media-spooked milieu.” —Kirkus Reviews (starred review)

“Wildly imaginative. . . . This is a natural high.” —Booklist (starred review)

“A writer for smart kids. . . . Pinkwater writes for, and about, people who are not ashamed to look at life a little differently.” —Kathy Ceceri, Wired.com

“I do believe that Daniel Pinkwater is my favorite writer, living or dead.” —Cory Doctorow

“Pinkwater is the uniquest. And so are his books. Each uniquer than the last . . . A delight in oddness. A magic that's not like anyone else's.” —Neil Gaiman

Buy the book at Oblong Books.

Buy the book at Powells.

Buy the book at B&N.

Buy the books directly from NYRB.

A Query Query, with Vocab Lesson

2011-01-25T16:27:00.000-08:00

Q: I've seen some submission guidelines that seem to be using "synopsis" interchangeably with "blurb", as in, sometimes when an agent requests a query letter and synopsis, it sound like they might actually mean a query letter that includes a brief (1- or 2-paragraph) description of what the book is about.

My question is, would agents ever use these words interchangeably? Or does the term "synopsis" always, always mean a step-by-step description of the entire plot, ending included (2 to 5 pages, etc.).

An example is an agent who said: "Please send me a query letter and brief synopsis. One page only, please."

I'd say the agent probably means exactly what they said: A query letter, and also a one-page synopsis. Part of your confusion might stem from mixing up terms. I hear people calling jacket copy or pitches "blurb" all the time. I know that it might seem silly or pedantic of me to point all this out. But the fact is, you're a professional writer, talking to publishing professionals. You aren't some random person off the street. THEY can call flap copy a blurb - YOU oughtn't. So it is definition time:

Synopsis: A straightforward "what is this book about", from beginning to end. You might be asked for a short synopsis, no more than a page, or a long version, 3-5 pages. Yes, synopses can be a bit of a chore to write. I don't ask for them personally, but I understand why people do, and it is probably a good idea to have one prepared just in case.

Query Letter: A letter written to an agent (or editor) asking if they want to read your material. Query letter generally has three portions. The intro, where you very briefly explain why you chose to query me (if you like) and what it is that I'm about to be looking at. The pitch, where you talk about the book and entice me to read it. Your bio, in which you tell me any previous publication history and similar. It may vary a bit, depending on the project, but those are the basic building blocks of a standard query letter.

Pitch: Can be in writing, as in the example above, as part of a query letter. OR can be in-person, as described in the blog entry from yesterday. I try and make my written pitches about the tone and length of jacket copy - definitely no longer. Again, you are trying to get people to read on - you're telling them 'the hook', who the main characters are, what their conflicts are, but not every detail of the plot. This is not a synopsis or a blurb.

Flap (or Jacket) Copy: This is the paragraph or so of description on the inside jacket or back of a finished book that gets people to want to pay money for it (hopefully!). This is not a synopsis or a blurb.

Blurb: Blurbs are accolades heaped on your book by other writers, usually to be printed on your book jacket or website. "Susan Quartermaster is a master of pitch-perfect dialogue and crackling wit; Chickens in the Peapatch is a book that will stay with you long after you've turned the last page." -- Stephen King. That's a blurb.

Conference Tips, part 2

2011-01-24T05:23:00.000-08:00

Lots of you are getting ready for SCBWI-NY, so this seems like as good a time as any to follow up on Conference Tips Part 1.

HOW DO I PITCH MY BOOK!?

First of all, "pitching" should not be the goal. I personally hate it when people creep up to me and say "I wanna pitch my book to you!" - What happened to "hello"? How about you just talk to me like a person, and let me ask you about your work?


now this is a pitch

But let's say that you have a one-on-one pitch session scheduled. Or you have chatted me up at a cocktail party and I've ended up asking you the question: What is your book about?

This shouldn't be a summary of your book. I don't need to know the main character's childhood nickname or favorite food or where they went to middle school. In your real voice, in real words, NOT in a canned speech, just briefly tell me what this thing is, and why I should care. That's the taste of the story that will make me want the whole thing… something that will make me say WOW, sounds fun, I want to read that.

You aren't giving a speech, you are having a conversation with a real person. So keep the "pitching" part brief, pay attention to social cues just like you would in any conversation. I might want to ask you for more information. Be ready to answer follow up questions about yourself or your story. That means, BE LISTENING.

This is a chance for you to talk about something that you are very passionate about, and know more about than anything in the world. You are the world’s foremost expert on this book. Literally nobody on the planet knows more about this topic than you do. Have fun!

A superb brief tutorial on The Pitch can be found on Janet Reid's blog.

BUT I CAN'T EVEN AFFORD TO GO TO A CONFERENCE - AM I DOOMED?
Heck no. Though conferences can be great fun and useful to get a glimpse at parts of the publishing biz beyond your own desk, or just make new friends who are in the same boat as you, they are hardly required. You can get an agent and get published without ever setting foot in a conference. (Ask half my clients!) It's just hard to tell, because the writers who are usually the most "out there" on the internet are often the type of personalities who LIKE to go to conferences, so that can make a newbie feel like everyone is doing it, because everyone they see is.

If you want to dabble, but not commit to a big time conference where you have to travel, consider attending a short SCBWI event or two in your region. These are usually a few hours to a day long, and priced reasonably. Also, take a look at WriteOnCon, which is all online.

You should go if you can afford to (this means both in time and money), and if you honestly want to. But if you can't get time off the day job, or it is just too much of a stretch financially, or you feel reluctant, or you don't like to be in groups, or whatever, don't listen to folks who insist that you MUST attend. That is hogwash.

The important thing is, do what you need to do to fuel your writing.

When to Keep Your Trap Shut? Almost Always.

2011-01-21T08:24:00.000-08:00

An editor friend (who wishes to remain anonymous, but um, you would totally know who it is, and no I am not going to tell you) writes:

I admit that when I’m considering a project, I google the writer (sometimes I don’t have to because the agent volunteers blogs and such). A couple times recently, I’ve watched writers lament over how long it’s taking their agent to sell something (making me wonder if the agent knows their client is whining about them on the blog) but most often, they just talk about how close they’ve come and, in reading the posts, I realize the project’s been out on submission for some time. And then I go: Hmmm. I wonder if the agent wants that known. Especially when the pitch I just got says, “Hey, I’m just going out with this great new project….” Nothing wrong with that. I know it’s part of the game. Still, I’m just curious if an agent has ever said, “Listen, I know you’re anxious about this but let’s not talk about this too much on the blog until it’s sold….”

Obviously I can't speak for every agent. But personally, it makes me cringe when I see writers publicly discussing where they've been rejected, how many times, how long a project has been on submission, and the like. (AFTER the book is sold, if you want to share war stories, that is a different matter - I am talking about while a book is actually on submission). Worse, I've seen blogfuls of complaints, real rejection letters posted, rants about how long the wait times are and how idiotic editors are and how useless agents are and how publishing is going to hell. Yikes!

See here's the thing: Part of what I am selling when I sell your book is the promise of something special. I try to target editors pretty darn specifically. They are one of the chosen few that is reading this book. When they choose to buy it, it will be a coup, because it is something fresh and new that hardly anyone else got the chance to see, that they discovered. I am also assuring them that you are a pleasant person, easy to work with, with a good attitude. Please don't undermine that.

(ETA 1/22: I also want to point out a bit of basic psychology: If editors know that there is little competition and the book has been rejected by a thousand other people... why should they pay good money for it?)

For me, the same goes for putting sample chapters of unsold material up on your blog or website. I'd rather see nothing, or at most, a one-paragraph description of the work, rather than sample chapters. My concern, again, is that when I am sending stuff out to editors, if they google you and see that this chapter has been up on your blog for the past two years, it makes you look wedded to an old, tatty, unedited story. Sorry, but it does. Yes, I know that there are some people who have gotten editor and agent interest that way. There are also some models who were 'discovered' at age 13 by scouts at the mall... but that isn't MOST models by any stretch.

(ETA #2 1/22: Some people seem to be confused by the preceding paragraph. I am in no way suggesting that you never put teasers up, or little descriptions of your work, or other fiction, stories, or the like. Certainly you can whet people's appetite with a snippet of the work, or put up stories like the Merry Sisters of Fate do, etc. Before you get an agent, writing samples may well get you interest. And once the book is sold and edited, your publisher may want you to put up a sample chapter. I am only suggesting that while you are on submission to editors, you consider limiting the amount of the actual project that you share.)

I understand that you have the best of intentions here, and no, I'm not the blog police. I do ask my own clients to be circumspect about what they post while we are on submission. And that might be something for you to consider, too.

Conference Tips, part 1

2011-01-17T15:26:00.000-08:00

I get questions about conferences quite often, ranging from "which conference should I attend?" to "what do I do once I get there?" Since I attend as a speaker, not as an attendee, my perspective might be a bit skewed, fair warning.

WHICH CONFERENCE SHOULD I ATTEND?

You need to figure out a few things, like, what are your budget, time and travel constraints? Some conferences are one-day affairs, some last a couple of days or even a week. There might be one in your hometown, or you might prefer to spend some time away from home. Do you want a small, craft-oriented workshop type environment where you really get to work on your manuscript? OR do you want to attend large seminars where editors or agents give talks the whole time?

Personally, I adore the craft-oriented small workshops like the Big Sur Children's Writer's Workshop that my agency puts on twice a year, or the Oregon Coast Children's Book Writer's Workshop. At these conferences, there is a low ratio of faculty (agents, editors or well-published writers) to attendees. That means everyone has a chance to get to know everyone else, if not in the workshops, then over meals. Faculty meets with authors in small groups or one-on-one and give feedback, and there is lots of quiet alone-time in a gorgeous location for the authors to actually write without the distractions of internet and TV. All this can really help writers figure out how to focus their stories and where to go with revisions. It seems like a short time, but I have to tell you, the changes that I've seen authors make to their work in just a few days can at times be quite shocking, and magical!

That said, larger regional SCBWI conferences like NE-SCBWI or SCBWI National can be great fun, particularly if you have lots of friends in the region. Going to conferences like this, where there are big rooms full of writers listening to expert presentations and panels (and lots of fun times going on in the lobby after hours!) can be like one big invigorating party for writers and an opportunity to learn more about the business. And often, for a small fee, attendees can meet one-on-one with editors or agents as well. I feel like these conferences might be better for people that are good at schmoozing and "putting themselves out there" - if you aren't quite there yet, you might consider starting with a smaller one-day SCBWI event in your area.

HOW DO I PREPARE FOR A CONFERENCE?

First of all, RELAX. You don't NEED to do anything, or prove anything to anyone. Conferences should be fun, and you should learn something, and you should meet lots of great people, but everyone is nice. They aren't going to judge you or torture you. There shouldn't be anything scary about this experience. Especially at all-children's writers conferences... we all love children's books, after all!

Read the conference materials. Look up the editors and agents online, just to get an idea of where they work and what they are interested in. Send in material if you are supposed to send it in, and/or bring materials with you if you are asked to. (For example, if there will be workshops). Bring a copy of your query letter - why not? Somebody might ask. But DO NOT, FOR THE LOVE OF GOD, expect to hand your query or manuscript to an agent or editor at the conference. We don't want them there. We'll give you submission guidelines if we are interested in getting material, and you can email or send it after the show.

I suggest you go in with your ears open. Bring a notebook. Bring some business cards with your web address and email address to share with other writers (again, if you hand material to faculty it will likely get lost or thrown out.)

Dress neatly but comfortably. Wear comfy shoes. Stay hydrated. Don't drink too much booze, even if it is free, and don't stay up too late, no matter how much fun you're having. Talk to people. Yes, even scary agents. :-) Here are some more great conference tips from SCBWI-conference veteran Linda Joy Singleton.

Up next time: HOW DO I PITCH MY BOOK?

Words fail me today.

2011-01-12T14:17:00.000-08:00

My dear friend and client LK Madigan has some hard news to share on her blog.

I've had several emails from friends and fans asking what they can do for Lisa. Well, right now you can send her love and prayers and healing thoughts. I don't think that she's up for getting emails, but I know she's reading the comments of her blog.

And if you're of a mind to, you can buy her books FLASH BURNOUT and MERMAID'S MIRROR, or check them out from the library, and read them, enjoy them, and share them with a friend, and smile, and think about what a great writer and wonderful person Lisa is.

Then hug your friends and family.

Then if you're a writer, get to work. You don't have enough time to waste any of it!

Link Roundup

2011-01-10T21:21:00.000-08:00

I have to share some stuff with you guys so these rascally tabs can be closed. And I can't concentrate on writing a long blog post because Moxie the Dog is going crazy trying to find a mouse that is hidden in the walls and making noise. Argh. ANYWAY:

As most of you know, the ALA youth media awards (including the Newbery, Caldecott and Printz awards, among many others) were announced today. Many congratulations to all!

The Association of Jewish Libraries also announced their awards. Congrats to clients Margie Gelbwasser, Daniel and Jill Pinkwater for being named Sydney Taylor Notable books.

Client Kate Messner wrote a wonderful, and inspiring, and tear-inducing post that everyone who writes for kids must read. Particularly if you DIDN'T win a fancy award today.

YA author Lisa Schroeder on why "Oh Well" should be in every author's vocabulary. A great post for perspective.

Last year's Morris Award winner, my client L.K. Madigan, interviewed this year's winner, Blythe Woolston.

I'm on the front page of the HuffPo books section dishing out kids book advice with my pal David Henry Sterry. Me = loudmouth.

My friend (and non-client) Laurel Snyder reveals her beautiful new book cover. Swoon!

What is up in YOUR worlds?

Happy Agentversary to Meee

2011-01-04T08:09:00.000-08:00

I realized last night on Twitter that Jan 1 marked my third anniversary as an agent. Woohoo! Here's how it happened:

I had been an unpaid intern and reader at another agency for a year, but they hadn't wanted to let me actually start taking on my own clients. It was OK though, as they were a grownup book agency and I really wanted to work at an agency that specialized in kids books. So when I met Andrea and the gang in Summer of '07, it was a perfect match.

I hung around ABLA for several months, reading like a madman, working closely with the other agents, especially Andrea and Laura, getting to know the lay of the land and how the agency worked, gathering up a few first clients by lingering around the Blue Board and asking in locked blog posts. Then January 1, 2008, at the stroke of midnight, my bio "went live" on the website. It was funny -- I remember it exactly because I was babysitting, and the kids were asleep so I was checking email... and all of a sudden at like 12:02 I got QUERIES. 12:02!! On NEW YEARS! I checked the website and LO, there I was. (I will admit, I definitely did a happy dance.)

Andrea had warned me that I should not expect to sell a book for the first year that I was an agent. Some new agents do well straightaway, of course, but mostly there is a bit of a learning curve and it takes several months or even a year to get up to speed, meet tons of editors, and start selling. And even when you do start selling, it can take many months to get a contract and get paid, etc, so you have to be prepared for it to be a lean business, especially at first.

I had a project that I was super-duper excited about called FLASH BURNOUT. It was a 'boy book' but with definite girl appeal. It was gritty and funny at the same time. I loved it! (still do, in fact). The author, LK Madigan, had been a critique partner of mine way back when I thought that I wanted to be a writer myself. I loved her book then, and I told her so, but she (because she is gracious and lovely and wouldn't be presumptuous) thought I was just being nice (me?) and basically had to have her arm twisted to actually query me. But she did, finally, and that was going to be the first project I sent out into the world.

I did a lot of research about who to send it to, but I had a gut feeling that one place in particular would love it. That was Houghton, and in particular, the editor who had brought Barry Lyga's books to print. If she "got" Barry, I thought, she'd "get" Lisa. I was confident.

But I still didn't think that I'd get a call in less than two weeks. Nor did I think that the call would be at 6:00 am (editors don't always remember about west coast time). Nor had I planned out anything to say if such a call were to come. So this was how it went down (remember, I am BLEARY-EYED, having been awoken from a sound sleep).

Me: [totally asleep, croaking voice] "hh'looooo?"
Editor: "Hi! I am calling from Houghton Mifflin... is this... Jennifer?"
Me: [false awakeness] "YES! HI! HOW ARE YOU!"
Editor: "Well thanks. So I loved FLASH BURNOUT."
Me: "yay!"
Editor: "And I want to make an offer" [proceeds to rattle off numbers]
Me: [searching through blankets for nonexistent pen] "ok, could you possibly email that to me? I don't seem to have a working pen at my desk here..."
Editor:"Sure thing"
Me: ....
Editor: ....
Me: "Umm..." o.O
Editor: ....
Me: "OK, so... forgive me, this is going to sound silly but... err... what do I do now?"
Editor: "Mmm... probably you should talk to your author."
Me: "AHHH! Yes, right. OK!"

And that book became not only the first book that I sold, but also my first AWARD-WINNING book, and the start of this whole crazy ride. (The picture is of FLASH with its Morris Award finalist sticker - in fact, it ended up with the gold, I just couldn't find the image. BUY IT.)

I just did some quick calculations. I currently have 28 clients. (5 of them I picked up in 2010). I've sold 55 books (not counting foreign sales, audio books or film options). 15 books have been released, and 10 more are slated to come out by Summer 11.

All in all it has been a great few years, and I look forward to an even more amazing stuff to come, because I work with the MOST talented and interesting and surprising group of authors ever.

*love*

Slightly Self-Serving Link Roundup, plus a plea

2011-01-03T10:44:00.000-08:00

NEWS, SELF-FLUFFING & RANDOM STUFF I'VE BEEN MEANING TO SHARE:

* My fave blog Editorial Anonymous is back from hiatus, with a couple posts about Agents right up top.

* Several famous authors were asked to talk about their agents in the latest Horn Book. Here's one of my clients talking about me.

* A blog in which three agents (one of whom is me) give three pieces of advice. I sort of rant a bit, but.

* Here's a superb article on productivity: If it won't fit on a Post-It, it won't fit in your day. (Full disclosure: I read it, appreciated it, then promptly disregarded it and made my to-do list on a large whiteboard.)

* In case you missed it over the weekend, here's a new Open Thread for the new year. There are A TON of really great questions being asked in comments, feel free to chime in or add your own!

* Several clients have had good news lately: Tara Kelly's HARMONIC FEEDBACK is a YA Cybils Finalist. Daniel Pinkwater's ADVENTURES OF A CAT-WHISKERED GIRL is a Smithsonian Notable Children's Book for 2010. Kate Messner's SUGAR AND ICE was Amazon's Best Middle Grade book for December. Am I missing any good client news? If so, remind me in the comments and I'll add it!

NOW FOR THE PART WHERE YOU HELP ME:

I want cheering up. So what is going on in YOUR world? Any great news to share?

Start Your YA Novel workshop

2011-01-03T09:50:00.000-08:00

	I put this workshop together before I left San Francisco, and am SO bummed to miss it, but I will be there in spirit. It should be a really fantastic time and a great opportunity to kickstart your book and let the muse play...
Sunday, January 30, 10:30am - 1:30pm Books Inc. Opera Plaza - 601 Van Ness, SF - 415-776-1111 STARTING YOUR YA NOVEL with Nina LaCour & Kristen Tracy Did your New Year's resolutions include finally writing that book you've been dreaming of? In this class, we will explore a variety of ways to begin your YA novel. We'll break down the seven rules of hooking your reader immediately and making her need to turn the page. This is a hands-on class, so prepare to write and discuss. Our hope is that you will leave this session with a new perspective on beginnings, and take away a literal beginning for the story you want to tell. Between us, we have sold eleven novels to Simon & Schuster, Random House, Disney-Hyperion, and Penguin. We plan to share everything we know about the critical first pages in helping you write yours. Nina LaCour grew up in the San Francisco Bay Area. She received an MFA in Creative Writing from Mills College in 2006. She now teaches English at an independent high school. Nina’s first novel, Hold Still, was published by Dutton Children’s Books in 2009. Hold Still is a William C. Morris Honor book, a Junior Library Guild selection, an ALA Best Book for Young Adults, and a Chicago Public Library’s Best of the Best Books of 2009. Nina won the 2009 Northern California Book Award for Children’s Literature and was featured in Publishers Weekly as a Flying Starts Author. Kristen Tracy is an award-winning writer with an M.A. in American Literature, an M.F.A. in poetry writing, and a Ph.D. in English. She’s published several young adult novels with Simon & Schuster and Disney-Hyperion, and has published two middle-grade novels with Random House.. Recently selected as the poetry fellow for the Writers@Work Conference in Park City, her writing has been published in dozens of literary journals, including Threepenny Review, TriQuarterly, Southern Review, New York Quarterly and elsewhere.

WORDPLAY classes are fun, hands-on writing workshops led by experts and held at Books Inc. Opera Plaza. Classes are $60 per person, and they fill up fast.

For more info: booksinc.net/wordplay
To reserve your seat: wordplay@booksinc.net OR 415-776-1111

New Year, New Open Thread

2011-01-02T08:19:00.000-08:00

Hey gang,

It's that time again - OPEN THREAD TIME. Have a question about things book/publishing/agentish? Or just about, you know, life in general? ASK AWAY. Have an intense desire to share pictures of your pet, or tell me what you got for Christmas? GO FOR IT.

Short answers will be dealt with in comments, long answers will be blog-fodder.

Happy New Year!

xo Jenn

Contest for SUGAR AND ICE

2010-12-18T11:45:00.000-08:00

Thanks to the 60+ people who entered the contest on Twitter and here! I am happy to announce the winners, who will get their very own copies of SUGAR AND ICE by Kate Messner:

Elissa Janine H.

Emily G.

Christine S.

Email me with your addresses, ladies, and I'll pop them in the mail!

Yay!

I got THE CALL! ... Um now what?

2010-12-17T17:45:00.000-08:00

Writers often want to know what, exactly, happens AFTER an agent signs them. Then they go on submission with their agent, and they want to know what, exactly, happens AFTER they get an offer. Then they get a contract and want to know what, exactly, happens AFTER their book is published.... and on, and on. Well, I've got good news and bad news, kids.

Good news: That's what this post is about!

Bad news: There is no single answer to these questions, and you'll have to accept the fact that I could have answered "it depends!" to all of them, and "who in hell knows" to many of them.

You've been querying agents, and you get a call or an email -- one of them wants to sign you! NOW WHAT HAPPENS?

You take a deep breath. You schedule a phone call for a time that is good for you. Plan for this call to take at least an hour (though it could obviously be much shorter, you want to have the time dedicated.)
If the agent suggests a time that is NOT good for you, don't be afraid to say so. You are the one being wooed here.

Let the other agents who are considering your work know that you have an offer. Give them a few days or a week to read and respond. Something like "I have an offer of representation. If this manuscript interests you, can you let me know by ____x-day____? And if you need more time, let me know. Thanks so much"

During the call: You have questions that you want to ask. Ask them! You might make a list of questions ahead of time so you don't forget if you get nervous. Ask if they will let you look at the agency agreement, and if you can talk to some of their other clients.

If you get more than one offer: It is cool (but it can be sickening!) to be confronted with multiple offers from agents. Talk to each one, see whose vision most resonates with you, talk to their clients, and use your gut instinct.

You signed! Congratulations. NOW WHAT HAPPENS?

Depends on the agent, and the project. What happens with ME is, usually I send notes (or have already sent notes) and I want you to do a revision or clean up the manuscript in some way. The amount of work to do here will vary. Meantime, I may want you to send me other material (possibly a bio, series overview, or similar) -- all of which I will discuss with you.

You send the revision and it is AWESOME! Yay you! NOW WHAT HAPPENS?

I've crafted a list of likely editors, based on my contacts, the agency database, getting input from my colleagues, and your input. I show you the list, and you can feel free to give your feedback (like if there is somebody you met at a conference and didn't like, for example). I usually approach 8-10 editors at a time, sometimes fewer if the book is more of a specialized topic (nonfiction picture book about fire ants, for example).

Then we go on submission. I usually call or email first, or occasionally pitch in person, and about 95% of the editors I pitch ask to see the material. The ones who don't, it is usually because it sounds too close to something they already acquired, or something like that. I think that this is pretty standard, most editors WANT to see great stuff from agents they like, so they'll say yes to taking a look.

Then we wait. YOU start writing another book. I go about my business. Editors take time - sometimes a couple of weeks, sometimes a couple of months. I usually give them about 4-6 weeks before I start gently nudging, though I would nudge much sooner than that if there'd been quick opening reads and interest off the bat, and I might hold off nudging a bit if there'd been conferences or holidays. Of course... nudging doesn't always work; like agents, editors are often reading in whatever spare time they can grab, and I don't want them to get irritated with me and just give me a quick no to get me off their back, so I use my discretion about this.

I have gotten offers as quickly as the day after submitting something. I have had offers take as long as two years and multiple rounds of revision & submission to come through. (And some things just don't sell, and you will sell the next book, or the next, first.) Have I said BE PATIENT yet in this post? No? WELL BE PATIENT.

You have a publisher interested! OMG YAY! NOW WHAT HAPPENS?

I tell you about the offer. Then I inform all the other editors who are still reading. I give them a few days to decide to fish or cut bait. If multiple people decide they are interested, you may have an auction, and have to decide which editor to choose. Let's say for the purposes of this post, though, that only one editor wants to make an offer, and you want to accept it.

I negotiate the main deal points with the editor. These points include advance, royalty (including escalation on royalty, in other words, after you sell x-number of copies, your royalty improves) and what rights we are keeping. These go on a "deal memo." If everything is kosher for all parties on those main points, we accept the offer. Huzzah!

So you are going to be published. Holy crap that is awesome. But um... NOW WHAT HAPPENS?

Sometimes your agent and publisher will tell you it is OK to spill the beans and talk about your deal. Sometimes they won't. If the negotiation is still pending, or if the publisher wants to make a special splashy announcement at a later date, or something, they may ask you to wait until the contract is finalized.

But even if you get to talk about your deal, a lot of the time, now is the worst part of the process, especially for a newbie. Not because anything terrible happens... but because nothing happens.

Nothing.

Weeks, sometimes months, may go by. Sometimes MANY months. Sometimes MANY MANY months. You may not hear from your agent, because there is nothing new to say. You won't hear from your editor -- and can you even call this person your editor? After all you've had only the one phone call, and sure they SEEMED excited, but now so many months have passed and holy freaking hell what if they forgot about you??! There's no contract yet -- what if they decided they hate your book now??!? What if it was all IMAGINARY???! AHHHHH!!!!

You may get the urge to throw your entire book away, or find a way to just melt into the ground, or write lengthy angry blogs post about how terrible publishers are, or write a lengthy angry letter to the editor, ccing the president of the company, about how terrible they are, or fly to Mexico and become a dance instructor, or similar. RESIST THESE URGES.

Eventually, your contract will work its way from the bowels of the publishing house and into your agent's hands. This can take anywhere from two weeks (though that is truly VERY unusual and fast) to... well, I have one that I've been waiting six months for, and counting. Fingers crossed for January!

Once the contract comes, it will be read by your agent. Very often, the contract will be based on boilerplate that the agency has already established with that publisher, so it will be made up of language that was negotiated long ago, with changes made to reflect the terms in your deal memo. There are still always things to change, ranging from a simple typo to a mistaken deal point.

SOMETIMES the publisher is establishing a new boilerplate with an agency (either because the agency has never worked with that publisher before, or, more likely, because the publisher has recently changed its contracts for everyone.) IF that is the case, it will take even longer, as the agency may have to do heavy negotiating and/or bring in lawyers to work out the fine details.

In either case, the agent will negotiate until the contract is satisfactory. Then the contracts department will crank out another copy of the document. Good news, this wait on this is usually much faster than the first wait was. Now you get your copies (sometimes via snail mail, sometimes via email) - you sign them, and send them in for countersignature. 4-8 weeks later, G-d willing, you get your first check.

YAY YOU ARE A PAID WRITER! Errr... now what happens?

That, my friends, is fodder for another post.

Book Birthday: SUGAR AND ICE by Kate Messner

2010-12-07T07:14:00.000-08:00

Happy book birthday to SUGAR AND ICE by Kate Messner.

Here's what I say: I love this book a lot. It has that star-is-born, behind-the-scenes feel that I am a total sucker for. It will make a perfect gift for any girl who likes skating, theatre, dance or other competitive athletic or artistic endeavors. Buy it! And read Kate's great blog post about what she's doing for her book release day - hint: there may or may not be unicorns and caviar involved.

Here's what the publisher says:
For Claire Boucher, life is all about skating on the frozen cow pond and in the annual Maple Show right before the big pancake breakfast on her family's farm. But all that changes when a charismatic Russian skating coach offers Claire a scholarship to train with the elite in Lake Placid. Tossed into a world of mean girls on ice, where competition is everything, Claire realizes that her sweet dream come true has sharper edges than she could have imagined. Can she find the strength to stand up to the people who want to see her fail and the courage to decide which dream she wants to follow?

Winter 2010-2011 Kids Indie Next List
Junior Library Guild Selection
Amazon Best Books December 2010

Off the Grid

2010-12-02T18:52:00.000-08:00

I am with my agency at the beautiful Big Sur Writer's Workshop. Fun! However, that means I am pretty much off the grid - no phone, no email, no blog.

So sorry, no more open thread answers for the duration, unless I happen to stumble into a pocket of connectivity (as I have right now!)

See you next week.

Open Thread, December

2010-12-01T16:21:00.000-08:00

Hey gang,

A fresh month means a fresh place to ask agentish & bookish questions. Short answers I will respond to on in comments, long answers I will devote blog space to. Don't be shy, I am (almost) always (fairly) nice.

:-)
Jenn

Thanksgiving!

2010-11-25T09:16:00.000-08:00

I have a lot to be thankful for. I live in a beautiful place, I have awesome friends and family and health and happiness and an adorable doggie. I get to do a job that is both fun and fulfilling for me. I am also especially thankful for MY DEAR AUTHORS & ILLUSTRATORS.

I am so thrilled every day that I get to work with such talented artists. Not only are you great at what you do, you are all great people, who I genuinely like and care about. I am really excited about your work, I am amazed by your brilliance, I think you are all cute and funny and charming (even when you are being neurotic). Even if I don't talk to you all every day, I really do think about you all every day, and it makes me glow with pride.

THANKS, GUYS.

Now go eat a lot and rest a lot and get ready to smash it in December. We have an amazing new year to gear up for!

XO JL

But What About the Second Week of April?

2010-11-22T06:33:00.000-08:00

I get questions from clients and non-clients alike all the time, wanting to know what "good times for subbing" are, or suggesting that there is a time when "publishing grinds to a halt." Once again it came up on the last Open Thread: "The end of the year is typically a busy time for all of us, but, in general, is there a better time of year to query agents?"

Since I am on my way to a holiday, this seemed like an apt time to revisit the question.

The fact is, yes, of course, lots of people go on vacation in August, and the week of Thanksgiving, and the time between Hanukkah and January 4 or so. This is true in publishing as well as pretty much every other profession. I'm not quite sure why this is surprising to anyone.

However, when you are just querying agents, it doesn't matter when you do it. You are (usually) submitting unsolicited material, aka "slush", which most agents read in whatever spare time they can muster, in the order in which it is received. So what the hell, who cares when you query an agent? When your material is ready, send it out and get in line. If you wait until a good time, you'll be waiting till the crack of doom.

The only exception to this is the rare agent who takes a query holiday where they are closed to submissions entirely - if that is the case, though, it should be clearly posted on their website.

The other side of the coin: When I am subbing material to editors, I am usually pitching it to them in person (or via phone or email) first, and so generally avoid the week of Christmas/New Years, the last two weeks of August, and any time when there is madness like BEA or Bologna going on. This is partly because I don't want my material to get lost in the shuffle... and partly because I am too busy during those times!

But if I avoided all the federal holidays, all the Jewish holidays, all the Christian holidays, all the book fairs and conferences and scbwi events and and and... dude, I'd have like two non-consecutive viable weeks per year in which to submit. The fact is, publishing is a very slow business. Very. Very. Slow. As far as publishers go, it takes many people to make an offer, and to make a real book, and at least one of those people is ALWAYS on vacation or at a conference.

That said, I have gotten offers from publishers in the doldrums of August, and the week before Christmas, and at night, and on weekends, too. And I have offered representation to people during all those times. I've offered representation to people while I was vacationing in Hawaii. I've rejected people from airplanes (and I am sure I will do it again today!)

Do prepare, of course, but don't overthink it. When you are ready, press "send."

Sad News Bear: Tricyle Press Closing

2010-11-18T06:16:00.000-08:00

I am extremely depressed about this news: Random House is shuttering Tricycle Press. It looks like backlist will still be supported by RH, new titles that were scheduled for early 2011 will still be coming out under the name Tricycle, books under contract after that will possibly come out with some imprint of RH, to be decided.

You guys, here's the thing. While huge publishers might be willing to publish edgy or oddball picture books on outskirts of their lineups, Trike went out of their way to do so and to make those picture books the stars of their list. Multicultural, intergenerational, GLBT themed, environmental themed, just plain strange ... when other publishers might've rejected them or hesitated to publish them, Tricycle was willing to take a risk.

Of course... they also had to sell themselves to Random House, and they also closed. And while I am in no way involved, I can certainly speculate that RH closed them because they didn't make enough money selling those "different" books. And now those books will be even harder to get published.

I'm not just sad because people I like are losing their jobs, and friends might have their books orphaned. I'm sad because this is one more step toward bleak homogenization.

The children's book world is going to be a little less smart and a little less interesting without Tricycle. I like big blockbusters and shiny covers as much as the next guy, but I personally shudder when I imagine a future in which the only picture books that are available are glitter & lego-filled trash, or the ten bestsellers available at B&N or Target.

But we're lucky. There are still smaller presses, boutique imprints, and people doing interesting things outside the megawatt bestseller spotlight. So I urge you -- if there is a "little" book that you are interested in, a book from a small press or a less-well-known author or illustrator: Support it. Talk about it. Tell a friend. BUY IT.

Cause if you don't, there will come a time when you'll lose the opportunity to do so forever.

Do You Even NEED an Agent?

2010-11-14T07:46:00.000-08:00

Q: What are some of the pros and cons of skipping the agent and working directly with the publisher?

Look, you don't need an agent at all, if:

If you already have a lot of good contacts in the book world and know how to make even more.

If you don't mind taking a great deal of time and energy doing research, sending your work out to people and following up on it.

If you have a lot of knowledge of the market - what is selling, and to whom, and how much money they are paying for it.

If you are superb at self-editing and self-promoting.

If you know what good contracts look like & have a good literary attorney.

If you understand why subrights are important and how to exploit them.

If you are good at negotiation and awesome at asking for raises.

If you don't mind chasing down money from stubborn tightfisted companies.

If you are excellent at sticking up for yourself even in extremely tense or fraught situations.

HOWEVER, I find that most authors, while they might be able to do all or most of those things if they really wanted to, prefer to spend the bulk of their time... well, writing. That is where an agent comes in handy. We do all that stuff so you don't have to.

Obviously, this is my perspective, and it would be; Surprise surprise, the agent thinks you should have an agent. But I am curious - what do YOU think are the "pros and cons" of having an agent or not?

Open Thread, November

2010-11-12T15:37:00.001-08:00

Hey kids! I'm starting a new Open Thread for November. I am hoping that awesome threaded comments will make the answers easier to read, huzzah!

So if you have agent-type questions (or any other questions, by gum) go for it. I'll either answer in the comments, or if the answer is getting to long, will address it in the blog.

OK.... GO.

The Illustrator's Portfolio

2010-11-06T11:26:00.000-07:00

A version of this appeared long ago on my former blog, but since that is closed to the public now and I've gotten the question several times, seems like it is time to "upcycle" the post. :-)

Q: WHAT makes a good portfolio for an aspiring children's book illustrator?

Content: There is a big difference between picture book illustration work and editorial work. You are not drawing posters or advertisements here, you are trying to tell a story over 32 or more pages. It has to be attractive and have a sense of whimsy, sure, but it also has to be kid-friendly and coherent. With that in mind, you should make sure your children's illustration portfolio includes the following:

* Children - Kids playing, kids fighting, kids mad, kids glad, cute kids, silly kids, bashful kids, wistful kids, whatever. Kids being as kid-like as possible. IF you can't draw good kids, you are probably in the wrong line of work.

* Animals - Bunnies, bears, moles, frogs, cats and dogs are often the subjects of children's books. You might consider small spot illustrations of a number of different creatures, or a larger scene with several included. If I were making a portfolio, I'd do some animals in a "natural" way (deer in a field), and some in a "personified" way (ie, a badger going to school, or a porcupine drinking tea.) ETA: Yes, you can also include fantasy animals / monsters or similar, if that suits your style. I am not suggesting that everyone try and draw like Wind in the Willows. :-)

* B&W sketches as well as color paintings, because you might be able to do B&W interior art for chapter books in addition to picture books.

* Movement - Dancing, swinging, playground games - nothing is worse than "static" looking pictures. Even a simple portrait should have some movement - a leaf skittering by, a swing in the hair, gleam in the eye and sass in the way the subject is posed. You get the idea.

* Character Transitions In other words, multiple images that are part of a set with the same character doing different things.

* Actual Spreads If you haven't actually illustrated any children's books, you might consider doing a scene or two from a famous old fairy tale.

Again, a picture book isn't just 32 snapshots of random pretty images. Art directors and editors need to be able to tell that you can tell a whole story with no words, and follow a character and narrative thread through from the beginning of a book to the end.

Format: I think that aspiring children's book illustrators should have a clean, attractive, well-designed website that showcases their work. The illustrations have to be easy to find and link to directly. You should also have a good-quality paper versions of your pieces to show people. Though the web will get used more, you just never know when you'll need that old-fashioned paper!

If I were you, I'd also have postcards made of some favorite pieces, including your name, contact info, website, and agents info if applicable, for you to leave with people. Your agent, once you have one, may have specific requests in terms of style, formatting or wording for your cards.

Any other tips to add?

Book Birthday: INCONVENIENT by Margie Gelbwasser

2010-11-01T07:23:00.000-07:00

Getting Margie Gelbwasser as a client was a bit of a lucky accident. She'd been represented by one of my former colleagues Michelle *waves at Michelle!* who left the agency to pursue an awesome opportunity as a book scout. I read Margie's manuscript (then called SMIRNOFF'S DAUGHTER) and fell hard for the voice and beautiful writing that brings this coming-of-age story to life. And now it is a real live book! Yay! Order it please!

INCONVENIENT by Margie Gelbwasser, Flux, available now

In fifteen-year-old Alyssa Bondar's Russian-Jewish culture, having a few drinks is as traditional as blinchiki and piroshki. So when her mom's midday cocktails turn into an all-day happy hour, it seems like Alyssa's the only one who notices--or cares. Her dad is deep in denial, and her best friend Lana is too busy trashing their shared Russian heritage so she can be popular.

Alyssa would rather focus on cross-country meets and her first kiss with her running partner, Keith, but someone has to clean up her mom's mess. But who will be there to catch Alyssa when her mom's next fall off the wagon threatens to drag her down, too?

Praise for INCONVENIENT:
"Inconvenient is riveting and whole." - Beth Kephart, author of Undercover
"Heartfelt, honest and brave–Margie Gelbwasser isn't afraid to uncover painful truths." - Sarah Darer Littman, author of Purge
OH AND PS: At less than $10, can you afford NOT to buy it? ;-)