Breaking In as a Children’s Book Author Illustrator

Breaking in as a children’s book author illustrator is very desirable in today’s picture book market. If you have artistic talent and want to try your hand at children’s book illustration, read on.

author illustrator, picture book author illustrator, picture book, picture book dummy, how to write and publish picture books, children's books — If you’re trained in art, make your debut as a children’s book author illustrator.

This question comes from Priscilla:

I have heard that an author illustrator needs to first “prove herself” as an author or an illustrator before being published as a children’s book author illustrator. Is this the case? What is your advice for an author illustrator on submitting a picture book when the text and images are dependent upon one another for meaning? As the Andrea Brown Literary Agency does not accept attachments with queries, a mock-up or dummy would be out of the question. But would an agent be interested in receiving written illustration ideas alongside a text query, or should the illustrations come later, only after an agent expresses interest in the project?

This is a great question, and one that might have a controversial answer. I am in the school of thought that picture books sell a bit more successfully these days, at least in my experience, if they come from an author illustrator: one person trained to do both text and illustration.

A Children’s Book Author Illustrator Is an Illustrator First

Furthermore, most of my author illustrator clients are trained illustrators first, then writers. I’ve done a lot more work with them on improving storytelling, structure, and writing. Because if the illustration quality isn’t there to begin with, there’s not a lot that I’ll be able to do, since my expertise is primarily in text (read how to write a children’s picture book for tips).

A lot of the editors I talk to express interest in children’s author illustrator projects simply because the whole package is there: the text, the art, the interplay of word and image, the design of it. Some agents and editors are more talented than others at imagining what kind of illustrations to marry to text and vice versa. Picture book texts that sell (and many text-only sales are still made, every day) and illustration portfolios that land on an editor’s desk are incomplete. They need their mate in order to become a book.

It’s up to the right editor and to chance to make the match between an author and an illustrator. Sometimes this alchemy doesn’t work. Sometimes texts or art bought separately take longer to get into production. It can get complicated. So if an editor buys a project from an author/illustrator, they have a tantalizing snapshot of what the finished book will be — right there in the dummy — and they know they’ll only have to work with and juggle one creator for the project instead of two.

How to Combine Illustration and Text in a Picture Book

This simplicity is, frankly, why I love working with a talented author illustrator. They also tend to have the best understanding of how text and image can combine to become greater than the sum of their parts, how word and illustration enhance each other.

For me, opening a dummy from a fantastic author/illustrator is like diving into a miraculous treasure trove. And that’s how it should feel. I’m extremely picky about author/illustrators, and do prefer to work with them over just illustrators or just authors, though I have those clients on my roster as well. This, of course, is just my personal preference.

Does, however, an author illustrator need to get their start as an author illustrator? That depends. If they have a fantastic picture book author illustrator project that is very commercial, it will probably sell, even though they are a debut talent. If they extend themselves to land a text or an illustration deal (the latter being more common) first, then they can enter the marketplace with some illustration credits, then move on to an author illustration combo. But I don’t think prior illustration credits are necessary to land an author illustrator book.

If you are most certainly not an illustrator, you are probably wondering how to find an illustrator for your children’s book, if you need one at all. I have a post that discusses this issue at length.

Client Case Studies

One of my clients, Bethanie Murguia, was an experienced illustrator but had no book credits to her name until she landed Buglette the Messy Sleeper from Tricycle Press. That was her first book deal and her author/illustrator debut. As it happens, I have sold two more books for Bethanie, and both of them will be author/illustrator projects. One other client of mine is on the cusp of becoming an author/illustrator debut with a medium-sized publisher (more details after we finalize the deal!). He is an experienced illustrator, and we finessed the text and story.

Another client, Lindsay Ward, was a trained illustrator who got her start on her own by sending out postcards to editors and art directors. From there, she landed a cover and interior spot illustration project for Doubleday Canada, and two illustration projects: The Yellow Butterfly from Bright Sky Press and A Garden for Pig from Kane/Miller. I was on board at this point and we were able to work up to an author/illustrator project with a smaller house (Pelly and Mr. Harrison Visit the Moon, from Kane/Miller), and then land her an author/illustrator deal with a larger house, the newly retitled When Blue Met Egg, out from Dutton/Penguin in Spring 2012.

So, you can break in to author illustrator-hood either way. And I don’t think it’s out of the question to land a children’s book debut deal … at all.

How Do You Submit a Book Dummy to a Literary Agent?

Now, a lot of folks do have questions about our submission guidelines. We don’t accept attachments, so how do you send a dummy of your work? Simple. You copy and paste your query and the text of your picture book project (even if the text is dependent on illustration, we understand how that goes) and mention that you’re an author/illustrator. Then include a link to your online portfolio (every illustrator should have one, even those who are technically illiterate but could easily hire or ask someone, there’s really no excuse and you will get steamrolled by your competition if you don’t) where, ideally, we can see a few sample illustrations. If I like your art style, I will ask for the dummy, and then you can send the attachment! (Make sure to check out our full video on this topic, too!)

My passion for picture book editing is alive and well. Hire me to edit your picture book manuscript and provide art notes on your dummy.

Why Manuscripts Are Rejected: Guest Blog by Chuck Sambuchino

Today’s guest post digs into why manuscripts are rejected, and comes from the fantastic Chuck Sambuchino of Writer’s Digest and Guide to Literary Agents blog and book fame. He’s celebrating the recent release of this fabulous book, HOW TO SURVIVE A GARDEN GNOME ATTACK: DEFEND YOURSELF WHEN THE LAWN WARRIORS STRIKE (AND THEY WILL). Here, he shares the reason that you have a rejected manuscript on your hands, and I wholeheartedly agree. While I have posted on this topic a few times (like this post that addresses the question, I wrote a book, now what?), maybe Chuck’s take will finally make folks listen. 🙂

Why Manuscripts Are Rejected: Three Reasons

why manuscripts are rejected, rejected manuscript When agents review pages of your manuscript, they may reject you for one of three reasons.

They may realize that the story they’re reading is in a genre or category outside of what they handle. Rejected manuscript.
Poor writing skills: grammar, punctuation, sentence structure, etc. Rejected manuscript.
A writer’s story just plain isn’t ready yet. In other words, it’s good—but simply being good doesn’t cut it. A piece of fiction has to be great to catch an agent’s eye.

Is Your Work Ready?

One of the main reasons why manuscripts are rejected is that writers turn in their work too early. As a writer myself, this is a problem I sympathize with. We work on a story for what seems like an eternity and then you get to a point where you just say, “If I read this darn thing one more time, I will KILL SOMEBODY. I am so sick of looking at this thing that my eyeballs hurt. I am going to send it out and take my chances.”

So you’ve decided to send it out. But is it ready?

When is your work really ready? By that, I mean: When is your manuscript edited enough and polished to the point where you can confidently submit it to agents? I used to think there was no answer to this question, and that each project was so vastly different that it would be misleading to address the subject. But I was wrong.

If You Think It Has a Problem, It Does

The best answer I can give regarding why manuscripts are rejected is this: If you think the story has a problem, it does—and any story with a problem is not ready. When I have edited full-length manuscripts (some for SCBWI friends and others on a freelance editor basis) and then met with the writers personally to discuss my thoughts, a strange thing happens. When I address a concern in the book, the writer will nod before I even finish the sentence. What this means is that they knew about the problem and suspected it was a weak point in the story. I have simply confirmed that which they already knew.

For Example…

“This part where he gets beat up—it doesn’t seem believable that so many kids just took off school like that.”
“If the main character is so stealth, then how come he gets caught by the bad guys here?”
“The story starts too slow. We need more action.”

A Manuscript With a Problem Isn’t Ready For Agent Eyes

In my experience, writers all seem to know many of their problematic issues before anyone even tells them. So all this brings me back to my main point: If you think your work has a problem, then it more than likely does—and any manuscript with a problem is not ready for agent eyes. If you find yourself saying, “Hmmm. I think the map just being there in the attic is kind of too lucky for the kids,” other readers will likely agree with you—and that is a great example of a typical problem. And every problem needs to be fixed before you submit to agents — or you’ll end up with a rejected manuscript.

This shows the importance of engaging beta readers for a manuscript critique—friends who will review the work once it’s written. They will come back to you with concerns, both big and small. You address the concerns in your next revision and send the work to more readers. Once readers stop coming back with concerns, you’re starting to get somewhere. If you think you have issues, or multiple critiquers agree on a problem, then you’re not ready for Querytime. When you and your readers can look at a book and say that all concerns are adequately addressed (and it therefore lacks any major problems), then and only then will you be ready.

My manuscript critique services will help you resolve problems in your work so it’s ready for agent eyes.

Should You Mention Using Freelance Editors and Hiring an Editor

Today’s question about hiring an editor and mentioning using freelance editors from Zoe is a quick one:

If a writer decides to have an MS professionally edited by a reputable editor known in the biz (I dunno, think freelance editors like Alan Rinzler or a Lisa Rector perhaps), should the writer ever mention it in the query? How do I go about hiring an editor?

Hiring an editor is a great way to get a second set of eyes on your project, but do freelance editors belong in your query letter?

It’s totally up to you whether you choose to mention hiring an editor in your query letter. There are a few thoughts that spring to mind for me when I read in a query that a manuscript has been worked on by freelance editors. (Note: I have worked as a freelance editor for the past five years, but this answer is largely colored by my five years as a literary agent.)

Agent Reactions to Freelance Editors

On the good end of the spectrum, I think: Oh, great! This writer is used to working with someone else in an editorial capacity and has probably had to revise this manuscript quite a bit. They may be more savvy that some others in my slush about the whole process. I’m about to read a polished piece of fiction.

On the not so good, these are the thoughts that can also come up: Freelance editors always improve a manuscript, but how much did this one improve and, more importantly, at what level did it start? Did the writer hire an editor to put some professional polish on the project, or because it had gotten rejected all over the place and they needed serious help? Does this writer belong to a critique group or do they rely solely on freelance editors?

I know that lots of writers work with freelance editors. There are pros and cons to this, as well as to mentioning it in your query. (You can read some more freelance editor thoughts from me here.)

Hiring an Editor, But Make Sure It’s the Right Editor

If you’ve managed to work with big name freelance editors, my ears might perk up, of course. The bigger the name of your editor, the more selective they can afford to be. They tend to vet their projects and pick the most promising writers to work with. But this is not always the case. So while a freelance editor’s name may trigger good associations for me, or lift my hopes, it’s not going to be the deciding factor in whether I want to represent you or not.

It always comes down to the work. And, in the back of my mind, I always want to know that you have arrived at your work in large part because of your own writing craft. So if you have used or continue to use a freelance editor, I will want to know about it at some point, whether it’s in the query or later, as we’re discussing representation. I’ll want to make sure that you actually have the chops to create a great, skillful manuscript on your own, as well.

If you’re thinking about hiring an editor, let me make my case for my editing services. Learn more about my services now that I’m on the other side of the desk and helping writers toward their goals every day.

Finding a Literary Agent When You Write For Multiple Audiences

Reader Jenn has asked a great question about finding a literary agent. It’s one I get asked a lot and one I can’t believe I haven’t blogged about yet. Read on:

How would you advise authors to select an agent if they know they’d like to write for two different audiences? Since my current WIP and many other concepts on my “to write” docket are MG and YA focused, I can really see the benefit of finding a literary agent who focuses on those markets. But does that focus mean that those agents won’t represent anything their clients write for an adult demographic? Do those writers then have two agents, one for each market?

When finding a literary agent, be upfront if you intend to write for multiple audiences.

This is a rather advanced question, but writers seem to love it, so here’s an answer that will, I hope, satisfy your curiosity. I haven’t been in this situation yet, but this is what I’ve observed at Andrea Brown and at other agencies.

Multiple Audiences and the Literary Agent Search: Considerations

Only Query Agents Who Represent Multiple Audiences

One idea is nipping this situation in the bud during the querying stage of your literary agent search. In other words, query those agents who you know represent all the genres you want to write, for all the audiences that excite you (picture books, middle grade, young adult, adult, non-fiction, whatever). This is why AgentQuery.com. is a great tool for finding a literary agent. In the Advanced Search, you can tick off all your areas of interest, and the database will return only those agents who represent everything you want.

There are plenty of agents and agencies who are generalists, meaning they represent all genres and cater to all audiences. Sure, you may be shutting yourself out of some options (those who represent children’s books only, like my colleagues and me, say), but if you want to avoid potential headache down the road, you can be extra careful in terms of sending query letters to agents.

But not all writers know where their careers will take them at the beginning. A writer could be convinced that they only want to write picture books. So they think they’re being totally reasonable and they go with a picture book agent. Then they wake up in the middle of the night with an adult book idea, and they have a conundrum on their hands. What happens then?

Ask Your Current Agent To Branch Out

There are two options. The first one is that the agent will try and sell the adult project, too. Will this work? Maybe. If the agent has adult experience or if they have colleagues with adult experience, they could nurture some connections and get your manuscript to the right people. Will every client have this kind of service from their agent? Maybe. It depends on how much your agent knows about the new market, and how well they can judge the merits of your work. Some clients will be able to get their agent out on a limb. Others will not. Several of my colleagues have clients whose adult work they’ve sold, but that has been on a case by case basis, and it doesn’t happen often. For me, I know it would take an absolutely amazing project to coax me into the adult sphere. I’ll have the connections and will be able to mine colleagues for information, but it’s not my natural habitat. Ask me in a few years, when I’ve done it myself.

The leap from picture book to, say, young adult, as long as it’s under the umbrella of children’s books in general, is easier than the leap that an agent takes when going from children’s books to adult. When going between children’s markets, agents tend to be more flexible for their clients. But, again, on a case by case basis. There are those who say, “I don’t care, I’ll represent anything you write,” and those who say, “I don’t know, I really do like to stick with my specialties.”

Getting a Second Agent

Which brings me to the second option: finding a literary agent to represent what your current one will not. Let’s keep using the children’s project vs. adult project example. This second option can work out swimmingly, but it can also get messy. What if no adult agent wants your project? What if you sign with an adult agent, but they start getting interested in your children’s work, too, and want to represent your whole portfolio? How will the two agents share you?

We agents love our clients, or we wouldn’t be working with them. When we’re forced to split with another agent, the following conflicts can evolve: what if my client likes the other agent better? When will the client write something I can sell? What if my client keeps writing only adult books? What happens if the idea started out as a children’s book under our editorial guidance, but grew into an adult book, and now the adult agent gets to sell it? Things have the potential to become territorial quickly. (For more on this topic, see my post on having more than one literary agent.)

There are lots of times when the second option has worked out well. One agent has no interest in adult, the other has no interest in children’s, they tip their hats at each other and go about their business. The first option works, too. You and your agent will venture into a new arena and, ideally, learn something and sell some books.

Finding a Literary Agent: Consider Your Options Carefully

As I said before, you don’t know where your career will lead you. If you’re dead convinced that you want to work in many different areas, I wager you’ll still be surprised at some point, but you’re free to pursue a literary agent search that will be able to serve all of your needs. If you happen upon a drastically different project down the line, cross that bridge when you come to it. Check in with your agent, gauge your relationship, and consider your options. Now you know what they are.

Since this is one of those “one day” concerns, I’d just say to query a carefully chosen list of agents with your absolute strongest project. Let them know of your other interests, if they exist, and go from there. If you approach the search with careful consideration. finding a literary agent will be a smoother process.

Are you ready to submit your work to agents? Hire me as your query letter editor and I’ll help you develop a strong pitch.

How to Write a Picture Book Query

There’s a picture book query question that comes up a lot. All of your query letter for picture book questions, answered here!

Melanie phrases the question quite well:

I have a query letter for picture book question about the slush piles. Due to the extremely short nature of the manuscripts do you always read the entire manuscript for picture books or do you base it on the picture book query letter with them? It’s my impression that since whole manuscripts are sent for picture book queries the letter is more of a cover letter, rather than trying to hook interest with a bit of the plot because the entire thing is there with the letter.

Melanie is completely right. Since most agents ask that the picture book manuscript be included in the submission, writing a really meaty query letter, especially for that short a manuscript seems a bit silly. When I see a picture book query done well — and when I write my own picture book pitches, in fact — it’s usually very simple.

Picture Book Query Sample

I’ve had a book by Katie Van Camp and illustrated by Lincoln Agnew called Harry and Horsie on my recommended reading list for a while. It’s an example of a great picture book with an outside-the-box friendship hook. If you haven’t picked it up yet, I’m sorry for you, because you’re missing out.

picture book query, query sample, picture book literary agent — The basis for my picture book query sample.

If I were writing a query for HARRY AND HORSIE, it would read something like this:

Harry and plush toy, Horsie, are the best of friends. One night, Harry is trying out his bubble-making machine when one of his bubbles swallows Horsie and hoists him into outer space! Harry has to rescue his best friend — and go on a wild space adventure — before returning safely home.

A quirky picture book with a great friendship hook, spare text and retro-style illustration, HARRY AND HORSIE is sure to blast your imagination into the stratosphere! This is a simultaneous submission. You will find the full manuscript of XXX words pasted below (or “enclosed”). I look forward to hearing from you and appreciate your consideration.

Easy peasy. No need to write an elaborate children’s picture book query letter. Just present the main characters, the main problem, and the resolution, then work in a hook (“great friendship hook,” above), and sign off like you normally would with a book query letter. This is the perfect query letter formula.

How to Get A Picture Book Literary Agent

The query should be short and compelling. Then just paste the picture book manuscript. If you are an author/illustrator, include a link to an online portfolio where the agent or editor can browse your illustrations (more on how to find a literary agent for children’s books here). Do not include attachments unless the agent requests to see more illustrations or to see a dummy. Be prepared to show additional picture book manuscripts, because agents will frequently want to see more than one. (More thoughts on writing great children’s books, including read aloud picture books here.)

If you’d like personalized help with your own picture book query, or your entire manuscript, hire me as your picture book editor.

Resubmitting to a Literary Agent After Rejection

This is a common question I hear from writers about resubmitting to a literary agent. This version comes from Robert:

When an agent takes the time to write a personalized rejection (always nice of them) praising a manuscript, at least in part, how can a writer know if the agent might be interested in seeing a manuscript revision if offered or if the agent is just being kind? Is there a good way to offer a revision without risking annoying an agent who has already so politely declined?

resubmitting to a literary agent, manuscript revision — Thinking of resubmitting to a literary agent? Make sure you follow these important guidelines.

What Type of Rejection Did You Receive?

Most writers know that there are several types of query rejection (if this is news, click on the link for a post I’ve written on the subject to learn more and what they are). In terms of percentages, I’d say I give about 93% Form Rejections, 5% Personalized Rejections, and 2% Revision Rejections. What leads to a Personalized Rejection? If I’ve talked to you before, if I recognize your name from blog comments, if the writing is almost there, if something about the pitch or the project impressed me and made me sit up and take notice, you’ll get more than a Form Rejection from me. If I came really close to requesting the full but there was a deal breaker in terms of voice or writing or premise, I’ll send a Revision Rejection. These distinctions are important when you’re considering resubmitting to a literary agent.

I have a really strict system in my head (if you have any doubt, see my posts about slush pile secrets and what literary agents want). For me, personally, if I don’t give you a Revision Rejection, it’s not because I didn’t think about it and not because I don’t know that you want one. I did think about it and I know that the Revision Rejection and the door it opens is something that writers want. That’s why I give it so deliberately. If I was giving everyone a Revision Rejection, that would decrease the importance of the RR and, honestly, give writers false hope.

It’s my job as an agent to spot dead-on potential in manuscripts. Am I sometimes wrong? Of course. Do I sometimes miss good stuff? Sure. But the only thing I really have going for me when I approach submissions is my judgment. Good or bad, wrong or right, I have to trust it. And when I ask for a manuscript revision from one writer and not from another, that’s me listening to my gut and making a choice.

Options for Resubmitting to a Literary Agent

So if I don’t ask you for a manuscript revision outright, what can you do? Emailing me immediately to ask if I’d be interested in seeing a revision down the line is probably not your best bet. Your manuscript in its current form, the form I rejected, is still fresh in my mind. I chose not to send you a Revision Rejection. I may not be feeling overly optimistic about the project. An immediate email that proposes resubmitting to a literary agent isn’t going to make them more receptive.

Your other option? Well, you can read a related post about resubmitting after rejection for bigger manuscript questions after a rejection. Or you can just go ahead and do the manuscript revision — assuming that other agents felt similarly and you didn’t manage to land representation on this submission round — and then present me with a query for the revised manuscript months later, when it is new again. (A query, mind you, don’t just send the full, as before.) I much prefer that method of resubmitting to a literary agent.

Take Your Time With Manuscript Revision

I firmly believe that manuscript revision doesn’t happen quickly. It can’t. So much of the revision process is subconscious, and you can’t rush your “back brain.” So make sure you disappear into your revision cave for months and months before trying to present the project as a revised version. Because if you’re getting rejected all over the place, you probably need to do some heavy revision. Something isn’t working. And if something isn’t working, you can’t address that in a week or two.

So if you’re interested in resubmitting to a literary agent who sent you something nice but that wasn’t an outright Revision Rejection, I suggest doing the revision and trying them again, but only after serious time has passed.

Though I’m no longer a gatekeeper, I can bring my literary agent experience to your novel. Hire me as a developmental editor.

The Story Idea Or The Execution: How to Write an Original Story

This question about how to write an original story from idea to execution comes from UK reader Adele:

I recently heard someone on the radio ask a famous business entrepreneur (James Caan from the UK version of Dragon’s Den), “What is more important: the idea, or the execution?” His response was that, in business, ideas were a dime a dozen but the execution of the idea was the deciding factor in whether it would turn into a business or not. So when it comes to a book – what is more important, the idea or the execution?

I’ve been meaning to write about this for a while, and I’m so glad Adele landed in my inbox to give me a great launching pad (or, you know, soapbox, if you will).

How To Write An Original Story: Idea to Execution

I could pitch editors fantastic, high-concept ideas until their ears bled, but if the actual manuscript didn’t live up to the promise of the great story idea, none of my enthusiastic, great-idea-but-don’t-read-it-just-trust-me-that-it-rocks manuscripts would result in a sale. Because the idea is just the first step in how to write an original story.

In my experience of writers (and my own experience as a writer), there are often idea people and then there are execution people. I’m an execution person. The few times I’ve had idea manuscripts, I didn’t execute them as well as I could’ve. Some writers have both fantastic, commercial ideas and then know how to take them to the next level in terms of writing and storytelling (execution). Those are the writers I want to work with.

I Always Ask To See Writing

If a writer came to me and pitched me the story idea of, “A group of kids locked in a death match, playing as the political pawns of a crumbling country,” I would be electrified to see it. But would it be done as well as THE HUNGER GAMES? I’m sure there have been similar ideas written and pitched in the world, but most of them remain in drawers and on hard drives because Suzanne Collins took this dynamite, dystopic idea and really gave us a world to immerse ourselves in, characters to care about, and unbelievably high stakes, written like an action-packed thriller (Writing a series? Read more about what makes The Hunger Games a perfect series opener).

That’s why I always ask to see writing when I hear a pitch. Many ideas sound fantastic when pitched to me at conferences. But that’s just the story idea. How does the writer carry that idea to execution? I can’t decide anything until I read the manuscript.

Snakes On A Plane!

In stark contrast to this, I’ve heard that a lot of people in Hollywood don’t read (this is not an insult, Hollywood people themselves always seem to brag about this). They’re all about ideas. Pitches fly around the room and the ones that sound the most awesome are frequently the ones that turn into fast-tracked blockbuster action flicks that have a great premise, but usually aren’t nearly as satisfying as the movie that bloomed in your head after you heard the story idea. Why did the movie Snakes on a Plane get made? Not because of its brilliant art house execution, let me tell you (which still didn’t stop me from going to the midnight showing…ahem). It was because Samuel Jackson heard the title (which implies the idea of the movie) and, without reading it, greenlighted the project.

Idea + Execution = Great Writing

Not so in books. In your writing, you should strive to have the kind of story idea that would make a Hollywood board room sit up and take notice, but you also have to deliver on the promise of the premise and write a killer book. Would THE HUNGER GAMES have ridden on the coattails of its great premise to the kind of worldwide success it has enjoyed if the writing had been flat, the pacing slow, and the suspense mild (need help raising the stakes in your story)? No. So you can’t rest on the laurels of a great idea, either. You have to carry the idea to execution.

This is why I’m still baffled by people who wonder, “How do I copyright my writing?” before submitting because they’re afraid agents will steal their ideas. If ideas were all that mattered, I’d probably make a nice living off of stealing other people’s ideas and selling them for a lot of money. But the ideas aren’t the hard part. It’s the execution. When I read slush, my biggest complaint is, “What a great story idea, I wish they’d made it work.” So to make any money as a plagiarist, I’d have to spend years of my life stealing great ideas and then coming up with my own execution for them since the original writer couldn’t. That kind of labor-intensive theft suddenly starts to look a lot less likely.

What Would You Rather Trust Your Life To?

I will leave you with one more example of this point: ever since humans realized they were earthbound, they’ve wanted to fly. Drawings for flying machines can be found in Leonardo da Vinci’s journals, and I’m sure he wasn’t the first to have that particular lightbulb flare on. But it took a very long time for people to learn how to write an original story from idea to execution, and even longer to make that execution commercially viable and safe for constant use (and, I hope, snake-free). So what would you rather trust your life to? Leonardo da Vinci’s great idea for a flying machine? Or an airplane as executed today?

Did you find this practical advice useful for how to write an original story? I am happy to be your manuscript editor and consultant for writing and publishing advice that’s specific to your work.

Getting a Literary Agent Through A Book Bidding War

A few months ago, wonderful agent Kristin Nelson wrote about the book bidding war and getting a literary agent on her blog. She talked about feeling like some of her recent offers of representation have felt more like entries into a bidding war. I’ve felt the same way, as I mentioned in a post last week. The last six months, when I’ve offered rep, the author almost always already had other interest or got other interest after my offer. (I read very quickly when I’m interested and tend to be the first to offer. This is sometimes a good thing, sometimes a bad thing.) Most of the book bidding wars I’ve been involved in have been me and two, three, sometimes even five or six other agents. All fighting for the same happy-but-overwhelmed author.

book bidding war, getting a literary agent — There’s a book bidding war on your manuscript — which agent will you go with?

Is the Book Bidding War a Dream Scenario for Authors?

Sounds like a dream scenario, right? Well, not for the agent, obviously, but not for the author, either. They’re stuck making a very important business decision when getting a literary agent: between people who all love their book, who are all good at their jobs, and who are all trying to be persuasive. It’s stressful (I say that having been on the writer end of this situation myself in the past, with six offers blurring on the table in front of me).

I’ve been in this situation a handful times in the last six months or so. I recently saw two of the books I’d offered on announced as sales in Publisher’s Marketplace, under other agents’ names. I was happy for the authors and I love the books, obviously, but gosh darn, I sure wish I could’ve been the happy agent listing those deals. I’m not whining about losing out on these manuscripts at all, and it’s not sour grapes. The author went with the best fit for them and that, at the end of the day, is the best possible thing for everyone involved. The clients I get and the books I sell all happen for a reason. And I do genuinely mean it when I tell the authors who go elsewhere when getting a literary agent that I look forward to reading about a huge sale in PM.

Consider Different Agenting Styles When Getting A Literary Agent

But for me, there are other issues at play in the book bidding war and getting an agent other than, “Gee, I wish I’d gotten that client!” Being the first to offer (usually) and being myself and losing makes me wonder what types of things the other agents are saying that tip the scales in their favor. The last thing I want to do is to disparage any of my brilliant and hard-working agent colleagues, at my agency and outside of it. But there are different agenting styles, and I wonder if my particular agenting style isn’t serving me in this regard. Follow my train of thought a moment…

I pride myself on being a very realistic person. In my line of work, I do a lot of “managing expectations” and I practice a lot of cautious optimism. Lots of writers think they have the next HARRY POTTER meets TWILIGHT on their hard drives. Runaway bestsellers like that are very rare, and they can’t be manufactured. Of course I want all of my clients to do well and to make a living at their writing. And I’d love a runaway bestseller (who wouldn’t!). But I’m also realistic (some might say skeptical).

My Approach: Cautious Optimism

When I offer representation, I don’t make big promises. Of course I love the book. And of course I think I can sell it to a great editor. And of course I’m an editorial agent with ideas for how the manuscript could be even stronger. Otherwise, I would have no business offering representation. It isn’t my job to gush over a book or tell the author how brilliant they are (though I often do). It’s my job to sell that book. So if I think I can do my job, I offer representation. (Learn more about an offer of representation literary agent.) But I also caution the writer that there are no guarantees. And that agents aren’t a magic bullet. (Check out my post that addresses “when an agent doesn’t sell your book” for more info.) Besides, I offer for the long term. I’d love to sell the first book but, if it doesn’t happen to sell, I know there will be another manuscript, or another, to try with. I’m a very longview type of person, which plays into my agenting style.

What I don’t do in the book bidding war is offer the author any sure bets, tantalizing dreams of big sales or tasty foreign rights possibilities. “This’ll be a movie, dahling, starring Robert Pattinson. I’m already casting it in my head!” is a very LA way to go about the whole agent stereotype (sorry, LA!), and it’s really not my style. I obviously want all of that and more for my clients but I wouldn’t talk big and promise even bigger. I’m much less “wining and dining” and much more “let’s work together to create something irresistible to editors.”

There’s also, of course, the issue of track record. I’m a newer agent. I have six sales listed on Publisher’s Marketplace. Though that’s not a comprehensive view of my sales, that’s the only thing writers can check. The first books I sold won’t be out for another nine months or so. I don’t have years of track record or bestseller clients to woo with… yet. And I’m very conscious that in a “beauty contest” (as we call these competitive situations), these things really do weigh in. (See my how to select a literary agent post for more on this.)

Getting a Literary Agent: What Qualities are You Looking For?

What’s the reason for this recent trend of offers from multiple book publishing agents, then? Or for those times when the book bidding war and getting an agent didn’t go my way? (Luckily, I’ve offered and won many, many more times than this, and I’m thrilled for the clients I do have.) I don’t know. But I’m really curious. As the comments on Kristin’s post mention, it could be an issue of agents hopping on the bandwagon when they hear about an offer. I have to admit, when someone comes to me and says they have an offer of representation, my interest is definitely piqued and I read fast to see if I want to throw my hat into the ring. I want a chance at the fantastic manuscript, too! But it seems like every offer has competition these days. I wonder why that is and, I have to admit, I’d love to be a fly on the wall and see how other agents are offering representation.

What would you all prefer in your offer of representation (other than, you know, getting that offer in the first place)? Big, exciting promises or my preferred brand of “cautious optimism”? Is the offer phone call the time to really rip out all the stops and get the writer hyped up or is it a frank chat about the business, the market, and how this manuscript will fit into the big picture?

This whole issue of the book bidding war and getting a literary agent is fascinating! I’d love to hear your thoughts.

As a former literary agent, I know what agents and editors are looking for in a manuscript. When you invest in my novel editing services, I’ll help you get over the very first hurdle of having an agent-worthy project to submit.

Reading for Writers: WRITING GREAT BOOKS FOR YOUNG ADULTS

screen-shot-2010-09-01-at-74143-am To keep up with my other book review this week (and since book reviews are much easier to write when you’re trying to leave for vacation and make sure the blog is all stocked up with posts!), here is another book review, this time of WRITING GREAT BOOKS FOR YOUNG ADULT by literary agent Regina Brooks.

This is, quite frankly, the book I wish I’d written. It covers everything from character to plotting to getting published.

The scope of this book is much larger, so there’s not as much deep focus on the writing craft itself, but you do gain really valuable insights from the publishing world, as Regina contacted editors all across the children’s books spectrum to contribute thoughts and mini-essays on the topics at hand. So not only do you get to hear her take on it, but you get to hear how editors talk and think on the subject, too.

I think Regina’s advice on plotting is definitely worth a read. Since she’s an agent, she takes a more commercial bent in giving writing tips. And this book is specifically geared to people writing for the young adult market, so all of her writing advice squares well with the quirks needs of teen readers and of YA publishing.

I’ve been meaning to crow from the rooftops about this book for a while, and I’m glad to finally be starting up my non-fiction reviews, as this one definitely deserves a shout out. It’s a quick read, with writing advice and even a few prompts to get you thinking. And it comes from an agent, so all of the tips are geared in a direction that will make your YA fiction more saleable. This is a solid resource, especially great if you’re diving into YA and want an overview, but meaty enough where YA veterans will also find depth and new perspectives.

If you’re planning on seeking it out, it was published by Sourcebooks in 2009. The ISBN # is: 978-1402226618.

What Literary Agents Want When Evaluating Full Manuscripts

Written during my agenting days, this post details what literary agents want. This past year, I’ve built up a great client list and sold some great books. What are literary agents looking for changes often, as I mentioned on Alice Pope’s blog a few weeks ago. For example, once they have a great base of clients and don’t feel the same frenzy to grow their lists, they get more selective. But they will always want strong work. Here’s how to give yourself top consideration.

What Literary Agents Want

(First, check out this post: how to get a literary agent.) As publishers have tightened lists and as my own experience with editors and published books and writing and marketing grows, my standards have risen even higher. It’s more difficult to catch my eye now, as I’ve seen more, and, more importantly, gotten sick everything that’s tired and flat and been done hundreds of times before. There’s still, of course, room on my list. Lots of it. But those slots are harder to grab, and those worthy writers are harder to win over, as they tend to have lots of offers. (I find that, if a project has me really excited, more often than not, a handful of other agents are also about to offer or already offering on it…more on that in a future post.)

So now that I’m entering my second year as an agent, I’m finding myself being more exclusive about what I want to take on, but I’m also finding myself in more competitive situations with bigger agents. It’s a tough position to be in, and it doesn’t always let me go through my entire manuscript consideration process (which was supposed to be the point of this post). Still, while this is happening more and more, I wanted to let you in to my regular manuscript consideration process, since my slush consideration process post seemed to get a good response. This is how it all goes down on my end.

What Are Literary Agents Looking For: A Good Query Letter

First, a query letter catches my eye. Because I want to be completely sure of my judgment and rule out chances of slush psychosis, per the post linked above, I put it in my Maybe Pile. Since this is a fantasy scenario, let’s just say I dutifully return to my Maybe Pile the very next day (instead of a week later, after I realize that life has gotten away from me) and send a full manuscript request to those that still sound good. For any batch of slush, I end up requesting one or two manuscripts at a time.

Once I get the manuscript from an author, I put it in my queue. At any point in time, I may have between two and ten full requests in line. And I get to them depending on how much time I have and in order of request date. It usually takes me two weeks to a month (this summer was slow because of the move) to respond to a full (unless, of course, the writer has other offers or I’m very interested in something, right after the query, and need to read immediately…and this doesn’t happen that often, even with full requests).

Literary Agency Interns

The other thing I do when I get a full request in is I send it to my readers. Yes, I have readers. ABLit agents work with qualified young publishing enthusiasts on full manuscripts and sometimes client manuscripts. Since we’re scattered all over the country, my colleagues and I have our own networks of readers, although there are some readers that everyone at the agency works with.

I currently have several readers and I also work with one of our agency readers. I have a very rigorous reader screening process and choose my readers very carefully. Though, I don’t always agree with them, I value their feedback. They provide a valuable service to me, as they fill in my blind spots and make sure I’m not missing anything — good or bad — about a manuscript. (I started out as a reader for ABLit, so I love teaching and working with my readers, it’s a great learning experience for both of us. Speaking of which, toxic assistant attitude toward “lowly interns” can get you in trouble, so avoid it.)

What Literary Agents Want in a Manuscript

So anyway. I send the full request to all my readers and read it myself, as well. If the manuscript really catches my eye on a read, or if a reader highly recommends something that I haven’t gotten to yet, I kick the submission into high gear. When I’m interested, I read quickly.

Most submissions, unfortunately, tend to fall apart by page 50 — the first benchmark, when I tell my readers to check their guts and see if they still want to keep reading. If I can put a full request down by page 50, I will not pick it back up again. The issue is usually voice, character, pacing, or plotting. (The voice is flat, the character is one-dimensional, the story crawls along, and we haven’t gotten into the main plot/action of the manuscript yet.) If my readers chime in and say that they put it down as well, it’s a decline. (My readers don’t talk to each other about submissions, nor do I let my readers decide for me. It’s not rejection or offer by consensus. But because I have such good readers, I tend to agree on manuscripts with at least one of them and really do take their feedback into consideration. Still, the final decision is mine.)

Learn to Write a Novel

If a submission is really good, a “kick it into high gear” submission, a “finished it in one sitting submission,” and I think it is especially commercial or might attract other agent attention, I will ask that all my readers finish it and send me a reader’s report. I will also take notes on the manuscript. If I finish a manuscript and can’t stop thinking about it, I know I have a very strong candidate for an offer of representation. I usually give myself a few days to make sure the project is still an I-can’t-live-without-it submission. If I’m still obsessed with it, I let the writer know and then we schedule a call.

Still, not all of my offers end in the writer signing up (more on this, as promised, later). And all of the manuscripts I take on do go through revision, based on my editorial notes from my first read and from the repeat read that I always do after I take someone on. And yes, I have read good manuscripts that were getting lots of offers but that I thought needed work, and I’ve passed on them rather than competing for them.

But high as my standards are and tough as my editorial vision is, I do love the whole process of reading a potential client’s manuscript — from the exciting request to the potential treasure trove of the full to the rare manuscripts that sparks my imagination. And I’m definitely looking for more of this magic, and more successful offers. What are literary agents looking for? In short, good stuff! Keep writing and revising!

Though I’m no longer a gatekeeper, I can bring my literary agent experience to your novel. Hire me as a developmental editor.