Marketing & School Appearances: Interview with Catherine Balkin of Balkin Buddies

Today, we're continuing our focus on marketing and school appearances, in a conversation with Catherine Balkin, President of Balkin Buddies, a company that books authors into school and libraries for appearances, as well as provides other general information about publishing.  We're so glad to have Catherine with us today!

Catherine, you're the President of Balkin Buddies.  Can you tell us a bit about what you do, and how you came to create your company?

As you know, I worked at HarperCollins for 15 years. When I left, a lot of the authors I had worked with asked me to continue setting up school visits for them. Some librarian friends suggested I build an author appearance website (librarians always have the right answers!). After that, other authors and illustrators approached me to work with them as well, so now I work with quite a number of them in various capacities. I promote all those I work with via social media. I have a blog; I tumble on Tumblr, pin on Pinterest, tweet and listen in on various educational listservs to see if any schools are looking for author visits. I also promote the authors at library and educational conferences and occasionally give talks on the subject.

What impact can school appearances have on an author's career?  How are they different than bookstore appearances?

Once a school has had an author come to their school, the author’s books live on in their library for several years because the kids remember their presentations and continue to request their books. A good school also promotes the author visit in local newspapers so they get local attention in area libraries and bookstores. The more attention authors get, the better it is for their books. Authors also get paid an honorarium for school visits, which helps their budget and gives them writing time that they wouldn’t have if they had to have full time jobs. Several authors have also mentioned that school visits help them to stay in tune with their audience, too. They get story ideas from the kids they talk to. Bookstore appearances are different in that they don’t pay the authors an honorarium. Publishers pay the author’s expenses and arrange book tours at a number of bookstores. Also, in bookstores, authors may give readings but they never give full length presentations, as they do in schools.

How can a debut writer get started making school appearances?

I always recommend that a new writer start locally, contacting schools in their own town. I also suggest they create a flyer for their book and add information about their school presentation and honorarium, which should be on the low side. I know some new authors will do free school visits, but I wouldn’t suggest doing very many. In my experience, people think they get what they pay for and that if they’re not paying, they’re not getting anything. The only exception might be the school the author’s children are attending. Authors can also talk to bookstores, especially independents, and ask them to let schools know about their books and that they’re available for school visits. Bookstores might be willing to put out the author’s promotional flyers for people to take. Also, of course, they should have a website (see more about this below).

Does it make sense for writers to make school appearances before they have a book published?

No. Schools expect a professional writer, and if the writer doesn’t have a book out, they won’t be taken as seriously. If the author is expecting the book to be out shortly, I would still suggest not scheduling a visit until after the pub date. Authors usually autograph books during school visits. The schools order books from the publisher, the local bookstore or online, so the author should want to make sure the book is not only in the warehouse but has time to be distributed.

How important is a website for authors?  How can writers use their site to promote their school visits?

Most schools learn about children’s book authors and illustrators by searching the internet and finding out about their books. So a website is very important. Information they ought to include on their website is some biographical information; any and all books awards; a list of their books in print; links to places people can order books or learn more about them, such as Amazon or Barnesandnoble.com; descriptions of a couple of their school programs; an honorarium range (for example, $500 to $1,000 plus expenses depending on location, group size, etc.); and contact information. I’d also suggest they put their website address on their business cards and any promotional material they create.

I would also suggest authors and illustrators put information about themselves, their books their programs and their contact information on other sites as well, such as www.authorsillustrators.com and www.IllustratorAuthor.com.

When does it make sense for writers to hire a booker, such as yourself? 

Authors should be somewhat established before they hire a booking agent. They don’t have to be famous, just know what they’re doing by then. Authors frequently expect booking agents to get a lot more author visits for them, but that’s not necessarily the case. Having a booking agent might get them a few more schools, but there’s usually a lot more to it than that. Just promoting authors and their books is a full time job but that’s only one aspect of a booking agent’s job. The booking agent often does most of the paperwork, such as writing the contract for the visit, sending invoices to the schools and filling out forms that the schools or school districts may require.  It’s also easier for a booking agent to negotiate the honorarium for the author. As mentioned previously, I recommend an honorarium range be added to the author’s website, but depending on what the school wants the author to do, I try to get the maximum of the range. If authors don’t like negotiating or are wary of charging the maximum, a booking agent is good to have, because most of us are far from reluctant to charging the most we can get.

What do you recommend that writers charge for their honorarium?

For a new writer, I’d say $300 to $600 plus expenses is a good range. As they and their books get better known, I’d recommend they raise it. If they win a major award – a Newbery Honor or Newbery Award, for example – they can start charging $2,000 plus expenses, maybe even more.

Any other advice on school appearances, or marketing, for writers?

I’d suggest new writers and even established writers looking to refresh their school visits go to conferences. They might start with their own state or regional reading or library conferences which can easily be found on the internet. Then be sure to bring lots of promotional flyers and business cards and engage the teachers and librarians you meet on the exhibit floor, in autographing lines, at meal functions or even in the coffee line. I’d suggest keeping it short, but don’t be afraid to introduce yourself, talk about your book for a couple of minutes, and give out your flyer. Conference goers don’t bite and love books. Take advantage of it.

Interview with Regina Castillo, Copy Chief, Dial Books for Young Readers

In our continued focus on revision this month, we reached out to Regina Castillo, the Copy Chief at Dial Books for Young Readers, to get the scoop on all things related to the copyedit, an important part of the revision process, and one that I think many of us don't know much about.  Regina has been at Dial BFYR for over twenty years, so we're in very good hands…Enjoy!

 

I think lots of us don't really understand the difference between an Editor and a Copyeditor.  Can you explain that?

Editors acquire manuscripts and help develop stories. They work very closely with authors to get their manuscripts into great shape. The copyeditor then corrects grammar and spelling, and points out inconsistencies or plot issues. Because the editor and author go through multiple drafts and revisions, a fresh pair of eyes is quite useful!

Copy editors are grammar and usage mavens -- something I aspire to be!  Have you always enjoyed that part of reading and writing?

I have always been sort of a grammar nerd! But I never actually thought of it as a career. It never occurred to me that it was a job I could do, and love. 

How did you become a Copyeditor?  What would you recommend for someone who wants to follow that path now?

I began in college doing freelance proofreading for a small publishing house. Someone interested in getting into copyediting might benefit from taking a course, and also becoming familiar with style guides. There are definitely entertaining grammar books on the market that a person can read before moving on to the drier style manuals.  

I'd love to know about some entertaining grammar books and imagine that our readers will as well.  The Elements of Style, with illustrations by Maira Kalman is one of my favorites.  Which do you particularly like?

Woe Is I and Between You & Me, while not guides like the one Maira Kalman illustrated so brilliantly, are fun, entertaining books that people will learn things from without actually realizing they’re learning. 

What's the best part of your job?  the toughest?

The whole process of producing the books is wonderful—seeing something go from a few sheets of paper to a book in the bookstore is kind of amazing. The toughest part is the headache of deadlines. Sometimes a manuscript is a little late, or art is a little late, and that time has to be made up somewhere. 

What do you think people don't know about copyediting?

A lot of people think it’s simply a matter of reading and finding misspellings. There is a lot more involved than that. Besides also needing a good grasp of grammar, a copyeditor needs to watch out for plot problems, timelines, consistency of characters, etc. Copyeditors also have to be fact checkers.

What's the best way to work with a Copyeditor?

The same as working with anyone else—respect on both sides always makes a working relationship better. And authors shouldn’t take their work being “corrected” personally. Everyone involved is only interested in the final product being the best it can possibly be. 

Can you tell us about a particularly complicated issue that has arisen with a particular book?  Or, a book that you're particularly proud of having worked on?

It always makes me proud when a book that I’ve worked on has gotten excellent reviews and has garnered awards. It makes all the complicated issues that arise from time to time just fade from memory!

Were you a reader as a child?  Can you tell us about a favorite book?

We were all voracious readers as kids in my house. I always thought—and still do—that books are magical. It’s difficult to pick a favorite because there are so many that I love. When I was a child, my favorite book was a version of Thumbelina that had incredible art and an almost 3-D effect on the cover.

AMA Coming Your Way!

Head’s up everyone!  Beth Phelan and Victoria Lowes will be doing an Ask Me Anything session this coming Monday, from noon to 3:00 pm, EST time.  As we’re talking about queries this month, please send in questions on that topic. 

For more on Beth and Victoria, please look here.  They’re answering questions about queries for any genre or readership (even if it’s not a genre they rep).

See you Monday and bring on the questions!


EDIT: If you are reading this right now because you think this is where the questions will be posted/answered, you are in the wrong place! 

To find the live AMA post, please go this way! Please do not post questions here. Thank you!

The 7 “Be”-Attitudes of Finding Your Agent & New Deal Announcements!

I’m so excited to announce two deals today, both for the wonderful Marcie Colleen, picture book writer extraordinaire. But not only that! I asked Marcie to write on the process of finding an agent for the blog, and she’s created a list of the key qualities that will carry you through your search—it’s as inspiring as it is useful. Be sure to scroll down for her smart advice, which follows these announcements.

Here’s our first deal, for THE ADVENTURE OF THE PENGUINAUT, the story of intrepid little Orville, a penguin who imagines visiting the moon. I love this story, especially for Orville’s dreamy determination:

Children's: Picture book

Marcie Colleen's debut THE ADVENTURE OF THE PENGUINAUT, about a penguin who lives at the zoo and dreams of building a spaceship to fly to the moon, to Emellia Zamani at Scholastic, by Susan Hawk at The Bent Agency (World).

And here’s our next deal for LOVE, TRIANGLE and a second unnamed book. The first time I met Marcie she told me she had this title, but wasn’t sure of the story yet. Watching it come together has been a total delight:

Children's: Picture book

Marcie Colleen's LOVE, TRIANGLE, about best friends Circle and Square, and the dynamic Triangle that comes between them, and to Alessandra Balzer at Balzer & Bray, in a very nice deal, at auction, in a two-book deal, by Susan Hawk at The Bent Agency (World).

Please join me in congratulating Marcie at www.thisismarciecolleen.com or on Twitter: @MarcieColleen1.

And now, here’s Marcie herself, with  

THE 7 "BE"-ATTITUDES OF FINDING YOUR AGENT

I am often told how lucky I am to have such an awesome agent. And yes, Susan Hawk is amazing. After all, we make quite a team and sold three books this year—two of which were sold in a five-house auction!

But am I really lucky?

Of course, I tried wishing on a star, writing to Santa Claus, and crossing my fingers that one day an agent would just randomly email me and ask to represent my work. But when it came down to it, those things did not get me Susan.

What did land me such a fabulous partner-in-crime was hard work. It was planning. It was researching.

It was attitude.

You see, the responsibility lies with the writer to do everything within their power to find an agent. So for those of you still looking, still hoping, and still wishing on a star, here are my 7 “Be”-Attitudes to help you along the journey:

1. Be“craft”y. First and foremost, focus on craft. If you want to be agented (and published), spend time making your writing the best that it can possibly be. Take classes, attend workshops, join critique groups, and read books. I feverishly worked on my craft for years before I felt ready to start the query process. And having worked on craft for so long, I was confident that what I was submitting was not half-baked, but something I could be proud of. It’s easy to be eager, but don’t rush this step.

2. Be social. I know social media can be a time suck. But if used well, it can be a writer’s lifeline. By seeking out communities of writers on Facebook and Twitter, I was able to learn more and more about the industry. I was able to keep current with new titles, be introduced to names of agents and editors, and ask burning questions—all without even getting out of my pajamas!

3. Be present. All right, so I eventually got out of my pajamas and ventured into the “real world.” I attended conferences, classes and workshops where I was able to get to know fellow writers, as well as editors and agents. I even had many face to face critique sessions with industry professionals, one of which actually introduced me to Jenny Bent and ultimately led to querying Susan. Sure, these kinds of events cost money—but it’s worth it. Consider it an investment in your dream.

4. Be Nancy Drew. Once you have a few names of agents that you want to query, don’t wait for Santa Claus to deliver them under your tree on Christmas morning. Instead, find them through Twitter, Google and Facebook. Read interviews they have given and blog posts they have written. Get to know what they are interested in and who they represent. Get to know their personality. Find out which conferences or industry events they will be speaking at. If possible, attend those same events. Are they participating in an online forum or a webinar? Again, participate if you can. Sure, this can be a lot of work. In fact, it might even seem like a second job. But isn’t your dream worth it?

5. Be mindful. Check in with yourself. What do YOU want in an agent? Make a list.  Do you want someone who represents a few different genres that you write? Do you want someone who has a background in editorial or is also a writer? How about someone who you can relate to personally? This list is perhaps the most important of all. I knew Susan was my dream agent because she met the criteria on my wish list. But that doesn’t mean she will be perfect for everyone. Don’t ignore your own wishes in your search.

6. Be patient. This all takes time. Lots and lots of time. I first queried Susan in the winter of 2013. We emailed back and forth a number of times going into the spring, eventually met, and she offered representation shortly after, in June. Agents are busy people. If you don’t hear right away, do not fret. Take a deep breath. Continue to work on your craft. Query someone else. Keep moving forward. And never, ever lose faith. Which brings me to the last “be”-attitude.

7. Be dreamy. Never lose sight of your dream. Your dream is what is going to keep you going through the silence and through the frustration. Remember, a rejection from an agent is not a rejection of you. It simply means that you haven’t found your Susan yet. And believe me, finding the one agent who is super giddy about your writing, believes in you more than you might believe in yourself, and wants to take you to the highest heights is well-worth the wait.

Many thanks Marcie, and good luck to everyone on their agent search!

Likes and Dislikes... a Note on Rejection and What to Do Next, from Susan

Like every agent, I pass on more projects than I request.  Often, I receive a kind reply, asking if I can take a minute to explain why I’m passing, or to give some advice about what would improve the project.  I wish I could reply to each of these requests, but in lieu of that, here are some of the reasons I pass, and some suggestions about what to do next.

The first reason for a pass is that the project just isn’t right for me.  I think it’s fair to say that most everyone involved in books and publishing got here because they love reading.  From the time I was six years old, curling up with a new book was a favorite pastime, and that’s never changed.  When I consider queries, I bring that life of reading with me -- I’m looking at your material through the lens of all the books I’ve read and loved, as well as those I’ve read and not loved.  My own likes and dislikes inform my response, of course, and so a pass doesn’t necessarily mean that your idea isn’t a good one, or that it’s not written well.  It simply means that my particular heart doesn’t beat faster when I read it, but someone else’s may!

So, when you get a pass, remind yourself that any one agent is just that: one agent.  One person.  Dust off the slightly bruised ego (it happens to all of us, agents get rejections too!), and go on to the next.

Another reason I often pass has to do with the marketplace.  For instance, right now it’s a challenge to sell YA science fiction, as many editors have acquired quite a bit of that, and have enough for now.  I can enjoy your writing, but if it’s in a genre that’s challenging to sell, I may have to pass.  But more often than a certain genre that’s currently oversold, I see projects that don’t fit into their category in some way – a picture book text that’s over 1000 words, while most texts these days are 500 words or less, or a novel that’s YA in subject matter, but MG in tone.

The best way to make sure that your book is aligned to the market is to read, read, read.  Read as widely as you can in the category you’re writing (i.e. picture books, chapter books, middle grade, YA, etc) – set yourself a goal of forty books in six months, more if you’re working on picture books, and don’t stop there.  It’s only in reading a quantity of books that you will start to appreciate what makes a MG voice, as opposed to YA; how picture books texts can be so minimal, and get across character so fully; how detailed non-fiction texts tend to be, etc. 

The one thing you don’t want to do, as you read, is to try to determine what the next trend will be.  Trends are often short-lived, and therefore frustrating to chase.  Write your book – the book that only you can write.  Reading will give you the tools to do that, or as Stephen King says, “You cannot hope to sweep someone else away by the force of your writing until it has been done to you.” (On Writing: A Memoir of the Craft)

Sometimes I pass because I feel that the writing isn’t strong enough.  I’m looking for writing that totally captures me; that feels so true that it makes me laugh and cry.  That’s not easy to do, and ultimately, I know of only one way to get your writing to this level: practice.  You must keep writing, in spite of the passes, and keep growing your craft.  But how do you know that you are doing that?  Agents and editors aren’t able to give in-depth feedback for projects they haven’t taken on, so how do you know you’re on the right track?  You need to find your writing colleagues!  Joining a writing group can be invaluable, and going to a writers’ conference is a great way to find other writers you are simpatico with, not to mention another source for feedback in and of itself (via one-on-one or pitch sessions etc).  Writing can be a lonely experience, reach out to your fellow writers to find support as well as the feedback that will help you take your writing to the next level.

So, in short, here’s what to do if you get a pass:

1. Remember that agents have their own likes and dislikes, just like anyone else
2. Create a writing group
3. Attend conferences
4. Read, read, read!
5. And most of all, KEEP WRITING!

 Any more questions?  Let me know in the comments and I’ll reply.

REVISION TIPS AND TRICKS, from Susan’s clients

Revision. Does the word fill you with glee or terror?

My part of revision is to ask questions, point out inconsistencies, cheer for the writer, and ask more questions. It’s one of my favorite parts of being an agent. I love the work that goes into understanding characters, what they want, and how that must shape the plot.  There are as many ways to go about it as there are writers, but I’m lucky to work with a group that consistently amazes me with their ability to dig deeper into a story.  So, I thought I’d ask them how they go about revision – what tips and tricks they use, what keeps them going when they’re stumped, and what they enjoy the most.

Hope this inspires everyone working on a revision right now!

The joy of working with a great editor or agent is that most of the time revision comments are things that really resonate with me. Of course that's not always the case and it's often the comments that I don't agree with that I spend the most time considering. It's easy to just ignore them or go and complain to whoever happens to be nearby (probably why my husband and kids make themselves scarce when I get a revision letter). But I find that digging a bit deeper into the hard-to-swallow comments can really make a difference. I ask myself things like "why can't they see that I've already answered that question?" or "what makes them think that my character would ever do XYZ (of whatever their suggestion might be)." And normally what I find is that I haven't been clear enough in my motivation, or that I've hidden some insightful little nugget at the bottom of a paragraph and that it needs to be brought out more. – Amanda Ashby, Dating the Guy Next Door (Fall 2015), Sophie’s Mixed Up Magic, Demonosity, and more

I think being open to a revision is most important - even though it's a very counterintuitive process.  I feel like I want to fight every note but then once I let go of my resistance, the note often inspires something beautiful or something I never considered before.  The book has a chance to become deeper and I, as the author, have an opportunity to know my characters more fully.   And then after it's done, I can't imagine going back to the way it was! – Dana Middleton, currently revising a middle grade novel for submission this fall

Filling up a blank page to create a first draft is labor, but revision is a blast. It’s my favorite part of a project. I really enjoy getting ideas and feedback for making things better, and then I pretty much incorporate every single suggestion -- even the ones I disagree with -- to see what it does to the work. (When done in concert with an editorial letter, I make it a game called "Let's Pretend She's Right.") From there, I begin to put things into a shape that makes sense to me. At that point, I really discover what matters and even what’s going on in a story. (I also discover that I don't have to pretend that my editor is right. She usually is.) For me, no good writing takes place until the revisions start. With that thought in mind, the first draft becomes a lot easier too. It gives me permission to make a mess now because I know I am going to clean it up later. – Paul Acampora, author of I Kill the Mockingbird, Rachael Spinelli Punched Me in the Face and more

Just like a good manager for any skilled job, I'm rarely looking for solutions beyond suggestion. I'm looking for someone who can tell me "this isn't working" and why. Who can make observations about the broader strokes, the things that make a story exciting: character, scene or arc tension, richness of the storytelling. An editor who can not only tell me what the problem is, but help me understand it, is giving me tools to problem solve and make informed decisions for improving the work. – Christopher Baldwin, author/artist, Little Dee (Spring2015)

I guess the biggest obstacle I have overcome in terms of revision is distinguishing the original inspiration for the novel from believing that what I wrote first is itself the best way of expressing that inspiration. That is, I am no longer afraid to just write new stuff, cut characters, take a weird tangent, change the ending--see what happens. Now I trust that I can rewrite, build new structures, listen to others' thoughts and be the final arbiter of whether the revision is syncing with what I set out to accomplish. – Sarah Lariviere, The Bad Kid (Summer 2016)

What helps me revise: Susan's awesome notes. Oh, you meant once I have the notes ;)
If I don't have any ideas immediately, time spent doing other things - walking my dogs, reading, watching movies, taking a shower (I get a ridiculous amount of ideas in the shower) - is really helpful. So is brainstorming with my critique buddies. – Rachael Allen, 17 First Kisses and The Revenge Playbook, (Summer 2015)

Before I write the first revised word, I spend a LOT of time thinking. The first answer to my problem is almost never the one that ends up getting written. – Lisa Tyre, The Wars of Zollicoffer (Spring 2015)

My mantra: no one can help me revise that which is only in my head, but once the first draft is on a paper I can employ the troops!  Yeah, for me revising is not always solitary.  My process usually involves a lot of brainstorming (by myself and with others), bouncing several drafts of trial and error off of others' heads (ouch!) and marinating.  I've learned not to rush but to let myself enjoy the process.  My best work comes when I'm having fun. The second it isn't fun anymore I stick it in a drawer and work on something else. – Marcie Colleen, currently revising a new project for submission next month

If I'm stuck on a particular character (their motivation for something, making them more 3D), it really helps to highlight that character's sections and read them through all at once, almost like it's a mini-book about that character. – Rachael Allen, 17 First Kisses and The Revenge Playbook, (Summer 2015)

I like to do revisions in long stretches of time - no quick edits for me. This means I have to clear my schedule and find a quiet place free from distractions. My office tempts me to do other things, so I grab my coffee, a blanket and my computer and head out to the screened-in porch. I settle in and refuse to answer emails, phone calls, etc. until I have a few hours under my belt!
I've also been known to use http://anti-social.cc to ensure NOTHING gets my attention other than my novel. – Lisa Tyre, The Wars of Zollicoffer (Spring 2015)

Want to know the crazy change-up/choice that finally got my rough draft of Book Two moving forward more quickly? HAND-WRITING it!! Yes, with a pen, in notebooks. It immediately took care of my seemingly unbreakable urge/compulsion to revise as I went which the computer makes so alluringly easy.  An urge/compulsion which pen and notebook make effectively impossible to indulge in. It made me much more willing to let imperfect/ugly/prosaic lay where it fell with the knowledge that there will be a time for revisions. I recommend this method for anyone struggling with embracing the "rough" in rough draft. – Jen Swann Downey, The Ninja Librarians: The Accidental Keyhand and Ninja Librarians book 2 (Summer 2015)

For more on these authors' books and upcoming projects, visit them online and on Twitter!

Amanda Ashby, also on Facebook
Dana Middleton on Twitter
Paul Acampora, also on Twitter
Christopher Baldwin on Twitter
Sarah Lariviere
Rachael Allen, also on Twitter
Lisa Tyre, also on Twitter
Marcie Colleen, also on Twitter
Jen Swann Downey, also on Twitter

Deal Announcement for NONSENSE by Felicia Sanzari Chernesky

I’m so pleased to announce a new deal for Felicia Sanzari Chernesky – the fifth picture book text that we’ve sold to Albert Whitman!  The third of those books is coming out this fall (SUGAR WHITE SNOW AND EVERGREENS), and is going to be gorgeous, thanks to the beautiful artwork of Susan Swan, and the good care that editor Wendy McClure and Albert Whitman have given Felicia’s books every step of the way.

Felicia’s first four titles with AW are rhyming picture books about four seasonal visits to a local farm, to pick pumpkins, to bring home fresh corn, to tap maple syrup, and finally to see the baby chicks hatch.  The genius of these books is in their bouncy, irresistible rhythm, and the concepts they each explore – shapes, numbers, colors and opposites.  This newest title is quite different, and very lovely.  NONSENSE is about a boy who rarely speaks, except to say numbers.  Eleven seems to be his favorite.  Those around him are often confused by this, and his mother grows increasingly concerned—until the day she discovers that he has been making sense all along.

Nonsense was inspired by a member of the author's family, who is on the autism spectrum.  Felicia chose allegory to tell this tale, which focuses on the ways in which we learn to communicate, because everyone sees the world differently and uses different kinds of intelligence.  The result is an accessible story that stands on its own, while giving families, teachers, and friends a way to talk about autism—or any other circumstance or condition that challenges our ability to communicate and understand one another.

Children's: Picture book

Felicia Chernesky's NONSENSE, the story of a boy who rarely speaks except to say numbers; his mother is quite worried, until the day she learns that he has been making perfect sense all along, to Wendy McClure at Albert Whitman, by Susan Hawk of The Bent Agency.

Please visit Felicia on her twitter page (https://twitter.com/FChernesky) or blog to say congratulations! (http://www.feliciachernesky.com/)