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!

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/)

Congratulations to Felicia Chernesky on the publication of PICK A CIRCLE, GATHER SQUARES!

Today I want to share news about my client Felicia Chernesky’s first book: Pick a Circle, Gather Squares: A Fall Harvest of Shapes.  It was published in September and I’m so proud of this book and its author, Felicia!

Pick a Circle, Gather Squares is a concept picture book about shapes.  The action takes place on a brisk fall day, with a family on its annual trip to the pumpkin patch.  As they tour the farm, they find shapes everywhere – squares and circles of course, but diamonds and even hearts are featured.  Perhaps my favorite feature of this book is that it uses simple, straightforward language to highlight the shapes, and conveys such a warm feeling – a celebration of family trips and rituals is folded into this book, and it’s a pleasure to read.

 Here's a spread to enjoy:

It’s gotten great reviews too:

“Chicken wire hexagons, a triangular slice of apple pie, and scarecrows dressed in polka dots and plaid add to the homey, down-on-the-farm mood, and Chernesky’s bubbly rhymes keep the story moving swiftly.” – Publishers Weekly

“Felicia Sanzari Chernesky’s rhyming text and Susan Swan’s harvest-hued collages depict a delightful excursion as the youngsters point out circles, square-shaped bales of hay, ovals, hexagons, and more. Filled with splashes of bright color and appealing textures, the artwork depicts lively action, engaging details, and additional shapes to find.”  -- School Library Journal

Felicia has been a whirlwind of activity this fall, making appearances at farm stands, schools and bookstores, and there’s plenty planned for November!  To see where Felicia will be next, check out her site, FeliciaChernesky.com or follow her on twitter at @FChernesky.

Stay tuned for more from Felicia.  The follow up to Pick a Circle is Cheers for a Dozen Ears: A Summer Crop of Counting, which comes out Spring 2014.  And Albert Whitman just bought her third concept book, Sap, Tap, Maple Syrup: Collecting Winter Colors, scheduled for Fall 2014!

You can buy a copy of Pick a Circle online at your local independent bookstore, or Barnes & Noble, or Amazon.  

Enjoy!

Pick a Circle, Gather Squares 

by Felicia Chernesky

illustrated by Susan Swan

Albert Whitman & Company

ISBN 0807565385 

An Interview with Jill Davis, Executive Editor, Katherine Tegen Books/Harper Collins and Susan

Today readers, we’ve got an interview with Jill Davis, an Executive Editor at Katherine Tegen Books/HarperCollins.  I met Jill years ago when she was an editor at Viking Children’s Books and I sat a few doors down in the marketing department.  If I remember correctly, she and I bonded early on over our mutual love of the tuna melt.  (Don’t tell me that you don’t love a good tuna melt. Do not).  But more importantly: Jill didn’t acquire a book that I didn’t fall head over heels for.  And, in that way, she made my job easy – because it’s a pleasure to create marketing plans for a book you love.  Read on for more about what she looks for in a book, what makes a great editor, and her thoughts on quirkiness and why it’s important in kids’ books:

This question is a three-part-er on your book history: Was there one book that started it all for you -- inspired a love of reading in you?  Is there a book that changed your life?  Is there a book that you turn to again and again?

For me it’s The Pushcart War by Jean Merrill.  It was read to me by my 4^th grade teacher, Ms Coughlin, at Cottage Street School in Sharon, Massachusetts in 1977.  I re-read it to this day and it still speaks to my love for the quirky character, original takes on (fake) history, and New York City.  I think from the first sentence (which I later used in my critical thesis for my MFA on “quirk”) I fell in love with the world of The Pushcart War: from the names of the characters (Morris the Florist, Frank the Flower, you get the picture) to the great items all the pushcart vendors sold. Not to mention peashooters!

We hear about quirky books a lot, and many editors are looking for them.  What’s the trick to making quirkiness work?

I think quirky characters often need to be presented in contrast to characters who see the world in a more straight-forward way.  Quirky characters see the world “slant” and in order for that to be appreciated or acknowledged, they have to be around people who react to them, or to whom they react.  If everyone’s quirky then something gets lost.  The definition of quirky relates to handwriting; John Hancock’s signature is a great example. It has those lines that go off in a weird direction, and that’s what a quirk is – something that goes off in an unexpected direction. What it creates in children’s books are reactions.  And it’s the opposite of predictability.  At a certain age we want to read for surprise, not predictability.  Especially kids who are about 7 to 10 years old, who are starting to really look around and understand more about relationships.  That’s the time in their lives they’re going to friend’s house, sleeping over, seeing different kinds of families and comparing themselves.  Books with quirky characters work with that.  Hilary McKay, Polly Horvath, Jean Merrill all speak to this.  For kids who don’t have the opportunity to meet other people who do things in that slanty way, meeting quirky kids and adults in novels is another way to experience the world.

In writing, we have round characters and flat characters.  You need both – the round who are open to changing through experience.  But you also need your flat characters who are predictable and who can be counted on.  With the latter type—whether the stubborn friend or the crotchety neighbor—you do have some predictability.

Did you always know that you wanted to be a children’s book editor?  Can you tell us how it evolved? 

No way, no how.  I was a French major in college with no desire to teach French.  I came to NYC as a nanny for a fabulous literary agent and I noticed how she sat around reading her manuscripts, and going to book parties, and thought: that’s what I want to do.  My first job in publishing was at Family Circle Magazine.  After a few years there, a boyfriend who worked as a designer noticed that I was busy writing parody songs of the articles they did (for instance, there’s a SCUD Missile in My Heart: Girl, I was in love with you till you dropped that big B52 / I’ve got a SCUD missile in my heart) and suggested that I might want to try children’s books – he had a friend at Random House and there was an opening.  I interviewed with Simon Boughton, who was the Editor-in-Chief at Crown, and I started as the Assistant Editor there in 1992.

What are the parts of your job that you least expected? 

One skill you need that’s very different from working one-on-one with authors, is speaking convincingly in front of big groups of important folks with titles such as Vice President of this and President of that! You have to able to think on your feet, often about non-editorial concerns, like marketing, sales track of an author, commercial viability, and the realities of the marketplace. This ability only comes with experience.

What do you like best/least about being a children's book editor?  

What I like best is the excitement I feel when I work with authors.  What I like least is when a wonderful book doesn’t find its audience, but you know it’s a great book!

In your opinion, what makes a good editor?

Flexibility, openness, a great sense of story, creativity, imagination, ability to work with others, a good thesaurus! And not being afraid to be honest.  A trust fund doesn’t hurt.

Editors have the great skill to read something that they can see needs work, while seeing what the manuscript can become. How do you do this -- how do you intuit the story lying inside what’s on the page?

Well, I don’t know if I can intuit the story as much as I can evaluate the structure.  Often I can feel the pulse of the story, but it feels like it’s drowning in narrative or disorganization, or in bad pacing.  I try to pull out what’s working; often it helps to skip forward to the next moment that works, which just means the next time I’m interested in what’s on the page, and see what can be done with the extra,

not-as-interesting parts in-between. I ask the author: Can it be used somewhere else or can we toss it?  Authors always leave clues for themselves, and the trick in revision is to follow those clues and develop little glimmers of ideas into scenes that grow and work for your story.

We hear a lot about “voice.”  How can writers create a unique voice?

The most important part of having an original voice is to be super specific and have an opinion.  Knowing your character, from their favorite song, to why their mother always yells at them, to what they like to do more than anything, is the key to being able to write an engaging character.  Sometimes the voice doesn’t come out the first time – sometimes you have to try different approaches for the same character – try writing your story in third person limited, Does that feel close enough? If not, try first person, and maybe a different voice will emerge for your character.  Lexicon is a word that isn’t used enough in writing, but take the time to know the words your character would use by collecting them, doing research and always always use your thesaurus.  Reading a lot helps too.

What’s the best advice you have for novelists who are just starting out? 

Don’t be afraid to revise.  Which can often means starting from scratch.  Often, a first draft is simply you getting to know your characters.  By the second draft, you’ll know so much more about your characters and your world.  And also, by way of Stephen Roxburgh, avoid what I suffer from in my writing: the pathological need to complicate.  For example, you may know exactly where you’re going with your plot, but you’ll find yourself adding every possible action you can before that important event--just to avoid getting to that moment. That’s complicating things!  For me, it’s my fear of not including everything – when you write a novel you have this idea, it’s going to be everything to everyone!  Instead, just try to tell one story. Narrow it down. Pick an emotion for each chapter, and try and stick with it.

Would you tell us about some of your favorite upcoming titles? 

Mister Puffball, Stunt Cat to the Stars by Constance Lombardo is a graphic chapter book series for the 7 to 10 age range.  It follows the adventures of a cat whose dream is to go to Hollywood!  I signed up three so far.  I fell so madly in love with the writing and the art, which is so in tune with my sensibility (front page of the sample shows a cat with a speech bubble, next to author’s name; the cat is saying, “Never heard of her!”) Originally, this project looked more like a comic strip, and given the success Harper has had with projects like Big Nate, we asked the author her to take the text out of the strips and to write longer form.  She did such a smashing job with it. She’s that funny! It’s coming in 2015.

I’m also working on a YA contemporary with an incredible twist written by a writer from Memphis named Moriah McStay.  It’s a what-if book: what if the main character hadn’t been burned and disfigured as a child?  The story follows both possibilities, and alternates between the two versions of the same person, a scarred self and an unscarred self. What I love about it, besides the original take, is that it’s somewhat epic – it starts in 11^th grade and ends in freshman year of college, but moves quickly.  The author has a way of making time move forward at a clip, and it’s so much fun to see what happens next in both girls’ lives—even though they’re the same person. But they’re not.  When you work on a novel you have to love it because you’re going to read it over and over again.  A novel that has two separate voices, keeps things very fresh – and you’re happily surprised when you move back to other worlds.  This one is also coming out 2015.

What occupies you when you’re not editing? 

My family and friends, my teaching, my own writing, and trying to learn guitar!

Picture Books and the Page Turn from Susan

I recently did an interview over at author Tara Lazar’s super blog, Writing for Kids (While Raising Them): http://taralazar.com/2013/04/19/susan-hawk/.  Tara is the author of The Monstore, in stores next month from Aladdin/Simon & Schuster, and two more picture books, coming in 2014 and 2015.  Tara rocks and if you’re interested in picture books I recommend that you get on over to her blog with speed. 

As you might guess, we talked about picture books and what makes them work.  I listed some of my favorites – and I have a new one to add to the list, more on that in a minute – and what makes them special.  Each of them, different as they are, have three things in common: character, humor, and each is a very satisfying book.  These things are key for me in picture books.

Then, last weekend, I went to a really wonderful writer’s conference, The Niagara Writers Retreat.  I really enjoy writer’s conferences, and Niagara had an extra serving of awesome.  I met a ton of great people there, among them Little, Brown editor Susan Rich, who presented The Dark by Lemony Snicket and illustrations by Jon Klassen.  I’ve been hearing a bit about this book and was curious, so I scooped it up when Susan was done.  Instant, deep love.  I had to hug that book before I gave it back.

Then I thought about what I’d said to Tara about picture books, and if The Dark has those three qualities.  Character, check.  Humor, check.  Satisfying, check check!  It really has that last quality – to the degree that I didn’t want to let it out of my hands.  So, I wanted to have a think about what makes it satisfying.

Much of it has to do with the rhythm of the book.  It has spare text, so you turn pages fairly quickly as you’re reading.  This builds some tension, and establishes the rhythm.  And then, you come to a page that, comparatively, is full of text.  Effectively you stop – not stop reading, but stop turning pages.  And then you listen to the voice of the dark, which we’ve been building up to all along.  It’s very dramatic and pleasing to hear this: it’s what we’ve been waiting for and guessing about.  The key to making it work is the interplay between the text and the page turn.  It’s that page turn that keeps you moving, and stops you at just the right spot – that makes the rhythm – and that gave me the feeling of being satisfied.  There’s a lot more to love about this book, but this is a key ingredient in making it work so very well.

What does this mean if you’re writing picture books?  Make a dummy!  This can be very simple – take eight 8.5x11 pages and fold them in half across the middle.  If you staple them down the middle, you’ll have a small mock-up of a picture book, with 15 spreads, about how many spreads are in a published picture book.  Write your text into the pages.  You can make small sketches if you like, but the important thing is to think about the page break; where the text will pause as you turn to the next spread and how that affects your story, how that pause becomes part of your story. Does it build tension?  Does it allow your words flow, and build anticipation for what’s next? 

Good luck with your picture book texts.  As you think about character and humor, think about the page turn and rhythm that you’re creating too!