Where is Cheryl, take 2

I have, thankfully, completed my research into all things illness. (if confused, check out my previous post!) In fact, I believe I’ve done enough research on the subject to last me quite a while, so if you have any influence with the flu/bronchitis/pneumonia and other agents of mass destruction, please mention that I can be taken off their lists.

It’s kind of nice to return to the real world (at least, at least as real as the world of the writer ever gets….)

Actually, I’m not in the real world at all right now. I’m at a ridiculously wonderful writing retreat in Breckenridge, CO, basking in all things creative. This session, I’ve had the chance to meet "officially" with editor Kate Gale of Red Hen Press, author Justin Taylor, agent Sorche Fairbank, and agent Scott Hoffman of Folio Literary Agency. They're all very nice and human. And smart. And funny.

And can you imagine any other setting where you have official one-hour meetings with so many different people in the industry? Pretty cool. Add in amazing food, a hot tub, and a seemingly bottomless bowl of peanut M&M’s, I’m definitely feeling inspired! Especially now that I stopped trying to grind out the projects I thought I *ought* to be working on in favor of the project I *want* to be working on.

Message for the week: when writing, follow your heart. Maybe that’s not always the right answer, but it’s definitely working for me right now! So I’m off to write more about Cassandra Fort as she drops into the sleepy community of Rodger’s Island, WA, with all the subtlety of a breaching whale…a character who makes me laugh aloud when I write about her. More later!

Great tool for bloggers

I have to give a great big THANK YOU to fellow blogger Casey McCormick for turning me on to Windows Live Writer. This blog-writing application has made blogging a ton easier. It does everything Blogger does…but it’s a step or two more intuitive for someone like me, who doesn’t exactly live and breathe html. Plus, when I check the source code the program creates, it doesn’t seem to be adding a ton of clunky code that would slow down the blog.

In fact, Casey’s blog—Literary Rambles—is my discovery of the week. CWIM’s Alice Pope featured her as Blogger of the Week Friday, and I bet a she’s introduced a new favorite blog to a lot of other writers, too. Literary Rambles is a great source for agent profiles, inspiration, and grins.

Oh—and she has a really cool photo. Visit her blog and enjoy!

:) Cheryl

Wanted: Dream Agent

MWF children's author looking for honest, yet encouraging, literary agent who loves her writing. Must love Emma Bull, Garth Nix, J.R.R. Tolkein, and Cassandra Claire, as well as have a taste for writing that ranges from whimsical to kooky to thought-provoking. Sense of humor essential.

In return, said author promises to be a great communicator, maintain a positive attitude through circumstances of all sorts, use constructive criticism, work her butt off, and write tons. Will also provide dark chocolate as needed and keep all obsessive-compulsive behaviors to herself. Not that she has any. At least, no more than the average author.

If interested, please contact author's benign dictatoress, Lily (aka inspirational poodle extraordinaire):

In case you haven't heard...

Firebrand Literary announces their first annual Query Holiday!


From their web site:


Query Holiday

The ability to write an amazing first chapter is a much more important skill, as a novelist, than
the ability to write a good query letter. So why even bother with a query?



That’s why we’re announcing the first annual FIREBRAND QUERY HOLIDAY—o support
authors who want to spend their time and energy perfecting their manuscripts and not just
polishing their sales skills.



We want to read your first chapter.



Our usual, query-based submission system will be closed for a short period starting on the 15th of December (don’t worry, any query that was already in our system will be answered even while the system is “down”). And then—beginning on December 15 and ending on January 15—we will be accepting sample chapters via a unique email address: queryholiday@gmail.com.



We pledge to review all samples by the end of January, and will respond to those that we are interested in no later than February 1.



Who should submit?



We’re looking for talented authors—with completed books—who are interested in working closely with an agent before and after a publishing deal is done. If you’re interested in revising your manuscript, partnering with an agent, and marketing your book—you’ve come to the right place.


It doesn’t matter if you’ve queried Firebrand before—all that matters is that you are ready to submit the best material you have to offer.

Instructions on What & How to Submit:

1. Paste the first chapter/twenty pages of your most polished work into a new word document. On a cover page provide the title of your work, the market, the word count of the entire manuscript, and your name, phone number, and email address.


2. Email this material as a word document attachment to: queryholiday@gmail.com between December 15 and midnight January 15.


3. If we like what we read, you WILL hear from us by February 1. If you don’t hear from us, we are sorry to say that have we passed on your manuscript. You should feel free to query us after Query Holiday with other works, through our normal website submission system guidelines. Happy holidays!

Firebrand's agents represent children and YA lit (as well as other types), and they include sci-fi and fantasy on their list.

From Agent Query profiles:

Nadia Cornier

• Fiction Interests: Literary Fiction Science Fiction Chick Lit Mystery Horror Christian Commercial Fiction Fantasy Women's Fiction Humor/Satire Romance Family Saga Historical Fiction Young Adult Thrillers/Suspense Children's Multi-Cultural Adventure Gay & Lesbian Military/Espionage Offbeat/Quirky Erotica Middle Grade Graphic Novels


• She'll look at SF/F but, please read James Maxey's BITTERWOOD for an idea of what kind of SF/F she's into - It's a genre-rule-bending, smart take on a tried-and-true subject.


• She's got a great YA list right now, so your book will have to really make her heart sing to catch her attention. She'll do her best to not sign "repeat" clients, so if you have a YA spy book, a YA vampire book, or straight chick lit YA voice, she's already got it on her list, love it, and she's not looking for any more that will conflict with the sales of her current clients.

Ted Malawar

• Fiction Interests: Literary Fiction Mystery Commercial Fiction Humor/Satire Historical Fiction Young Adult Children's Adventure Middle Grade


• He is looking for strong YA and select adult fiction, and to expand Firebrand's middle grade, chapter, and picture book list.


• For YA, he is looking for books that walk the line between commercial and literary, he likes high concept novels with great "hooks," unique premises, and great humor. (He likes to laugh a lot.)


• He also enjoys lyrical fiction, as long as it has an authentic and compelling voice. He´s a huge fan of mysteries, smart historicals, and urban fantasy about original topics (no vampires, please)


• For middle grade, he is drawn to unique coming-of-age stories. He likes stories that make him laugh, but if you can make him cry, even better. He likes projects with fantastical/supernatural elements, too, and action/adventure plots.


• He is also looking for author/illustrators.

Michael Stearns

• Fiction Interests: Literary Fiction Commercial Fiction Fantasy Humor/Satire Romance Young Adult Thrillers/Suspense Children's Middle Grade


• In terms of genre books, he's much more interested in non-Tolkienesque fantasy, paranormal romance, comic coming-of-age, and thrillers (all with some literary spin).


• He responds well to wit; not dorky funny but genuine wit.


• He's interested in both teen and middle grade fiction


• For picture books, he is relying on referrals only and he is only signing a few writers whose work he knows and trusts
  

Happy submissions!

:) Cheryl

Most Common Writing Mistakes: RMC-SCBWI 2008 Fall Conference Editor/Agent Panel (Part 2)

Continued from yesterday: More questions and responses provided by editors/agents John Rudolph (G.P. Putnam's Sons), Julie Strauss-Gabel (Dutton), Melissa Manlove (Chronicle), and Barry Goldblatt (Barry Goldblatt Literary Agency).

6. Explain how imprints/umbrella publishing organizations work?

Julie: Submit only to one person at the publishing company per pass, not to two people from two different imprints. As a rule, imprints don't compete against each other. YOU pick the best imprint for your manuscript before submitting. Also--never submit the same manuscript to two editors at the same imprint.

John: Each imprint has its own personality and set of submission guidelines. Note--you can submit to one imprint first, the to another.

7. What trends do you see in the children's publishing market?

All: If you (authors) see a trend in publishing, they (the editors/agents) have already bought that type of manuscript for the next several years. Don't try to follow trends.

Most areas of the industry are doing well except for picture books.

John: Even in picture books, there are exceptions, books that will sell.

Julie: There's a spread. There are two or three hugely-successful titles (for ex., vampire books). Then a few more of this type of book hit the shelves because readers are actively looking for them. Then this book type comes out in established series paperback originals. By that point, they aren't looking for more of the same.

Consider: they are currently working on they're 2010-2011 list.

8. What type of book do you want to see more of?

Barry: Good ones! There are lots of different types of readers, so a single "book formula" doesn't work.

John: It's too difficult to categorize. If a book is good, we buy it.

Barry: We don't want a book. We want writers or artists we can work with for a long time.

9. What type of book would you like to see less of?

Barry: Bad ones :)

Melissa: Books that will appeal to a broad audience. Ask yourself: how many people will love your manuscript? One hundred is not enough. Need to sell tens of thousands to make a book successful.

Julie: "Good enough" is not good enough for the children's writer. Ultimately, our goal as writers should deal with what happens when our books get to their kid readers.

10. What kind of competition do aspiring authors face? That is, what percentage of submissions do you actually acquire?

John: Small. In 2006, he wrote 500 letters to people who had potential. 10-12/year actually published.

Melissa: Receives unsolicited 12,000 subs/year, of which she publishes 1-2.

Barry: Signed no new writers last year. This year, he's signed two. He receives 200 queries per week.

[Cheryl: I think I'll remain in denial about those figures. Sheesh! I'm used to facing tough odds, but those are ridiculous.]

11. What do you want to see in a query letter or cover letter?

Barry: The purpose of the cover letter is to make him want to read the book. Don't spend time telling about yourself. The cover letter should be like the preview for a TV show. A preview doesn't tell you about the actors' schooling or previous films. Focuses on the story and why you want to see it. The letter should read like flap copy. Anything extra provides him with potential reasons to say no. (Note: Later, Barry added that he doesn't find it valuable to hear about publishing credits, etc., in a cover letter, either. It's all about the book concept and the writing.)

John: DON'T tell him how to sell your book.

Julie: Keep the letter simple. Put a taste of what's in the book, but not too much. (Barry disagrees. In his letters, he wants more info about the book.)

Melissa: Don't put in "It's charming/great/my kids love it." Tell her about the manuscript.

Note: all but Barry would like to see publishing credits, if relevant. However, these are only 10% of the decision.

:) Cheryl

Most Common Writing Mistakes: RMC-SCBWI 2008 Fall Conference Editor/Agent Panel

Here are some of the questions and responses provided by editors/agents John Rudolph (G.P. Putnam's Sons), Julie Strauss-Gabel (Dutton), Melissa Manlove (Chronicle), and Barry Goldblatt (Barry Goldblatt Literary Agency).

1. What are some of the most common mistakes you seen in manuscript submissions?

John: Submissions inappropriate for Putnam's list--mass market titles, nonfiction manuscripts geared more toward educational publishing than trade publishing

Julie: Bad writing, submissions that don't follow the guidelines, non-ambitious writing. Her guidelines state no unsolicited email queries: she deletes any email queries unread.

2. When you look at a manuscript that might get a personal rejection letter, what problems do you often see?

Melissa: Great writing, but the story lacks a strong hook

Barry: Beautiful language, but no story yet

Julie: Inevitably, she sees plotting problems. She considers this the last piece of the puzzle. Voice and character HAVE to be solid.

3. What advice can you give an author on the midlist to help him or her "break out"?

Barry: There's no longer any such thing as the midlist. Writers either "hit it" or don't. They have to challenge themselves every time, with every new manuscript.

Julie: The authors who are most supported by her house are those who promote and support their own books.

Melissa: Struggling authors are often writing books that appeal only to a narrow audience

4. What sorts of revision requests do you make before acquiring a manuscript?

John: All kinds! Might suggest plot changes, a new ending for a picture book, a chance in writing tense...there isn't one kind of change he requests more often than another.

5. Why are you willing to work through revisions with an author before acquisition?

Julie: It's standard to go through a round of revision before acquisition. This is an important step--it allows both sides to "feel out" the revision process and how it will work. Authors should always be open to working through revisions. Revision requests are only made when the book is close.

Melissa: Writing is one skill and revision is another. She wants to know if you have that skill before agreeing to work with you.

...More tomorrow!

:) Cheryl

Meet the RMC-SCBWI 2008 editors and agents: John Rudolph, Melissa Manlove, Julie Strauss-Gabel, Barry Goldblatt

More from the 2008 RMC-SCBWI Fall Conference: Editor/Agent Panel

One of the conference's most valuable sessions (in my opinion) was an editor/agent panel addressing various questions about this crazy business of writing and publishing. Panel members included:

• John Rudolph*, Executive Editor at G.P.Putnam's Sons, an imprint of the Penguin Young Readers Group. "He edits picture books, middle-grade and young adult novels, and a small number of nonfiction titles. Among the authors and illustrators he's been lucky enough to work with are Pete Seeger, Tomie dePaola, Richard Michelson, Nathaniel Philbrick, Padma Venkatraman, Jack Higgins, Brenda Woods, Pete Hautman, R. Gregory Christie, Steve Schindler, Mary Azarian, and Wendy Anderson Halperin." Putnam publishes 55-60 books per year.
• Melissa Manlove*, Assistant Editor at Chronicle Books. Acquires picture books, chapter books, middle grade, and YA. She describes herself as "passionate about all genres and topics in children's books, with the exception of religious themes. When acquiring, she looks for fresh takes on familiar topics as well as the new and unusual. More important than topic, however, is an effective approach and strong, graceful writing."
• Julie Strauss-Gabel*, Associate Editorial Director at Dutton Children's Books. She edits "picture books and fiction for older readers (middle grade and young adult). Some of Julie's books include The Milkman and Market Day by Carol Cordsen,...; Easy Street, by Rita Gray...; Printz Medalist Looking for Alaska, and Printz Honor Book An Abundance of Katherines, both by John Green...; Edgar Award Winner Buried by Robin Merrow MacCready; Gods of Manhattan by Scott Mebus; Eleven, Twelve, and Thirteen and The Fashion Disaster that Changed My Life, by Kauren Myracle; and Safe by Susan Shaw." More info about Dutton Children's Books can be found at www.duttonwritersroom.com .
• Barry Goldblatt has owned and operated his own literary agency since September 2000. He represents authors such as Holly Black, Cassandra Clare, and Libba Bray. He has about 45 current clients. Although he's gained a name as a "fantasy agent," he represents writers of many types. More info about Barry and his agency can be found at www.bgliterary.com

I'll cover the panel's response to a number of writing/publishing related questions tomorrow (such as: What are the most common writing mistakes you see? What problems might you see in a manuscript that merits a personal rejection? What advice can you give an author on the midlist?)

:) Cheryl

* Information obtained from speaker biographies, Letters & Lines RMC-SCBWI Fall Conference 2008 handout.

The Infamous Barry Goldblatt

I'd have to say that agent Barry Goldblatt wins the award for causing the greatest stir at this year's RMC-SCBWI fall conference. On the Manuscript Critique registration form (he served as one of the critique-ers) he rated his own line: "NOTE: Agent Barry Goldblatt has indicated that he is fair but quite blunt in his critiques. Please indicate whether you feel you can handle such a critique: ___ Yes ___ No." He arrived at the conference surrounded by this mystical aura of "scary agent".

When you meet him, the reputation is difficult to believe. He's a normal-looking guy (no Darth Vader-esque rasp or Darth Maul tattoos) with an easy smile and a quick wit. Sure, he's got strong opinions about the world of writing--but which of us doesn't?

Here's what speaks most in his favor: the people who know and love him, such as sweet and funny Lauren Myracle, gentle (but tough) Julie Strauss-Gabel, and, of course, an admirable group of authors who I don't know personally but LOVE as writers: Holly Black, Cassandra Clare, Shannon Hale, Libba Bray...I mean, if all these great folks love him, can he really be that bad?

From what I hear, that depends more on you than on him.

If you're looking for a pat on the back or a confidence boost, I'd look elsewhere. But if you go to a conference and REALLY want to know what's wrong with your work and how to make it better, he's your man. Sign up for a critique or first pages session with him. But be forewarned: he might not follow that nice "critique sandwich" we're taught in critique groups. His view? He has ten minutes--or less--to give an author feedback. If you want something useful, he doesn't have time to waste on anything but what's most important.

The problem is that, for most of us on this writing road, we need to hear that we're nowhere near the mark, that our story is old, the dialog goes on too long, the voice isn't working--BIG stuff that is no fun to hear. In the past, I've been to many critiques where the critique-er tiptoed around the real issues. I left those sessions feeling like I didn't know where to go next. When I had a critique with Barry Goldblatt, I left with a laundry list of changes to make, potential story problems to avoid, and a bit of brainstorming about better places to start the story. I left the session on fire to rewrite--and I've been rewriting ever since.

And no, he didn't say he loved the story or anything like that. He just shared my enthusiasm for good writing and how to make it better...which meant pointing out a heck of a lot of things that I was doing wrong. So is he a scary editor? It all depends on where you are as a writer.

:) Cheryl

Check out Barry Goldblatt's amazing client list and submission guidelines at: http://www.bgliterary.com/index.html

New Agent for YA Fantasy

First: do you check out the Guide to Literary Agents blog (http://www.guidetoliteraryagents.com/blog/). If not--and if you're looking for an agent--add this site to your Favorites list. Its full of up-to-date info on literary agencies, agents' specific needs, and new agents.

From today's post, Eddie Schneider, formerly of Folio Literary, is a new literary agent with JABberwocky Literary. Among his interests are sci-fi, fantasy, and YA literature. Snail-mail queries only.

I don't think I'm a good fit for his list, which is a shame...I've always loved the poem that inspires the agency's name. Although there's a running argument in my house about how, exactly, some of those words are pronounced.

:) Cheryl

Take-homes from Kate McKean

Despite a last-minute decision to participate in a Read-and-Critique session, I obtained a Friday afternoon reading slot with agent Kate McKean at last weekend's PPWC conference. If you haven't participated in a R&C, see my May1 post for more info. They're intense, but give you a chance to receive feedback on your work in progress and to hear how an agent's mind works.

In this particular case, the agent was commenting on 15 lines of text--less than a single page--so I think the session held more benefit for the writers than the agents. We got to hear her on-the-spot comments on a dozen different manuscripts; she only got to hear whether we could write an intriguing hook and a few pleasing paragraphs. I'm glad I attended, though--I got to see another sharp-minded agent thinking on her toes!

Here are some tidbits gleaned from the session. They aren't necessarily "new," but they're so important for tight writing, they're worth repeating. These were her comments on polished, high-quality manuscripts:

• Cut, cut, cut those adjectives


• Cut, cut, cut excess dialog tags. (From me: after this session, I started paging through some of my favorite books to see how many tags published writers use. I was amazed! This is a lesson worth applying and re-applying to my own writing.)


• Establish the world's rules within the first few paragraphs


• Lists can be an effective form of description, but limit them to the five most effective items


• Use specifics in the log line. Don't say "running for her life" but report why and from whom


• Identify your purpose in every line of prose--and don't fulfill the same purpose twice.


• You can often cut out the prologue or the first few paragraphs of a novel. They're often written to get the writer's gears moving, but they aren't necessarily the right place for the story to begin.


• Point the reader's attention like a movie camera, focusing on what's important and not unnecessary details.


• DO include visceral, clear images. For ex., a rat climbing onto a girl's hair to avoid drowning

If you read my May 1st post, you'll notice some similarities to the take-home from Laurie McLean's session. I don't think they pow-wowed beforehand: I think that writers everywhere need to cut and slash to make their writing the tightest, most powerful, clearest prose it can be.

Hmm. Does that mean that, as a writer, my main job is to cut out most of what I've written? That describes my rewriting process: I pare away words until one page of rambling reveals the one clear, powerful image underneath. That's my focus this week as I rewrite!!

:) Cheryl

PPWC Report: Agent Kate McKean

Kate McKean: Kate works with the Howard Morhaim Literary Agency (http://www.agentquery.com/agent.aspx?agentid=836.) She reports that she is very interested in young adult, urban fantasy, paranormal romance, and lots of light nonfiction. She does NOT want space odyssey science fiction, high fantasy, or sword and sorcery fantasy. She also doesn't like serious and dark fiction.

What has she seen too much of?

• Query letters that start with questions


• Women's fiction about a divorced woman who is starting life over


• Any fiction with more than one brand name on the first page


• Reruns of whatever's on the shelves right now. If a topic is hot right now, it's what agents were reading a few years ago.


• She's NOT tired of vampires.

What is she not seeing that she'd like to see?

• Paranormal westerns


• More YA romance, even "issue" YA--BUT it has to be told in a convincing voice


• More middle grade fantasy that's not trying to be Harry Potter. Fantasy that's perhaps a little more serious, not cartoonish


• Lots more urban fantasy!

Note: Kate McKean also reported that she prefers email submissions, a detail not reflected on the agency's listings in Publisher's Weekly or Agent Query.

Tomorrow: Take-homes from her Read-and-Critique session.

:) Cheryl

Take-homes from Laurie McLean

On my first day of the conference, I had the chance to sit in on a Read-and-Critique session with agent Laurie McLean (http://www.agentsavant.com/as/page.cfm/About-Laurie). If you've never been to a R&C, here's how it works: writers bring a page or three of their WIP (preferably the first pages, usually specified in the R&C rules,) read them to a small audience that includes an editor or agent, and the editor/agent provides deep and life-changing comments in 3-5 minutes. Usually a session moderator sits in the corner, stopwatch in hand, to make sure everyone sticks to the schedule--which means that everyone who signed up gets a chance to read. It's a little scary to be the author in the hot seat, but is a great opportunity to 1) share your work with an audience, and 2) receive feedback from an industry professional. And although it seldom occurs, most of us continue to hope that the editor or agent will swoon in admiration and offer a contract on the spot.

IMO, it's also incredibly difficult for the editor/agent to formulate intelligent comments in this setting. That said--Laurie McLean impressed me with her ability to pick out what did and didn't work in the pieces presented. She's blunt, but so darned good-humored that you can't take offense--especially if you really do attend with the intent to learn rather than the intent to find a fairy godmother agent.

Here are some bits of writing wisdom gathered from her comments:

1. In fantasy or paranormal, define unusual rules or objects in the first few pages. Make sure the story is magical up front so the reader isn't confused, for instance, about whether the MC is human or elf.


2. Cut scene details that the reader will already know.


3. Keep text tight, tight, tight! Less is more. For instance, "tin can with wings" is better than "tin can with wings that I used to fly in".


4. And on the same theme--choose your details wisely. If you're using two descriptions in the same sentence, see if you can cut one. What adds the most to your setting, story, and mood?


5. Cut excess dialog. A little goes a long way and too much is cumbersome.


6. Streamline text so that the action is clear.


7. Be careful not to introduce too much (too many characters, too much background info, too many plot details) too quickly.


8. Prologues don't belong in a story except when absolutely essential. Usually, prologues are cheats to get the reader hooked in the story.


9. Exception: prologues are often useful in a thriller, especially used to show a scene that happens before the story in which a character dies.


10. Know your genre so you can avoid overdone plots, story concepts, and characters.

To sum up: LESS IS MORE. I'm going to post that over my computer as I rewrite!

Cheryl

PPWC Report: Agent Laurie McLean

Personal Stuff: I'm happy to report a Pikes Peak Writer's Conference experience that was all I'd hoped and desired. I've returned home re-energized and recharged for writing--and I have a pile of new writing information to process and play with. Also came home with two awesome books on writing craft and a novel by one of my new favorite fantasy writers, Carol Berg. She lives right here in Colorado. Why hadn't I read her wonderful books before? I raced through Transformation in two days. Wow. Now for the agent stuff....

Laurie McLean: Laurie works with the Larsen Pomada Literary Agency (http://www.larsenpomada.com/) in sunny San Francisco. She reps adult genre fiction (the books with labels in the bookstore,) middle grade fiction, and young adult fiction. She does NOT represent picture books or chapter books.

What has she seen too much of?

• Query letters that say "This is the next Harry Potter/Lord of the Rings"


• Chick lit (It's hard to sell right now.)


• Books about 2012, its significance as the end of the Mayan calendar, and the end of the world


• Traditional old-guy-in-the-castle vampires

What is she not seeing that she'd like to see?

• Truly different westerns. She always sees the same story with slightly different characters and settings. Wants a new story for a historical western.


• Urban fantasy without vampires or werewolves (but probably not zombies, because they have no emotional range)


• Western romance


• Paranormal romance


• Dark fantasy--something psychologically spooky and scary (no splatterpunk, no serial killers)


• Cyberpunk


• YA romance (but NOT Gossip Girl)


• YA historical fiction that transcends the era--needs to speak to today's teens. (Note: this is a soft market, so your YA historical really has to stand out!)

Tomorrow: "Take-homes" from Laurie's Read-and-Critique session.

:) Cheryl

Children's Fantasy Agents

Anyone looking for an agent who represents children's fantasy? I've come across a few new names over the past few weeks. Check out their sites for more info--and good luck!

• Stephen Barbara of the Donald Maass Agency (http://www.maassagency.com/; see http://www.almafullerton.com/My_Homepage_Files/Page27.html for an interview)
• Colleen Lindsay, a new agent at FinePrint Literary (http://www.theswivet.blogspot.com/)
• Ethan Ellenberg Literary (http://www.ethanellenberg.com/submissionguidelines.htm)
• Michelle Andelman at Andrea Brown Literary (
  http://www.andreabrownlit.com/agents.php)
• Jodi Reamer at Writers House, agent to Stephanie Meyer of Twilight fame (http://www.publishersmarketplace.com/members/JReamer/ -- hey, a girl can dream, can't she? )
• Ted Malawar of Firebrand Literary (http://www.firebrandliterary.com/fb_news.php)

Surviving the agent query process...

I have a midgrade fantasy manuscript that I'm (theoretically) sending out to agents and editors. I say theoretically, because I suffer from a common writer's problem: fear of rejection. Not as badly as, say, when I first began to write and submit, but the submission process is often tough.

For a variety of reasons, this manuscript is particularly tough to submit. After I queried a few agents the end of last year, I stopped. I had excuses--maybe the book wasn't ready, or maybe the concept wasn't marketable for a first-time author. The truth? Sending it out was (is) incredibly emotionally draining.

For the New Year, I resolved to get back on the horse. I'm researching agents and sending out queries to a few who seem like good fits, even though it's scary :). Here's how:

1. I told my critique group to keep me accountable. (They will!)
2. I send out a query or two in the morning. Then I meditate. THEN I write.
3. I tell myself that probably, nothing will come of the submissions. I bargain with myself, promise myself that I won’t have to worry about it for a while….
4. Blatant bribery. I mean, incentives. ("If you send out that query, Cheryl, you can buy a raspberry-lemon gelato at Glacier....")
5. And I keep working on several other deliciously distracting projects.

How’s it going? Well, I’ve sent out those first few queries. And I’ve gotten a few nibbles, from a few agents I’d be very excited to work with. Of course, my coping strategy #3 is failing me: obviously, I will hear from some of them! But I guess that was the point of submitting in the first place.

Just one question: does anyone else burst into tears when they get a request-for-partial email?! Goofy emotions.

Ooh, wonder if I can use that in a story?

:P Cheryl

The Perfect Pitch

Did I mention that I've resumed sending out queries for The Last Violin? That has me thinking a lot about how to write a good pitch. Donald Maas gives one formula in Writing the Breakout Novel (and suggests that "quest" is always a good word to include); Miss Snark provides additional advice in her blog archives(http://misssnark.blogspot.com/); and Kristen Nelson offers examples of winning pitch letters on her blog (http://pubrants.blogspot.com/). Here's a clue: different agents have different ideas about what makes a great pitch.

The latest SCBWI bulletin offers an interesting article that made me rethink my pitch/query approach. The author shares my trouble with pitch creation--and like me, she submitted queries with substandard pitches and her sample pages, confident that those terrific sample pages would speak for themselves. And she received lots of "no thank-you's." The same sample pages submitted with a shorter, sparkier pitch gained her requests for more.

Interesting. Obviously, the pitch is important.

Here's a winning pitch from YA fantasy author Hilari Bell: "Aided by an underpowered, unreliable trickster spirit, two teens must change the course of humanity." She adds that ""change the course of humanity" is a totally meaningless (and ungramatical) phrase, that has nothing to do with the story either, but the pitch worked, so she's not complaining too loudly!"

And her agent says that "quest" is definitely a no-no in today's market. "Spirit quest" gives your pitch the kiss of death.

I think I'll take another look at my query letter....

:) Cheryl

The moments that makes my heart flip-flop...

Just received a request for a partial from one of the agencies I've queried. I haven't queried many--only five or so--so this is one of those agencies that rose to the top of my wish-list.

The Last Violin has been on the back burner in my life for months now: I've been working on freelance projects, a children's nonfiction book, a children's nonfiction article, a pile of craft articles, and the next novel, Juggling the Keystone. I thought I was nonchalant. Sigh. Guess it goes to show that my skin isn't completely toughened yet. I can't help a surge of hope/nausea whenever something like this happens.

Tomorrow it's back to the real world of waiting and moving on to other projects. But all who read this, please keep your fingers crossed for me!!

~Cheryl

Conference Report #2: More on editors and agents

At the 2007 RMC-SCBWI Fall Conference, the first session was a panel where editors Theresa Howell, Meredith Mundy Wasinger, Martha Mihalick, and agent Andrea Brown answered a series of questions put to them by our chapter's regional advisor, Becky Clark Cornwell. I won't recap the entire session, but here are a few of the responses that I found most illuminating.

1. What makes you say yes or no to a manuscript?

Martha: If she likes it, then she has to consider whether it fits her list, whether it's marketable, etc.

Theresa: Does she like it and will it sell?

Andrea: Her agents acquire a manuscript if a) they love it, and b) they can think of three editors to pitch the manuscript to who might also love it. They also are interested in clients who will develop long-term careers, not one-book clients.

2. What do you look for in a query or cover letter?

Meredith: She looks for the very best paragraph from the manuscript itself, something that shows off the story's style, voice, and character. She wants a one-page cover/query and wants to see originality in the story.

Martha: First, does the person know her? She prefers short covers and queries. She wants to read the work itself.

Theresa: She feels like the story speaks for itself. She wants the cover or query to include a blurb or sneak peek at the story.

Andrea: She wants the cover or query letter to be as short as possible. Two paragraphs. In the first, she wants to know the book's length, genre, and a three-line Hollywood pitch describing the story. In the second paragraph, she wants to hear anything else that's relevant about the author's writing career. And, of course, covers and queries should include all relevant contact information.

3. What makes you groan in a manuscript?

Theresa: bad rhyme, cliches, overdone topics, flat voice. What makes her sit up and take notice? A fresh idea, a strong voice.

Martha: singsong rhyme, fantasy manuscripts with character names that contain apostrophes (they make her head hurt,) made-up languages. What makes her take notice? "Yes" moments, moments when the character says something she never thought of before.

Meredith: letters claiming "my grandkids loved it" or "this is the next Harry Potter!" What does she notice? Great writing, before voice and character.

Andrea: cover letters that begin "you've never heard this idea before." She wants books that stick with the universals of a child's universe. If a story hasn't ever been published before, maybe there's a reason. Publishers, she says, want more of the same, more of what's selling, but with the author's unique twist.

4. What is the most important thing in a children's book manuscript?

Martha: honesty

Meredith: connection to a child's world

Theresa: good writing that keeps the audience in mind

Andrea: an author who is respectful and wants to be the "perfect author"

5. What types of manuscripts would you like to see more of?

Andrea: well-written, really commercial, fabulous books!

Theresa: She was looking for--and will be looking for--fresh, artful, progressive books for 4-8 year olds. Books with artistic merit and literary integrity.

Martha: Literary but also a little commercial. Picture books that will hold up to multiple readings. Novels with fresh, great voices; characters kids will care about and identify with.

Meredith: character-based stories, not just concept stories. Humor.

Conference Report #1: Editors and Agents

First, the disclaimer: I'm beginning to realize that my opinions of children's book editors and agents might not be as useful as they first appear. I haven't yet met a children's editor or agent who I didn't like. Maybe it's the field. Every one I've met has been generous, kind, fun, and absolutely human. I hear this isn't the case in all of publishing, but it's my experience in the world of children's publishing.

I'll spend the next week compiling thoughts and information about the various industry professionals I met at the 2007 RMC-SCBWI conference, but here's the quick summary:

• Andrea Brown, literary agent, Andrea Brown Literary Agency, Inc. This is one of the most knowledgeable industry professionals I've ever met. She's tough, straightforward, all business, and knows her stuff. She plugged the Big Sur conference, a writing workshop for children's writers run by her agency. It sounds wonderful--a weekend in which authors work with an editor, an agent, and an author in their genre. And lest you think my source is biased, I've heard only the best of reports from past attendees as well. For more factual sorts of info, see her bio on her website, http://www.andreabrownlit.com/. My take? She's not the agent for me, since she doesn't rep fantasy, but I left with renewed determination 1) to attend Big Sur next year, and 2) to query her agency.



• Meredith Mundy Wasinger, editor at Sterling Publishing. She's incredibly easy to talk to and incredibly sympathetic to authors. She's one of those people who puts you at ease after two minutes of conversation. What makes her willing to work with an author? Character, voice, and a personal passion for the work. If a story has a great character and a great voice, she's willing to hang in there. My take? Well, since she publishes only picture books, I don't think I'll be submitting to her. Bummer. I'd love to work with this classy lady! Maybe I'll have to take another stab at picture book writing. After I finish my five other projects....



• Martha Mihalick, recently promoted editor at Greenwillow Books. I didn't get to spend as much one-on-one time with Martha, but she gave great feedback in the "First Pages" sessions. Maybe "First Pages" should be renamed "Test-the-Editor," since they require the reading editor to process and comment on stories so quickly and with so little information. She also provided manuscript critiques to a fortunate few, and reports state that she did a fine job of discerning what worked and didn't work in manuscripts. What makes her willing to work with an author? A moment in the work that speaks to her, a cool plot, a moment when a character says something that surprises her with its truth. She also prefers authors who are great to work with during revisions :). My take? She's a delight as a person, sharp as an editor, and likes fantasy, so I'm currently researching Greenwillow's list. They seem to publish fantasy that's a little "higher" in style than my own magical realism story, The Last Violin, but I'll probably still send her the first ten pages or so.



• Theresa Howell, editor of Rising Moon and Luna Rising--which were recently acquired by another publishing house. In the short term, that means that they aren't accepting any manuscripts; in the longer term, though, they expect to need a lot of manuscripts once things are straightened out. Theresa publishes picture books with everyday themes, such as Liz Rusch's A Day with No Crayons (which comes out in November, if all goes well.) I spent the least time with Theresa, but hear she gave great critiques.

More on these four tomorrow!

:) Cheryl

Agents for Children's Fantasy: Maya Rock

I've been checking out a lot of agents over the past weeks, compiling a (short) list of those who might be interested in The Last Violin. Maya Rock is one of those who impressed me. Anyone else looking for an agent for children's fantasy writing? Here's what I learned:

Maya Rock -- Writer's House (http://www.writershouse.com/)

3 WEEK RESPONSE TIME (response time for me--5 days)

Maya Rock is a relatively new agent actively seeking new clients.

In an interview with Michael Neff for the Algonkian Writer's Conference, Maya says:

"I am looking for all that's good, wonderful, interesting, and unique. I have a special yen for literary fiction, historical fiction, YA, practical nonfiction, self-help, and romance. I particularly like books with foreign settings, strong heroines, and a good dose of suspense. I like funny things. I also like some fantasy...If I fall in love with the writing, that's it. I don't think I'd mind much if the writer was crazy or hellish if I loved the writing. But it's also nice when people are flexible about improving and editing their writing before submitting it to publishers. There's often a lot of work to be done in between getting an agent and getting a publisher."

Read the entire interview at http://www.webdelsol.com/Algonkian/interview-mrock.htm

PS--Pictured is the famed Lily, inspirational poodle extraordinaire :-)

~Cheryl