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.

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)

YA Fantasy Market: Five Star Publishers

One of the editors who impressed me at last spring's Pikes Peak Writer's Conference was Denise Little, Executive Editor at Five Star (http://gale.cengage.com/fivestar/). She gave the best on-the-spot manuscript critiques (during a First Page session) that I've ever heard an editor give. Her spot-on comments impressed me. I'd definitely enjoy working with her.

She called Five Star a publisher of “last resort” because they pay $1000 + royalty. However, they manage to get some great reviews for their books and buy very limited rights. With good reviews , they can sell a book to mass market houses. Cheryl's translation: they don't pay much up front, but they do right by their authors.

Denise said that she accepts only email queries. She recommends submitting 3 pgs + synopsis. Five Star does not accept simultaneous subs.

Update from a writing friend: they respond quickly, but are not currently accepting any YA. Maybe in the spring?

Here's the official Five Star blurb from the PPWC conference handouts:

Five Star Science fiction and Fantasy: Five Star SF and Fantasy is a series of science fiction and fantasy novels, with some supernatural horror. These will be published initially in hardcover, with a limited option to bring them out in trade paperback and/or large print as well. The publisher is Thorndike Press, best known for their large print titles. We are looking for works of approximately 65K to 100K words, and are currently accepting electronic submissions only. Some of the authors who have participated in this series so far include Gregory Benford, Mike Resnick, Pamela Sargent, Robert Silverberg, Spider Robinson, Brian Stableford, Chelsea Quinn Yarbro, Jack Williamson, Steve Perry, Susan Sizemore, Timothy Zahn, and Christopher Stasheff.
These editions sell almost exclusively to the library market. Because of this, their print runs are modest, and they do not normally distribute to bookstores, since their discounts are small (though the books are available through such on-line chains as amazon.com and BarnesandNoble.com, and can also be ordered by practically any bookstore.)

~Cheryl

Lisa Findley leaves Random House

This came in from the Rocky Mountain SCBWI listserve today:

Lisa Findlay, Editor at Random House Books for Young Readers, is leaving publishing to pursue a teaching career. Although she's moving toMassachusetts, she's not leaving the children's book scene altogether. She's available for freelance editing if you want to contact her at lcf@...

(Some of you may remember that Lisa was a speaker at our 2003 FallConference--she was an Assitant Editor then and we were her firstconference. She did a great job and we're sorry to see her leave publishing but glad she'll still stay involved.)

I still have Lisa Findley's business card in my small collection of cards from editors I'd like to work with someday. She read the first page of my manuscript when it was in its early stages and was very encouraging...she was a delight. As our co-RA, Denise Vega, said: we're sorry to see her go. She was a perceptive and delightful person.

~Cheryl

Today's thing to love...Greenwillow Books

One of the delights of my work is that I have to research publishers, to see if they would be interested in my manuscript. I've been continuing research on Greenwillow Books, edited by Martha Mihalick.

From an overview of the books on their list, their fantasy is definitely character-focused, with an emphasis on well-built fantasy worlds and cultures. At first glance, I didn't see any realistic fantasy--perhaps Dragon's Egg and The Merlin Conspiracy? I'm still waiting for Dragon's Egg from interlibrary loan.

Here are some midgrade and YA titles from their current catalog:

• Chase, by Jessie Haas
• The Oracle Prophesies, by Catherine Fisher
• Dragon's Egg, by Sarah Thomson
• The Feverbird's Claw, by Jane Kurtz (ed. by Rebecca Davis)
• The King of Attolia, Megan Whelan Turner
• The Last Apprentice: Curse of the Bane, by Joseph Delaney
• The Little Gentleman, by Philippa Pearce
• The Merlin Conspiracy, by Dianna Wynn Jones
• The Secret History of Tom Trueheart, by Ian Beck
• The Secret of the Rose, by Sarah L. Thomson
• The Sphere of Secrets, by Catherine Fisher
• Warrior Girl (Joan of Arc), by Pauline Chandler
• The Wizard (picture book), by Jack Prelutsky

My first read from their list was The Oracle Betrayed, by Catherine Fisher. She creates a beautiful world that weaves in a bit of Greek and a bit of Egyptian mythology--engaging story--interesting characters who I would have liked to know a little better. So I guess I come out ahead, whether Greenwillow is the best publisher for me or not. I've found another great book!

~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

Children's Fantasy Market

http://www.julieandrewscollection.com/sitev2/writers.php

I've found another attractive market for children's fantasy writers: The Julie Andrews Collection, published by (an imprint of?) HarperCollins Publishers. It's particularly attractive to me, because my book is about a young violinist and the collection is seeking works "embracing themes of integrity, creativity, and the gifts of nature and the arts. With a violin as one of the main characters, The Last Violin has been a little difficult to place ("beautiful writing, but I'm not sure if kids will sympathize with a violin...")

I'll take the "beautiful writing" bit to heart, and keep searching for someone willing to chance a talking violin character. Ah, publishing is slow...but it gives me time to write while I'm waiting to hear from people.

:) Cheryl