Agent Monday: April Showers Bring…Client News

Happy Agent Monday, everyone!  April is BUSY, and lots of things have been happening. For me, this month is packed with travel and book pitching and the Writer’s Digest Sell Your Children’s Book Webinar (starting today), in addition to the day-to-day goings on of being an agent. My clients have been very busy too! For today’s post, I thought I’d share some of their recent good news here…

Jumbies cover smallHappy Book Birthday!

Tracey Baptiste’s middle grade novel THE JUMBIES (Algonquin Books FYR) will celebrate its book birthday on April 28th! Caribbean island lore melds with adventure and touches of horror in this tale about Corinne La Mer, a girl who on All Hallow’s Eve accidentally draws a monstrous jumbie out of the forest, sparking a very personal war that only she can stop. Also, Tracey’s book is featured in this month’s ESSENCE magazine, which called THE JUMBIES “an endlessly addictive and hypnotic new read.”

 

Award Winner!Eliza Bing jkt

Congratulations to Carmella Van Vleet, whose debut middle grade ELIZA BING IS (NOT) A BIG FAT QUITTER (Holiday House) has just been awarded The Christopher Award. The award recognizes writers, producers, directors, authors and illustrators whose work “affirms the highest values of the human spirit.” Carmella’s novel is about Eliza, who has ADHD, and a history of not following up on things. Eliza needs to muster up all the determination and inner strength she has to prove to herself and her parents that she can finish a martial arts class. Carmella will accept her award this May in NYC, along with this year’s other recipients. Among this year’s award winners are the creators of the movie Selma, producers of 48 Hours, and authors Henry Winkler (AKA the “Fonz”) and Lin Oliver for their children’s novel Here’s Hank: Bookmarks Are People Too! (Grosset and Dunlap).

 

mh cover final054A Top Title!

M.P. Barker’s historical YA novel MENDING HORSES (Holiday House) was just named a 2015 Booklist Top 10 Historical Fiction for Youth. Booklist called MENDING HORSES “A skillful evocation of race, class, and gender in nineteenth-century New England.“ The novel is about three outcasts – an Irish orphan, a roving peddler, and a child fleeing an abusive father – who mend each other’s broken lives as they heal a circus’s mistreated horses. Barker’s novel is also 2015 Banks Street College of Education “Best Children’s Book,” a 2014 Kirkus Prize nominee, and a 2014 VOYA “Top Shelf” title.

 

Gregory Frost 1In Asimov’s Magazine!

Gregory Frost’s short story ““Lock Up Your Chickens and Daughters — H’ard and Andy Are Come to Town!” co-authored with Michael Swanwick, is in the April/May issue of Asimov’s Science Fiction Magazine. Greg recently appeared with Swanwick and other authors from that issue at a packed Q&A session at Barnes & Noble in Philadelphia, an event I was excited to attend! Greg’s novelette “No Others are Genuine,” which appeared in an earlier issue of Asimov’s was recently honored as a 2014 finalist for the prestigious Bram Stoker Award.

Congratulations to them all!

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

 

April 20th Webinar for PB, MG and YA authors!

yes - notepad & penHi all!  Just a quick heads up that I and my fellow agents of The Jennifer De Chiara Literary Agency are offering an online webinar through Writer’s Digest. It’s called Sell Your Children’s Book: How to Write Amazing Novels & Picture Books for Kids Boot Camp. This online boot camp starts on next Monday, April 20th, so if you are a picture book, middle grade or YA author and are interested, definitely look into it now and register by clicking here.

This might be just the thing you need before the next writer’s conference or before you submit to agents. Here’s a bit of info from Writer’s Digest on how it’ll work:

On April 20, you will gain access to two special 60-minute online tutorials presented by literary agents from Jennifer De Chiara Literary Agency. Jennifer De Chiara will present a tutorial on writing picture books, and Roseanne Wells will present a tutorial on writing and selling Middle Grade and Young Adult fiction.

After listening to your choice of presentations, attendees will spend the next two days revising materials as necessary. Also following the tutorial, writers will have two days in which to log onto the Writer’s Digest University boot camp message boards and ask your assigned agent critiquers questions related to revising your materials. The agents will be available on the message boards from 1-3 p.m. (ET) on both Tuesday, April 21 and Wednesday, April 22. No later than Thursday, April 23, attendees will submit either their completed picture book text (1,000 words or fewer) or the first 10 double-spaced pages of their middle grade / young adult manuscript. The submissions will receive feedback directly from the boot camp literary agents.

The agents will spend up to 15 days reviewing all assigned critiques and provide feedback to help attendees. No later than May 9, agents will send their feedback to writer attendees.

Only registered students can access the Writer’s Digest University boot camp message boards. You’ll also be able to ask questions of your fellow students. Feel free to share your work and gain support from your peers

Please note that any one of the agents may ask for additional pages if the initial submission shows serious promise.

In addition to feedback from agents, attendees will also receive:

  1. Download of “An Agent’s Tips on Story Structures that Sell,” an on-demand webinar by literary agent Andrea Hurst
  2. 1-year subscription to the WritersMarket.com Children’s Writer’s & Illustrator’s Market database

PLEASE NOTE: Agents Stephen Fraser and Marie Lamba will be critiquing picture book and working together on the discussion boards for picture books. Agents Vicki Selvaggio and Linda Epstein will be critiquing YA and MG, and manning the message boards for those categories.

So that’s the news!  Maybe I’ll see some of you online there.

Agent Monday: Time for Something New!

Red TulipsHappy Agent Monday, everyone! Spring is finally here in the Northeast, bringing with it a quickening of step, buds on trees, new beginnings, and people emerging from their dark burrows blinking their eyes at the bright sun. Now’s a time for new beginnings. As a literary agent, I’m seeing in my submission inbox far too many tired subjects that have been done to death. What I want is for writers to dig deeper and explore things in NEW fresh ways. Here are some things I’m seeing far too much of:

1. Bullying – Bullying may seem to be the “new hot topic,” but it has been around since people have existed. If this is a topic that you are writing about, are you plotting to teach a lesson to readers? Please don’t. Not in fiction. That’s icky. And, are you bringing anything new to the table at all? Or seeing things in a fresh or witty way? Too many submissions are just trying to capitalize on what a writer sees as something somebody might want.

2. Diverse Just Cuz it’s Hot – There’s a great thing about everyone being represented in literature – I’m ALL for that. Hey, I’ve been “fashionably” multicultural even before there were hashtags for it! But that’s not why I wrote about biracial teens in my own novels. These were my characters because my own kids are biracial – and it was close to my heart. I wanted my kids to see people like them reflected back in stories that weren’t about “OMG I’m biracial!” I wanted them to see heroes they could relate to out there in fiction. Now, what I’m seeing far too much of is a novel suddenly featuring a character as a particular race or with a particular disability because, look!, my book is diverse and that is HOT and will SELL. Folks, if this doesn’t occur naturally in your writing, please please please don’t just insert it into your story so it’ll sell. That’s gross.

3. Strange Picture Books – And I’m not talking about zany or wacky or out of the box. I’m just talking bizarre — not in a good way. Odd plots that just make you scratch your head and say huh? Supposed issues that no kid I’ve ever known can relate to. Situations that are just trippy instead of fun and fascinating. Creativity is great, but these writers have forgotten that a reader needs to relate to a story somehow.

4. Already Seen it Befores – There’s a movie or a book series or a news story that has become “the thing,” so then for the next year or two I’m flooded with that same story in different incarnations over and over and over. If I’m getting these, you can bet every other agent is too. As soon as I spot a submission as a reboot, my eyes glaze over. 50 Shades…Divergent…Hunger Games…Twilight…Fault in our Stars… etc. etc. etc. I can guess, just from the premise, all the twists and turns that a book will take. I’m actually looking for fresh and original stories only you can tell. If you are still working in the realm of the obvious as you plot, or redoing the last great thing to catch a wave, then your submission isn’t for me. Dig deeper with your writing and dare to start the NEXT commercial hit.

So, think fresh and original, but don’t forget your audience. If something suddenly seems like a “hot topic” and it doesn’t come naturally to you, please don’t go chasing the market by inserting it into your story. Don’t offer up heavy-handed lessons, either. It’s about the story. It’s about your voice, and the way only you can tell that story.

Dig deeper. Let things grow naturally from you. Prune and weed and tend your story till it’s ripe and unique. That’s something that’ll take root.

Happy Spring!

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

Agent Monday: Why Some Queries Work

MP900439510Happy Agent Monday, everyone. And dare I say, Happy Spring? Okay, I’m putting away my snow shovel. That’s that. This weekend, as I plowed through queries in my inbox, I started thinking  about why some queries work, and why some just fail to grab my interest. I’m talking about queries that are fairly well-written and professional looking. The answer, for me rests in what makes me buy a book at the bookstore.

1. The Subject is of Interest to Me

Seems simple enough. When I enter my local bookshop, I go directly to the sections that I’m interested in. These could include general fiction, memoir, YA and the children’s section. I do not go to the strictly non-fiction reference section, or the category romance shelf, or the science fiction section. That’s just not my interest.

Likewise, if you query me about topics that I’m not interested in, I’m going to pass you by.

2. The Title Draws Me In

If a book is something generic like: A Breeze Blows, or Time, or whatever, then it’s not going to prompt me to think, Hm, now THAT sounds interesting, and to pick it off the shelf.

Likewise, I think writers querying me often forget that a title is the first thing that can spark interest in an agent. It should give some flavor of what’s to come and make me think, yeah, I’d pick that one up to find out more.

3. The Jacket Copy Sounds Interesting

When I pick a book off the shelf, the very first thing I do, after noticing how long or short it is, is to read the back jacket copy, and the flap copy. Does it build on the promise of the title? Do I want to find out more? If not, I place it back on the shelf and move on.

With queries, this is an important moment for the author. You need to describe the book in a way that will make me want to read those sample pages. If you can’t do that, I won’t bother to read those pasted in opening words, and a rejection will be sent.

Too often, the writer will tell me about how the book was written…like alternate points of view, or in three parts, or in short chapters. I don’t care. I want the story to draw me in. WHAT’S THE STORY? Make me want to read it.

Or they’ll wax on about why their book is important and the message that the writer wants to convey. Honestly, I have to say that’s secondary to THE STORY. If it’s not a non-fiction proposal, that info doesn’t matter much at the outset.

I also mention length here, because, truthfully, if a fun escapist women’s fiction novel is 1,000 pages long, then, nope, I’m not lugging that thing home. Also, if a book is really really slim, as a book buyer I gotta think, hm, is this worth even spending money on?  As a querier, know the proper length for your genre, and try to keep your manuscript within an acceptable length.

4. Opening Pages Make Me Have to Know What’s Next

Me at the bookstore again: Next thing I do? I flip open the book and begin to read the opening pages. Not too many of them, mind you. Just enough to know that the book is not for me at all. Or that I’m loving what I see. That I have to read what happens next. Mind you, I don’t flip to a later chapter to see if things pick up. I don’t let a reader bore me or waste my time. This book is for my entertainment.

Likewise for a query. My guidelines allow for the first 20 pages to be pasted into your query email.  Even if you have been able to pull me in with the subject and the title, and I see the length is right, and the premise sounds really interesting, if those opening pages fall flat for me, there is no way I’ll ask to see the full manuscript.

BUT, if you deliver on all those aspects and have 20 rocking opening pages, I’ll ask for that full manuscript. Just like I’ll buy that book off the bookshelf.

Hey, it’s that simple!

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

Agent Monday: How Fast Do Agents Respond to Clients?

Speed skaterHappy Agent Monday! Almost spring time. Take THAT little mound of dirty snow left in the parking lot! Last week I talked a bit about how fast editors respond to agents. This week I’d like to chat about how quickly a writer can expect their own agent to respond to a manuscript when they submit it to that agent. A hot second? A day? A week? A month? Several months? The answer is YES. Here’s why.

Okay, I don’t know about you, but I am only one person with one set of eyes, and two hands, and I have a list of clients. Unfortunately there is no organized scheduling of when my clients submit manuscripts or revisions of manuscripts to me. They finish them and hit send.

That means that in a given week, I can suddenly have 6 full-length novels ping into my inbox for a careful review and response. And they can arrive on top of a stack of already received manuscripts from clients. So, the clock starts ticking in a writer’s mind… They expect a quick turnaround. A month at the most, right? Isn’t that what other writer’s get from THEIR agents? Well… not exactly.

Some agents might hand these off to readers, who will respond to the writer with comments – in that case, the agent may not even see the manuscript. Me? I always read my client manuscripts myself. That takes time. Perhaps some projects don’t require a lot of time, and can be quickly handled and answered. If that’s the case, I might be able to flip it back to the writer ahead of other projects in my queue. This can happen with a quick polish where the changes have been tracked, or with a very clean manuscript that needs just a read, or with a shorter manuscript, like a picture book or chapter book that is in great shape. Other projects DO require time and thoughtful comments. Tick tock, right?

And since the agent is only human (gasp – WHAT???), other things should be factored into the writer’s expectations. Things like: did I submit it just before the Christmas holidays? If so, while the agent might be doing work during that time, should it be expected and counted as work time? Hm. Perhaps consider those two weeks off. How about if the agent is off at conferences within this time period? Perhaps spending a few days at BEA and then presenting elsewhere. That will set the clock back a bit (by the way, you DO want your agent doing these things, since it ups their visibility and contacts with editors). And while your manuscript is there with her, it is 99% likely that other manuscripts ahead of yours are also being pitched, and authors are calling, and editors are emailing, and film rights people are demanding attention, and fires are being put out.

So, message to writers: Don’t expect a month turnaround. Expect your agent to do her best.

What do I do when client manuscripts come in to me? Well, I always acknowledge receipt and let them know I’ll get to it as soon as I can. Next I log it into a spread sheet, so I know exactly what came in when, and what is still pending. And I let that list nag at me. I’m one of those people who hates having things unfinished – so I am ALWAYS aware of what I still need to do. I then typically take those projects on one by one. The exception? A quick turnaround project. If I have a tiny bit of time where I can’t even begin to get into a novel, but I can finish up on responding to something shorter, then, yup, I’ll get it back to the writer ahead of others.

My clients are a prolific bunch. So that leads to another exception: multiple projects spilling in from the same client. Okay, so if you do send me a novel in need of heavy revision, and it’s logged in, then two weeks later, you send me a shorter project, or one that is nearer to completion and that I see is nearly market ready, I will take that one and work with you to get it out into the world. What does that mean for the other novel that is tick tocking away in my spreadsheet? It means I stop the clock on that one till the other is complete.

That’s important for writers to know. I will go back to the original project, but I also do represent other writers. I’m moving all of your careers forward in every way I can, which means that I can’t drop everyone else for weeks or months while I’m working on everything that’s come in from you.

Okay, don’t get me wrong. I LOVE a prolific client. But it’s a step by step business. It’s okay to check in on projects and to see where things stand. Your agent-writer communication is important. And it’s also important to know that the “well, my agent ALWAYS gets back to me in a month” comment from other writers needs to be taken with a vat of salt. If you find yourself waiting more than a month, I say look at the real situation at hand. Is a month realistic for your project, given the form it’s in? Is your agent responding personally to your submissions while others get “reader’s reports” perhaps? Is the timing a factor? (Holidays, conferences, etc.?) Is the agent already amid another project from you, and therefore dealing with that one first? Or have you since sent one (or more than one) project that is a hotter property or a quicker turnaround, and therefore keeping her currently busy? Just how busy is your agent?

Chances are good that she is VERY busy. I’m working ALL the time on my client’s behalf. So trust in that. Communicate. Being aware of all that she is dealing with can help you to see what is realistic.

Then write more while you are waiting!

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

 

Agent Monday: How Fast do Editors Respond?

MP900341375Happy Agent Monday, folks! Hopefully, like me, you are some place where spring is FINALLY trying to assert itself. And it feels about time. Speaking about time… (See what I did there?) This past weekend I was delighted to be a speaker at the Eastern PA Society of Children’s Book Writers and Illustrators Spring Forward event. Our panel took a bunch of questions from writers, including this one: How long does it take for an editor to respond to a submission from an agent? One day, one week, one month, three months, longer? My answer was: YES. Here’s the long answer:

The truth is that sometimes editors respond in a flash, and other times, well, not so fast. There are a ton of factors at work here, and this likely does not reflect on the clout of your agent at all (since I suspect some writers might be thinking, hey, my agent didn’t hear back from so and so for three months — maybe my agent’s not bad-ass enough).

First of all, it can depend on the submission. Picture book manuscripts can be read at once, while novels will take some time. And an editor will have a pile of novel manuscripts to read through that have been subbed by other agents as well. Some manuscripts are completely timely, and so demand immediate attention, like if something is in the news NOW. And that can prompt a fast read.

Second of all, it can depend greatly on the editor. Some editors are just so swamped, that try as they might, they find themselves putting out fires instead of staying on top of submission piles, even if there is a really tempting manuscript waiting to be read. Sometimes it takes action on that manuscript, like another editor putting in an offer, before that editor puts that read at the top of their priorities. Why is an editor so swamped? Well, they can be working somewhere with limited support staff, and a high volume of responsibilities. It can make a real difference when an editor has assistants to log in submissions, to pre-read for the editor, and to help with their many time-consuming tasks along the way.

And it can depend on how the imprint acquires things. Some tippy top editors can just walk into their publisher and say, “I want this. I want to make an offer,” and they can be quickly given the power to make a certain offer. With other editors, they may need to wait for scheduled acquisitions meetings to present their case for a title they are interested in. And at certain places, no matter how high up an editor is, they first will have other editors give it a read and an opinion before taking it to acquisitions…and each of those editors has their own work load to contend with.

So you can see that you can’t always gauge the interest of an editor or the ability of your agent by the time of response. As someone at this past weekend’s event said, publishing is a business of hurry up and wait. It can move slowly, and it can move very fast. That same, carefully considering imprint can suddenly do a turnaround and have an offer in within a day if they feel they must (like when they know another offer is already on the table and it’s do or die).

What can an agent possibly do to speed this process along?

– Well, she can target her submissions very carefully. I only send to editors who I know are looking for this very type of manuscript, and who have a special interest in the subject matter.

– She can pique the editor’s interest when she pitches, so that the editor will really want to read the submission as quickly as possible. When I pitch to an editor, I really try to put in their mind what makes this particular project exciting and unique. And when I then send the requested manuscript to the editor, I add in a note detailing sales hooks that the editor can use to convince their publisher that this one is really worth an offer.

– The agent can keep on top of things. I always make sure that the editor did, in fact, receive the submission. I check back every few weeks in a pleasant, professional way, to see if they’ve gotten to it yet.

– And the agent can learn from submissions which editors are most responsive and which never reply at all, because, sadly, there are a few outliers to watch out for. If an editor, for whatever reason, never responds to any of my calls or emails, then chances are pretty good I won’t be pitching to them again any time soon. Sometimes I learn that something was going on in that editor’s life at that time which would explain this lack of response as a mere blip — then I’ll make contact with that editor again and give them another chance. But in some cases, I learn this is just par for the course, and I’ll spend my time (and my client’s time) differently in the future.

So there you have it. The long and short of submissions!  I’ve had quick acceptances and quick rejections. And I’ve had submissions take a long time with an editor, and wind up with a robust offer. It can be all over the place. As an agent, I try to be as efficient as possible on my end, and as a writer, you can do the same.

Waiting can feel like FOREVER, I know. The best antidote? Work on your next book and make the time really pay off.

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

Agent Monday: Springing Forward with Writer’s Resources

Snow March 1 2015Happy Agent Monday, everyone! I was SO happy to flip the calendar to March. But joke’s on me, since, yeah, a lion-like snow and ice storm has swept through. The picture here is what I’m seeing out my window this morning. But let’s be optimistic, shall we? Today I’d like to highlight a few of my favorite writer’s resources that’ll help your writing career take root and grow. So, ready to spring ahead?

1. The SCBWI Blue Boards

You don’t have to be a member of the Society of Children’s Writers and Illustrators to participate in this online message board…but definitely consider joining this organization if you are writing for children through YA — it’s an awesome resource. The Blue Boards is where it’s at if you want to connect with other writer’s for youth, plus literary agents (like me!) and editors sometimes chime in there too. You’ll find camaraderie, answers to questions about craft and the market, and solid advice and true experiences that writers in your field are having right now. Definitely get involved by going here.

2. Publisher’s Marketplace

If you are serious about writing for the top commercial publishers and about getting an agent, then you need to do some serious research. Which deals have recently been made in your genre? Has a deal been made in the past year that is exactly like the book you are about to write? Which agents represent authors in your subject matter? Has the agent you were considering been active with sales? And what’s the latest business news? The inside scoop is all at Publishersmarketplace.com, the site that agents and editors and others in the business all rely on. Yes, there is a cost, but it’s a monthly subscription. That means you can get it for a month or two, do all the research you like and then stop it if you’d like. Or keep it year round and share the subscription cost between several writer friends so you all benefit. It’s smart. Find out more by clicking here.

3. Indiebound.org

Did you know that you could buy books online with discounts and all at an independent bookstore, even if you don’t live right next to one? It’s true!  Nothing is more important to writers than reading reading reading. Well, except for having vibrant bookstores. When you are published, you’ll need there to actually be places where your audience can stumble upon you while browsing, even if they hadn’t heard of you already, right? So, writers, do your thing and support indie bookstores. From the home page you can put in the book you are searching for in that upper right hand search field with the spyglass thingee next to it and click enter. Then you’ll be prompted to enter your zip code so you can shop at the indie nearest you, or pick whichever one you wish. Shop online there and you’ll find discounts, free shipping over certain amounts (within easy reach), plus the option to pick up your order at the store for no charge on orders of any size. There’s even a link on the site for stores that sell ebooks. Make it your first stop when buying books, by clicking here.

4. The Liars Club Facebook Page

Started by a group of authors who, basically, lie for a living, The Liars Club is all about sharing info and building community among authors. I’m a proud Liars Club member, and the group has been supporting writers, promoting literacy and bookstores and libraries, plus sharing kick-ass info for years.  So I highly recommend you like The Liars Club Facebook page by clicking here. The group also hosts a series of free Writer’s Coffeehouses in the Philly area and one is starting up on the West Coast as well. Now’s a good time to like the page, wherever you live, since the group will soon be hosting on this page a series of online virtual Writer’s Coffeehouses featuring interaction with a number of published authors.

5. Agent Monday

Okay, you knew I had to add this one in. If you see this post, you’ve either found it on a search, or perhaps you already do subscribe. If you do subscribe, you’ll see Agent Monday info hot off the presses. And if you check back into the archives on my site, you’ll see I cover a wide range of topics from querying, to marketing, to the inner workings of publishing from an agent and author point of view. So don’t just pop in, subscribe!

I hope these resources will help you and your writing to spring forward! Time for me to chip away the ice and snow and emerge into the world.

Warm wishes!

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.