A lot of authors are curious about what happens when a project goes "on submission", so I thought I'd lay it out here. I want to stress that this is from MY POV ONLY. There is no one way to do this -- other agents might have different styles, and that doesn't make them (or me!) wrong -- just different. And I'm only speaking for myself, I make no claims about what any other agent may or may not do, even in my own agency. Also, of course, a lot of stuff may be variable depending on the author, project, time of year, phase of moon, etc, so all of this is not even applicable to all projects! And now that the epic disclaimers are out of the way, on to the epic post:

STEP ONE: Once we've been through revisions and have a clean ms to send out, I will re-read the project. As I read, I think about the style of book it is. With a book that is really submission-ready, I'll be able to visualize what I think it will look like on the shelf. Does this FEEL like a light and fun paperback? Does it FEEL like a beautiful epic fantasy with maps and fancy gilt edges? Who will buy this book most - Librarians and teachers? Teens? Hipster parents? Doting grandparents? Based on these calculations, I narrow down the list of publishers to those who would be open to publishing this type of book. I'm also thinking about who amongst my editor acquaintance might also like the story.

STEP TWO: I create a submission list and share it with the author to see if they have any input. For example, if they worked with a certain editor before, or something of that nature. My submission strategy is to target wisely rather than widely. I don't, for example, go to multiple people at the same house. I like the editors to whom I send projects to feel they've been selected especially, as indeed they have been. You can read much more about choosing imprints and the fun game of crafting the editor submission list and all that goes into that in this post from the archives.

If I an torn between who at a given publisher might like a project, I might email or call either the boss or the editor I know the best and ask their opinion. Yes, this works. Everybody WANTS to connect successfully and find projects they love! 

STEP THREE: I either call or email the editors (unless I happen to have a meeting or lunch scheduled with them in person during this time-frame in which case I pitch in person) -- and ask if they'd like to see. 99%* of the time they DO ask to see -- I like to think I know their taste well enough and they know mine well enough that they know I'll at least show them something worth looking at, even if they end up passing. Even editors I don't know well will generally agree to look at the project because, you know, they are polite and they work with our agency a lot. :-)  Annnnd then I send it out and we wait for responses!

(* The 1% of the time they don't ask to see, that is usually because they have something too similar already in the pipeline -- like, I had a chapter book about a certain historical event go out and one person passed on looking because they have a book about the same event already coming out in 2015. So, obviously, I targeted them correctly, just somebody else was faster! That's OK, it happens.)

How do you decide between giving an exclusive and making it a multiple submission? For me, it is nearly always a multiple submission. If I were to give an exclusive, I would explicitly state it to the editor and give a time-frame, and it would be because:

1) The author has worked with an editor before and this is the next logical book -- let's say, you have a YA fantasy out, and this is a new YA fantasy in the same world - even if we don't HAVE to show the current editor contractually, we WOULD, because it just makes sense. I like to keep good relationships going!  ... or

2) We have an option that we need to fulfill (ie, in the contract it is stated that the publisher gets first crack at anything new) -- in which case they'd only have it exclusively for whatever term the contract specified, say, 30 days ... or

3) You've discussed the project at length with an editor and you think they will LOVE it, or it was inspired by something they said, or written specifically with them in mind, or something of that nature -- in which case I'd let them know that they have a limited window head start. Not that they HAVE to get back in that amount of time -- but we'll be going out more widely after that time.

If none of these apply, then it is a multiple submission.

So what should I, the author, be doing while you, the agent, are waiting for responses?  You should be working on the next book. WORKING ON THE NEXT BOOK. Oh heavens, please be working on the next book. Outline a sequel if you like - but I wouldn't get too married to it until you have proof that somebody wants the first book. I'd rather you be working on a completely new, shiny and different project. Something you are excited about and thrilled to write! So that you will not be obsessing over the thing that is on submission.

And will you share all the responses you get with me as you get them?  When I first started as an agent, I always shared all declines immediately with my authors. But then I realized that the authors were getting majorly bummed out and oftentimes this knowledge would derail them from their work on their happy-shiny new projects! So I changed my stance on this and started doing it a little differently. 

If I get an OFFER, or a request for revision, of course I share it immediately. The same goes for a really kind/complimentary or otherwise uplifting decline. If it makes me happy to read, it will probably make my author happy to read, too, and I share. If, however, I get an ambivalent decline, a nonsensical (or even mean) decline, or just generally non-helpful decline, I just mark it in my little book as a "pass". At a certain point, when the round is winding down, around the 8-12 week mark, I'll compile all these and just give an update and 'state of the ms' report. If an author wants more frequent updates, they can ask me at any time -- some people want to know what's up more often, and that's fine. And some authors REALLY REALLY want to know every gory detail as it happens - that's fine too, they can just let me know. I happen to think it is a bit unhealthy for the majority of authors, but of course I will send as my author prefers.

How long does it take to hear back from editors, and do you nudge or give a deadline?  I don't give a deadline unless we have an offer on the table. I usually hear back on picture books and short chapter books within a few weeks -- sometimes, for novels, a few months. After 8 weeks, I'll nudge people as needed. There are often a couple of outliers who don't reply unless shaken vigorously, but the bulk of responses will come in by 8-12 weeks.

What happens if we get an offer??!  If we get an offer, I nudge everyone who is still looking immediately, letting them all know that we have an offer and that I need their responses ASAP. If that's the case, usually everyone replies immediately to either pass or express interest, and we go from there. If we do get two offers, I'll compare and contrast, and ask for improvements as needed, and the author will decide. However, if I know other offers are coming. . . .

OMG!! What if there are MULTIPLE offers?!? IS THAT AN AUCTION?? If I know we are getting multiple offers, we call an auction. (You theoretically CAN call an auction any time you want -- but I would hate to throw an auction and have nobody come! I personally only declare an auction when I know there is significant interest from more than two parties.)

The agency has "auction rules" that define what we want offers to look like and include, so that when it comes time for the author to decide between offers, they are comparing apples to apples. I'll set what's called a Closing Date (usually a week, week and a half, depending on the time of year and such) -- by which time everyone needs to come to me with offers if they are going to. Different kinds of auctions are structured in different ways, but usually auctions are either "best bids" (one round, everyone just gives their best possible offer and the author decides) or "rounds" (in which the agent can go back and forth and ask for improvements and the author decides). There are benefits and drawbacks to each, and your agent will make sure you understand what is going on when it happens!

So auction means BIG MOOLAH, yes? $$$$ WOOOOHOOO!!! $$$$$  Sorry to disappoint. Despite sounding V V Fancy, Auction doesn't mean the book will automatically sell for a million bucks. Auction just means there are multiple offers, but it does not define what those offers might be. Everyone COULD offer pocket change and belly lint! But usually auctions inspire editors to at least TRY to put their best foot forward.

What if we send it out and get ... no offers :(  ?   This happens, too, even to manuscripts I love and think will sell -- and they often DO sell, just perhaps not in the first round. Nothing to worry about. What I'll usually do is compile the feedback we've received and see if there is anything useful to be gleaned from it. Sometimes there is, sometimes there isn't. We'll discuss whether you want to revise or not, and I'll send the work out to more people and begin a new round of submissions.

What if we never ever get an offer? At what point do you consider a ms completely shopped?  Well... depends on the book, and depends on the feedback we've been getting. If we're just getting nothing useful, or no responses at all, and I don't feel I have anywhere else to go with it where the results will be different, that is quite dispiriting, and it might be time to back-burner the ms for a while and try something else, maybe revise with fresh eyes at a later date. If we're getting THISCLOSE but just not quite putting it over the top, like every editor is saying they "love it but..." -- well, then I'd be inclined to keep going even longer. I have sold books in less than a day... but I've also sold books that took a year, two years, or longer, over multiple rounds with revisions and tweaks in between. Sometimes it just takes a long time to get to that yes! So, there's no magic number of editors -- it's a case-by-case situation. The good news is, you have a lot more stories to tell, right?

Is there any question about the submission process that I forgot to answer? Ask in the comments!

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Do you like lush, richly imagined fantasy worlds? Do you like heroic adventures and palace intrigue? Do you like strong ladies with agency? Have you read Miriam Forster yet??! Today is the release day for EMPIRE OF SHADOWS, the second tale of the Bhinian Empire.

Note: This is NOT a sequel to CITY OF A THOUSAND DOLLS - it's a companion novel (or prequel) that can absolutely be read first or alone. However you will get to know some interesting tidbits about either novel by reading the other. (And CITY OF A THOUSAND DOLLS is now in paperback, with awesome extras!)  . . . but about EMPIRE:

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So you've all heard of #WeNeedDiverseBooks, yes? This is a grassroots campaign that began as a simple twitter hashtag meant to highlight the lack of diversity in Children's literature, and has morphed into a super-worthy nonprofit organization that does things like fund writers grants for underheard voices, make sure there are diverse panels at trade shows and conferences, and generally raise awareness of the problem and help find solutions... and they are having an IndieGoGo fundraiser this month.

This is a project I'm SUPER INTO and I want to encourage you to DONATE TO #SupportWNDB ! Here's the link again in case you already forgot.

On a somewhat more personal note, this week I'm also celebrating the publication of a diverse book I'm so proud of, LOWRIDERS IN SPACE! LOWRIDERS is the first in a graphic novel series for middle graders; its cunning mix of humor, science and pure fantasy will appeal to both boys and girls 8-12.

Publishers Weekly says in their starred review:

Camper’s rocket-powered graphic novel stars a deliciously improbable trio: Lupe Impala, a beautiful mechanic with a mane of black hair and a limitless supply of automobile knowledge; Flapjack Octopus, whose eight arms can detail a car to a high gleam; and Elirio Malaria, a shady-looking mosquito who uses his needlelike proboscis to pinstripe cars with fantastic accuracy. Raúl the Third’s dazzling art, done with red, black, and blue ballpoint pen, fuses the energy of Mexican folk images, the naked passion of tattoo art, and the antics of Saturday morning cartoons. Lupe and her sidekicks want to start a garage, but they don’t have enough money. They enter a car competition (first prize is “a carload of cash”), find a beater, and plot their strategy: “¡Y vamos a tener que echarle ganas, to clean it!” says Flapjack (Spanish translations are provided throughout). A wild journey through space gives their car one-of-a-kind galactic magic—readers will rejoice in their triumph. As a celebration of Latino lowrider culture, too, it’s estellar.

So here's the deal. I have a bunch of copies of this book. . . and I'm going to do a giveaway. If you have a group of kids who would benefit from having copies of LOWRIDERS, send me an email. Tell me what school or group you are with, how old the kids are, how many kids there are, and anything else you think I need to know. I would like these books to go to a group of kids that would not normally be able to purchase new books! Subject line: LOWRIDERS GIVEAWAY - to JennL at andreabrownlit dot com.

And if you CAN purchase new books - well, please do buy this one. I would love to see a kick-ass culturally authentic graphic novel like this one be wildly successful - because I'd LOVE to sell lots more books like it!

Request it from your local library, purchase at your local independent bookstore, or visit Indiebound Amazon Barnes+Noble to purchase online.

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I read a forum post this morning quizzing agented authors on where they found their agents. The authors were very nicely answering, but most of the answers were the same: "I did my research and then sent a query letter."

Why was this the most likely way they answered? Because it's the most likely way to get an agent.  It just IS. I know the myth is that you have to "know somebody" but that really isn't true. Which got me to thinking about how my clients found ME (or, vice-versa). And I decided to bust out the chart-making tools again because I know you like that.

So let's break it down:

56% of my clients came to me because of straight up query letters, from the slush. They didn't know anybody, they didn't drop names, they weren't published before, they didn't go to conferences, they didn't meet me first - some of them I still haven't met in person, because they live thousands of miles away!

24% of my clients were people that I'd met somewhere before they queried me. These are people I met at conferences, in a couple of cases, or published authors that I met in my capacity as a bookseller. (There's also a former co-worker in the mix, an SCBWI RA, and one of my neighbors. What can I say, she's a great writer!). The thing is: All these people STILL HAD TO QUERY. It's not like I said, oh, I know you, so sure... they still had to show me something I thought I could sell.

16% of my clients were referrals. This means that somebody I really trust - like an editor who knows my taste, or an existing client - thought this would be a good fit for me, and e-introduced us. But, you guessed it: These people STILL HAD TO QUERY, and show me something I thought I could sell.

4% of my clients were inherited from other agents at my agency. They actually are the only people who were kinda "grandfathered in," and did not have to show me something new to be taken on. However, I also trusted that they could write, that they had great stories in them, and that we'd gel well - and we spoke before I took them on. Still, this does not always work out, so I feel very lucky that these have!

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My author R.C.Lewis first described STITCHING SNOW to me as "Snow White in space... if Snow were a cage-fighting tech-head with daddy issues." How could I not want to read that? And now YOU can, too, as STITCHING SNOW officially hits shelves today!


Seventeen-year-old Essie can take care of herself. She knows how to stitch up robotic drones so the men in the mining settlement remember she's worth keeping around. She knows how to use her fists to make sure they keep their hands off her. But all her self-preservation skills don't tell her how to deal with Dane, a boy who's depending on her to get his crashed shuttle off the icy ground of her desolate planet and flying again.

Dane's polite, chivalrous, even a little charming, and he gives Essie the kind of attention she's never had. She begins to trust him, which is a new (and terrifying!) feeling for her. But then he discovers her secret. She's a Princess who has been missing for years, and there will be a rich reward for returning her to her kingdom. One betrayal later, he's taking her home whether she likes it or not, to exchange for captives held by Essie's father the King. What Dane doesn't know is Essie wasn't kidnapped all those years ago... she ran away. And bringing her back home just might kill her.

STITCHING SNOW is fast-paced, voicey debut YA that will appeal to both SF fans and "people who don't think they like Science Fiction" - and Essie is a brilliant, tough little sweetheart of a character you won't soon forget.

Buy the book at your local independent bookstore via IndieBound, or at Oblong, Powells, Book Depository, B+N or Amazon, or wherever fine books are sold.

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Life got the best of me in September and I realize I have several books to post about now... so I'll do the new releases all in one to save your eyeballs!

For the Picture Book crowd: 
Mara Rockliff's CHIK CHAK SHABBAT is a wonderfully inclusive picture book about the multi-ethnic residents of an apartment building who, when a neighbor is too sick to cook, improvise a meal cobbling together their own unique traditions to celebrate the true spirit of Shabbat. The book is illustrated by the amazing Kyrsten Brooker and really has the feel of a modern classic already - Candlewick did a great job!

And lest you assume that this is a "niche" book, I have to tell you -- there is so much warmth, humor and heart to be found in these pages, it doesn't matter if you don't know Shabbat from Shinola, you'll get it. :-)

Buy the book: IndieBound - Powells 

For Middle Grade readers:

Kate Messner's WAKE UP MISSING, the edge-of-your-seat science thriller, is now available in paperback!

WAKE UP MISSING is about a group of kids from different parts of the country and different walks of life. In fact, they have only one thing in common - they are all hospitalized in an elite institution for brain science after having experienced head trauma. When the kids realize that something VERY sinister is going on at the so-called "research" facility, they must run for their lives -- making their escape through the dangerous Florida Everglades. This is one seriously EXCITING read - and it's especially good for any kid interested in science/medicine.

"Kate Messner combines a fascinating concept with page-turning suspense . . .  Reading this book is like a wild roller-coaster ride through the Florida swamps." —Margaret Peterson Haddix, author of The Missing and the Shadow Children series

Buy the book: IndieBound - Powells  

For the YA fans:
I wrote about Gwenda Bond's GIRL ON A WIRE  last month so I won't belabour the point, but I will say, if you think a mystery-magic-romance mashup sounds great and/or you appreciate the dazzling world of the Circus... you will probably love this book.

"The circus and its theatrical characters provide a fresh, vibrant backdrop as Bond impressively describes a range of circus performances, while threading enticing slivers of magic and romance into her story. It's a fascinating and enjoyable foray into circus life as seen through the eyes of an ambitious and talented performer."  -- PW

"The mystery is tense and nerve-wracking, and the acrobatics are gorgeously hair-raising." -- Kirkus

"With a thrilling mystery, a hint of magic, and a touch of romance, "Girl on a Wire" takes readers into the fascinating world of circus performers." -- SLJ

Buy the book: IndieBound - Powells

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If you've spoken to me anytime in the past, oh, two-years-ish, you might have heard me gush about  GIRL ON A WIRE from the talented Gwenda Bond. And... its October release date is almost here! In fact...   

*drumroll* ... 

YOU CAN READ IT TODAY!

Yes I know it ISN'T October yet! This is a September surprise. GIRL ON A WIRE is a Kindle First pick. Which means, if you're an Amazon Prime member you can read GIRL ON A WIRE for free (FREE) (zero dollars!) right now. If you aren't, you can read it for $1.99 (which, let's face it, is ALMOST FREE). This deal will be going on the whole month of September. Yesssssss.

GIRL ON A WIRE is the story of Jules Maroni, the extreme high-wire walker and teen daughter of circus royalty. When somebody starts planting jinxy magical items on her costumes, it's unclear if the culprit just trying to scare her... or actually kill her. And is it all just old superstition, or could there be real magic at play? Jules teams up with the son of a rival family to solve the mystery, and sparks fly. (So yeah, it's basically Daredevil Juliet and Trapeze Romeo Solve Possibly Magical Crimes. Yessss.)

Get your e-copy today, a month before everyone else! And if you want to win a new Kindle Paperwhite, check out Gwenda's contest!

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By popular demand (really!), I'm revisiting my Writers Digest class, WRITING AND SELLING MIDDLE GRADE FICTION. Last time I taught this webinar we had 100+ participants and it was really fun, and I hope interesting and inspiring for attendees! Here's what you need to know:

* The live webinar will be held Thursday 8/14 at 1pm Eastern. BUT! If you can't attend live, NO PROBLEM - everyone who has signed up ahead of time will get the webinar on-demand, and have access to all program materials for a year

* Everyone who has signed up ahead of time will get a critique of EITHER the first 500 words of their finished/WIP middle grade OR their query. Your choice.

* EVERY question will be answered, either during the presentation or in writing afterward -- if you can't attend and ask during the live presentation, you may simply send in your question to WD, and I will get to all of them.

This class is probably most useful for:

* Folks who are either ready-to-query or who are in the query trenches but haven't yet hooked an agent (or perhaps, have gotten rejections but don't know why!)

* Those just starting their Middle Grade writing journey (or perhaps don't even know where to start!)

* Published or unpublished writers in other categories who are considering transitioning into Middle Grade.

You can sign up for the Webinar with critique anytime until 8/14. Check out the Writers Digest website for more info or to register.

And if you have ANY questions about this class, please ask here or on Twitter!

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This has been ALL over social media in the past couple days, but it is really smart plotting advice from Matt Stone and Trey Parker, the creators of "South Park" and "Book of Mormon." Like... REALLY smart and simple advice, not just for film but also very much applicable to children's book writers. Take two minutes and watch!

If you've ever gotten a critique that your picture book "read like a series of lists" or "was more like a vignette/series of vignettes" . . .  or perhaps your novel was "too episodic" . . .  THIS is what those critiquers probably meant, and how to fix it.

http://www.theafw.com/blog/south-park-writers-share-their-writing-rule-1/#.

What do you think?

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OK so it might be weird to have a crush on a fictional teenager but... MICAH, though. Micah is the ultimate Badboy-with-a-Heart-of-Gold from THE ART OF LAINEY. He's a mohawk'ed, punk-rock-listening dude with a troubled past who also btw is super caring and kind and a huge fan of fancy baking and would love to make and feed you a scrumptious triple-chocolate-mocha-mousse-delight. I'm just saying. #yum

INFINITE REPEAT is a novella by Paula Stokes that gives us Micah-fans what we have wanted -- a story told from his POV that gives readers a glimpse into his backstory. It takes place entirely before THE ART OF LAINEY -- in other words, you don't need to read one to read the other. So if you haven't met Micah yet, here's a great chance to do so.

Obviously I love Micah and want to read about him just doing anything pretty much... but my favorite thing about INFINITE REPEAT is the relationship between Micah and his little sister Tris, who was one of the unexpected minor-character stars in the original book. Tris and Micah are such a compelling duo, and I totally platonic-ship them. I could read their conversations and banter all day. And I love how they are constantly both pushing each other and protecting each other. LOVE LOVE SIBLING LOVE!

Anyway, listen, enough out of me. I want you to get to know Micah. INFINITE REPEAT is $1.99 and can be found wherever e-books are sold. More about the book and all buy links on the Epic Reads site.

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What the heck are spamvertisements? They are that thing where a totally random "marketing guru" or "social media creative" - or just intrepid author with boundary issues - starts spamming people they don't know with advertisements about their or their poor client's latest book/project. The people being spammed AT are people who are big in that specific field (like in the case of books, they would be agents and editors) -- or just generally famous, like obviously Neil Gaiman, Veronica Roth, Stephen Fry, etc. -- or are huge "professional readers", popular bloggers and the like. If you look at their timeline it will probably look something like this:
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I got a comment on the blog that was important enough that I wanted to make a post about it.  Identifying info has been scrubbed for anonymity.

Dear Literaticat,

I got an agent several years ago at what is considered a really great NYC agency, but I'm not happy. My agent frankly scares me and is often not nice, and they want me to take my books in a direction I'm not comfortable with at all. . . So we're at a stand still.

I feel like a girl in bad relationship - afraid to break up in case no one else wants me, (everyone is always all, "Wow, you're with Fancy Pants agency?!") but I'm not really getting anything out of this relationship. I always envisioned an agent helping me build my career and that so isn't the case. They make me cry, and we're definitely not partners in this.
 
Signed, Should I Go Solo Again?

Dear SIGSA,

There are all kinds of things an agent might do for you. But here's what I think an agent MUST do: Be ethical, communicative, savvy about publishing, and work with you to help you achieve your career goals. That means giving advice - but also following your directions. After all, they are supposed to be acting on your behalf. That means, basically, as far as the publishing world, they are an extension of you. You don't have to LOVE your agent -- but I think you do have to respect them and trust that they have your back.

"Nice" is a personality attribute -- it actually isn't a basic requirement for an agent. It may be a requirement for YOU to work with a "nice" agent -- and that's fine! Now you'll know that for when you go agent-hunting again. Some people rub along best with those who are more like motherly nurturers, or excitable cheerleaders, or thoughtful therapists, or detail-oriented accountants. Some people really do want agents who are total unmitigated bastards . . . but even those total bastards still have to follow the base standard above with regard to their own clients.

[As an aside: I don't consider myself particularly "nice," in fact. I think I'm GENERALLY GOOD and KIND-HEARTED and COMMUNICATIVE and FUNNY (and also HUMBLE obviously haha just kidding not that) -- but "nice" is not a word I'd use to describe myself, and that's OK.]

Just like any long-term relationship of any kind, you aren't always going to love everything your agent tells you (and assuredly, vice-versa!) - and given enough time there WILL be weird communication breakdowns or confusions - but usually any issues like this can be worked out with a clarifying email or frank conversation.

If you simply can't have a frank conversation, though, that's a huge problem.  If they're doing things you don't want them to do, and not doing things you do want them to do, and not telling you things you need to be told, and making you cry and feel worthless, and you are actively afraid of them??? That's . . . not good, to say the least.

It sounds like you are in an extremely dysfunctional relationship with your agent. If I was in your shoes, I'd ask myself:

* Am I getting what I need from this relationship? * (Make sure what you need is within their power to give, too, obviously. "Timely communication" IS within their power. "Boatloads of cash" isn't - hopefully it will come as a result of both your work, but it is never guaranteed, of course!)

* If I'm not getting what I need, have I clearly articulated to this person what my needs are, that they are currently not being met, and what I need in order to continue the relationship? *  (If so, has the problem not resolved or gotten worse?)

* Would I be better off WITHOUT this person than with them? * (Hint - if you always get off the phone with them feeling like shit, or if you dread seeing their name in your inbox, the answer to this is probably yes.)

It sounds like the answers to these questions are No, No because I'm too afraid of her, and YES.

Even if this agent is REALLY SUCCESSFUL and GREAT for her other clients, it seems clear she is not a good agent-fit for you.  So, yep . . . time to move on, no matter how scary it is. Trapping yourself in a bad relationship is not going to help you move forward. Better to be flying solo and free than shackled to something that is holding you back. But you already knew that, probably.

Be brave! And good luck.

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The DARK METROPOLIS is a city that brings to mind the devil-may-care excesses and menace of Berlin between the wars. Here, corruption and vice are rampant, disappearances warrant only a shrug from the authorities.... and people who die don't always stay dead.

Sixteen-year-old Thea Holder is struggling to stay afloat. By day she nurses her ill mother, by night she works at the decadent Telephone Club. Unlike most other girls at the club, Thea refuses to go out with men and accept favors to supplement her wages, so she is barely able to make ends meet. When her best friend at work, Nan, stops showing up, Thea is the only one who is alarmed and tries to find her.

Thea's search for her friend leads her to a strangely attractive silver-haired boy whose touch is a gift, and a curse. Together, the two will uncover nightmarish secrets about how the city is really run. Secrets that some rich and influential people will do anything to keep hidden. 
 
Drawing on influences as diverse as Fritz Lang's Metropolis, Cabaret and Sabriel, this is a dark 1920's fairy tale; haunting, romantic and suspenseful. 

Jackie Dolamore is the author of the awesome fantasies MAGIC UNDER GLASS, BETWEEN THE SEA AND SKY, and MAGIC UNDER STONE -- but I personally think that THE DARK METROPOLIS is her most daring and sophisticated book yet. 

PW: Dolamore brings the elements of her complex storyline together with flair, and an extended climax provides closure and reveals new sides to the characters. Heroes, villains, and those somewhere in between all have strong motives.

Booklist: Dolamore builds an intriguing fantasy world, vaguely reminiscent of a war-ravaged twentieth-century Europe with the glitz of the Gilded Age, old-country magic, and an underground dystopian flair.

You can buy the book at Oblong, through IndieBound, from Powells, Barnes and Noble, Amazon, or anywhere fine books are sold.

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You're querying, and you get an offer. NOW WHAT?

GOOD IDEA:  If you get an offer of representation, and it's an agent you would not be sad to work with*, you should absolutely let the other agents who have the full or partial** know, to see if they want to read quickly and maybe hop on board the Offer Train. You might phrase it something like: "Thanks so much for your interest in AWESOME MANUSCRIPT! I've had an offer of representation, and I've told the offering agent*** that I need a week**** to get my ducks in a row. So if you are also interested, could you please let me know by [a specific date a week or so from now]?"

PROBABLE RESULT:  This will always get me to take a look at the ms if I haven't already, or to read faster if I'm already reading. However, it will also have me reading toward NO. In other words, unless I absolutely flippin LOVE this book, I will pass rather than get into a beauty contest over it. I can't make somebody Revise and Resubmit if they already have offers, after all! The good news is, you can safely assume that anyone who DOES end up entering the fray at this point really is keenly interested in the book.

* BUT WHAT IF I DON'T WANT THE FIRST AGENT?  IF on the off-chance you query somebody, they offer, and then when you speak to them you realize that you don't share a vision for the book at all and you really would be sad to work with them -- I STRONGLY SUGGEST you simply and graciously decline their offer but DO NOT let the other agents know and make them rush. You are more likely to get a thorough read and a fair shot if the agents aren't being rushed.

** BUT WHAT ABOUT THE PEOPLE WHO ONLY HAVE QUERIES?  Say it's the same situation as above, but you also have a bunch of just-queries out there who haven't had time to even possibly request a full -- by all means, feel free to reach out to them as well and see if they'd like to see more. Something like: "I know you might not have even seen this query yet, but I wanted to reach out to you because I've had an offer of representation. If this query seems like something you'd be interested in, I can give you a week with the full. Otherwise, no worries, I understand you might not want to rush!

Again, I will probably glance at the query and decide in a split second if it seems worth my time to pursue. Usually I will step aside, but sometimes, rarely, I'll decide to get the full and then it is the same deal as above. Happy to read, reading fast, but reading toward No.

*** BUT WHAT IF THEY ASK WHO THE FIRST AGENT IS? Well then, you tell them, if you want to. It's not a trick question. I've said it before and I'll say it again -- I ask for three reasons: 1) I'm curious/nosy. 2) I'm interested in who my competition is -- I'm friends with a lot of agents, and if you've also queried a colleague and I honestly think they'll be better for you, I'd probably stand aside (or else offer myself but say something kind like "you really can't make a bad choice here" while inwardly seething at my frenemy. JUST KIDDING. Or am I?) and 3) I want to make sure it's not a schmagent or scamster. I like writers and I don't like people who dupe them!

**** BUT IS A WEEK ENOUGH TIME??  You can keep the first agent on the string for a week, even week and a half, no problem, totally normal. Two weeks, OK, if there's a major holiday or BEA or something involved, but they'll start to get a little antsy. Anything longer than that -- or if you have a "firm deadline" then extend it -- and they'll very likely feel like you are just out there using them as bait to fish for "better" offers. That's an ugly feeling. After all, they did everything right - they read quickly and had an offer for you with no fuss or muss -- why are they getting treated like a chump?

I've gotten an "I have another offer of rep, please read quickly" email at all kinds of inconvenient times: While on Hawaiian vacation. At an SCBWI conference. At the Bologna Book Fair. During Christmas break. Guess what? In all those cases, I was able to read and come to a decision within the given time. It's not rocket surgery. Believe me -- if these other agents really want to work with you and your book, they can figure it out in under two weeks.

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When Olwen Nia Evans learns that her family is moving from San Francisco to Wales to fulfill her great-grandmother's dying wish, she starts having strange and vivid dreams about her family's past. But nothing she sees in her dreams of the old country--the people, the places--makes any sense. Could it all be the result of an overactive imagination . . . or could everything she's been told about her ancestors be a lie? 

Once in Wales, she meets Gareth Lewis, a boy plagued by dreams of his own--visions he can't shake after meeting a ghost among the misty cairns along the Welsh seaside. . . A ghost named Olwen Nia Evans.

Sarah Jamila Stevenson's third book is an extremely evocative and enchanting ghost story set in Wales. It is not the kind of supershiny blockbuster where some overly-beautiful teen has to wear black leather and save the world or overthrow the government . . . it is a smaller story. The type of story that will be more likely to whisper into your brain and get under your skin, with characters you'll think about long after you've closed the book. 

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I get a lot of #AskAgent questions about the ol' "Revise and Resubmit" -- so I figure I'll tackle them all here, and if you have more you can put them in the comments.

Q: "I've heard "R+R" or "Revise and Resubmit" -  but what does it mean?" 
A: It means that an agent has read the author's full manuscript, and while they are not ready to commit to offering representation, they see potential in the author or the story and they are willing to provide notes and an opportunity to, well . . . Revise and Resubmit. ;-)

Q: "How can I tell if the agent is just giving general feedback as they might with any nice personalized rejection, or if they really want to see the book again?"
A: Every agent works differently, but to my mind there are three types of rejections:

*Impersonal - A form letter - might be long or short, but ultimately, there's no feedback, nothing personalized to you specifically, just a kind "not for me, thanks."
*Personalized - Notes you/the book by name - says a nice thing (or a few) about the manuscript, maybe notes a problem (or a few), but is a no all the same.
*R+R - clearly took some time to write, gives extensive notes on the strengths and problems with the manuscript, perhaps there is even a phone call to discuss, and there is an invitation to resubmit explicitly stated.

Q: "But what if I don't agree with their notes, or don't want to revise?!"
Then you say something nice like "thanks for taking the time to write this!"And then don't fret about it. That's fine. Nobody is forcing you to take the advice or to resubmit! (Though you might find that the advice gets better the more you let it settle in your brain... so don't burn the email or anything.)

Q: "How often do you give a "Revise and Resubmit"? 
A: They are pretty rare. Of the hundreds of queries I get, I reckon I request about 5% fulls. Then about 5% of the fulls I read will result in an R+R. Some of those people will choose to revise, some won't. Of the ones that do revise, I still might ultimately turn down for any number of reasons . . . but if they've taken the notes on board and done a great job, I'd say they are likely much closer to getting representation if not from me, then from somebody else.

Q: "I've heard writers call R+R's "The Slow No" -- they say this is just a nice way to reject somebody, and there is little chance the agent will change their mind once you revise."
A: This is quite wrong. I do not give extensive feedback unless I really do see great potential in the book, and I do NOT say that I want to read it again if I don't really want to read it again. I mean - no. Never. I just can't spend extra time thinking about or looking at things I don't like, and I wouldn't string anyone along in this way "to be nice" because I don't think it IS nice to string people along!

Q: "But come on, get real, have you ever actually SIGNED somebody after an R+R?"
A: I have signed several authors after an R+R, in fact. These are authors who took the feedback I gave and really ran with it -- not just giving a micro tweak here and there to their manuscripts, but really doing awesome full-on revisions that took their books from "promising" to "OMGAMAZING." I had no idea if these folks could really revise, or would want to revise -- but I am so glad they did, and so proud of them and their books!

Q: "OK but what if we decide to write a totally different book instead. Should we query you again, or avoid since we never did that R+R before?"
A: In my opinion, if I've ever had a full of yours in the past and given any personalized feedback (not just an R+R), and that feedback resonated with you, you should definitely try me again on your next book. I have offered authors rep on the second or even third book they've queried. Sometimes an author's earlier work was good but just not quite there -- but they get better and better, and I am always pleased to see these names again the next time! (That said, if you thought my advice was lousy or something on the first book - you might try another agent at my agency for the next one.)

Q: "You responded to my full two years ago and I still haven't finished the revision. Is there a time limit? How long should this take?"
A: There's no time limit. It takes as long as it takes, and I'd rather you take it slow and do a smashing job than rush and half-ass it. . . don't worry about me, I've got plenty to read. Of course I may check in from time to time to see how it's going -- no pressure, just sometimes it's hard for me to forget about a character! :-)  If you think it would help to give yourself a fake deadline, try 4 months. But don't break your neck over it.

Anything I forgot to ask myself on your behalf? Ask away!

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Hey there! This blog was nominated for a YA Highway Web Award for agent blog. Which is pretty cool considering how infrequently I update (whoops, probably shouldn't have said that!)

ANYway, if you'd like to vote for me, or anyone else, head on over to YA Highway.

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There are several ways and places that a book deal might be announced, from a blog announcement, to a newspaper or magazine piece, to an online listing. Probably the most ubiquitous of the online listing services is the Publishers Marketplace announcement. I get questions from people who are confused about this service all the time, so I'm going to tell you all about it, and maybe bust some myths, too.

Publishers Marketplace is a subscription-only publishing news website that also has a listing of new deals updated daily. It's a quick way to tell who has sold what and to which publishers, and who might rep the kinds of books you write. There's also a much-more-basic free daily roundup, "publishers lunch" available by email -- but to get into the full site and really dig around, you'll have to subscribe. It costs $25 a month, and a month's worth of subscription is a tool that might help your agent search a lot. I personally use PM to look up book world news, editors interests and see who-reps-who nearly every day!

However - there are caveats:

* PM is a very good resource - but it isn't the only resource. Remember this is a self-reporting service, and not all agents report all sales. In fact, I'd go further and say that MOST agents don't report all sales, and some agents don't report any sales at all. A sparse or nonexistent record on PM is NOT an indication that a given agent is "bad" or a schmagent. . . plenty of EXCELLENT agents and agencies opt-out entirely.

* Use your good judgement and follow up questionable claims with more research. There is nobody policing these announcements. If Josie Q. Schmagent "sells" a book for $1. to Joker's Wild Press in Someguysbasement, NV and wants to report it, she can. A record on PM does NOT mean that an agent or publishing company is automatically good, or even legitimate. If something sounds dubious, dig deeper.

So why DO agents report sales?

* It can sometimes be a way to drum up some early foreign or other subrights interest. Sometimes.

* They are agents who are still establishing themselves and want to show that they have a number of sales to big-5 publishers.

* Or they are agents/at an agency with a specialty or who otherwise want to be sure that potential queriers can easily discern the types of books they rep.

* Or they simply have a competitive streak and enjoy seeing a good number next to their name - (Guilty!)

* They have clients who have a big social media presence and they want to have something "official" to brag about.

* Habit.

Why might agents NOT report sales?

* The publisher has asked them to hold off for some reason (for example: they want to do a big publicity push closer to the date of release, it's a new imprint that hasn't been announced, etc).

* The author has other stuff going on that might be considered competitive or deadlines for other books coming up or some other conflict that the agent would rather not get into a scheduling tango over.

* It's a topic/theme that is SO timely and important that they want to be sure nobody knows about it in advance.

* The agency or the author are old-school and prefer not to air their beezwax in public, or they or their author are superstitious and prefer to wait on bragging until the book is closer to being available.

* They don't need or want new clients, and don't care what the interwebs say or don't say about them.

* They are busy and forget.

* Habit.

What else should I know about PM?

* PM has it's own "house style", to wit, all deal reports have to be in one long sentence without superflous editorializing; Agent-submitted reports are edited by the PM-sters, and the agents can't get in and re-edit the listings themselves -- so, if you notice sometimes the listings sound peculiar, it's not that the agents are just dum-dums who don't know how to sentence.  (See what I did there? It's hard to put a lot of info in one sentence, y'all!)<!------><!------>

* The infamous money ranking system is not used by everyone. What do I mean? There's a place within the deal where PM encourages the deal reporter to use their lingo to rank the size of deals.  

"nice deal"	$1 - $49,000	"significant deal"	$251,000 - $499,000
"very nice deal"	$50,000 - $99,000	"major deal"	$500,000 and up
"good deal"	$100,000 - $250,000

The thing is -- there is a HUGE FLIPPIN DIFFERENCE between ONE DOLLAR and 49 THOUSAND DOLLARS. How are those two the same category? That's ludicrous to me, and kinda tacky. Me, I prefer this oldie-but-goodie from Scalzi: Real World Book Deal Descriptions.

* PM is not aimed toward writers. If I had to hazard a guess, I'd say the majority of people who read PM are agents, subrights agents, scouts and editors. Then writers. In other words - while this might be a tool that proves useful to you, is not necessarily FOR you, and it might not always be interesting to you. If you want writer-oriented info, there are other places to obtain it.

* PM is not PW -- easily confused, I know! PW = Publishers Weekly. This is a print and digital trade magazine that also collects and reports on book world news but is read by lots of booksellers and librarians as well as editors and agents (and writers). Subscriptions to the proper magazine are quite expensive but you can get newsletters like the "Children's Bookshelf" twice weekly for free, and some big deals are announced there as well. This is more like a press release for the general reading public -- listings in PW tend to be more detailed and have author photos and such, but of course, as it is a publication, they pick-and-choose what shows up rather than taking all comers as PM does. So, PW is more fun to read - though less useful as a down-and-dirty research tool.

Hope that helps! If you have other questions, put them in comments. xo

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ONE DAY, in my early 20's, I was visiting a friend who worked in a pub. It was mid-day - there were a few customers eating sandwiches and having beers, but no other employees. Suddenly, her phone rang. It was a family emergency - she had to leave! She looked around - realized there was nobody to cover her. She tossed me the keys - showed me how to ring the register - and left me to cover the rest of her shift. Well.

This was a beautiful day in the French Quarter of New Orleans. Bars there don't just stand empty - soon enough some tourists came in, and some regulars - a couple of people I kinda knew, but mostly strangers. I'd never worked in a bar or a restaurant, but there I was, suddenly in charge - so what could I do? I had been to theatre school. . . so I acted like a bartender. I chatted. I poured beer. I mixed drinks. The thing is - mostly people ask for either beer, or for things with two ingredients - Jack and Coke. Gin and Tonic. Easy peasy! If something came up I didn't know, I'd turn my back for a minute and cheat with the Mr Boston's book.

When a tap ran out, I called that one "out of order." When the ice ran low, I filled a bucket. When the lemons ran low, I chopped up some more. When somebody asked about food, I scurried back to the kitchen to tell the (surprised, but not easily ruffled) cook.

You've heard the phrase "fake it til you make it" -- well, that applies here. Nobody KNEW I had no clue what I was doing. So I pretended I DID know what I was doing. Not only did I pretend I knew what I was doing - I pretended I was GOOD at what I was doing. And guess what? NOBODY FIGURED IT OUT.

They gave me a job. Somewhere along the way, I actually did learn not only what I was doing, but also, how to be pretty good at it. Soon enough, I was training new bartenders. And I taught them my trick: POUR WITH CONFIDENCE. 

The biggest mistake that most brand-new, totally un-trained bartenders make is . . . they are hesitant. They touch the bottles like they are about to break, and pour like they are pouring into a dainty dolly cup at a children's tea party. When they do that, customers totally pick up on it, even if it is subconsciously. When customers feel like they aren't in good hands, they get skittish. A hesitant or weak bartender will get fewer or lower tips, and they'll certainly have less fun on the job.

So even if you ARE new, pretend like you know what you're doing. Stand up straight. Look customers in the eye and smile. Actively listen to what they are asking for. Grasp the bottle firmly, and pour like you mean it. Give them what they want with a minimum of fluster and a bit of flourish.

I hear what you're asking. "OK well, thanks for the trip down memory lane, weirdo, but what does this have to do with ME?" Well, my little chickadees, the same principle applies to approaching agents.

If you were a bartender, you probably wouldn't introduce yourself to a new patron by crumpling up an old dishrag and throwing it at them, or by creeping up to them and bursting into tears. Those would be BAD INTRODUCTIONS. So. Begin as you mean to go on. When you are approaching an agent - DON'T say "I don't really know how to write a query" or "I don't know how to be a writer" or "I'm not really a writer" or anything of the kind. I get this all the time. Daily. But I mean - hello, this query letter is all I know about you.

If you treat the query letter like a professional introduction that it is, I'll accept it. If you tell me you're a writer, I'll believe you. If you tell me you're "bad at queries" or "not really a writer" or "a clueless newb". . . well, I'll believe that. Is that really what you want me to believe?

Obviously there is such a thing as going overboard. If you say "this book will make your dreams come true!" or "I'm the second coming and a rock star rolled into one!" or "you'll be making a huge mistake if you pass THIS up" or similar . . . well that's just being a big-headed jerk-slash-crazyperson.

Don't be over the top -- but DO be confident and professional, even if you don't exactly FEEL those things. If you can do the wordy equivalent of standing up straight, looking the agent directly in the eyes, smiling, and giving them what they're asking for with a minimum of fluster and a bit of flourish. . . well, you may or may not get an agent this time, but you will both project and get respect.

Pour with confidence and get those tips, babies!

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One winter Sunday a couple of years back, I got a query from an author named James Klise. Even though this author did NOT follow the query instructions (naughty boy) -- I happened to catch it in spam and opened it immediately because I was already familiar with his work (he won a Stonewall honor for his first book, Love Drugged) . . . and because I was sitting at my computer and kinda bored. (Hey, honesty!) The query I read kinda knocked my socks off:

A fire destroys...
A community unites...
A miracle appears...
A crime unfolds.

When the Chicago apartment of 15-year old Saba Khan is destroyed by fire, her school community comes together to help. Students organize a massive auction, where one of the donated items is revealed to be the work of a local "outsider artist" named Henry Darger (1892-1973). The art is worth a fortune. Who keeps the money? Saba's classmates, who found the art? Saba's school, which is hosting the auction? Or Saba's family, which desperately needed help in the first place? Most important, how long will it take for this community to realize that they are ALL victims now - not of a fire, but of a brilliant, carefully plotted scam? Told in short chapters, multiple voices (adults and teens), and full of surprises, [THE ART OF SECRETS] is a fast-moving and provocative tale of greed, schemes, and the American Dream.

I generally hate questions in queries -- but even WITH them, I was most intrigued. So I requested the material immediately. Jim sent me the manuscript immediately. I read it immediately. And I called and offered representation immediately. (This is . . . abnormal, to say the least!) -- and within 24 hours, I had myself a new client. And soon enough we had an amazing publisher, Algonquin Young Readers, who helped make a good book GREAT, gave us a super-cool title and cover, and who have been angels from heaven to work with.

So, what made me fall so hard for this book in the first place? As I explained to Jim, it was like NOTHING I'd read before. It was the book equivalent of throwing open the windows on that first beautiful spring day and letting in that gorgeous-smelling crisp breeze -- it felt like a deep breath of fresh air.

THE ART OF SECRETS breaks alleged YA "rules" -- and not only does it break the rules, it breaks them knowingly, with a sledgehammer, while wearing only a cheeky grin.  It has ten points of view! Half of them are grown-ass adults! NONE of them are reliable! There's not a romance at center, forget about a love triangle! It asks questions about class and race, greed and generosity, that do not allow for easy answers! Instead of being told in a straightforward narrative, it's a mystery told by way of a series of interviews, emails, journal entries, texts and clippings! I could go on, but you get the idea. It's risky and provocative and refreshing and basically awesome.

But don't take my word for it -- here's an excerpt from the *STARRED* Booklist review: "This art mystery is that rare book that will be passed around by teens as well as teachers in the faculty lounge, discussed and dissected and immediately reread to scour for hidden clues and motivations. The incidents at Highsmith School will stay on readers' minds long after the last page."  TRUTH!

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I'm delighted to announce that a whole bunch of Daniel Pinkwater books that have never before been digitized are now available in DRM-free electron versions for reading on your magical device. No more will you be forced to suffer the indignity of touching paper to get your Pinkwater fix!

In alphabetical order -- choose your favorites (or heck, buy them all for the low-low price of $2.99 each, I mean really, what a bargain):

Young Adults





 

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