in all blogs
Viewing: Blog Posts Tagged with: agents, Most Recent at Top [Help]
Results 1 - 25 of 864
Erica Rand Silverman is an agent at Stimola Literary Studio primarily interested in books for and about children. Prior to being an agent she was a high school teacher, working with at-risk kids. Stimola Literary is a small, boutique agency with a passionate team and a family feel. They are very selective, representing picture books through young adult.
How you decide to take on a new client:
Erica is very picky about what's she's looking for. She wants to work with clients who have a true sense of purpose in their work. She wants to fall in love with their work, and to connect with the people she chooses to work with. Erica wants to clients who know who they are trying to reach, what they are trying to say, and why.
What is it in a query that makes you want to see the work?
Be professional. Don't send out blanket queries. Erica appreciates it when people are personal in their queries, and coming to her for a reason. People can focus too much on the query, but it really all comes down to the work. Erica has to love it.
How editorial are you?
Erica loves the process of talking to an author about something that's not working and figuring out together. There's magic in that.
How would you characterize the climate for sales?
It's great to see independent book stores coming back to life. It's wonderful to see small, independent publishers being recognized for their work.
Anything we should know about?
The Common Core has created a need for more informational books. It's creating more narrative nonfiction and the mash-up between nonfiction and fiction. It's all new, causing bookstores, etc. are trying to figure out where they fit and where to shelve them.
What is one common question that you hear from people and what's the answer to it?
Are you accepting queries?
Have you read my query yet?
Since Erica is new to Stimola Literary, she has a lot of queries. She will read all of them. If she hasn't gotten to it yet, she will.
Victoria Wells Arms started as an editor at Dial Books for Young Readers, and then Putnam. One day, she spotted an ad for an editorial director at Bloomsbury and was chosen to set up Bloomsbury USA’s children’s division. Starting with three people (and a dog), Bloomsbury grew quickly, soon hitting the bestseller lists and acquiring major awards. In 2013, Victoria opened her own agency, Wells Arms Literary, where she represents authors and illustrators for the full range of children’s books, from board books to young adult, as well as some nonfiction. Visit: www.wellsarms.com and follow her on Twitter: @VWArms and @WALiterary
|Agent Victoria Wells Arms|
Victoria shares that in addition to being sure that asking "do I love it?" and "can I sell it?" that she wants to know who a potential client is as a human being. She says
"I want to know there's depth to what you're doing, and that you're in it for the long hall."
explaining that she doesn't represent single project, but people, for their careers.
She adds, "It feels like every one of my clients is a friend" and she wants to sign someone she wants to be friends with. No divas or those wrapped up in their egos.
Victoria says that she is an editorial agent, "I always work with them [her clients] on making it better." If she can help her clients make it better, it's that much easier for editors to take it on.
"I think it's a great time. It IS really competitive. ...But I think editors are wanting to find interesting books."
Victoria reps artists and writers.
Kirsten Hall is President of Catbird, a boutique children’s literary and illustration agency. She has brokered many hundreds of children’s book deals between authors, illustrators, and all of the major American publishers. She is also the author of many books for kids. Her first trade picture book, The Jacket, was a 2014 New York Times Notable). Kirsten opened Catbird's wings in March 2014, and she likens her agency to a creative playground. Her focus is debut talent, and she works intimately with her clients to create and develop original story pitches—especially picture books. According to Publishers Marketplace, Kirsten reported more new picture book deals in 2015 than any other agent. Visit: www.catbirdagency.com
|Agent Kirsten Hall|
Kirsten tells us about how she specializes in picture books.
"I can look at something and very quickly know… if it speaks to me."
She keeps it small, curated, and everyone on her team does something different.
As to queries, Kirsten loves jokes and personal and human and hates standard query letters.
How editorial is Kirsten? "I'm not." If I see something, and that there's something completely golden about it, "I present them (editors) with something they should do their job on."
Kirsten also spoke about the new hybrid titles that are merging fiction and nonfiction, called "informational" books.
"Publishing, at least in picture book land…I feel like everyone's upping their game." There's so much out there already that's good, so we authors and illustrators have to mine what's unique about what we're offering.
"That's the only way your light's going to shine in this pretty bright room."
Kirsten reps artists and writers.
"I'm really heart-based. I rely on my instincts, I think they're sharp."
By: Lee Wind, M.Ed.,
Blog: The Official SCBWI 10th Annual New York Conference Blog
(Login to Add to MyJacketFlap
, agent panel
, Brooks Sherman
, Erica Rand Silverman
, Ginger Clark
, Kirsten Hall
, Lin Oliver
, Tina Wexler
, Victoria Wells Arms
, Add a tag
Moderated by Lin Oliver (standing, far left), the agent panelists are, left to right: Victoria Wells Arms (Victoria Wells Arms Agency), Ginger Clark (Curtis Brown, Ltd.), Kirsten Hall (her own agency, Catbird), Brooks Sherman (The Bent Agency), Erica Ran Silverman (Stimola Literary Studio), and Tina Wexler (ICM Partners.)
Tina Wexler is a literary agent ICM Partners.
Tina shares tips that will help us find success.
You need a strong story idea. An idea that will sustain you through the drafting and writing process. Do you have unfinished manuscripts in a drawer? It might be because it didn't have enough to sustain you.
Your manuscript needs to be researched. Read 3 other recently published books in your same genre and age range. Look up the things you don't know. Not all of your research will make it in, but it will inform your story.
Your manuscript needs to be revised. No one gets it right the first time.
Your manuscript needs a strong voice.
Your manuscript needs a vacation. Set it aside. Work on something else. Take time away so you can come back with fresh eyes. When you return to it, revise it again.
Your manuscript needs to be loved. Finishing is not a reason to send it out on submission. You need to love it. It needs to be ready.
Great reads from the session:
If you're planning to query agents, should you be also be submitting to editors?
Selling your manuscript is only one of the many ways an agent helps your writing career.
Should you be participating in twitter pitch sessions if you're looking for an agent?
Contracts can be overwhelming, so here are some things to look for in your agency contract.
It's important to check out prospective agents before submitting to them.
Ahoy! This quarter's theme was "Superheroes, Pirates and Princesses!" Check out all of the beautiful and action-packed artwork!
Stephanie Fretwell-Hill of Red Fox Literary is looking for picture books, middle-grade, and young adult titles.
How do you approach a prospective agent if you and your previous agents have gone your separate ways.
By Angela Cerrito
for SCBWI Bologna 2016
and Cynthia Leitich Smith
's CynsationsFrom an early age, Dorothia Rohner knew she was an artist. Inheriting her artistic parent's fascination with art and nature, she was encouraged to pursue and refine her skills. She studied technical illustration, fine art, art history and graphic design. Eventually, she earned her degree in Biological Pre-medical Illustration from Iowa State University—a curriculum that allowed her to combine her love of illustration and science. As an artist, she has worked in various fields: scientific illustration, animation, graphic design, nature painting, licensing and gift design. She now works from her studio, surrounded by woods, overlooking a small pond where she writes and illustrates stories for children; inspired by nature, imagination and a tad bit of humor. She also enjoys creating pop-up and moveable books.Her illustrated children’s books include: Numbers in a Row, An Iowa Number Book (Sleeping Bear Press) and Effie's Image (Prairieland Press). Her work for children has also been published in Cricket Magazine. Her illustration, Firefly Forest, was the Grand Prize Winner at 2014 SCBWI Bologna Illustrator Gallery, Bologna Children’s Book Fair. That same year, she was selected for the 2014 SCBWI Portfolio Mentorship Award at the SCBWI Summer Conference. Her portfolio was one of six chosen out of two-hundred. Follow Dorthia: Instagram & Twitter: @dorothiar and Facebook. What inspired you to begin creating illustrations for children?
When I was small, my mother wrote stories for my six siblings and me. She created believable worlds and illustrations to go with them. They were never published, but I remember how magical an ordinary day became when she shared her stories with us—inviting us into her imaginative worlds.
My mother’s influence first inspired me to want to create books for children. Years later, while studying scientific illustration, the class assignment was to make a spread for a children’s book. That studio project sparked my childhood memories and rekindled that desire to make books for kids. It took a little while, but eventually I illustrated my first children’s book. How has your experience with scientific illustration influenced your work for children?
Good question! The transition from creating scientific to children’s illustration has been interesting journey for me. Because of my scientific training, I wanted to add every detail into an illustration. For children’s illustrations, I’ve had to un-learn some of that training in order to leave emotional room for the viewer, exaggerated expressions, emotion and motion. I’m still working on that.
My training has influenced me to enjoy drawing animals, plants, birds and insects living in the natural world. However, with my illustrations for kids, I find it much more fun to add in a few fairies, and other whimsical critters. What was the inspiration for the illustration Firefly Forest, winner of the 2014 SCBWI Bologna Illustrators’ Gallery?
I’ve always been fascinated with fireflies because of the magic they bring to summer nights. Years ago, like most children, we used to chase and capture them to fill our jars with light.
Inspired by these memories and the forest we now live near, I sketched out the trees that speak only truth, an angry council of fireflies that rule the forest and a little girl carrying a jar full of fireflies, searching for her brother. I intentionally left the narrative open for the viewer to interpret.
I created this illustration in two days and I really enjoyed working on it. However, I almost didn’t enter the BIG contest because I thought it was too odd of an illustration. However, I ended up sending it anyway. I’m glad I did. What are you working on right now?
With the input of my agent, Laura Biagi
, I am revising a manuscript that is almost ready for submission. Yay! I’m finishing up the character sketches and illustrations that will accompany this story.
While I was in New York at the winter SCBWI conference, I was able to meet with Laura to discuss my other projects. She asked about the story behind Firefly Forest, so I am brainstorming and diving into that next. I also received helpful input from an art director in New York on a novelty fairy book, so I will be revising that too. I also have a sketchbook filled with ideas that could be potential stories.
What advice would you offer illustrators who are just starting out in the field of children’s literature?
|Dorothia & Laura|
The advice I try to remember is patience, practice and perseverance. It’s hasn’t been that long since I began focusing on making books for children, so I still feel new to this, too.
In any field of creating art, I believe it is essential to honor your individuality and create from the inner voice. This helps to quiet the inner critic that so often leads to comparison and competition with other artists. It is important to study other artists work, get involved with online picture book communities, and celebrate other’s successes.
I would suggest joining SCBWI, going to conferences, getting portfolio and manuscript critiques, joining local critique groups and finding like minded people who you can learn from, share with and enjoy the journey. Lastly, read lots and lots of kids books! Cynsational NotesAngela Cerrito
is a pediatric physical therapist by day and a writer by night. She thinks she has the two best jobs in the world.
Her latest novel, The Safest Lie
(Holiday House), was named a finalist for the 2015 Jewish Book Award, a Sydney Taylor Notable Book for Older Readers and a Notable Social Studies Book for Young People.
Angela Coordinates the SCBWI Bologna Interview series
, volunteers as SCBWI’s Assistant International Advisor and is a Cynsational
reporter in Europe and beyond.
If you ask a prospective agent these very basic questions, it shows you're not read to get an agent.
The new MB Artists catalog is here! Check out all of the new "Animals" themed artwork from our artists!
I was wondering, what if I get an agent and she tries to sell two or three of my novels, all in the same genre, and nothing sells. What would happen in this case?
Well Katie, sounds like you and your agent will be at a crossroads and need to make some decisions.
Each agent is different, and some agents might set you free at this point, believing they’re not the right agent to help you find success. You’ll want to clarify whether your agent wishes to continue or hang it up.
Remember that you have a choice, too. You may want to consider indie publishing. If you want to continue pursuing traditional publishing, and you think another agent can serve you better, it would be a good time for you to make this decision. Be cautious not to automatically blame your agent for the lack of a sale – she’s put in many hours on your behalf and hasn’t gotten paid a thing. She probably deserves the benefit of a conversation, at least.
If you and your agent want to continue working together, you’ll probably have a meeting to discuss your options. You’ll take a hard look at what’s going on, asking questions like:
→ Why aren’t your books capturing the attention of editors? Is it the ideas? The writing?
→ Could there be something specific about your characters and plot lines aren’t resonating?
→How much of this is due to the market, and how much is it the specific books you’re pitching?
→ Is it the genre? If so, is there another genre you’re interested in writing that perhaps is more saleable?
Ideally this meeting would culminate in a strategy and action plan for moving forward to find the success you’ve been working toward.
Keep in mind that this isn’t an uncommon scenario. Once you get an agent, it could still be a long time until serendipity strikes again and you find the perfect match between a project and a publisher.
What would you do if you were the writer in this situation?
What’s a writer to do when their agent can’t seem to sell their work? Click to Tweet.
The post When You’re Missing the Mark appeared first on Rachelle Gardner.
By Cynthia Leitich Smith
for CynsationsParker Peevyhouse
is the first-time author of Where Futures End
(Penguin/Kathy Dawson Books, 2016). From the promotional copy:Five teens.
One year from now, Dylan develops a sixth sense that allows him to glimpse another world.
Ten years from now, Brixney must get more hits on her social media feed or risk being stuck in a debtors' colony.
Thirty years from now, Epony scrubs her entire online profile from the web and goes “High Concept.”
Sixty years from now, Reef struggles to survive in a city turned virtual gameboard.
And more than a hundred years from now, Quinn uncovers the alarming secret that links them all.
Five people, divided by time, will determine the fate of us all. These are stories of a world bent on destroying itself, and of the alternate world that might be its savior--unless it's too late. Could you describe both your pre-and-post contract revision process? What did you learn along the way? How did you feel at each stage? What advice do you have for other writers on the subject of revision?
I set myself up for a tricky revision process when I wrote Where Futures End as a series of interconnected stories. I had to make sure that the stories connected well to each other, even though each is mostly self-contained.
My agent, Ammi-Joan Paquette
, also pointed out that the first story in the book had to be really gripping. Of course, every novel has to have an opening that grabs the reader, but that had to be especially true of Where Futures End, since the reader would only continue to the second story if s/he loved the first.
I worked really hard to revise the opening story before we sent out the manuscript on submission. But the feedback we got was that the first story still wasn’t working. The tone was too sad and dark, since the story dealt with a boy (Dylan) wrestling with the death of his brother; and Dylan was confusing, since he kept going back and forth on whether he had the ability to visit another world. I was pretty bummed about this feedback because I loved Dylan and his story, but I could see that the manuscript wouldn’t sell as-is.
I scrapped that first story and started over. I brought the dead brother back to life and made the plot focus on sibling rivalry. I created a more linear progression for Dylan’s investigation into whether he had the ability to visit another world, and I had the brother play a larger part in this mystery. To my surprise, this new version of the story felt even closer to what I had originally want to achieve. And it got a lot more interest from editors.
The editor who bought the novel, Kathy Dawson (who has her own imprint at Penguin), wanted me to make even deeper cuts. In the original version of the manuscript, Dylan is obsessed with a series of fantasy novels about the Lookingland, a magical realm Dylan thinks he can visit. Throughout the novel, other characters also try to access the Lookingland, so it became an element that tied together the separate stories that make up Where Futures End. Kathy suggested I cut out the Lookingland entirely; she thought it was too confusing, one more thing for the reader to keep track of in an already intricate novel. But how in the world would I then tie all of Where Futures End together?
|Parker's assistant, Arya|
We figured out that Dylan, instead of reading novels about the magical land he longed to escape to, should write stories about that land himself. This set up a new way to connect the stories that comprise Where Futures End.
In the second part of Where Futures End, Dylan’s stories come to the public’s attention. In the third part, we see that books and movies have been made from Dylan’s stories. In the fourth part, a main character makes his living playing a video game based on Dylan’s stories. And in the fifth part, the stories take on a life of their own…
It was painful to make all of those deep cuts. I wasn’t always sure I should make such huge changes to my original vision! But I took the advice of my agent and did my revisions in a separate document so that I always had the option of reverting to the original manuscript.
That helped me make bold changes, and in the end, I felt the new versions of the manuscript were better than the old versions.
It helps to have an agent and an editor who are so insightful with their revision suggestions, but I also recommend taking chances with revisions, knowing you can always go back to what you originally wrote if those revisions don’t work for you.As a science fiction writer, what first attracted you to that literary tradition? Have you been a long-time sci-fi reader?
Does anyone else remember “poot” from My Teacher Fried My Brains
by Bruce Coville
(Aladdin, 1991)? I loved that crazy-weird stretchable pet when I was in grade school. And I was fascinated by the tesseracts in A Wrinkle In Time
by Madeleine L’Engle
(Farrar, Straus & Giroux, 1963).
When I was a kid, if there was a book in my library about something strange, I took it home.
Those books inspired me to write my own weird stories about kids visiting alternate realities and wielding supernatural powers.
Reading and writing science fiction was the only thing that could feed my ever-hungry imagination.
What drew me to science fiction as a kid were the strange ideas, the mind-benders, like Meg Murray talking about how time is the fourth dimension.
Where Futures End makes use of the tropes I’ve loved reading about from a young age: alternate universes, time distortion, psychic abilities. But I’ve also grown to love how science fiction explores personal interactions and cultural changes. I wanted Where Futures End to explore culture in the same way Feed
by M. T. Anderson
(Candlewick, 2002) does, and to explore relationships in the same way that How I Live Now
by Meg Rosoff
(Penguin, 2004) does.
Science fiction, more than any other genre, lends enough distance to gain new perspectives, and that’s the main reason I still love the genre.
During the excitement of "the call," don't forget to ask questions of your prospective agent.
View Next 25 Posts
New agent Stephanie Fretwell-Hill represents everything from picture books to young adult.