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You’re right. I sound presumptuous. But I want to be ready when I get “the call” from a literary agent.

Right again. The call could be a long way off. But being prepared is smart. And besides, I love list-making.

Here’s why I think this preparation is important: it’s easy to focus on what an agent may expect and need from you. But an agent/client relationship, at its best, is designed to be a true business partnership. As an equal partner, you need to think about what you want and need from an agent too. (I shall not digress into tales of wah from eager author wannabes who closed their eyes, asked no questions and became human ankle bracelets for the first agent who expressed interest. You are far to dear and sensitive for such horror stories.)

And so, here’s a list of questions for you to consider as you do your agent homework.

Disclaimer: Please think of this list as a guideline. You’ll want to customize it to suit your style and situation. That’s what I did. Some of these questions are my own, but I also adapted questions from a list used by my generous friend Kelly Barson (who found a wonderful agent!). Also, keep in mind, you may find the answers to some of these questions online (like the answer to question 6). This will give you room to ask other questions instead.

Get your question list ready. Then you’ll be ready when the agent pops the question: do you have any questions for me? (Whoa. I feel dizzy. I wrote myself into a circle there.)

1. If you work within a house, would I be considered your client or a client of the house? (In other words, if the agent moves on, are you connected to that house or will you move with him/her?)

2. Do you offer a representation contract or a verbal agreement? (Some writers might be uncomfortable with formal contracts, while others would feel too vulnerable with a verbal agreement. You need to ask for what’s best for you.)

3. You’re basing a decision to represent me on one work. What if you don’t love the next project? Do you refuse to send it out? Do you try to find it a home anyway? Do I have the latitude to branch into another genre (e.g., from MG novels to picture books)?

4. What will my working relationship with the you look like?

5. How far do you typically go editorially? Do you request in-depth rewrites? A little tweaking? None at all?

6. Are you a member of AAR? (The Association of Author Representatives member agencies agree to abide by a code of ethics.)

7. How much communication do you provide? And how will you typically provide it–email, phone, telepathy? (Some agents only talk to you when there’s a deal to discuss or if there’s a problem brewing. They leave you alone to write. Others are more hands-on determining the next project, checking in during the writing process, giving feedback, updating on submissions, etc. You need to decide how much autonomy you want or if hand holding through the initial stages is exactly what you need.)

8. Will I be dropped if my work doesn’t sell right away or are you committed, no matter how long it takes? Is there a time limit? At what point would you ask me to move on to something else (or to someone else)?

9. What are your greatest strengths as an agent? (If you’re feeling brave–ask about weaknesses too, but be prepared to answer the same question yourself!)

10. Could you describe your ideal client?

BONUS NEWS . . .

Not quite ready to begin your agent search? Here’s a fabulous opportunity to learn the fine art of revision. You’ll know how to make your work as polished as possible before you start your hunt.

Revision Retreat 2014 with Harold Underdown and Eileen Robinson

In this working retreat, Harold Underdown and editor Eileen Robinson will teach proven techniques for self-editing and revising and work with writers on their manuscripts. Mornings will be dedicated to revision techniques and afternoons to model critique groups, individual meetings, and writing time.

Hurry! Spaces are limited to allow for individualized attention.

I would advise anyone who aspires to a writing career that before developing his talent he would be wise to develop a thick hide. ~ Harper Lee

Do you have a manuscript—picture book, novel, or nonfiction—that needs work? Do you wish you could learn techniques that would help you revise not only this manuscript, but future ones?

Then come to the KBR “Editing without an Editor” workshop in Westport, CT. Learn how to revise like an editor by working with two experienced editors, who have distilled the methods they’ve used in editing manuscripts with individual clients and in the online Kid’s Book Revisions class. To create a framework, they’ll compare “reader response” theory and the lit. crit. approach, and explore ways to gain objectivity and to focus on different aspects of manuscripts. You will pick up and try out methods for making critique groups work better. After lunch, you will learn and try out a variety of techniques for self-editing, from big picture revision down to copy-editing, working on your own or with a partner.

Critiques are available for those that want them, but are not included in the standard package, to keep the price as low as possible. The workshop fee is $175 through May 21st, and $225 after that. A critique of up to 15 pages is $40; longer manuscripts can be critiqued by arrangement.

The workshop will run from 9 AM to 5 PM on  Sunday, June 30, at the workshop space, Write Yourself Free/The Editing Company, 252 Post Road East, Westport, Connecticut, (the little red schoolhouse).

Schedule:

In advance: Student preparation: You will need to bring copies of up to 5 pages of your manuscript for use in model critique groups and hands-on work. We will tell you how many copies are needed ahead of time.          If you want a critique, submit manuscript when you register but no later than two weeks before the workshop, to allow ER or HU time to review and comment. See details following the schedule.

• Class “textbook”: Writing It Right!, Sandy Asher. We will give copies of this to all students.
• Also useful: A Family of Readers, ed. by Roger Sutton and Martha Parravano. Find it at your local library.

9:00   Welcome, introductions, and review of schedule.

9:15   Introduction: Reader Response vs. Lit. Crit–different ways to respond to a manuscript and what you get from them.

10:00   How Critique Groups Work and Don’t Work–introduction and discussion.

10:30   Critique Group Practice and Feedback. Break into critique groups to dive into “what lies underneath.” Focus on trying out a specific technique and getting peer critiques and editor feedback. (Eileen and Harold will lead and take part in a group.)

12:00   Lunch: Sign-up sheet available at lunchtime for impromptu critique groups or work with partners, etc., during 3:30 to 4:30 individual meeting time.

1:30   Big Picture Revising – Some techniques and what they do for you. Hands-on practice with your manuscript.

2:45   Sweating the Small Stuff – Yes, the details matter!  Again, techniques and what they do for you. Hands-on work.

3:30   Individual meeting with editors for those students who signed up for them. When not in meetings, students can write, revise, meet with a reading partner or impromptu crit. group, or do creativity exercises we provide.

4:30   Lessons Learned—what you’ve learned about yourself and your manuscript, and what do you do next? Discussion. Final questions.

Click link for more information, and registration details:http://www.kidsbookrevisions.com/editing-without-an-editor-2013.htm

Talk tomorrow,

Kathy

Here’s some good news to make your heart flutter! 

February Illustration by Nina Mata www.beautifique.org

There were two workshops at the New Jersey SCBWI June Conference that filled up very quickly - Plotting and Producing Freebies to Market Your Book and Reading as a Writer.  I know there were a few disappointed people, so today both  have greed to open their dors by adding a few more spots.  So if you are already registered and were someone who was disapponted, now is your chance to go back in and snag a space.

People taking Author Charlotte Bennardo & Author Natalie Zaman’s Plotting and Producing Freebies to Market Your Book workshop should send a hard or electronic copy of their manuscript–here’s the description of the workshop New Maximum: 14 Writers & Illustrators, All Genres, Advanced, Published, Under Contract or Self Published

The publishing industry is changing; authors are now largely responsible to market their own books. Nat and Char will show you how to plan and  create your own marketing materials to promote your book. There is a max of ten people for this workshop so that we can discuss each  participant’s book. Participants will need to submit a partial or full  electronic copy of their manuscript and/or an ARC and/or cover art if  available to [email protected] by May 10th.  (This is a lot of work that Natalie and Charlotte have agreed to do, so if you can send in what they need now, it would pay off for everyone attending.)

Reading as a Writer – Ann DeForest New Max 25 Writers, All Types, All Levels

All writers begin as readers. The books we loved as kids first opened us to language’s power and enticed us to create our own worlds with words. Reading can still guide and inspire us today. This hands-on workshop will transform your reading from pastime into fruitful apprenticeship. Stuck on dialogue? Having trouble choreographing a battle scene? Dissatisfied with your denouement? Turn to the experts all around you: the books that line your shelves at home or the local library. This workshop will address practical matters like incorporating reading into your writing schedule and setting up a reader’s notebook. We’ll also discuss “imitation,” “annotation,” and other methods of active, engaged reading that will sharpen your writing skills. Participants will have time to solve a particular craft problem (e.g. dialogue, conflict, beginnings) using favorite books as models. Please bring a blank notebook, a work-in-progress, and a book you love.

Two other Changes:

We have opened up two 15 minute time slots on Sunday for Lionel Bender and Eileen Robinson for anyone wanting to recevieve a 15 minute one-on-critique.  This will will lower the price to $65 for those spots – The times are 12:15pm – 12:30 and 12:35 - 12:50pm.

If you want to register or just find more info; here is the link: http://www.regonline.com/njscbwi2012conference

Deadline for “Early Bird” pricing is Midnight March 1st

Talk tomorrow,

Kathy

Here is the faculty, so far:

MARGERY CUYLER, Publisher, Marshall Cavendish

PBs, Rhyming books, Board Books, Easy Reader/​Chapter Books, Middle Grade, YA, Non Fiction, Graphic Novels, Historical fiction, Fantasy, Edgy. She likes a novel that “immediately represents modern conflict” and one that doesn’t “hold the story hostage to the message.”

At a conference specifically geared to the Jewish market, Ms. Cuyler mentioned that there’s a big need for “good Jewish mysteries and time travel” as well as a need for “contemporary Jewish stories.”

Eileen Robinson – Publisher of MOVE BOOKS: www.move-books.com , which focuses on Middle Grade books for boys.

Eileen is also the owner of F1rst Page and does Editorial Consultanting – F1rst Pages http://f1rstpages.com  As an editorial consultant, Eileen works with both published and unpublished authors to help them strengthen their writing.

Eileen is also a former executive editor at Scholastic.

At the New Jersey 2012 SCBWI Conference Eileen will conduct a 4 hour Intensive on Friday June 8th, where she will work hands-on with writers who want to improve their manuscripts.  Keep in mind that space is limited.

Scott Treimel, agent and owner of S©ott Treimel NY, which opened in 1995.

Scott has worked for a literary agency, a literary scout, two book publishers, a newspaper syndicate, a book club, and a movie studio, either buying, selling, packaging, editing or creating intellectual property—all for children. If you haven’t met Scott, he is a wealth of information and a very accomplished agent in the children’s book industry.

Stephen Fraser, Literary agent at Jennifer DeChiara Literary Agency.

Stephen Fraser joined the Jennifer DeChiara Literary Agency as an agent in January 2005. He worked most recently at HarperCollins Children’s Books, where he edited such creative talents as Mary Engelbreit, Gregory Maguire, Michael Hague, Ann Rinaldi, Kathryn Lasky, Brent Hartinger, Stephen Mitchell, and Dan Gutman. He began his career at Highlights for Children and later worked at Scholastic and Simon & Schuster. A graduate of Middlebury College in Vermont, he has a Master’s degree in Children’s Literature from Simmons College in Boston. He represents both children’s and adult books in a wide range of genres.

What He’s Looking For: Currently, looking for children’s books for every age – picture books, middle-grade, and young adult – and adult fiction and non-fiction in a wide range of genres.

KRISTA MARINO is an Executive Editor at Delacorte Press (Random House Children’s Books) where she acquires and edits Young Adult and Middle Grade fiction. She is always looking for strong new voices, innovative concepts, and great stories for her list. She doesn’t do cute- she’s more on the da

HOT OFF THE PRESSES – GOOD NEWS!  Eileen Robinson has started her own publishing company -  MOVE BOOKS. 

MOVE BOOKS goal is to grow and sustain boy’s appetite for reading – to Move them to read for the long-term. 

So if you have written a middle grade book that will inspire boys to read for pleasure, and help build their imaginations through books that resonate with them, then you have a good place to submit.  

Eileen Robinson says she is looking to publish their first book in the beginning of 2012, so this is a huge opportunity. If you have a polished and completed middle grade manuscript, then mail in your first 25 pages of  your completed novel and a synopsis to:

Move Books
P.O. Box 183
Beacon Falls, CT 06403

Do not email manuscripts.  Please do not waste Eileen’s time by submitting an incomplete manuscript.  This will slow down the production schedule at MOVE BOOKS.

Eileen will keep her writing consulting company – F1stpages, but this is a separate company and manuscripts that are submitted for this service will not get any special consideration for MOVE BOOKS.

PLEASE NOTE:  You will need to put a dash between Move and Books to find the website:  www.move-books.com

Boy oriented books does not mean you have to eliminate girl characters.

I want to hear when you sign that contract.

Talk tomorrow,

Kathy

7 Comments on New Middle Grade Focused Publisher, last added: 9/2/2011