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Sarah Davies

Rubin Pfeffer

Sarah Davies and Rubin Pfeffer are both literary agents with deep editorial experience honed over many years working as editors at various publishing houses.

Sarah is the founder of The Greenhouse Literary Agency. Rubin Pfeffer founded Rubin Pfeffer Content.

They spoke to us today about opportunities and challenges in publishing, with Rubin asking all of the panelists a variety of questions ranging from terminology to process and working styles.

Sarah's career in children's publishing in London lasted for 25 years. She moved to Washington, D.C. to found her agency, and is now back across the pond, where her agency is an international presence. She loves cultivating new talent and selling books all around the world (including Iran and the republic of Georgia).

What is an auction? 
Sarah explained this happens when more than one editor wants a book. Agents might set a time by which offers need to be received. Sarah likes to hold her auctions on Fridays (there was disagreement on the panel about this). Offers come in with their basic terms in addition to a lot of love from editors. To Sarah, the editor's passion for a project is a significant factor.

What does rejection signify?
To Rubin, rejection doesn't mean your writing wasn't good enough. There are factors beyond your control.

What kind of control do you have over the projects you submit?
Everything is done on behalf of your clients, Sarah said. One of the first questions she asks is about which editors clients already have relationships with. But she's also going to search her frequently updated database and use what she's learned in her frequent meetings with editors. "I'm making notes all the time and updating those."

She also runs submission ideas past her clients to make sure the best decisions are made.

How do you cope with losing a project that you love? 

Sarah Davies doesn't often fall in love with a new author. "I'm quite sparing in my love... when I fall in love, I want to get it." But it sometimes does happen that potential client chooses someone else.

Rubin Pfeffer on respect
It's easy to wear your emotions on your sleeve, but showing professionalism will take you very, very far. "It will cut you off short if it's not there."

How much work do you do on a manuscript before submitting it to an editor? 
In eight years, there have been only about two times Sarah has sent out a manuscript she hasn't given some feedback on. "My goal is to sell it as well as it can be done. My editorial role is working on it until we can get it to where it stands the best chance of being acquired by an editor."

What is joint accounting? 
When an editor makes an offer for more than one book, joint accounting is where both books have to earn out before royalties are paid. Agents don't want this situation to happen, but it's the house policy at certain publishers. At Little, Brown, series are jointly accounted, which is more reasonable to agents.

When should you submit to a junior vs. a senior agent? 
There are merits to both. Often a senior person such as Alving Ling might be well placed to give it to a less senior editor on her team. If Sarah has a large submission list, it's more likely to work that way. Many of the less senior editors have worked a long time as assistants, and have excellent experience.

Final words of wisdom 
A client was devastated by the rejection of her dark, edgy YA novel. She felt as though there was no future for her in publishing. She decided to recapture her joy in writing again, which she was starting to lose. "It's so easy to do in the frenzy of deal-making."

Some months later, she came back with a nonfiction picture book text and a chapter book series. Neither of which she had attempted before. These were her "peach sorbet" projects. She took delight in them, and Sarah told them fast. "This is a story not only of determination, but of flexibility... she's my heroine."

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From left to right, Rubin Pfeffer (Agent, Content, standing at podium), Alvina Ling (VP and Editor-in-Chief, Little Brown Books for Young Readers), Sarah Davies (Agent, Greenhouse Literary), Ginger Clark (Agent, Curtis Brown), Liz Bicknell (EVP, Executive Editorial Director & Associate Publisher, Candlewick Press), Alessandra Balzer (VP and Co-Publisher, Balzer + Bray/Harper Collins.)

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Sarah Davies is the founder of The Greenhouse Literary Agency, which represents authors of YA, MG, and picture books.

Sarah loves literary fiction with a strong commercial hook. Middle grade fiction is really the first that immerses young readers in new worlds and introduces them to empathy. These books often are among the most important people read.

We are in a fabulous, golden time for middle grade. Librarians and educators play a bigger role in linking readers with books, and it's sometimes a slow process.

How can you raise the level of your writing and make your manuscript stand out?

She has identified eight common denominators of great, salable middle grade. Here are a few things she looks for:

1. Know your market. What is middle grade? Her submissions inbox tells her a lot of people don't know what they're trying to do or who they're writing for.

At the younger end, it's chapter books that are typically 15,000-25,000 words long and illustrated with line art. Her client Tricia Springstubb writes these. They can be character led or concept driven. Clementine by Sara Pennypacker is an example. The Magic Treehouse is concept driven.

Novels for older middle grade readers run 30,000-60,000 words. (If it's longer, ask yourself why.) These core middle grade novels are about characters from 10 to 13, with a sweet spot of 11 to 13. THE TRUTH ABOUT TWINKIE PIE by Kat Yeh is an absolutely delightful middle grade that received a lot of buzz.

There's also a "tween" category that tends to be pinker and fluffier and deals with crushes, clothes, and friendships. Aladdin does this sort of book well.

2. Know your reader. How is MG different from YA? The YA protagonist is older, with a protagonist who is 15 to 17. But it's not just simply about age. The interior world of the pre-teen child is different from the older teen. If all good fiction has some rite of passage in it, the older teen's right of passage is "who will I be as an adult." For a middle grader, it's about firsts, the beginnings of finding an identity separate from your parents. Asking who am I, what am I?

3. Voice. Her client Mark Maciejewski had a funny voice. His submission needed work, but that voice struck her. Sometimes she can hear the adult behind the voice--and adult who is trying to remember how they think children sound. "Can you access the real thing? If you can, you're two-thirds of the way there. If you can an agent will spot you."

Let your voice shine through in the opening, rather than dumping plot info up front.

Read a lot and listen to children speak and understand their phrasing and logic. "You've got to develop your voice muscle."



The Greenhouse Literary Agency
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And the first of our pre-conference faculty interviews is in (and it's awesome!)

Agent Sarah Davies talks with Martha Brockenbrough about middle grade fiction, what makes books "saleable," and when a writer can know their book is ready to submit.

Their interview is packed with great advice and suggestions, like,

"focus on developing the two big ‘C’ words — Concept and Craft." 

and

"Don’t be frightened to be radical — rewriting can be far more powerful than tweaking, as it allows you to pull in fresh thinking in the strongest possible way so the new draft feels fully coherent."

Sarah Davies will be on faculty at the #NY16SCBWI conference, giving a breakout workshop Saturday morning and afternoon, "Saleable and Memorable Middle Grade Fiction," and participating in the Sunday main stage panel, "Acquisitions Today: Opportunities and Challenges."

You can see Sarah in person and learn from all the amazing faculty (and fellow writer and illustrator attendees) by joining us at the 17th Annual SCBWI Winter Conference in New York. Registration and details here.

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Sarah Davies

Sarah Davies is the founding agent at The Greenhouse Literary Agency, which has bases in the USA and the UK. She worked as a publisher for many years before founding Greenhouse. Meg Cabot, Karen Cushman, and Judy Blume are among the authors she published. Her agency clients include Lindsey Leavitt, Kat Yeh, and Sarwat Chadda.


The agency represents the range from picture books through YA, and Sarah has a special focus on MG and YA. Her agency philosophy is summed up in the name: It's a place where writers grow.

Erin Murphy

Erin Murphy is the founder of the Erin Murphy Literary Agency, which is based in Arizona but also has offices in Seattle. After working at Northland Publishing/Rising Moon Books for Young Readers, Erin founded her agency in 1999. The bestseller Robin LaFevers is among her clients.

The agency covers everything from PBs through YA, and tends to prefer lasting classics over trendier works. EMLA is legendary in the business for the close relationships clients enjoy, with an annual retreat that generates potentially dangerous levels of fun.

What do you look for? 

Erin Murphy: I look for authenticity, both in the author and the work. She likes characters that feel true. "You can't feel the hand of the author pushing them around on the page."

Sarah Davies:  She's hooked by ambitious writers. "And I'm not talking her about money and deals, much as we love them." She wants writers to crave mastering the craft, who have a big idea even if it might not pay off. She likes experimentation with structure. She's also an editorial agent who works with writers to get their work ready.

"I just love people who work hard," she said.

 What would you like to see or not see in a cover letter? 
 
Erin Murphy: She wants to see where you are in your career. She wants to get the sense that you've been at this for awhile, and how you're evolving.

Sarah Davies: The sole purpose of the query letter is to point the way to the writing. Keep it below a page, and keep your pitch below three paragraphs. Two is better. Make it intriguing, and make the reader want to go on and read the story. "But it's all about the writing that follows."

How do you see your role when you take on a client? 

Erin Murphy: Revision is as important a skill as writing. She often asks people to revise before she'll take them on as a client. If she doesn't know they can revise, she can't talk them up to editors.

Sarah Davies: She does a lot of work with her clients on their manuscripts. "If the bar can be raised, then I will do whatever I can do help that author get there."

Is it better to work with one publisher? 

Erin Murphy: If you're doing a book every few years, it makes sense to stick with one house and build that relationship. If you're a picture book author, you might publish with more houses, especially if you are prolific (which many picture book authors are).

Sarah Davies: Publishing contracts sometimes have limitations that determine this. Publishers want to make sure authors aren't overexposed, and they want to make sure authors aren't selling similar books to different houses. She likes knowing what clients are working on to make sure they're not hamstrung by contracts.

What doesn't hook you? What makes you cringe? 

Erin Murphy: If you're in prison, don't submit to her. Also, if a project is presented with outsize ambitions and celebrity dreams, that's a flag. "Your ambition should be about you growing as a writer or an illustrator."

Sarah Davies: She doesn't like cut and paste queries. She also sees the same beginnings again and again. Particularly prologues—prologues with car crashes. Then Chapter 1 is different in tone, and it starts with the character getting out of bed. In any given day, a third of her submissions start that way. She likes to be surprised. She likes fresh language and different ways to get into stories.

What's the children's publishing landscape look like today? 

Erin Murphy: Children's books are a bit insulated from some of the changes in publishing, because it's still about getting books into kids' hands. Everyone in the business cares most about story.

Sarah Davies: Her agency is having great year. The last two or three years, she's been a lot about YA. This year, she's done really well with middle grade. The international marketplace is improving slightly as some countries come out of recession.

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From the seats...

And close up!

Left to Right: Sarah Davies and Steve Malk

Left to Right: Erin Murphy and Aleandra Penfold

Left to Right: Rubin Pfeffer, Linda Pratt and Laura Rennert

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Sarah Davies is a literary agent at The Greenhouse Literary Agency.

She has deep experience in this business, both as an editor and an agent. For more than 25 years, she was a publisher in London, working with the likes of Judy Blume, Meg Cabot, and Karen Cushman. Her agency, launched in 2008, is based in both the U.S. and London. She considers both the U.S. and U.K. her domestic market, and represents writers in both places, although most clients live in the United States.

Greenhouse's affiliate Rights People is the top seller of international rights in the business. Being international is part of the agency's DNA.  

She gave us a detailed talk about the international aspects of publishing, which she finds "quite exciting." She also walked us through the anatomy of a complicated deal simultaneously struck on both sides of the Atlantic.

Some excerpts from her remarks: 

Why care about foreign sales? 

These sales mean more income for writers. The biggest contenders are Brazil, France, and Germany. Your advance can equal or exceed a U.S. advance. They can also lend prestige and profile.

"Success breeds more success," she said.

Territory is where all negotiations begin, she said. Publishers want as much exclusive territory as they can get for as little money as possible. Her agenda as an agent is different, but there are three types of territorial contracts she can make:

• One for North American rights (usually U.S. and Canada)  - the publisher can publish in English in those two places, their dependents, and the Philippines.
• World English language - the publisher can sell your book anywhere in the world in the English language.
• World rights in all languages. Subsidiary rights are potentially very valuable. There are good reasons for your agent to sell them to your publisher, e.g. if your publisher has a good track record of selling your rights. These count to erode your American advance, which is good for the writer. There are also good reasons to retain those rights, and Greenhouse tries to do just this.

When a sale happens, percentages are divided. If Greenhouse sells for you, as opposed to your publisher, you will end up with a bigger percentage.
 
In terms of book publishing, all sales play into making your brand and your book bigger, she said. Buzz goes on internationally and nationally. And the book business is a small, interconnected world. 

A book called HALF BAD by Sally Green holds the record for foreign sales: 40 countries before it was even published.

On how books get buzz (a few of her observations):

She told us about some "shadowy figures" known as book scouts who live in NYC and London network with agents to find the hottest upcoming properties. They usually represent foreign publishers and film clients. "They are desperate for early information and hot tips," she said.

Book fairs also spread buzz—Bologna and Frankfurt (which is all books, not just children's books).

Publishers Weekly lists deals. There's a free newsletter you can subscribe. Publishers Marketplace also has a subscription service.
  
Follow Sarah on Twitter.

Learn more about The Greenhouse Literary Agency

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Happy To Be Girls by Sarah Davies

Review by Chris Singer

About the author:

Sarah Davies lives with her family in Syracuse, New York. She earned a degree in American Studies at Cornell University. Happy to be Girls was inspired by her nieces, Arianna and Kara, and is her first children’s book.

About the illustrator:

Jenny Mattheson was born and raised in Bucks County, Pennsylvania. She earned her BFA in Illustration at the Art Institute of Boston. Her previous books include: The Mouse, the Cat and Grandmother’s Hat by Nancy Willard, and This Is Christmas Morning by Cheryl Ryan Harshman. She currently lives and works in Berkeley, California, and is very happy to be a girl.

About the book:

Do you know a great girl? A wild girl, a free girl? A happy as can be girl? As this fresh, funny take on girl power attests, being a girl is all about being whoever you want to be. A girl can be athletic or artistic, thoughtful or silly or bold. And she can be just as fierce painting a mural as climbing a mountain.

With an energetic rhyming text and luminous illustrations that showcase the diversity of girls at work and play, this is a book to make any girl happy just to be herself, and makes a perfect gift for a favorite girl, whether little or all grown up.

My take on the book:

My wife found this book on our first visit to the our new hometown library and it’s been a constant part of our bedtime reading ever since.

I love the book’s concept of countering the stereotypes many have about girls. The book shows girls being smart, brave and strong while engaging in all sorts of activities such as skateboarding, unicycling, tree-climbing and even misbehaving.

The illustrations are fantastic and do an excellent job of portraying all different types of girls. I thought any young girl looking at this book could find a girl in the book which resembles how she looks or what she likes to do.

I really liked how the book ends with this: “Loud girls, Proud girls, Stand out in the crowd girls. Being just themselves – JUST GIRLS!!”

This is a terrific book to help build self-confidence in girls because it shows girls being whatever they want to be. I would also highly recommend this to teachers/librarians/counselors as a resource as well.

We’ve had a lot of fun at home with the book. My daughter, Tessa, loved it immediately because the cover had two of her current obsessions: a girl with a soccer ball and a girl riding a bike. After a few reads, she got to taking the book out of my hands to study the pictures and look at all the colorful illustrations depicting the girls in action. My wife and I had to give in one night because Tessa insisted on taking it to bed with her. That was a battle we were both too tired to fight and we found Tessa sleeping facedown on the book an hour later. If that’s not a ringing endorsement for a book I don’t know what is!

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How often can you meet authors who write about outer space, werewolves, dystopian societies, fairies, and reincarnation in the same event?

The Breathless Reads tour featured Beth Revis, Andrea Cremer, Ally Condie, Brenna Yovanoff, and Kirsten Miller.

We caught up with the five authors for advice on writing, getting published, and more. Highlights from the interview follows below.

continued…

New Career Opportunities Daily: The best jobs in media.

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Special shout out to Robyn Campbell and Katie Salides in thanks for the recognition on my blog :) I love awards!!! They are right up there with new blog followers, FB friends, Twitters following my tweets, blog comments, and oh yeah - gifts....presents. (wait, does that sound bad???)

Mostly, I love awards because I can pass them on and share other great blogs I follow :)

Award #1: Kreativ Blogger Award (with a capital K. BTW, leave it to me to get the award that is spelled wrong. :) Hey - if you saw my new line edits, you would understand why!)

(from Katie Salides at Step 1Write, Edit and Revise)

Here are the rules:
1. Thank the person who nominated you for this award.
2. Copy the logo and place it on your blog.
3. Link to the person who nominated you for this award.
4. Name 7 things about yourself that people might find interesting.
5. Nominate 7 Kreativ Bloggers.
6. Post links to the 7 blogs you nominate.
7. Leave a comment on each of the blogs letting them know they have been nominated.

7 (really boring) things about me.....that you probably don't care to know and could definitely live without.

1. I used to sing in a jazz band. I actually always thought I'd be a professional singer. If only I was not too old to try out for American Idol. I guess there's always America's Got Talent :) (I didn't know in my heart yet that writing professionally was even an option for me. Until I was out of college, I thought all writers were dead. Don't ask me why.)

2. I love to do Bikram Yoga. The hotter the better. For those of you who do not know, it is yoga done in 108-112 degree room. It is amazing!!! At the end of my class, they always hand out frozen lavender-smelling washcloths. Before I had kids, I did this yoga at least 5 times a week and had a rock hard body. Not so much anymore. (sorry to hubby!) I hope to return soon. :)

3. My husband is from UK. And, yes he has a sexy accent. He's actually from a small town in Wales. After we first got married, his company messed up his Visa and he was sent back to UK for 8 weeks until the British Consulate redid his passport. I spent a whole day (and night along with a few bottles of wine) thinking he was dead in a ditch somewhere b/c the airline would not inform me he was detained. I even got pulled aside in Atlanta Hartsfield Airport by security for "creating a scene" which really meant I was crying too loudly. What can I say it was after Sept 11th, so I guess my wailing spooked some people.

4. I really think I'm going to be on Oprah someday. Yes all my friends laugh at me. But I have had recurring dreams about me sitting on a couch talking to her - about what I don't know - so who knows. Weird huh? After my ex-fiance called off our wedding (2 weeks before the date). I sent in an essay to Oprah on the topic "How I pulled through a bad time." Mine was actually published in O magazine under an article title called "When I was dumped." Nice huh? But hey, I was proud - after all - it was in O magazine! Nothing like the whole world knowing. right? Wait - can I put that in my bio - that I was published in O magazine???

5.I was chosen to be in the show and pet Shamoo at Sea World. Yes, I have it on tape. I even said something brilliant. When asked "what does he feel like?" by the trainer, I yelled into the microphone (obviously not knowing how loud it was) "a tire". I think Shamoo was offended b/c he splashed me. Which doesn't sound bad, except I walked around the rest of the afternoon smelling like a fish. I have it all on tape but at parties I usually only show my parachuting one. makes me look cooler.

6. I traveled through Europe for a month by myself when I was 25. It was awesome. I was attacked on a train by a group of boys trying to mug me. Special shout out to the Italian train conductor for saving my life that night. I got stranded in Geneva without a hotel. And I was stuck in Piccadilly Circus for about 4 hours (11 pm - 3am) b/c I could not get a cab.

7. I have a special power. That's right. I am a superhero. Jealous? Whenever I touch something electronic, it breaks. I must have some kind of overactive magnetic field. Things never break down when my hubby is using them, only me. To give you an example - this was my week - my dishwasher broke (yes I had to wash dishes like in the old west except it was in a sink not a river). my car broke down (a day after we paid for it, while I was driving it. My hubby drovei t the whole weekend and it worked fine. I get in and NOTHING.), my TV broke while my hubby was out of town (yes you busted me, this is why I am caught up on blogs). And my cable broke and then came back on the day they were coming to fix it (we have no idea why).

Man I just realized how boring I am. And those 7 were hard for me to come up with.

Now, wouldn't it be funny if I now told you they were all lies! They're not but it'd be a great joke if "I'm a great liar" was #7. tee hee.

7 Kreativ Blogs

1) Jodi meadows (slush pile reader) - at Words and Wardances, she does a series called Slush stats where she shows her notes on query letters. It is very eye-opening. she is also on Twitter.

2) Frenetic Reader - Khy is a great teen reviewer for children's books, primarily MG/YA. I love reading teen blogs about their view on the books they read.

3. Plot This - My friends and aspiring writers, Katie and SF Hardy, run a great blog together.

4. Lisa and Laura Write - These girls are sisters, they write together (i still don't understand how that works exactly) and they are HIlarious!

5. Lisa's Little Corner.... - Lisa Schroeder is one of my fav authors so I was estatic to meet her in LA (and a little nervous). Her book "I heart you" led me to my tween angel story. BTW, she is as cool and funny as she is brilliant.

6. Dream the Dream - Brit seems to always reach in and find something I am worrying about.So maybe she can reads minds too. Who knows? you'll have to read her to find out.

7. Heather Hansen - Met her in person in LA and she is as funny in person as she is on her blog.


Award #2: Literary Blogging Award
(from Robyn Campbell at Putting Pen to Paper.)

BTW me? a literary award? This may be the only time I ever get that! :)

Here are the rules:
1) Accept the award and post a link back to the awarding person.
2) Pass the award on (the rules differ here; sometimes you pass on to one person, five, or even more).
3) Notify award winner.

I'm only going to do one since I think I just broke something coming up with the last 7.

My choice is.....

Sarah Davies (FYI - I learned her last name is pronounced Davis!!) from Greenhouse Literary. Not only is she a FABULOUS person and ROCKING agent. But she also writes beautifully and her posts always seem to touch me in some unexpected way.

Whew I'm exhausted! Hope you got some new blogs from this!

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Lin: How much time and effort do you spend on the editorial process?

Sarah: She tend to look more for potential than for something that's finished. She can wrestle with plots but she can't create a voice. She's gone through complete rewrites, from scratch, with authors she's gone on to successfully sell.

It would be lovely, she said, if she didn't need to do that, but she wants to get each manuscript to it's most salable form.

POSTED BY ALICE POPE

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Lin: What's the state of the market?

Sarah: Many wonderful editors have gone. List are being cut. Publishing staff really has to justify where they spend their money.

That said, "I'm selling lots of books and I know my colleagues are too."

Note: She specializes in tween, and teen, no picture books.

POSTED BY ALICE POPE

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Sarah Davies introduces herself and discusses her agency (in her lovely accent).

She's founder of Greenhouse Literary, based in DC and also London. She was pub director of Macmillan in the UK. The agency launched in January 2008, and had sold 16 or 17 writers so far on both sides of the Atlantic.

Sarah is a hands-on editorial agent. She rep American and British authors to both markets directly herself. She made a deal for a conference attendee from here in LA.

If you want to submit, visit greenhouseliterary.com.

POSTED BY ALICE POPE

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SARAH DAVIES, "Writing (and selling) in the global marketplace"

Sarah Davies, founder of the Greenhouse Literary Agency, is having a great day. First of all, TODAY IS HER BIRTHDAY!!!! So please tell Sarah "Happy Birthday!" today!

Secondly, one of her clients' book submissions started getting a lot of attention from interested editors. It turns out last night during the faculty dinner, Sarah was receiving a ton of texts from editors about it. And there's nothing that makes an agent happier than multiple editors interested in their client's book! (I do remember seeing her busily text away on her cell phone during our dinner because I sat next to her!)

So clearly Sarah is having a WONDERFUL week in Los Angeles. :)

Her panel focused on how to write and sell in a global marketplace - and how her background reflects a global life because she is a London gal living in D.C. :)

She had a handout for everyone that detailed the business behind the global marketplace. Some highlights from her handout include:

-- "Why bother with other countries when the USA is so big? Income, prestige, profile of 'international property.' Biggest brands become bigger through foreign sales. Buzz, buzz! - the synergy of today's international marketplace."

-- "What work travels? Middle grade novels with strong home sales; YA with unique premise/voice. Also - ideas that can't be created as easily within foreign market; strong sales and wards back home; being one step ahead of a trend (eg, Potter/fantasy; Meyer/goth romance); filling gap in market; concepts/settings that transcend indivdual cultures."

She also listed advice on "Tips for writers on navigating international writers." One important tip stated, "Focus on the story only YOU can write - don't settle for poor craft or derivative storyline. If it's great, it'll find its market - wherever."

Every single panel, I have noticed, has been packed. Including Sarah's panel - the room was practically full, which reflects the increasing international membeship of SCBWI and also shows a strong interest in budding writers trying to find an audience not only at home but abroad. 

Posted by Paula Yoo

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New Agent Interview: Sarah Davies of Greenhouse Literary...



"For me," says agency founder Sarah Davies, "the Greenhouse is about everything I've achieved and assimilated over my entire career, how to work with authors, what constitutes a great book, what publishers are looking for..."

Davies started the Greenhouse Literary Agency with 25 years of publishing experience under her belt and a knowledge of both the US and UK children's publishing worlds. Below she talks about her journey to becoming an agent, and what she can do for the authors she represents. See my post below for the full listing for the Greenhouse that will appear in the 2009 CWIM.

You’ve called starting your agency “a truly epic personal and professional adventure.” Why did you decide to steer your career in this direction?

I’d been a corporate publisher for a long time. I still loved working with my authors and helping to grow and manage the business, but I knew the time had come for a change. I was being approached about a number of opportunities, but I was particularly drawn to do something that would use absolutely all my abilities and experience and that would be very entrepreneurial. When Working Partners (a very successful British company with a great track record for creating children’s fiction for international publishers) offered me the chance to set up and run a brand-new literary agency, I knew it was an amazing opportunity – especially as the business would have offices in both the USA and UK. Plus it all tied in with my personal life – I married my American fiance in October 2007, when I first arrived in the States!

Is the Greenhouse unique in that it’s a British and American agency? What can you do for your authors that other agencies cannot?

There are a number of agencies, especially the big ones, that have offices in both countries. Where I think the Greenhouse is unique, is that I am personally representing authors from both countries – and I’m representing them to both territories. American agencies would generally call the US their ‘home’ market and everywhere else ‘overseas sales’ – with different commission. Unusually, Greenhouse takes the same commission for sales to both US and UK and calls both its ‘home’ market. This reflects the international view I have of the industry (the connectedness of the English-language world) and is partly possible because I have homes in both places. Just as importantly, I have close knowledge of both markets – what books are likely to work in each – and I’m very well connected with publishers in both New York and London, which is crucial.

There are a couple of things the Greenhouse can offer that sets us apart from other agencies, in addition to the transatlantic basis of the business.

Firstly, my publishing background is deeply editorial – I have been a fiction editor most of my life and my specialty is in working creatively with authors. I have worked with some very famous writers, but equally I love to be alongside someone just starting out, when they have a talent and commitment that excites me. That’s why I chose the name Greenhouse – it summed up the kind of development I seek for authors I work with: growth as a writer, growth in finding the right publisher; ultimately, we hope, growth in profile and sales.

Secondly, I’ve mentioned my passion for the international side of the business. Most agencies use sub-agents to sell rights around the world. Greenhouse is very fortunate to work with its sister-company Rights People – a trio of rights-selling experts with a great track record in children’s sales. This gives the agency an unusually cohesive presence around the world.

Is there anything in particular that appeals to you in a manuscript (funny, edgy, etc.) or are there certain types of material for young readers that you prefer (adventure, romance, futuristic, etc.)? How would you describe your taste?

I like everything – from the mass market series to the literary novel, from girly fiction to dark thrillers. I just want to see something special in a project – a shining spark of originality, characters that leap off the page, a narrative voice that makes me keep reading. It’s funny, but when I read something out of the ordinary, I feel like the hairs are standing up on the back of my neck. It’s proved to be a very reliable gauge!

How do you prefer to receive submissions (full manuscript, query)? Any tips you could pass on in regards to first contact with you (or any agent)?

Lots of agents want just a query letter. To me, a writer’s voice is one of the most important factors and you can’t always determine that from an outline. So what I want is: a) a short synopsis (no more than 500 words ; b) a short paragraph of bio (giving any relevant information that might make me want to read your work; c) the first three chapters of the text. In terms of first contact, please don’t believe you are an exception to everyone else – it’s annoying to be called up or sent the same material multiple times.

Can you offer some general advice for children’s writers seeking agents?

Really take your writing seriously and do all you can to polish it before you submit it. Read voraciously, join a critique group, go on a writers’ conference and listen to published authors talk about their experience. There are lots of things you can do to learn about the craft of writing before you start looking for an agent. Also, get to know the market, spend time with kids and understand their world as it is today, not as it was when you were a child or teen. In fact, the Greenhouse’s Top Tips for children’s authors are on the website, so click on to www.greenhouseliterary.com and have a read!

Finally, before you submit anything, read your chosen agency’s website carefully – don’t waste your time (and the agent’s) by sending material that isn’t appropriate to that agency. Submit exactly what is requested – and then allow a realistic amount of time for a response.

Anything else you want to tell us?

Some people get fixated on the idea of having an agent in New York. Having been in Virginia (just outside DC) for several months now, I’m delighted to be in this location. Not only are there far fewer agents here, but there are also some really powerful writers’ groups. On the other hand, I’m close enough to NY to make regular trips, whether for the day or longer, which is also crucial in keeping up with publishers. If I were an author seeking an agent, I’d be asking these questions: Is this agent well connected? Do they really know the industry? Do they understand a writer’s craft – and will they be looking to my long-term interests rather than just making a quick deal? These things are far more important than location in an age of broadband and Blackberry. Oh, and they should actually make sure they like their agent because it’s a particularly close relationship. Editors will come and go, but you hope that your agent will remain!

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New Agent Info: Greenhouse Literary Agency...

As mentioned in my recent newsletter (click here to sign up) here's information for Sarah Davies' new agency:

THE GREENHOUSE LITERARY AGENCY
11308 Lapham Drive, Oakton VA 22124. E-mail: [email protected]. Web site: www.greenhouseliterary.com. Contact: Sarah Davies. New agency actively seeking clients. Seeking both new and established writers. Estab. 2008. Member of SCBWI. Represents 4 clients. 100% new writers. 100% books for young readers. Staff includes Sarah Davies.

• Sarah Davis has had an editorial and management career in children's publishing spanning 25 years; for 5 years prior to launching the Greenhouse she was Publishing Director of Macmillan Children's Books in London, working with and publishing leading authors from both sided of the Atlantic.

Represents Handles fiction, middle grade, young adult. "Sarah Davies (who is British) represents authors personally to both the USA and UK, and the Greenhouse has offices in both countries. Commission structure reflects this as the agency takes the same commission for both the USA and UK, treating both as the ‘domestic’ market. Foreign rights are sold by Rights People (a separate business but also part of the Greenhouse’s parent company), a dedicated team of rights-selling experts with a fast-growing international track record. This means sub-agents are rarely used, giving the agency an exceptionally cohesive presence around the world and a truly global reach. Davies has a strong editorial background and is able, as necessary, to work creatively with authors in a very hands-on way to help them reach submission point." Actively seeking children's and YA fiction of all kinds, from age 5+ (post picture book) through teen and crossover. Does not seek "nonfiction, poetry or picture books (text or illustration). However, if a client diversified from children's fiction into other areas, then the Greenhouse would continue to represent the author, whatever the age group or genre of work. The agency represents authors, not books."

How to Contact Send a one-paragraph outline and biography, plus 3 sample chapters. Accepts queries by e-mail, mail. "Allow 6 weeks for a response to initial material. Check Web site before submitting." Returns mss with SASE only. Obtains new clients through recommendations from other, queries/solicitations, conference.

Terms Receives 15% commission on sales to both US and UK; 25% on foreign sales. Offers written contract.Sarah Davies attends Bologna Children's Bookfair in Bologna, Italy; SCBWI conferences; BookExpo America; and other conference--see Web site for information.

Tips "It’s very important to me to have a strong, long-term relationship with clients. Having been 25 years in the publishing industry, I know the business from the inside and have excellent contacts in both the US and UK. I work hard to find every client the very best publisher and deal for their writing. My editorial background means I can work creatively with authors where necessary; I aim to submit high-quality manuscripts to publishers while respecting the role of the editor who will have their own publishing vision. Before submitting, prospective authors should look at the Greenhouse’s ‘Top 10 tips for authors of children’s fiction,’ which can be found on our Web site."

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