There are all kinds of scenarios in which a manuscript becomes a book. Sometimes it’s a series planned well ahead of time, sometimes the author is well-known and the project is signed on the basis of a proposal, sometimes the agent knows that the idea in itself is a winner and he/she sends it out to vast range of different editors, generating a lot of buzz in the process.
As an acquiring editor, however, my favorite way to come across a manuscript is much more quiet than any of these scenarios. It’s when I stumble across something in a pile of submissions that strikes my fancy. The reason it’s fun to discover things in this way, is that I am not reacting to a trend, but to something that particularly suits my taste. And this means I’m going to remain excited about it right up until the release date and beyond.
I’ve had quite a few books like this on my list. It’s hard to pick just one. But I think there is one that is particularly illustrative of this kind of scenario. It’s Bow-Wow Bugs a Bug by Mark Newgarden and Megan Cash.
I got a completely different submission from Mark and Megan in the slush pile—unagented. Mark and Megan decided to send it to me because they had come across another project of mine that made them think I might be interested in their work. Their submission was beautifully packaged, in a folder, with lots of visuals and a pitch sheet. I won’t mention that project, because I still love it and hope that it will come out eventually in some form. For various reasons I wasn’t able to pursue it. Anyway, alongside the mystery project was a proposed series of board books based on a intrepid little terrier. Bow Wow Bugs A Bug was created later, as an anchor to this series.
There are a couple of inspiring things about this story. First, the project came through slush. I know we hear about things being discovered this way. But these stories are told for a reason—they are remarkable because they don’t happen very often. The reason Mark and Megan’s work stood out was that it was impeccably presented and it was exactly the kind of thing that I like to read. They had built an entire pitch package of the quality that we might mock up for a marketing meeting, and they thought very carefully about to whom they were sending it. It was funny, clever and visually stunning with selling points and a target audience outlined. The other important point to note is that, despite the appeal of this package, we ended up having them do a different project all together. They were willing to work with us (and did to an absolutely heroic extent) in order to build a good publishing strategy. And I was willing to work with them, because I could see very clearly that they had more than one project in them.
There is one point I would like to make clear. Mark and Megan are not push-overs. A willingness to work on something doesn’t mean a willingness to surrender your vision to someone else. It simply means that you are willing to hear feedback and try to incorporate it in a way that suits the project. Mark and Megan have a strong aesthetic perspective and I had long email exchanges with them over what to keep and what to leave out. It’s important to work with your editor, but it’s also important to maintain your point of view. Do not compromise to the extent that you don’t want to be associated with
Great post! I love the points Tamson makes about the difference between being willing to work with an editor and being a pushover. Thanks for sharing this insight.
Nice to see that there is hope for those of us who find our way to the slush pile! Thanks for sharing.
Loved this emphasis on mutual respect and collaboration. This is most definitely the type of editorial partnership I am after.
I am so glad that I found your blog, PiBoIdMo and all the wonderful things that have blossomed from your seedling!
I have a question (or two) for Tamson Weston:
What would you give as advice for an unpublished pb author with a 400 word (+/-) manuscript?
send just a query letter with the pitch sentence?
send the book dummy?
send a pdf of the book dummy?
send the whole manuscript?
send a pdf of the manuscript?
and the most important question:
would you have different advice if that author is a member of SCBWI, but hasn’t been to a conference this year?
Very nice post. Yes, there is hope for some of us.
Thanks so much for this helpful blog. Great insight into an editor’s thinking. You know just what writers need, Tara, for inspiration and knowledge! Keep it coming. Oh, and I’m always up for another interview. My new picture book came out at the end of December…..Just saying!
Louise: When submitting a picture book, I think a query is an unnecessary step. Some of my colleagues may feel otherwise, but I think most of them would concur. You should always consult the guidelines of the particular agency you are sending it to, however. They will clarify whether that submission should be hard copy or electronic. Most places are taking electronic submissions these days, but there are still a few hold-outs. You should only be worrying about a book dummy if you are an author illustrator. In that case, a pdf of the dummy is usually a good option, but again, you need to get clarification from the agency’s guidelines. Most places have them posted on their website. Notice I am saying “agency.” I still think, despite this success story, that it’s crucial to have an agent in today’s market if you are trying to publish traditionally.
Thanks for sharing your insight. You gave some great things to think about.
May we all be so fortunate as to have our own “Tamson Weston” discover our words in the slush and bring them along for the world to enjoy. Thanks for the inspiration on a dreary winter day!
Thanks, Tamson, for sharing a slush pile success! There is hope!