Two lawyers walk into a bar...
and talk about their friends and families. One lawyer describes how her foolish but creative sister-in-law is writing YA fantasy novels, and the other mentions she has a friend whose first YA fantasy novel was just released. The second lawyer e-mails the info. on a book event to the first lawyer, who sends it to her sister-in-law. The sister-in-law is intrigued by the website already set-up to support the book, as it appeals to her fascination for all things steampunk. Even though she cannot make it to the signing, she will buy the book.
The Lesson: the networking thing works.
I haunt the YA shelves in bookstores, but if it weren't for two lawyers chatting, I would not have known about the steampunk fantasy, Eyes Like Stars http://theatre-illuminata.com/ the week it hit the shelves.
Your personal network is a powerful asset. Use it!
(Oh, and it wasn't a bar, and the lawyer is very supportive of her writer sister-in-law. : )
Tuesday, July 14, 2009
Tuesday, June 30, 2009
Business Hydra 1, Jazz Cat Manuscript 0
I've listened to a lot of grousing from artists and writers alike about craft versus commerce, but for me as a newbie, it's a no-brainer. My family cannot exist on Top Ramen alone, I have no skill in the area of "suffering" for my art, and I would like to have something published before I have to depend on Depends. Writing in a vacuum and ignoring the market would kill my budding career.
I have been debating which of my projects get my time and which will sit. A NaNoWriMo novel whose first page garnered an "I'd read more" from both an agent and an editor at the SCBWI Spring Conference gets top billing, but I need something else to work on in between marathon bouts with the novel.
I ran most of my more interesting works past both of my critique groups to gauge reactions, and all met with positive interest, so it comes down to the reality of marketability.
My inner business geek reared her misshapen many-headed hydra self from the dark recesses of my mind, and snapped teeth at my jazz cat story. The heads hissed, "It's taking up precious time that could be spent on a more marketable work!" "Maybe later when you are actually published!" and "Feed me Seymour- Hey! Is that Brendan Fraser?"
After wiping the drool off of the floor from head number three, I have put the jazz cat to bed for now.
RIP
I have been debating which of my projects get my time and which will sit. A NaNoWriMo novel whose first page garnered an "I'd read more" from both an agent and an editor at the SCBWI Spring Conference gets top billing, but I need something else to work on in between marathon bouts with the novel.
I ran most of my more interesting works past both of my critique groups to gauge reactions, and all met with positive interest, so it comes down to the reality of marketability.
My inner business geek reared her misshapen many-headed hydra self from the dark recesses of my mind, and snapped teeth at my jazz cat story. The heads hissed, "It's taking up precious time that could be spent on a more marketable work!" "Maybe later when you are actually published!" and "Feed me Seymour- Hey! Is that Brendan Fraser?"
After wiping the drool off of the floor from head number three, I have put the jazz cat to bed for now.
RIP
Thursday, June 4, 2009
Editor - Krista Marino
Post Western Washington SCBWI Spring Conference 2009 :
These notes are from material I found on-line, a one-on-one critique of one of a work-in-progress, and any other information gleaned from the opening panel of presenters at the conference.
Krista is a San Diego native, where she began her career as an editorial assistant at Harcourt Children's Books, working for Michael Stearns (see post from last week on agents from the Spring SCBWI conference). She continued working at Harcourt in New York, and moved on to became an associate editor at Delacorte Press (part of Random House Books for Young Readers). Her title at Delacorte these days is Senior Editor. Oh, yeah, and there's this little ting about being named SCBWI Member of the Year in 2006...
Krista's just looking to fall in love with a middle grade/young adult story. She doesn't do cute- she's more on the darker edge of fiction (she has not been buying much of lighter fare lately), but she does like works with comedy in them. She prefers quality over quantity. As many of the works she's edited in the last few years are trilogies or series, she is now looking for amazing stand-alone books.
Some acquisitions from the last six to nine months:
Books in the Celebutante series sold by agent Michael Bourret
Kiss My Book sold by agent Michael Bourret
Carrie Ryan's next YA novel by agent Jim McCarthy
Victoria Laurie's next two YA novels by agent Jim McCarthy
Maze Runner series by James Dashner by agent Michael Bourret
Dystel & Goderich Literary Management (both of the above mentioned agents work there) seem to have a lot of success selling Krista what she wants to see.
Some recent or soon to be released books:
Forest of Hand and Teeth by Carrie Ryan (agent Jim McCarthy)
As I type, I have a ticket to a nice warm place for a two week vacation burning a hole in my pocket (although by the time you read this, I will already be there and blogger "scheduled posts" will be posting this for me), and I am running-out of time to aggregate information, so here are the places I found Krista Marino on the web:
From Alice's CWIM blog
A couple of posts including paraphrased notes on the "best way to run a career" from a speaker panel in 2007, and Krista's thoughts on writing for teen boys in 2006.
Shelli's faeriality.blogspot.com:
An interview with Krista in February 2009 on marketing advice and her publishing house.
SCBWI-AZ The Journey interview in 2007:
An interview with Krista from 2007
And, if you are SCBWI International member, you can access the full transcript of a moderated chat by Stephen Mooser with Krista Marino in 2006. It's nice and lengthy with lots of information.
My critique session with her was great. Given that my meeting with her was in the last hour or so of the conference before the last keynote speaker, she was still alert, kind and thoughtful for the ten minutes we had. She has edited a number of YA novels in my general genre with styles that I thought were similar to mine, and I was curious to see how she would react to the voice in the work in progress that I did for NaNoWriMo 2008. I actually did not get a chance to run the piece by my two critique groups until after the deadline to submit the pieces for the manuscript consultations, so what she saw was pre-critique group. Her reaction to the voice and humor were positive, and she provided some excellent criticism that will help guide my revisions, and also showed that my critique pals' suggestions were on the mark and the changes I've already done are in the right direction.
If you get the chance, and your work is in the right arena for what she likes to read and edit, I highly recommend a manuscript consultation with her.
That's it for now, and this concludes my posts on editors and agents from the conference.
These notes are from material I found on-line, a one-on-one critique of one of a work-in-progress, and any other information gleaned from the opening panel of presenters at the conference.
Krista is a San Diego native, where she began her career as an editorial assistant at Harcourt Children's Books, working for Michael Stearns (see post from last week on agents from the Spring SCBWI conference). She continued working at Harcourt in New York, and moved on to became an associate editor at Delacorte Press (part of Random House Books for Young Readers). Her title at Delacorte these days is Senior Editor. Oh, yeah, and there's this little ting about being named SCBWI Member of the Year in 2006...
Krista's just looking to fall in love with a middle grade/young adult story. She doesn't do cute- she's more on the darker edge of fiction (she has not been buying much of lighter fare lately), but she does like works with comedy in them. She prefers quality over quantity. As many of the works she's edited in the last few years are trilogies or series, she is now looking for amazing stand-alone books.
Some acquisitions from the last six to nine months:
Books in the Celebutante series sold by agent Michael Bourret
Kiss My Book sold by agent Michael Bourret
Carrie Ryan's next YA novel by agent Jim McCarthy
Victoria Laurie's next two YA novels by agent Jim McCarthy
Maze Runner series by James Dashner by agent Michael Bourret
Dystel & Goderich Literary Management (both of the above mentioned agents work there) seem to have a lot of success selling Krista what she wants to see.
Some recent or soon to be released books:
Forest of Hand and Teeth by Carrie Ryan (agent Jim McCarthy)
As I type, I have a ticket to a nice warm place for a two week vacation burning a hole in my pocket (although by the time you read this, I will already be there and blogger "scheduled posts" will be posting this for me), and I am running-out of time to aggregate information, so here are the places I found Krista Marino on the web:
From Alice's CWIM blog
A couple of posts including paraphrased notes on the "best way to run a career" from a speaker panel in 2007, and Krista's thoughts on writing for teen boys in 2006.
Shelli's faeriality.blogspot.com:
An interview with Krista in February 2009 on marketing advice and her publishing house.
SCBWI-AZ The Journey interview in 2007:
An interview with Krista from 2007
And, if you are SCBWI International member, you can access the full transcript of a moderated chat by Stephen Mooser with Krista Marino in 2006. It's nice and lengthy with lots of information.
My critique session with her was great. Given that my meeting with her was in the last hour or so of the conference before the last keynote speaker, she was still alert, kind and thoughtful for the ten minutes we had. She has edited a number of YA novels in my general genre with styles that I thought were similar to mine, and I was curious to see how she would react to the voice in the work in progress that I did for NaNoWriMo 2008. I actually did not get a chance to run the piece by my two critique groups until after the deadline to submit the pieces for the manuscript consultations, so what she saw was pre-critique group. Her reaction to the voice and humor were positive, and she provided some excellent criticism that will help guide my revisions, and also showed that my critique pals' suggestions were on the mark and the changes I've already done are in the right direction.
If you get the chance, and your work is in the right arena for what she likes to read and edit, I highly recommend a manuscript consultation with her.
That's it for now, and this concludes my posts on editors and agents from the conference.
Tuesday, June 2, 2009
Editor - Connie Hsu
Post Western Washington SCBWI Spring Conference 2009
These notes are from information I picked-up from attending sessions from this editor.
Connie Hsu is an assistant editor at Little, Brown and Company Books for Young Readers (referred to hereafter as LB) which is a group within Hachette Book Group USA, and home to Stephanie Meyer (you know, Twilight). LB is known for being more commercially driven, more about the best sellers.
They are always looking for more multicultural books, and they are a little concerned that although young adult paranormal and fantasy books are still popular, the market may be saturated. They are looking for romance - commercial, beachy reads. They already have vampires and ghosts. In picture books, the more character driven picture books are doing well.
LB has moved to a paperless submission process, and only accepts submissions that are agented, editor-requested or are Hachette employee referrals. The editors use e-readers.
A "no" to a manuscript from one editor at LB is a no from the whole house. And once a manuscript is declined by an editor there, it is a wholesale NO on that work unless they ask for revisions. So make sure you (or your agent) really know what an individual editor wants.
The LB submission process is very selective and they have a long string of steps that includes two committees a manuscript must pass before being acquired. Since the beginning of this year, Connie has received over 200 submissions. Of those, she has only taken ten to the initial committee of editors that have the power as a group to accept or reject a manuscript. On two of those works she had spent a lot of time working with the author to revise over a course of months.
None of them made it past the committee to be acquired.
Thus far, she has only actually acquired two books overall.
This editor is pretty funny in person. She says she takes everything- picture books to young adult, but not as many picture books- she only likes them if they are about dead animals. She claims she likes the morbid and the strange, and that she is "young, hungry and completely weird".
She says that the e-book market is indeed growing, but that it will not affect picture books much due to the nature of picture books. She does think, though, that it may affect paperback sales.
Connie says alphabet and counting books are uphill battles- the more elements you add on make it even harder to do right, because they are for three-year-olds, so sophistication and too many elements don't speak to that audience.
She generally likes alliteration, but watch out for starting a picture book for example, with a lot of hard consonants in a row- difficult to read.
She loves it when animals talk about their humans. And speaking of animals, in picture books, she likes real 100% true animal stories- Marley and Me, Chowder, but not so much fiction starring animals.
Connie will look at a manuscript no matter what. If it is not for her, but she thinks the writing is strong, she may take it down the hall to a co-worker.
In queries, Connie thinks you should be able to describe your book in 200 words or less.
She does not care as much about plot, story and concept- she cares about the writing. If she likes the voice and talent, she'll ask for more.
Next time: Krista Marino
These notes are from information I picked-up from attending sessions from this editor.
Connie Hsu is an assistant editor at Little, Brown and Company Books for Young Readers (referred to hereafter as LB) which is a group within Hachette Book Group USA, and home to Stephanie Meyer (you know, Twilight). LB is known for being more commercially driven, more about the best sellers.
They are always looking for more multicultural books, and they are a little concerned that although young adult paranormal and fantasy books are still popular, the market may be saturated. They are looking for romance - commercial, beachy reads. They already have vampires and ghosts. In picture books, the more character driven picture books are doing well.
LB has moved to a paperless submission process, and only accepts submissions that are agented, editor-requested or are Hachette employee referrals. The editors use e-readers.
A "no" to a manuscript from one editor at LB is a no from the whole house. And once a manuscript is declined by an editor there, it is a wholesale NO on that work unless they ask for revisions. So make sure you (or your agent) really know what an individual editor wants.
The LB submission process is very selective and they have a long string of steps that includes two committees a manuscript must pass before being acquired. Since the beginning of this year, Connie has received over 200 submissions. Of those, she has only taken ten to the initial committee of editors that have the power as a group to accept or reject a manuscript. On two of those works she had spent a lot of time working with the author to revise over a course of months.
None of them made it past the committee to be acquired.
Thus far, she has only actually acquired two books overall.
This editor is pretty funny in person. She says she takes everything- picture books to young adult, but not as many picture books- she only likes them if they are about dead animals. She claims she likes the morbid and the strange, and that she is "young, hungry and completely weird".
She says that the e-book market is indeed growing, but that it will not affect picture books much due to the nature of picture books. She does think, though, that it may affect paperback sales.
Connie says alphabet and counting books are uphill battles- the more elements you add on make it even harder to do right, because they are for three-year-olds, so sophistication and too many elements don't speak to that audience.
She generally likes alliteration, but watch out for starting a picture book for example, with a lot of hard consonants in a row- difficult to read.
She loves it when animals talk about their humans. And speaking of animals, in picture books, she likes real 100% true animal stories- Marley and Me, Chowder, but not so much fiction starring animals.
Connie will look at a manuscript no matter what. If it is not for her, but she thinks the writing is strong, she may take it down the hall to a co-worker.
In queries, Connie thinks you should be able to describe your book in 200 words or less.
She does not care as much about plot, story and concept- she cares about the writing. If she likes the voice and talent, she'll ask for more.
Next time: Krista Marino
Thursday, May 28, 2009
Editor - Joelle Dujardin
Post Western Washington SCBWI Spring Conference 2009:
These notes are blurbs of information I picked-up from attending sessions from this editor.
There are a number of good interviews on the web with various editors from Highlights magazine, not to mention all the great information on submissions they put on their website, so I won't go into detail on those subjects. The focus here is on Joelle's preferences and thoughts and anything that I have not heard or read before, or gives an inside scoop on Highlights.
Joelle is Associate Editor at Highlights magazine, one of the best markets to try and place short works. After beginning her publishing career at Henry Holt and Company, she spent several years at Carus Publishing in both the Cricket Books and non-fiction magazines arena, before being moving to Highlights in late 2004. She edits fiction for independent readers, nonfiction for beginning readers, and verse.
At Highlights, they run manuscripts through ALL of the editors for comment, and (as is our entire industry) it is subjective. You may pass the same work before one editor at two different times and get differing opinions each time.
In Joelle's opinion, Highlights' intent is to be "not opposed to change, but not spear-heading it."
Reading the reader's mail part of the magazine will give you a lot of insight into the readers that Highlights serves.
Highlights buys all rights, but it is the Highlights custom (NOT expressed in contracts) to share rights with the author if they re-sell a piece to another market, like foreign rights. The split is generally 50%. Some authors have even made more money on pieces that Highlights re-sold multiple times than on a published book!
Highlights does a lot of non-fiction by subject matter experts, but they also do take works from people who interview the subject matter experts and write a great article. They like to see full back-up- get the experts to read and approve your article before sending it in. Also, it is a good idea to include ideas and material for sidebars or other angles kids can get out of the article. Kids want things that are relevant and usable. Make sure you give information organically, without a lot of exposition.
Highlights tends to avoid personifying animals or using their POV in non-fiction.
With science articles, they like to portray science as a self-correcting process, not just a body of facts. It is okay to show that we do not have all the answers, and that it is a learning process.
Highlights refers to their younger fiction as "Thirteen-point fiction", due to the type size they use for those pieces. Topics should not be too babyish , as they still have to please older readers (up to twelve years old).
In fiction submissions, Highlights likes to see all genres represented. Via the 2008 Highlights Fiction Contest, they discovered that sci-fi is a comfortable fit for Highlights. They are trying to branch-out and go for more variety, beyond "typical Highlights" stuff.
In the magazine, there are some mixed piece pages- even if something does not show a by-line, that does not preclude that type of material from being open to submission.
For fiction, Joelle personally likes it to bring her to another place, and she would rather see too much than too little in terms of variety of submissions. Leaving a story synopsis ending hanging in your cover letter is okay with her (not required or preferred, just okay if that is the way you want to write it), since she generally skims the cover letter and looks directly at the story.
Submissions are by snail-mail, but Joelle usually asks for revisions via e-mail.
Next time: Connie Hsu
These notes are blurbs of information I picked-up from attending sessions from this editor.
There are a number of good interviews on the web with various editors from Highlights magazine, not to mention all the great information on submissions they put on their website, so I won't go into detail on those subjects. The focus here is on Joelle's preferences and thoughts and anything that I have not heard or read before, or gives an inside scoop on Highlights.
Joelle is Associate Editor at Highlights magazine, one of the best markets to try and place short works. After beginning her publishing career at Henry Holt and Company, she spent several years at Carus Publishing in both the Cricket Books and non-fiction magazines arena, before being moving to Highlights in late 2004. She edits fiction for independent readers, nonfiction for beginning readers, and verse.
At Highlights, they run manuscripts through ALL of the editors for comment, and (as is our entire industry) it is subjective. You may pass the same work before one editor at two different times and get differing opinions each time.
In Joelle's opinion, Highlights' intent is to be "not opposed to change, but not spear-heading it."
Reading the reader's mail part of the magazine will give you a lot of insight into the readers that Highlights serves.
Highlights buys all rights, but it is the Highlights custom (NOT expressed in contracts) to share rights with the author if they re-sell a piece to another market, like foreign rights. The split is generally 50%. Some authors have even made more money on pieces that Highlights re-sold multiple times than on a published book!
Highlights does a lot of non-fiction by subject matter experts, but they also do take works from people who interview the subject matter experts and write a great article. They like to see full back-up- get the experts to read and approve your article before sending it in. Also, it is a good idea to include ideas and material for sidebars or other angles kids can get out of the article. Kids want things that are relevant and usable. Make sure you give information organically, without a lot of exposition.
Highlights tends to avoid personifying animals or using their POV in non-fiction.
With science articles, they like to portray science as a self-correcting process, not just a body of facts. It is okay to show that we do not have all the answers, and that it is a learning process.
Highlights refers to their younger fiction as "Thirteen-point fiction", due to the type size they use for those pieces. Topics should not be too babyish , as they still have to please older readers (up to twelve years old).
In fiction submissions, Highlights likes to see all genres represented. Via the 2008 Highlights Fiction Contest, they discovered that sci-fi is a comfortable fit for Highlights. They are trying to branch-out and go for more variety, beyond "typical Highlights" stuff.
In the magazine, there are some mixed piece pages- even if something does not show a by-line, that does not preclude that type of material from being open to submission.
For fiction, Joelle personally likes it to bring her to another place, and she would rather see too much than too little in terms of variety of submissions. Leaving a story synopsis ending hanging in your cover letter is okay with her (not required or preferred, just okay if that is the way you want to write it), since she generally skims the cover letter and looks directly at the story.
Submissions are by snail-mail, but Joelle usually asks for revisions via e-mail.
Next time: Connie Hsu
Tuesday, May 26, 2009
Editor - Sarah Shumway
Post Western Washington SCBWI Spring Conference 2009 :
These notes are merely blurbs of information I picked-up from attending sessions from this editor. I'm presenting the editors from spring conference in the order of quantity of information, saving the editor with the most for last.
Sarah joined Katherine Tegen Books (an imprint at Harper Collins) six months ago, and is now building her own list. She is "wide open" for middle grade and young adult fiction. Literary, commercial - she wants to see it all.
I did not have a lot from her, so here is a great link to fill that gap. Laura Purdie Salas, a significantly published author, did an interview/workshop a few weeks back with the Institute of Children's Literature on finding markets for your manuscripts. The interview and answers are on-line, and she does such an excellent job of giving some nice basics for market research.
Next time: Joelle Dujardin
These notes are merely blurbs of information I picked-up from attending sessions from this editor. I'm presenting the editors from spring conference in the order of quantity of information, saving the editor with the most for last.
Sarah joined Katherine Tegen Books (an imprint at Harper Collins) six months ago, and is now building her own list. She is "wide open" for middle grade and young adult fiction. Literary, commercial - she wants to see it all.
I did not have a lot from her, so here is a great link to fill that gap. Laura Purdie Salas, a significantly published author, did an interview/workshop a few weeks back with the Institute of Children's Literature on finding markets for your manuscripts. The interview and answers are on-line, and she does such an excellent job of giving some nice basics for market research.
Next time: Joelle Dujardin
Friday, May 22, 2009
Literary Agent Update - Nathan Bransford
Post Western Washington SCBWI Spring Conference 2009 update:
I did not attend any sessions that featured Nathan as a speaker, but he did state in the opening panel that he is open to just about anything, except picture books and early readers, and that he'd rather see too much than too little.
For the next two weeks, I will be on vacation sans electric umbilical cord and laptop, but through the wonders of prescheduled posts, there will be two posts per week with information on editors- Sarah Shumway, Joelle Dujardin, Connie Hsu and Krista Marino.
Have a great weekend!
Aloha, A Hui Hou Kakou!
I did not attend any sessions that featured Nathan as a speaker, but he did state in the opening panel that he is open to just about anything, except picture books and early readers, and that he'd rather see too much than too little.
For the next two weeks, I will be on vacation sans electric umbilical cord and laptop, but through the wonders of prescheduled posts, there will be two posts per week with information on editors- Sarah Shumway, Joelle Dujardin, Connie Hsu and Krista Marino.
Have a great weekend!
Aloha, A Hui Hou Kakou!
Thursday, May 21, 2009
Literary Agent Update - Kelly Sonnack
Post Western Washington SCBWI Spring Conference 2009 update:
On cover submissions: "I'm pretty easy." She will read on in an e-mail query to see the writing sample even if the query letter is not catchy- She gives the benefit of the doubt.
It is important to do a two sentence pitch- especially for picture books.
In query letters, if your publishing credits are small, local, not well known, make sure to explain a bit about the work and publisher so she can understand.
If you have no publishing credits, leave that out entirely.
If your book is long, example of a 130,000 word novel, don't tell her that in your cover letter. It usually signals to her that there is a lot of cutting that needs to be done. She said leave it out, and let her fall in love with the work first before letting her find out how long it is.
On the other end of the word count spectrum, she says it is almost impossible to sell a novella right now.
Make sure you give a full sense of the work in your cover letter- don't leave an editor or agent with a cliffhanger in an effort to get them to read a snippet if you are submitting to someone who only goes off of query letters.
She thinks a thirteen-year old protagonist is way too young for a YA novel.
In the last few months, especially with picture book authors, she'll ask to see other picture book manuscripts to see what is in the future for the author.
A short paragraph or sentence about your other works in progress might intrigue her if she likes your writing but the specific work that you submitted is not a fit for her.
Don't panic if you do not have previous publishing credits. A lot of Kelly's authors are debut authors, and for her, it is all about the story- credentials won't guarantee a work will be acquired.
She's interested in graphic novels.
Tomorrow: Nathan Bransford
On cover submissions: "I'm pretty easy." She will read on in an e-mail query to see the writing sample even if the query letter is not catchy- She gives the benefit of the doubt.
It is important to do a two sentence pitch- especially for picture books.
In query letters, if your publishing credits are small, local, not well known, make sure to explain a bit about the work and publisher so she can understand.
If you have no publishing credits, leave that out entirely.
If your book is long, example of a 130,000 word novel, don't tell her that in your cover letter. It usually signals to her that there is a lot of cutting that needs to be done. She said leave it out, and let her fall in love with the work first before letting her find out how long it is.
On the other end of the word count spectrum, she says it is almost impossible to sell a novella right now.
Make sure you give a full sense of the work in your cover letter- don't leave an editor or agent with a cliffhanger in an effort to get them to read a snippet if you are submitting to someone who only goes off of query letters.
She thinks a thirteen-year old protagonist is way too young for a YA novel.
In the last few months, especially with picture book authors, she'll ask to see other picture book manuscripts to see what is in the future for the author.
A short paragraph or sentence about your other works in progress might intrigue her if she likes your writing but the specific work that you submitted is not a fit for her.
Don't panic if you do not have previous publishing credits. A lot of Kelly's authors are debut authors, and for her, it is all about the story- credentials won't guarantee a work will be acquired.
She's interested in graphic novels.
Tomorrow: Nathan Bransford
Wednesday, May 20, 2009
Literary Agent Update - Michael Stearns
Post Western Washington SCBWI Spring Conference 2009 update:
This guy is pretty funny in person.
(Added 5/22/09 Why eat light when you can have the full meal deal? Make sure you click on the comments so you can see Michael's own helpful cross-ex and redirect on this post.)
Still likes literary novels that have plots. Example - A Northern Light- repped by agent Stephen Malk.
On plot: think of it as complication and follow through, not just in action, but in character.
He can tell quality of writing in two pages.
Take time in building worlds and choosing names of places and characters. Work hard to make them right.
He kind of likes lists (think Bubba in Forrest Gump)- this was quite a surprise to me.
Tomorrow: Kelly Sonnack
This guy is pretty funny in person.
(Added 5/22/09 Why eat light when you can have the full meal deal? Make sure you click on the comments so you can see Michael's own helpful cross-ex and redirect on this post.)
Still likes literary novels that have plots. Example - A Northern Light- repped by agent Stephen Malk.
On plot: think of it as complication and follow through, not just in action, but in character.
He can tell quality of writing in two pages.
Take time in building worlds and choosing names of places and characters. Work hard to make them right.
He kind of likes lists (think Bubba in Forrest Gump)- this was quite a surprise to me.
Tomorrow: Kelly Sonnack
Tuesday, May 19, 2009
Literary Agent Update - Stephen Malk
Post Western Washington SCBWI Spring Conference 2009 update:
Still not looking for new clients.
In a "first pages" session, Stephen told us that he always reads beyond the first page of a manuscript, unless it is clearly something that he does not handle, like an adult book. He wanted to make sure that we were not stuck in "first page mentality".
He mentioned that he tends to not like books that start with dialog, especially in a picture book.
As for alliteration, he thinks you have to go all the way, or use it sparingly.
He loves absurdity (think author/illustrator Adam Rex).
He's thinking that at some point, really short middle grade novels like Frecklejuice will make a come back, but that real/true animal stories will be played-out soon (think Marely and Me).
At least two of his cats were adopted from shelters.
Tomorrow Michael Stearns
Still not looking for new clients.
In a "first pages" session, Stephen told us that he always reads beyond the first page of a manuscript, unless it is clearly something that he does not handle, like an adult book. He wanted to make sure that we were not stuck in "first page mentality".
He mentioned that he tends to not like books that start with dialog, especially in a picture book.
As for alliteration, he thinks you have to go all the way, or use it sparingly.
He loves absurdity (think author/illustrator Adam Rex).
He's thinking that at some point, really short middle grade novels like Frecklejuice will make a come back, but that real/true animal stories will be played-out soon (think Marely and Me).
At least two of his cats were adopted from shelters.
Tomorrow Michael Stearns
Saturday, May 16, 2009
Hi from the SCBWI Western Washington Spring Conference
I'll be posting content from my notes for those of you who couldn't make it to the conference, live way too far away (a hearty welcome to my readers in Peru, Spain, Sweden, Israel and India), or even those who were there but just plain missed some of the comments in the sessions today.
Today was only day one, and hoo boy, do I have a pile of great tips and tidbits from and about editors, agents and authors to share with you already!
First things first- congratulations to one of my critique group pals for a winning entry in the joke contest at the conference today- you go, Grumpy Old Man!! You make ASWAAGS proud!
It is going to take me a while to get all this conference information in readable shape, so in the meantime, here are examples of things to come:
-Updates on the literary agents already posted on this blog thus far (Stephen Malk, Michael Stearns, Kelly Sonnack, and Nathan Bransford).
-Notes on editors from the conference
-Great quotes from the presenters
Find out who said s/he really only likes picture books about dead animals, which of the editors used to work for one of the agents, who is young, hungry, and completely weird; who really wants graphic novels; and which venerable children's magazine is now accepting sci-fi in fiction submissions.
Stay tuned!
Today was only day one, and hoo boy, do I have a pile of great tips and tidbits from and about editors, agents and authors to share with you already!
First things first- congratulations to one of my critique group pals for a winning entry in the joke contest at the conference today- you go, Grumpy Old Man!! You make ASWAAGS proud!
It is going to take me a while to get all this conference information in readable shape, so in the meantime, here are examples of things to come:
-Updates on the literary agents already posted on this blog thus far (Stephen Malk, Michael Stearns, Kelly Sonnack, and Nathan Bransford).
-Notes on editors from the conference
-Great quotes from the presenters
Find out who said s/he really only likes picture books about dead animals, which of the editors used to work for one of the agents, who is young, hungry, and completely weird; who really wants graphic novels; and which venerable children's magazine is now accepting sci-fi in fiction submissions.
Stay tuned!
Monday, May 11, 2009
And here's my card...
Summer conferences for writers are just around the corner. If you have not already, now is the time to ponder creating business cards to keep connected with the people you will meet.
Of course you still need cards even if you are not published! Will that potential critique group pal remember your contact info. if you scribble it on a napkin? What about that person from the first pages session (dream a little dream, here) who wanted to connect you with her agent? How about the guy at lunch who had taken every writing class locally and knew which teachers rock, and which are off their rockers?
You may not have a full brand identity yet (for the moment, mine is rather schizophrenic, and I'm wondering what therapy/medical help/exorcism might help me lock one identity into place), but you can at least start with some basic contact information to hand out to your new writing friends. Or, to your old writing friends who can never remember your blog address -you know who you are...(squint-eyed grin).
Here are some links to help you get started:
An editor's take on writer's business cards:
http://editorunleashed.com/2008/10/30/writers-business-cards-dos-and-donts/
Business Cards designed for writing professionals at Vista Print:
http://www.vistaprint.com/premium-business-cards/gallery.aspx?pf_id=088&pg=1&rd=2&keywords=writer&page=1&pagesize=24&sc=-1&preid=3&xnav=search
100 Cards Free from Ooprint:
http://www.ooprint.com/us/dynamic/public/chooser.shtml?cat_label=EN_FREE-BUSINESS-CARDS_0
Go for it!
Of course you still need cards even if you are not published! Will that potential critique group pal remember your contact info. if you scribble it on a napkin? What about that person from the first pages session (dream a little dream, here) who wanted to connect you with her agent? How about the guy at lunch who had taken every writing class locally and knew which teachers rock, and which are off their rockers?
You may not have a full brand identity yet (for the moment, mine is rather schizophrenic, and I'm wondering what therapy/medical help/exorcism might help me lock one identity into place), but you can at least start with some basic contact information to hand out to your new writing friends. Or, to your old writing friends who can never remember your blog address -you know who you are...(squint-eyed grin).
Here are some links to help you get started:
An editor's take on writer's business cards:
http://editorunleashed.com/2008/10/30/writers-business-cards-dos-and-donts/
Business Cards designed for writing professionals at Vista Print:
http://www.vistaprint.com/premium-business-cards/gallery.aspx?pf_id=088&pg=1&rd=2&keywords=writer&page=1&pagesize=24&sc=-1&preid=3&xnav=search
100 Cards Free from Ooprint:
http://www.ooprint.com/us/dynamic/public/chooser.shtml?cat_label=EN_FREE-BUSINESS-CARDS_0
Go for it!
Friday, May 1, 2009
Free Comic Book Day
Exactly what it sounds like.
No, really: http://www.freecomicbookday.com/fcbd_locator.asp
Saturday, May 2, 2009, support your local independant comic shop and get free loot to boot!
No, really: http://www.freecomicbookday.com/fcbd_locator.asp
Saturday, May 2, 2009, support your local independant comic shop and get free loot to boot!
Saturday, April 25, 2009
Common mistakes checklists
Check the sidebar- I posted links to the "common mistakes beginning writers make" lists I've collected. These lists come in handy on your own work and on other's work if you are in a critique group. Some are from established writers, some from agents, some from editors, so they do vary- read them all to get a broad view.
For some reason, much of what I found was from romance writers, and who cares? Good writing is good writing. Period. Genres and markets aside, poorly written prose is something to be avoided, whether it is the leering ne'er do well in the darkened alley or crazy Uncle Gilgamesh who happens to grow fangs once a month.
For some reason, much of what I found was from romance writers, and who cares? Good writing is good writing. Period. Genres and markets aside, poorly written prose is something to be avoided, whether it is the leering ne'er do well in the darkened alley or crazy Uncle Gilgamesh who happens to grow fangs once a month.
Friday, April 24, 2009
NY Times bestselling author nets a whopping...$26,000 on book- don't quit your day job, but there IS a silver lining to that dark little cloud
Ah, the luscious fantasy that having a New York Times bestseller under our belts will afford us fame, fortune and a true full-time writing career...
OK, pull your heads out. Of, er, fantasy land.
Read the reality in a post on genreality.net, a website generated by a group of authors of fiction, where one of "those" NYT bestsellers list authors, S. Lynn Viehl, lights a candle in the dark corners of our knowledge of the publishing payment process, and reveals exactly how much of the fantasy is real. Seriously, go read it - I'll wait.
A published author with forty-five novels in five genres, she received a $50,000 advance. Although the word advance implies in advance, and most of us think up front, more and more publishers are holding back a portion of advances even on a high midlist author such as Lynn, until the actual physical books are on the shelf. In this particular case, over 30% was held until then. After expenses, paying her agent, etc., she netted around $26,000. Oh yeah, she's living the high life!
Is reading her post depressing? No, actually, it's liberating, because she also explains that she did minimal marketing, and received little from the publisher, and yet she made it on the NY Times bestseller list. Why?
She attributes the placement to her fans. It may have taken her a few books to get there, but I find it heartening that even with minimal marketing, and a known, but not super famous body of work, she has the kind of fan base that was built the old-fashioned way- with solid, consistent, regular writing. And that is the kind of fan base that sticks with you over a writing career.
I can only imagine what someone with those qualities coupled with the resources and ability to market themselves and their work can accomplish.
Oh, and on the subject of marketing, do not pause, do not wait - RUN to the newsstand/bookstore and pick-up the May/June 2009 issue of Writer's Digest magazine. It is stuffed full of handy info. on getting visible, known, and marketing yourself to stand out to agents and editors that is quite apropos to the self-promotion issue.
Because you need to get something published, and preferably something great, to start that fan base.
OK, pull your heads out. Of, er, fantasy land.
Read the reality in a post on genreality.net, a website generated by a group of authors of fiction, where one of "those" NYT bestsellers list authors, S. Lynn Viehl, lights a candle in the dark corners of our knowledge of the publishing payment process, and reveals exactly how much of the fantasy is real. Seriously, go read it - I'll wait.
A published author with forty-five novels in five genres, she received a $50,000 advance. Although the word advance implies in advance, and most of us think up front, more and more publishers are holding back a portion of advances even on a high midlist author such as Lynn, until the actual physical books are on the shelf. In this particular case, over 30% was held until then. After expenses, paying her agent, etc., she netted around $26,000. Oh yeah, she's living the high life!
Is reading her post depressing? No, actually, it's liberating, because she also explains that she did minimal marketing, and received little from the publisher, and yet she made it on the NY Times bestseller list. Why?
She attributes the placement to her fans. It may have taken her a few books to get there, but I find it heartening that even with minimal marketing, and a known, but not super famous body of work, she has the kind of fan base that was built the old-fashioned way- with solid, consistent, regular writing. And that is the kind of fan base that sticks with you over a writing career.
I can only imagine what someone with those qualities coupled with the resources and ability to market themselves and their work can accomplish.
Oh, and on the subject of marketing, do not pause, do not wait - RUN to the newsstand/bookstore and pick-up the May/June 2009 issue of Writer's Digest magazine. It is stuffed full of handy info. on getting visible, known, and marketing yourself to stand out to agents and editors that is quite apropos to the self-promotion issue.
Because you need to get something published, and preferably something great, to start that fan base.
Sunday, April 19, 2009
Jazz for the eyes: Round Midnight and Ballard Jazz Festival 2009
One of the recommendations from Mr. Origin Records (and AllAboutJazz.com) for learning about this musical genre was to watch some movies. I already mentioned Straight, No Chaser, and this week the library line finally coughed-up the other title suggested: 'Round Midnight, from 1986 (not the same as 'Round Midnight, 2005)
This movie is total fiction as opposed to documentary, but it captures the essence of the post-war scene of bebop jazz in France versus New York, led by Americans. This movie shuffles along at a slower pace, and like the aging alcoholic musician it portrays, forgets itself in some places but is brilliant in others. Luckily, a good portion of the film is spent on the music scenes, which (among many, many other awards nominated or bestowed) won Herbie Hancock an Oscar for Best Music, Original Score. Real life tenor saxophonist, Dexter Gordon, plays the lead in this film, and does a credible job, given that parts of the character's life are parallel to his own.
I can't help but wonder if my reaction to the pacing of this film is due to the fact that I have been conditioned over time to inhale media quickly and expect a tight, zippy plot and to have everything revealed and dealt with in short order.
Maybe jazz is all about shrugging off that pace and hitting the pause button.
Anyone local who is interested in pressing that pause button should indulge in the offerings from the Ballard Jazz Festival here in Seattle this week.
This movie is total fiction as opposed to documentary, but it captures the essence of the post-war scene of bebop jazz in France versus New York, led by Americans. This movie shuffles along at a slower pace, and like the aging alcoholic musician it portrays, forgets itself in some places but is brilliant in others. Luckily, a good portion of the film is spent on the music scenes, which (among many, many other awards nominated or bestowed) won Herbie Hancock an Oscar for Best Music, Original Score. Real life tenor saxophonist, Dexter Gordon, plays the lead in this film, and does a credible job, given that parts of the character's life are parallel to his own.
I can't help but wonder if my reaction to the pacing of this film is due to the fact that I have been conditioned over time to inhale media quickly and expect a tight, zippy plot and to have everything revealed and dealt with in short order.
Maybe jazz is all about shrugging off that pace and hitting the pause button.
Anyone local who is interested in pressing that pause button should indulge in the offerings from the Ballard Jazz Festival here in Seattle this week.
Thursday, April 16, 2009
Critique groups and kiwi vines- separated at birth?
My ASWAAGS writing group met last night and critiqued work for the first time. I am impressed with the knowledge and skill level of the writers that turned out for our meeting, and despite "dreading" one person's comments, (you know who you are, Grumpy Old Man ;) ) all turned-out fine and dandy.
They say you get out what you put in to a group and I put in a decent amount of effort co-chairing one critique group and trying to be a responsive involved member of two others.
This morning, I realized that growing critique groups is a lot like growing kiwi vines:
They require a decent amount of structure and support.
The vines need some initial guidance on where to grow and how to climb.
You need at least two vines, and at least one of each gender if you actually want fruit.
It may take a while to bear fruit, and it might be tiny at first, but it will be sweet.
We put in baby kiwi vines three years ago and were told that we may not get fruit because the plant people were not sure if we had one of each gender, and also that if they bore fruit at all, it probably would not happen for five years or more because the vines needed to mature.
Of our three vines, we do indeed have at least one girl and a boy because we got a teensy little nubbin of a fruit sort of thing the year after planting. We weren't sure if it was actual fruit, until last year, when we were surprised by a tiny, wholly formed, sweet kiwi.
It takes time and effort...and a little fertilizer, but sometimes your vines might surprise you with the reward of fruit quicker than you think.
Anyone for kiwis?
They say you get out what you put in to a group and I put in a decent amount of effort co-chairing one critique group and trying to be a responsive involved member of two others.
This morning, I realized that growing critique groups is a lot like growing kiwi vines:
They require a decent amount of structure and support.
The vines need some initial guidance on where to grow and how to climb.
You need at least two vines, and at least one of each gender if you actually want fruit.
It may take a while to bear fruit, and it might be tiny at first, but it will be sweet.
We put in baby kiwi vines three years ago and were told that we may not get fruit because the plant people were not sure if we had one of each gender, and also that if they bore fruit at all, it probably would not happen for five years or more because the vines needed to mature.
Of our three vines, we do indeed have at least one girl and a boy because we got a teensy little nubbin of a fruit sort of thing the year after planting. We weren't sure if it was actual fruit, until last year, when we were surprised by a tiny, wholly formed, sweet kiwi.It takes time and effort...and a little fertilizer, but sometimes your vines might surprise you with the reward of fruit quicker than you think.
Anyone for kiwis?
Sunday, April 5, 2009
A Comical Birthday: Boobs, Books, Boots and Bacon
Nothing says "I'm aging, but only in physical years" like going to the Emerald City Comic Con on your birthday. This latest b-day is not a major milestone birthday or anything like that-no, when I finally turn 30 (heh), I'll do something that shows I'm REALLY in denial. Like going to a Hannah Montana concert.
Boobs and boots! Bacon! One of the best things about visiting a comic-con is the costumes. And this one did not disappoint. Besides the whole slew of Star Wars folks, including two Chewbaccas, and lots of storm troopers, there were ninjas, a Ghostbuster, the Comedian, and my personal favorites- Princess Leia and Jedi girl! These ladies have serious confidence. We even saw a piece of bacon, advertising Bacon salt. Mmm-mm! Porky goodness! And steampunks!
Until then, this serves as a nice mini denial, with plenty of the "it's work-related" excuse. I've always thought it might be interesting, and now that I'm eyeball deep in graphic novels, I figured I could keep up with any rabid fanboys. Really, though, there is nothing like it, and it was, dare I say it? FUN. LOHAL and QOE enjoyed themselves, especially when QOE traded her royal crown for a Wonder Woman crown from the DC Comicts schwag booth, and got her favorite kiddie graphic novel, JOHNNY BOO doodled and signed especially for her by the author, James Kochalka.
A brush with greatness and I did not even realize it. As it turns out, Kochalka is a seriously multi-talented guy, walking the divide between musical (he recorded one of my favorite kid songs found the Greasy Kids Stuff album that also served as the theme song for the FOX sitcom The Loop, not to mention his music videos being shown on Nickelodeon's animation showcase series KaBlam! ) and artistic genius, and the enviable position of straddling the worlds of both indie comics (Top Shelf Productions) and major publishers (Random House). I probably never would have had the guts to even approach the Top Shelf booth where he was sitting if I'd known this. I shudder now, thinking of how I told him his JOHNNY BOO work was a great gateway drug for kids to enter the world of comics and graphic novels. Let's depart from any further mortification at my complete newbie ways, and move on to...
Boobs and boots! Bacon! One of the best things about visiting a comic-con is the costumes. And this one did not disappoint. Besides the whole slew of Star Wars folks, including two Chewbaccas, and lots of storm troopers, there were ninjas, a Ghostbuster, the Comedian, and my personal favorites- Princess Leia and Jedi girl! These ladies have serious confidence. We even saw a piece of bacon, advertising Bacon salt. Mmm-mm! Porky goodness! And steampunks!Best...comic-con...EVER! (Pop culture extra credit to anyone who can guess what cartoon I borrowed this mangled line from)
Friday, April 3, 2009
The race to characterize
MG/YA author and educator Mitali Perkins wrote an interesting article , posted on the School Library Journal's website about racial stereotypes in kid lit. She posts five questions teachers, librarians, readers and authors should ask themselves about a story, and provides real world specific evidence and examples to explain how to examine the answers to those questions.
What keeps her article from being yet another white-liberal-guilt-let's-learn-about-diverse-people-and-respect-them pontification is that she is a member of a racial minority, and instead of offering opinions and condemnation, she freely admits that she herself made these same mistakes and stereotypes in her own work, and with a character of her own heritage, no less.
That takes intestinal fortitude.
I highly recommend reading the article to any author. Take a long hard critical look at your work with these five questions, and open that dialog with yourself.
What keeps her article from being yet another white-liberal-guilt-let's-learn-about-diverse-people-and-respect-them pontification is that she is a member of a racial minority, and instead of offering opinions and condemnation, she freely admits that she herself made these same mistakes and stereotypes in her own work, and with a character of her own heritage, no less.
That takes intestinal fortitude.
I highly recommend reading the article to any author. Take a long hard critical look at your work with these five questions, and open that dialog with yourself.
Wednesday, April 1, 2009
Virus straight, with a chaser of jazz
Today, while I worked on finding ways to help my laptop avoid the Conficker virus, I started my jazz journey with a DVD documentary on Thelonius Monk titled Thelonius Monk: Straight No Chaser.
Too cool for words. What a fascinating individual, and although I was interested in the man behind the percussion-like piano style ("Melodius Thunk" as his wife called it) that gave him a reputation in jazz history, I found myself especially taken by the footage of his many pet cats in one scene, eating carefully diced raw meat. I looked among them for a match to the feline character in my "jazzman cat" story, because the cat told my main character he had hung around a jazz musician, but I'm not sure that I saw him in this crowd.
I think I am going to like this stuff.
Too cool for words. What a fascinating individual, and although I was interested in the man behind the percussion-like piano style ("Melodius Thunk" as his wife called it) that gave him a reputation in jazz history, I found myself especially taken by the footage of his many pet cats in one scene, eating carefully diced raw meat. I looked among them for a match to the feline character in my "jazzman cat" story, because the cat told my main character he had hung around a jazz musician, but I'm not sure that I saw him in this crowd.
I think I am going to like this stuff.
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