So You Have a Book Coming Out: Part Three: Author/Illustrator Photos

Some people are naturally photogenic. No matter what they are doing or what they are wearing, every photo comes out like something in a magazine. I am not one of those people. I'm usually caught while talking with one eye half shut.

As a published author or illustrator, you are now a business. Your photo needs to convey a sense of professionalism as well as showing who you are. Writing thrillers? Maybe a dark and broody shot would work. Goofy humor? Colorful and full of light and laughter may portray you best.

If you can, hire a professional photographer. It is a business expense that you can write off at the end of the year. Or tell a loved one, all you want for your birthday is a 30 minute photo shoot.

Amateur Example: I took this photo with my really nice camera I bought on a Black Friday Deal a couple of years ago. We took like 30 shots and this is the only one I didn't hate.

Professional Example:

I paid for a 30 minute session. We met at an old library. She took a bunch of shots, sent me about 15, and I seriously like all of them. With her lighting, superior equipment and artistic eye, she made me look younger and like I'd lost 15 pounds. She gave simple instruction like, "chin out a little more," or, "lean forward slightly," or, "That yellow background is washing you out. Lets move over here."

This looks professional, flattering, and the high resolution means it will maintain its quality even when resized. This is important since you'll be sending this file to interviews and author/illustrator visits.


A few tips: Tiny print on your clothes doesn't always translate well on camera.

Some poses feel awkward but look great on camera.

Stop to relax you face after holding the smile for so long.

Call around to photographers. I don't believe the one I worked with advertised a 30 minute session, but when I explained what I needed she said a full hour session was unnecessary. Although, she started having fun with some shots and we did go a little over our time, but she didn't charge me extra.

Also, HAVE FUN! For that photo session, you are the star.

Agents, Inspiration, and Sales, Oh My!

A while back I posted about how I got my agent. It came down to a combo of good timing, her #MSWL post (which really summed up the type of MS I was just sending out to agents), and just really jiving well with each other.

While we all know Agents sell your work and cheer you on, sometimes they are your source for inspiration.

Back on International Woman's Day, March 8, 2018, Rebecca shot a simple tweet my way.

 

Of course I said, "I love elephants!" and we had a fun little back and forth where, like all highly evolved creatures, we spoke in GIFS and pictures.

 

 

But now I had a problem. I couldn't get this idea out of my head. Like I'd told my agent, I'd done a good amount of research on elephants already for a possible Chapter Book Series. I even went to meet one and interview a caretaker. But did I have enough info? I had only done generic research and it was mostly about captive elephants. Was there a solid story here?

 

I couldn't stop thinking about the elephant I met, the elephant matriarch, and their beautiful and complex family structure.

 

On March 12th, 2018 I emailed my agent a REALLY rough draft and asked, "Should I pursue this further?"

 

Her response was simply, "YES!!! Please pursue this !!!! :-)"

 

So I put everything else I was working on to the side, stayed up way too late watching elephants on the internet, Animal Planet, Net Geo, pulling every elephant book off the shelf at my library and pulling out all my old notes. After fast tracking it to my critique buddies I gave my agent on April 12th.

 

I was so attached to this piece. I lost sleep over it. I reached out to trusts in Africa to have it vetted. I was terrified that she'd say it was all wrong. (Not because she is mean or harsh, but every writer worries their stuff is crap at some point, right?)

 

She read it on April 16th. This is what I got back.

 



OH MY GOSH THIS IS AMAZING AND IT'S EXACTLEY WHAT I WAS WANTING WHEN I SHARED THAT PICTURE WITH YOU!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Okay, I'm done writing

We sent it on an exclusive to an editor who ultimately didn't offer. Then we sent it on its first round of submissions.

Friday, August 3rd, 2018 it went out.

Tuesday the 7th we had interest and they wanted to call and speak with me. Within a month we had another editor who wanted a call. We received multiple offers but we chose to publish with Familius.
That they offered is still a little shocking since I'd never spoken with an editor or publisher on the phone so I nervous giggled for half of the conversation and forgot the English language a few times. Thankfully they still loved SHE LEADS. (Whether or not they think I'm nuttier than a peanut shell... we can't be sure.)

I signed the contract on Friday, September 14th. Six months after my Agent playfully pitched me an idea on twitter.

Agents are more than the person who can get your MS seen at big houses. They are more than a contract translator. They are friends and inspiration and cheerleaders and editors and I for one am thankful!

DISCLAIMER FOR WRITERS AND ILLUSTRATORS: This is not a normal timeframe! Six months is ridiculously fast!!! It took me about three years to sell my first picture book. I've been seriously writing for two to three years prior to that.

SHE LEADS: THE ELEPHANT MATRIARCH will be published in Spring, 2020 by Familius.




How I Got My Agent

So, obviously I am not a great blogger. BUT I have spent the past year really buckling down on my writing. I’ve finished a middle grade fantasy manuscript, polished a number of my picture books, and GOT AN AGENT! But wait, there’s more. I have a picture book under contract with Blue Manatee Press!

I’ve been working towards traditional publication for 5 years. I’ve grown each and every year.

Starting with preachy picture books with long word counts, I didn’t get very far.

I joined SCBWI. Seriously, if you write for kids and want to be a part of a large tribe with education, comradery, and networking, then you should look into The Society of Children’s Book writers and Illustrators.

So I started going to conferences. I met others like me. I met agents and editors and had critiques. I attended classes, webinars, and workshops. I grew as a writer.

At an SCBWI Critique Fest I met my in person critique group. They have been invaluable in helping me hone my skills, question my characters motivation, and most of all, grow as a writer. Recently I've also joined online critique groups.

Highlights Foundation Retreat cabins

At a Highlights Foundation Retreat I really broke down my works, focused on word choice, and page turns and… did yoga and went on hikes and had the best butter I’ve ever eaten in my life… and I grew as a writer (and maybe as a person. I couldn’t stop eating the butter.)

I’d become confident in my writing. I got some likes in Twitter contests, my percentage of personal rejections grew, I applied for, but did not win mentorships, and finally I had some interest from an editor. I reached out to the agents who were currently reviewing my work in their slush piles and from some requests to inform them I had a contract in hand.

I received multiple offers and the decision wasn’t as easy as I thought it would be. There is a ton of pressure and doubt that I think plagues many writers. But the enthusiasm and connection with one agent in particular was too great to ignore. I’m proud to announce I’m represented by Rebecca Angus of Golden Wheat Literary.

I had submitted to Rebecca after seeing her #MSWL about creative non-fiction. She’s already negotiating contracts and guiding me along the process. We already have a second manuscript under review. I hope together we sell a bajillion books and make readers happy.

I want to make it clear. The path was long and ultimately I was discovered in a slush pile. But every path is different and there is no one way to be a writer or to become traditionally published. Just keep pushing and growing as a writer.

 

Guest Post by Picture Book Author Julie Murphy

SPECIAL GUEST! I’m ecstatic that I have a guest post from picture book author Julie Murphy about her latest book Gilly’s Treasures. Take it away Julie.

 

Hi, June, and thanks for hosting me on your blog to help celebrate the October 11 release of my picture book for children (4-8), Gilly’s Treasures.

Writers often see the advice, “write about what you know”. I have always loved the beach and often spend my holidays there, so it was natural to write a story set at the beach. And that story evolved into Gilly’s Treasures.

 

One of my favorite books as a child was Over Sea, Under Stone by Susan Cooper. I loved it so much that I still dream of visiting Cornwall one day, where the story is set. And of course, Jonathan Livingstone Seagull is a story for all ages. Contemporary children’s books set at the sea that I love are Magic Beach by Alison Lester (fiction), Tanglewood by Margaret Wild and Vivienne Goodman (fiction), and When Elephants Lived in the Sea by Jane Godwin & Vincent Agostino (creative non-fiction).



My daughter and I loved snorkeling at the Great Barrier Reef

My husband, daughter and I still often visit the coast for our holidays. We have quite a few gorgeous natural places within a days’ drive. Plus we are very fortunate to have visited some more distant places, such as the Great Barrier Reef, and Ningaloo Reef in north-Western Australia where we saw green turtles!

 
 

 

 

One of the green turtles we saw at Ningaloo Reef

 

 

 

 

 

 

 

 

 

I love animals so, after school, I trained as a zoologist before working as a zookeeper for a decade. It wasn’t until I left that job to have a baby that I became immersed in the wonderful world of children’s books – both as a reader and a writer. My love of picture books really took over from that point. Many of my favourite picture books are about animals, as well as the ones I write.

I have been writing picture books for about a decade. My training in zoology helped me get a foot in the door with work-for-hire projects, which I wrote to specific briefs provided by the publishers. Most are non-fiction books about animals, but it is only by chance that many are also about the sea. Ocean Animal Adaptations, Coral Reefs Matter, and Anglerfish are just a few examples.

 

 

I am proud of my non-fiction books, but I must admit to being extra excited to welcome Gilly’s Treasures into the world. It is my first fiction picture book, and began as my own idea (rather than to a publisher’s brief). With the feel of a traditional children’s fable, it tells the story of Gilly; a seagull who is so busy finding pretty, shiny things at the seaside that he forgets everything else – even to eat! Thankfully, with a little help from his partner, Swoop, he eventually discovers what really matters most to him. Illustrator Jay Fontano has done a wonderful job bringing Gilly and Swoop to life, and balancing my fable-like story with fun, friendly illustrations. I especially love the new character he introduced - a cute little crab who children will love spotting on each page.

I hope that children who read Gilly’s Treasures will want to visit the beach and another natural places for themselves, and maybe find a treasure or two of their own. And it might even spawn a conversation about what they think is most important in their own lives.

I think it is important for children to visit natural places. It gives them a chance to unplug from their devices, slow down, breathe the fresh air, and learn something about the real world. Who doesn’t find nature relaxing? Even a back yard or local park will do the trick. I think it not only benefits the child, but also conservation because kids will be more likely to look after what they know and care about.

My daughter (3) has always loved exploring the beach.

 

 

Where to learn more about Julie and her books?

Julie’s web site – www.juliemurphybooks.com.au

Twitter - https://twitter.com/juliekidsbooks

Facebook page with book preview - www.facebook.com/GILLYSTREASURES

 

 

Gilly’s Treasures is available from many on-line book stores, including Cedar Fort’s sales page, Books & Things (free for most parts of the USA): www.booksandthings.com

 

Concept to Completion: Editor

Since this is a holiday weekend we are posting a little early. Have a great Labor Day!

This series of Concept to Completion started during a Skype session with Editor Kelly Delaney. I took a class with her and invested in the one-on-one session. (SO WORTH IT.) I asked just how many hands are on a picture book from writing to reader.  You know what I found out? WAY MORE THAN I IMAGINED.

 

Today I’m happy to introduce Kelly Delaney, Associate Editor at Alfred A. Knopf Booksfor Young Readers.

 

Thank you for coming out today, Kelly. So we all want to know, what exactly does an editor do for picture book manuscripts?

 

Editors work with authors to make the text as clear, concise, and engaging as possible. We also work with the design department to select an illustrator and, with the book’s designer, act as the go-between with the illustrator and author as the sketches and final art are developed.

 

After the text and illustrations are on their way, we present the book to the rest of the company—sales, marketing, publicity, subrights, etc.—and work with them to make sure the book finds its way into the hands of readers who will treasure it. There are a million little details in between, but that’s the gist of it!

 

That’s a lot of people you have to deal with! What happens when you fall in love with a picture book manuscript?

 

Usually I take the manuscript to an editorial meeting to solicit feedback from colleagues about its quality and, more importantly, its marketability (just because I love something doesn’t mean it will sell). If we’re in agreement that it’s worth acquiring, I fill out a form and a spreadsheet detailing how much I think it will sell and why, based on its sales hooks and comparative titles. I use those details to craft an offer, and present it to the book’s agent.

 

Do you ever have to fight for a story you love?

 

Yes. Sadly, not everything with great writing is marketable, and publishing is a business. I’ve often gone back to an author and asked them if they’d be willing to revise based on my editorial feedback in an attempt to bring it to where it needs to be. Sometimes this leads to an acquisition, but often I do just need to let a book go. That’s never easy, but in that situation I’ll usually tell the author (or agent, more likely) that I’d love to see more work from them in the future.

 

How long do you edit a picture book or, a better question may be, what were the shortest and longest periods of time you spent editing a picture book?

 

I’m working on a book now that is ready for copyediting a week after I signed it up! The edits were very spare and didn’t require any major restructuring. Other books can take much longer, depending on what needs to be addressed or on the author’s schedule—they may have other projects that take priority, which we’ll factor into the book’s schedule. And of course, more edits may come with the art. It can take anywhere from a few days to a few months, but I’ve never worked on a book that didn’t need any editing at all.

 

I’ve never worked on a book that didn’t need any editing at all.

 

That is a great thing to keep in mind. There is always room for improvement. Is there a separate copy editor in your house or do you do the copy editing after the big picture changes are made?

 

We have a copyediting team that looks at every book several times.

 

A team?! Wow. Is editing a 9-5 gig or do you find yourself doing editorial work at home?

 

I read at home a lot. It’s easier to get it done away from email, a busy office, etc. I don’t think I’ve ever brought a picture book home with me, though—just novels.

 

How much caffeine/sugar/health food of choice is needed to fuel you through your workday?

 I don’t really track my diet in this way, but I usually have an iced coffee in the morning and eat as balanced as I can (though an abundance of treats and snacks in the office seems to be an occupational hazard of working in children’s publishing). My energy is more impacted by how active I am, so I try to work out daily and/or walk to and from work. 

 

Something we should all try to work into our day. My hair looks like Wally's when I'm done a work out. And you can feel free to share the chocolate in your office. Just sayin'.

So is there anything else you think authors should know?

 

Remember that revision is a part of the process that doesn’t end when your manuscript is acquired—and that an editor wouldn’t work to revise something with you if they didn’t love it. It’s not an attack on your work, but an attempt to make it as strong as possible so that it will appeal to as many readers as possible. We all have the same goal, which is to get your book into the hands of as many readers as we can!

Also, I’ve talked to a lot of writers who worry about details like how to format a manuscript submission, how art notes should look, and things like that. That should not be a source of stress for you. Be organized and clear, and follow any submission guidelines that exist. The more important part is to focus on your writing and hone your craft. If I love a manuscript, an unnecessary art note is not going to change that.

 

You heard it here authors and illustrators: Editors are on our team and want the same things for our books as we do.

 

Thank you so much Kelly for taking time to share your job with us. It’s great to peek behind the curtain and see just how much work, and how many people work, to get a picture book out into the world.

Next time...Art Director

Concept to Completion: Agent

Agents are busy people who only make money once a book is sold. I had many kind and generous agents who have agreed to interviews for this blog. Unfortunately none were available in time for this series. (We'll be seeing them in the fall.)

Since I wanted to keep this in order for when future readers go through the entire series, this is going to be a placeholder for an interview.

I will say that having an agent opens doors that you may not be able to get through on your own.

Some publishing houses are closed to unsolicited manuscripts and without an agent you can only sub to them if you've met them at a class or conference.

Also, a good agent is going to be honest with you about if your manuscript is ready. They may even be editorial and assist you in getting your manuscript to the next level before sending it on submission.

An agent will also be more likely to get you better terms if/when you get an offer. They are familiar with contracts and clauses, advances, royalties, rights, publishing houses of every size, plus they become a supporter of your work in many ways.

When subbing to agents be mindful that this is a professional situation. Letters should be organized, proofread, and polite. If an agent gives you any feedback, even if they don't offer representation, please appreciate it. They don't get paid unless they are selling books, so if they take the time to give you a personal rejection, then you should take it as a compliment to your work. And I do believe it is a compliment.

If you are querying agents, I wish you the best of luck.

Coming Soon: An actual Agent Interview


Up Next:  Concept to Completion: Editor

Concept to Completion: Author

Last week, I gave a brief overview of the many, many hands that carry a picture book from concept to completion. Now we are breaking down each step. Step one is the Author.

I’m happy to introduce Tammi Sauer, author of picture books including Mostly Monsterly, Nugget and Fang, and Mr. Duck Means Business (one that I LOVE, I might add. Great ending!)

 

Welcome to Reading, Writing, and Reaching for Chocolate, Tammi.

So when you get an idea, like Mary Had a Little Glam, how to you start your process?

I start brainstorming! With this manuscript, I compiled a list of vivid verbs and specific nouns that tied into my character. These words included “click-clacked,” “accessorize,” “boa,” and “flair.” Also, I knew I wanted this story to be set in a school, so I listed other familiar nursery rhyme characters such as Little Bo Peep, Jack and Jill, and the kids who lived in a shoe to be her classmates.

That list seems like a fantastic idea. Love the shout out to the other nursery rhyme favorites too! How did you get your agent? Slush pile, conference, contest, ran into her at the grocery store?

I am a slush pile success story! When I was looking for an agent, I researched the names of agents who wrote some of my favorite books. In addition, I knew I wanted to find an agent who had a great reputation, who only accepted works she was passionate about, who was a good communicator, and who offered editorial feedback. I found all that (and so much more!) in Laura Rennert. We’ve been together since 2005 and have sold 27 picture books along the way.

TWENTY SEVEN?! And that’s just as of today. Think about that readers, it all started in the slush pile. What is your process with your agent? Sending only polished manuscripts or spit balling ideas to see what she loves?

I send polished manuscripts.

What is it like for you when a book goes on submission?

Oh, this is one of my favorite parts of the process! I know that at any moment I could receive an email or a call with good news. I love the feeling of possibility.

I’d have a strong possibility of checking my email every five minutes. J What is the shortest and longest time you’ve spent on the manuscripts you’ve sold?

I actually wrote one of my books in a couple of hours. That sort of thing is RARE for me. Longest? Hmm. That would probably be Nugget & Fang. I had written a few early drafts and thought the manuscript was okay. But okay isn’t good enough. I knew the manuscript just wasn’t there. So I closed the file and forgot about it. It was nearly two years later when, with the help of my critique group, I figured out how to make it work. It ended up selling at auction.

Once sold, who at the publishing house do you deal with and in what capacity?

Primarily, I deal with my editor. Sometimes an editor has suggestions for improvement. Sometimes an editor involves me in finding the right illustrator. Most of the time the editor asks for my input on the sketches and the first proofs.

Any advice for the aspiring picture book author?

When it comes to being a part of a critique group, find people who are at least as good as—if not better!!!!—than you are.  It’s nice to have people tell you how much they love your manuscript, but that doesn’t help you to improve. You want people who push you to make things stronger.

Preaching to the choir here. Good critique partners are coaches, teammates, and fans all rolled into one group and help you become a better writer. * What are you working on now?

Eek. I don’t like to talk about my current projects, but I will tell you that Your Alien Returns (Sterling, 2016), Caring for Your Lion (Sterling, 2017), and Truck, Truck Goose(HarperCollins, 2017) are my next three titles.

In my eyes, marketing your new releases count as current work. We won’t peak behind the curtain on the WIPS. So what fuels your creativity? Chocolate, caffeine, music, cake?

Oh, I love all of those things.

In addition, Tara Lazar’s PiBoIdMo (Picture Book Idea Month) provides a lot of fuel. Each November, Tara hosts dozens of writers and illustrators who offer posts on how they get their ideas. These posts are filled with wonderful suggestions. PiBoIdMo also challenges writers to come up with 30 ideas for potential manuscripts. I’ve been a part of PiBoIdMo since the beginning. Each time, at least one of those 30 ideas has led to a book.

Another great creativity boost is Linda Ashman’s Nuts & Bolts Guide to Writing Picture Books. This resource is a goldmine of information, interviews, and exercises. One of the exercises suggested writing a fresh take on a familiar song or rhyme such as “Twinkle, Twinkle Little Star” or “Mary Had a Little Lamb.” Out of nowhere, the words MARY HAD A LITTLE GLAM popped into my head. I knew I had to write Mary’s story.

Each time, at least one of those 30 ideas has led to a book.

 

I am a PiBoIdMo participant and winner too.  Readers, you can find PiBoIdMo here.

Thank you again Tammi for joining us here today. Best of luck with your upcoming releases. I can’t wait to see what you come up with next.

For more about Tammi check out her website http://www.tammisauer.com/home.html .

*Step two in the process of concept to completion is Critique Partners/Groups. I personally don’t see this as optional, but others may disagree. If you are looking for a critique group I suggest starting with SCBWI or any other groups you are associated with. Many have critique group match makers or online forums where you can find those who write in your genre, age group, rhyme vs. prose, etc.

Critiquing others work will also help you see what works and what doesn’t. So by helping others you are also helping yourself.

Join us next time for Concept to Completion: Agent

 

Current Hand Count: 1 author + Critique partners = approx. 5-10

Time: Hours to Years

From Concept to Completion: How Many Hands Touch a Picture Book on the Publishing Journey?

When publishing traditionally, just what goes on getting your picture book out there?

You-Publisher-Consumer

Right?

Not quite.

During a talk with an editor recently, I asked just how many hands are on a picture book from concept and writing to completion and in the hands of the reader.  Here’s what I found out.

·         Author – This is the easy part. The creator of the manuscript. Sometimes this person is also the illustrator, but for this series we are looking at text only manuscripts.

**Hand count: 1**

 

·         Critique Partners/Beta Readers – Seriously-this should be a step. Find a critique group online or through groups like SCBWI. They can help you find what is working and what is not. They will push you to be a better writer. They will help you know when it is finally time to submit.

**Hand count: approx. 5-10 **

 

·         Agent – Not always necessary but I feel this is important to open doors and help you get your work extra polished before presenting it too publishers. Plus many publishers are closed to unsolicited submissions so you almost always need an agent to get into these houses.

**Hand count: 6-11**

 

·         Editor – Your agent, or yourself, will submit to an editor. If they love your story and see promise they will present it to their boss (or acquisitions team).

o   Inside the publishing house now: the Editor’s boss (or acquisitions team) will need to give the thumbs up to acquire the piece.

**Hand count: 7-12**

 

·         You and Editor – There will be back and forth during the editorial process. This may be a few simple changes and corrections or there may be a number of big changes. Each book is different.

 

·         Copy Editing –focuses on accuracy, formatting, and proofreading. Line edits people.

**Hand count: 8-13**

 

·         Design/Art Director – The art director does exactly that. They find and guide the artist in the direction to achieve the right ‘feeling’ for a book. They work with the editor and discuss what illustrators they think are right for the project. They are not just a stop on this chain of hands on you book, but more of a cog that is moving along with many other. They work with the editor, illustrator. Sometimes this is a team and not just an individual.

**Hand count: 9-16**

 

·         Illustrator – The partner that you may never even meet or talk to. This person will create concept drawings, work with the Design Dept/Art Director. After weeks, months, or occasionally years they will create the art that brings the text to life.

**Hand count: 10-17**

 

·         Production Editor- Production editors manage the publication. They deal with writers, editors, and vendors to ensure your picture book meet the house’s standards and that everyone meets deadlines. Sometimes these editors also proofread and edit the manuscript and offer feedback to writers and the other editors. (Notice ALL the editing to make sure your picture book is as perfect as can be?)

**Hand count: 11-18**

 

·         Sales – These are the people actively selling your finished book to vendors. Again not just an individual, but a team.

**Hand count: 12-21**

 

·         Publicity – These are the folks who create awareness for your book, gaining attention and interest.

**Hand count: 13-24**

 

·         Marketing – These folks, like with Publicity, create awareness and help sell the book. In some houses the Publicity and Marketing are one in the same.

**Hand count: 14-27**

 

·         Sub-rights- These are "sub-license" your picture book for various formats and adaptations in addition to the primary format. Additional sales could be film or television rights or translation to another language.

**Hand count: 15-28**

 

·         Book Sellers and Libraries – Such as Barnes & Noble, Amazon, and Indy Bookstores. The places we know and love.

**Hand count: 20-way too high of a number for me to even guess.**

 

·         Reader – Finally. This quick and simple process can take around 2 years on average and, depending on the size of the publishing house you are working with, you can easily have up to 20-30 people who have their hands on your precious manuscript to get it out into the world.

Traditional publishing takes a real team to get a book from concept to completion.  Over the next weeks I’m tracking down people in these fields to get interviews so we can see what goes on behind the scenes when making a picture book.

 

People in the publishing field, let me know if I skipped any jobs.

Please note all of my counts are approximations. These numbers can vary greatly depending on the size of the publishing houses.

 

The Agent Search

So you've honed your craft. You've attended classes, webinars, SCBWI conferences, and you consider your critique group meeting the highlight of your month. Now you are on the search for a home for the stories you've poured over and written, and rewritten, and REWRITTEN AGAIN.

But how to sell your stories? Most people want and agent, right? It will be like having a Fairy Godmother who will make all your writerly dreams come true.

So the process begins. Query Tracker, spreadsheets, lists of every agent you've met at all those conferences and classes, checking #MSWL often. You polish you queries until you've realized you've spent nearly as much time on them as you did on writing the book. (Feels odd when your picture book is 300 words and you query is 250.)

Then it happens... No, not the automatic yes we all dream for.  The rejection. Big at first; No responses, form letters. Then you get a personal response. Oh, the joy you feel when someone not only writes your name but a specific factoid about your story. Personal rejections become a little more frequent and some agents ask for more work. You dance and spin because this could mean something. Or maybe not...

Sometimes those rejection feel like tripping at the finish line. So close but not close enough. Maybe you even want to...

Writers. Don't despair. If you are getting feedback, then you are on the write track. (yes, I did that on purpose.)

Maybe writers get caught up in the query and searching process. So caught up that we forget the most important thing.  We must keep writing. Always. We can't get better if we don't practice. Even if you are practicing, you may still be caught up in the whole MUST FIND AGENT thing.

So first and foremost, list what you want in an agent. You and your agent will be together for a long time.

Sticking to the Disney theme I think my dream agent is more Mushu than Fairy Godmother.
I believe you need to find an agent...

Who gets your creativity

 

 



Who will be honest with you about your writing.

 

 

Who will get your stories seen by the right people.

 

 

They lend a hand when needed.

 

 

Who supports you when you feel down.

 



 

But most importantly they push you so you can reach your goals.

 

 

 

So just for fun, who in the Disney world would you want as an agent? Think about it...