tag:blogger.com,1999:blog-29651761956492020772024-03-12T16:44:47.397-07:00Adventures in Agentland<b>Adventures in Agentland</b>
<br>
The BlogNatalie M. Lakosilhttp://www.blogger.com/profile/11558113325014783721noreply@blogger.comBlogger150125tag:blogger.com,1999:blog-2965176195649202077.post-24093502129340151522019-08-02T11:26:00.002-07:002019-08-02T11:26:26.760-07:00Call for Questions!I'm planning a "behind the publishing curtain" series of blog posts (likely slated for next year) that will break down the publishing process. The goal is to help writers better understand what happens from manuscript to book!<br />
<br />
I'll be interviewing industry professionals in the following areas:<br />
<br />
<br />
<ul>
<li>Slush/vetting manuscripts</li>
<li>Representation/Agents</li>
<li>Editorial</li>
<li>Production</li>
<li>Marketing/PR</li>
<li>Sales</li>
<li>Cover Design/Artwork</li>
<li>Distribution</li>
<li>Bookstores</li>
<li>Libraries</li>
<li>Royalties/Finance</li>
<li>Subsidiary rights (film, translation, audio)</li>
<li>Published/Career</li>
</ul>
<br />
<br />
<h3>
What I would love to hear from YOU is: what do you want to know?!</h3>
<br />
Please post any questions you have about the positions/steps above in the comments!<br />
<br />
If you are an industry professional in one of the areas above and are interested in being interviewed, please pop me an email to connect!<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com9tag:blogger.com,1999:blog-2965176195649202077.post-38824358336364665212019-04-02T16:11:00.001-07:002019-04-02T16:11:59.038-07:00Rhythm and Rhyme in Picture Book Texts: Build your House!If you write picture books, you've probably already noticed that rhyming picture books...are tough to sell. Many agents and editors state outright that they simply won't even consider a rhyming text!<br />
<br />
The reason isn't because rhyme doesn't work in picture books; it's that it's very difficult to do well.<br />
<br />
If you want to write a rhyming text, here's what you need to know:<br />
<br />
<h4>
<b>Consistency.</b></h4>
<br />
There needs to be a <i>consistent pattern</i> of meter (stressed and unstressed word pattern), syllable count, rhyme and stanza length for the read-aloud to feel flawless (not "forced").<br />
<br />
<h4>
I call this <b>building a house</b>!</h4>
<br />
<i>(I need to do what now?!)</i><br />
<br />
No really! The four walls of meter, syllable, rhyme and stanza work together to support the narrative.<br />
<br />
<br />
<h3>
<b>Wall 1: Meter</b></h3>
The stressed and unstressed pattern to your words. Examples (bold is stressed):<br />
<br />
<blockquote class="tr_bq">
IAMBIC (x /) : That <b>time</b> of <b>year</b> thou <b>mayst</b> in <b>me</b> be<b>hold </b><br />
<ul>
<li>every other word is stressed, starting with second</li>
</ul>
TROCHAIC (/ x): <b>Tell</b> me <b>not </b>in <b>mourn</b>ful <b>num</b>bers<br />
<ul>
<li>every other word stressed, starting with first word</li>
</ul>
ANAPESTIC (x x /): And the <b>sound</b> of a <b>voice </b>that is <b>still</b><br />
<ul>
<li>every third word is stressed</li>
</ul>
</blockquote>
<br />
<div>
There should be a consistent meter pattern with each line </div>
<div>
<br /></div>
<div>
<br /></div>
<br />
<h3>
<b>Wall 2: Syllable</b></h3>
Working together with a consistent syllable count in each line. Examples (number is syllable, line denotes meter pattern):<br />
<br />
<blockquote class="tr_bq">
IAMBIC PENTAMETER (5 iambs, 10 syllables) </blockquote>
<blockquote class="tr_bq">
That <b>time</b> | of <b>year</b> | thou <b>mayst</b> | in <b>me</b> | be<b>hold</b> </blockquote>
<blockquote class="tr_bq">
<span style="color: red;">1 2 3 4 5 6 7 8 9 10</span> </blockquote>
<blockquote class="tr_bq">
<br />
TROCHAIC TETRAMETER (4 trochees, 8 syllables) </blockquote>
<blockquote class="tr_bq">
<b>Tell</b> me | <b>not</b> in | <b>mourn</b>ful | <b>num</b>bers<br />
<span style="color: red;"> 1 2 3 4 5 6 7 8</span> </blockquote>
<blockquote class="tr_bq">
<br />
ANAPESTIC TRIMETER (3 anapests, 9 syllables) </blockquote>
<blockquote class="tr_bq">
And the sound | of a voice | that is still<br />
<span style="color: red;"> 1 2 3 4 5 6 7 8 9</span></blockquote>
<i><br /></i>
<i>Tip: syllable count is the first place I turn to look when a rhyming text feels "off"</i><br />
<i><br /></i>
<br />
<h3>
Wall 3: Rhyme</h3>
The above two pieces create the <i>rhythm</i> of your text. You don't have to add rhyme but, if you do, each stanza should have paired words that sound alike. Examples:<br />
<blockquote class="tr_bq">
Trains are humming, coming <span style="color: blue;">near (A)</span>Coupled cars from front to <span style="color: blue;">rear. (A)</span>Rumbling, grumbling, screech and <span style="color: purple;">squeal (B)</span>Rolling, trolling wheels on <span style="color: purple;">steel (B)</span><i><u>Trains Don't Sleep</u> by Andria Warmflash Rosenbaum</i></blockquote>
<blockquote class="tr_bq">
___________________________________ </blockquote>
<blockquote class="tr_bq">
Full fathom five thy father <span style="color: blue;">lies; (A)</span>Of his bones are coral <span style="color: purple;">made</span>; <span style="color: purple;">(B)</span><br />
Those are pearls that were his <span style="color: blue;">eyes</span>; <span style="color: blue;">(A)</span><br />
Nothing of him that does <span style="color: purple;">fade,</span> <span style="color: purple;">(B)</span><br />
But doth suffer a sea-<span style="color: #38761d;">change (C)</span><br />
Into something rich and <span style="color: #38761d;">strange</span>. <span style="color: #38761d;">(C)</span><br />
<i><u>The Tempest</u>, Shakespeare 1.2.456</i></blockquote>
<br />
The trick here is to pick a word that feels natural and organic to the unfolding narrative, rather than forced in just to rhyme. This often will require changing up your entire sentence rather than just picking a word that rhymes! Don't just try and make a word fit your existing sentence. This is often what results in a "forced" rhyme.<br />
<br />
<i>Tip: work backwards. If you know what word/words might fit your rhyme, start writing different sentences that also fit within your syllable count. Meter will often fall into place with syllable count.</i><br />
<i><br /></i>
<br />
<h3>
Wall 4: Stanza</h3>
<div>
Finally, keep the number of lines per stanza consistent. The examples in #3 above are stanzas. <i>Trains </i>is a stanza made up of four lines. <i>Tempest </i>would be a stanza made up of six lines (it's not actually written in stanzas, just, you know, for the stake of example). You may have a text with stanzas of four lines each. You may have a text of stanzas of 3 lines, 2 lines, 3 lines, 2 lines. </div>
<div>
<br /></div>
<div>
<i>Note: final text placement may break your stanzas up for page-turn & visuals, but it should be presented consistently!</i></div>
<div>
<br /></div>
<h4>
Roof: the idea and narrative connecting it all together</h4>
<br />
You don't need to use one of the established patterns given as examples above; your text simply needs to be consistent in whatever pattern you do use.<br />
<br />
<h3>
Exercise for you</h3>
<br />
<ol>
<li>Can you pick out the elements of the house in the examples for #3 above?</li>
<li>Take a few of your favorite rhyming picture book texts. Can you pick out the elements?</li>
</ol>
<div>
<br /></div>
<div>
Here are some online resources to help:</div>
<div>
<br /></div>
<div>
<a href="https://www.rhymezone.com/">RhymeZone</a>: find words that rhyme listed out by syllable count</div>
<div>
<a href="https://www.howmanysyllables.com/syllable_counter/">SyllableCounter:</a> allows you to paste in your text to count your syllables </div>
<div>
<br /></div>
<br />
<br /><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymoushttp://www.blogger.com/profile/07381280989103788917noreply@blogger.com1tag:blogger.com,1999:blog-2965176195649202077.post-17612437613949546382019-02-13T15:54:00.001-08:002019-02-13T15:54:09.236-08:00Revision: Thinking of WHY not WHATFor those of you in the process of sending your <strike>baby</strike> manuscript off and into the world, I wanted to expand on a previous post regarding <a href="http://adventuresinagentland.blogspot.com/2012/02/conflicting-advice-and-what-to-do-with.html">conflicting advice</a>.<br />
<br />
When reading for critique, the instinct is to try and be helpful. Often, I think the result of that is a critique that offers advice rather than a breakdown of the issues at heart.<br />
<br />
This is one of my favorite clips. I really hope no one has received or left a critique session with me feeling like this...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/_LC0JjvAJt8/0.jpg" src="https://www.youtube.com/embed/_LC0JjvAJt8?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<br />
<br />
<br />
But it transitions us nicely (after a few calming laughs) into the reason you should always focus on the WHY instead of the WHAT: the critique you got very likely could be the reader trying their best to help you with a solution, rather than pointing out something that is actually wrong.<br />
<br />
Your job when revising is to figure out if that solution is the right one for your work, or if there is something else causing your reader to make the comment that they did that helps to point to what you really need to revise. How? Ask <i>why</i>.<br />
<br />
Let's start with the video. WHY did this gatekeeper start spitballing outrageous ideas instead of directly critiquing the work? Well, honestly: from an outside perspective, and someone who has thrown some pretty outrageous ideas out there, I think probably the gatekeeper just wasn't intrigued by the story.<br />
<br />
WHY?<br />
<br />
Well, there could be two reasons: first, the story itself IS boring and/or non-fresh enough to really spark interest and stand out, OR this gatekeeper wasn't the right fit.<br />
<br />
There's nothing you can do about an agent not being the right fit. But you should explore whether or not your story stands out in the market AND, if it does, if you've started in the right place - if your characters and voice are engaging enough right from the start to capture interest. And there's where you begin. Research - does your book stand out? And evaluate - are your characters and voice engaging?<br />
<br />
Much better than trying to re-work it to be JAWS, right?<br />
<br />
Here are a few things you can consider if you're getting responses all over the board, lots of "just not for me"'s, or just want to think about other solutions:<br />
<br />
<ul>
<li>What's at stake in your novel? For your characters? Is it strong enough?</li>
<li>Does the reader feel like everything will be ok, even if they don't finish the book? (stakes)</li>
<li>What's the conflict in your novel? Is it easily solved? (a perceived lose-lose situation is ideal)</li>
<li>Does your character have autonomy in the conflict and stakes?</li>
<li>When do you introduce the conflict and stakes? Too soon? Too late?</li>
<li>Could your readers run into your character on the street and know how he/she would react to a variety of bizarre situations? (voice)</li>
<li>Does your character's voice resonate in your readers' heads even after the pages stop?</li>
<li>What's your ratio of dialog-to-narrative?</li>
<li>Do your chapters end with conflict, or resolution?</li>
<li>Is your idea unique? Can you condense it into a one-line hook that doesn't sound like ANY other book? (PW has weekly deal reports you can browse for free FYI)</li>
<li>Does your book contain elements not found or not often seen in your genre? Is that a good thing or a bad thing?</li>
<li>What kinds of books does your reader/critique-r generally gravitate to? How would that influence what they would say? (don't focus on what you *think* an agent wants; what have they sold? Who do they represent? What have they read recently?)</li>
</ul>
<br />
Finally: what did YOU intend?<br />
<br />
Find your book's focus. What are your comps? (in THAT genre, published in the last THREE to FIVE years). What do those books do well? What do you want YOUR readers to take away? What impression do YOU want to make?<br />
<br />
Have you asked your critiquers if you've hit those marks?<br />
<br />
If you need help figuring out the WHY: ask a friend! I'm sure the poor guy in the video above left scratching his head and maybe just thinking, WHAT?! And not sure where to even begin with the advice he was given.<br />
<br />
Stepping back can be difficult; so try collecting the feedback you've been getting, and asking for some fresh eyes to help brainstorm: what should I read between these lines?<br />
<br />
Keep an open mind...and don't be afraid to step back from a project, either, and write something new. You might not have found your perfect execution yet. You may need time, and more experience as a writer, to grow into it.<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com3tag:blogger.com,1999:blog-2965176195649202077.post-22062928405585389942019-01-24T13:52:00.002-08:002021-11-02T16:28:46.040-07:00Breaking Down 2018Here's how my agent life stacked up in numbers for 2018:<br />
<br />
<br />
<br />
<b>Queries (unsolicited) rec’d:</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy2JrX8QyjOhzJYJNe1E7VKfFM9AtjjaACTG41Vwnio2N6pBBeDPejn8PuCUwB2g8o8fPuj2awKCnY7Az6_kwvI20dC8ubXQRmz1elNdI9rguCBc1b1Uv61RPSXpXO__CRMM67_2UqvnE/s1462/Screenshot+2018-06-07+13.37.49.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="708" data-original-width="1462" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy2JrX8QyjOhzJYJNe1E7VKfFM9AtjjaACTG41Vwnio2N6pBBeDPejn8PuCUwB2g8o8fPuj2awKCnY7Az6_kwvI20dC8ubXQRmz1elNdI9rguCBc1b1Uv61RPSXpXO__CRMM67_2UqvnE/w640-h310/Screenshot+2018-06-07+13.37.49.png" width="640" /></a></div><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>
<br />
<br />
<b>Request rates (based on above):</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_miP5bFy1qY48Kt8AAg3PsXiAXoKq4lGOowc5s1VYDo-t_6ihr7-1IXgpAwDGowXvUIVgCLWO6bjUde2VFXwOymsYc9pJ6B4lHLj390_ATaqZCBWhI2ThGmIH3uIFuTy3Fqo7rwJqmXc/s454/Screenshot+2018-06-07+13.38.06.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="312" data-original-width="454" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_miP5bFy1qY48Kt8AAg3PsXiAXoKq4lGOowc5s1VYDo-t_6ihr7-1IXgpAwDGowXvUIVgCLWO6bjUde2VFXwOymsYc9pJ6B4lHLj390_ATaqZCBWhI2ThGmIH3uIFuTy3Fqo7rwJqmXc/s320/Screenshot+2018-06-07+13.38.06.png" width="320" /></a></div></div>
<br />
<br />
<b>Requested genres by number:</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigw9UvOgYg3E9dH4RZdeQLlDkApEhjejrfaE8sTUYUS-_FB9LnqSOBkvzXjbJK8CBKecBO8Mm1FtQvcqucshh9US2o1Q4g6M1KW-Oy43HBFFDS0uv-6IHe2kxoKX938HjiecnmnIZNto4/s708/Screenshot+2018-06-07+13.38.44.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="708" data-original-width="452" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigw9UvOgYg3E9dH4RZdeQLlDkApEhjejrfaE8sTUYUS-_FB9LnqSOBkvzXjbJK8CBKecBO8Mm1FtQvcqucshh9US2o1Q4g6M1KW-Oy43HBFFDS0uv-6IHe2kxoKX938HjiecnmnIZNto4/s320/Screenshot+2018-06-07+13.38.44.png" width="204" /></a></div><br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
(oh, and I read 119 client texts last year, too! 60 of those were picture books)<br />
<br />
<i>Hot buttons:</i> humor, science, adventure, mystery, gritty, fantasy, assassins, poison, LGBT, gothic, romance, magical realism, #ownvoice, book club fiction, author/illustrator<br />
<br />
<br />
<b>Avg. response time:</b> 51 days (~7 weeks)<br />
<br />
<b>Months with most queries:</b> June-July<br />
<br />
<b>Months with most requests:</b> July & October<br />
<br />
<b>Most active period of offering and signing:</b> June, August, Nov<br />
<br />
(I was basically most active right after maternity leave, and again in the Fall)<br /><br />
<br />
<br />
<b>I'm re-opening to submissions Feb 1, 2019. </b><br />
<br />
<br /><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com2tag:blogger.com,1999:blog-2965176195649202077.post-49958306053624645942018-11-20T13:36:00.000-08:002018-11-20T13:36:59.848-08:00Dig Deeper: Connecting to Characters and VoiceMaking your characters believable and relatable and your voice engaging takes more than surface-level details.<br />
<br />
Let's take an example of a surface-level voice/detail and Dig Deeper:<br />
<br />
<b>I love flip flops. I wear them all the time.</b><br />
<br />
<i>Why?</i><br />
They’re comfortable.<br />
<br />
<i>Why? Why does that matter?</i><br />
Comfort is way more important to me than looking posh.<br />
<br />
<i>Why?</i><br />
I don’t care what others think about my looks.<br />
<br />
<i>Why?</i><br />
It’s not important.<br />
<br />
<i>What is important?</i><br />
Family. Getting things done. I don’t need to spend a million years on my looks; I have too much to do.<br />
<br />
Using these answers, re-write the sentence:<br />
<br />
<b>I throw my flops on; no need to spend a million years on my looks. Who cares what others think – I’ve got too much to do.</b><br />
<b><br /></b>
<b><br /></b>
See the difference? Having dug into my character's statement, I scratched the surface to find out motivation, perspective, attitude...voice! I've taken a fairly common and bland statement and transformed it into an engaging voice.<br />
<br />
Let your character talk to you. Had I gone even farther with my questioning, I might have hit on some internal flaws, internal motivations, fears...the deeper you go, the deeper the connection.<br />
<br />
If you're struggling to make an emotional scene really punch hard, or trying to find that authentic voice, take some time to Dig Deeper.<br />
<br />
<br />
<b>An exercise in digging deeper:</b><br />
<br />
<br />
<ol>
<li>Find three places in your first chapter where you tell us something your character likes or is feeling.</li>
<li>Ask "why" (and/or why-questions) a minimum of six times.</li>
<li>Use the answers to re-write the original sentence.</li>
</ol>
<br />
<br />
Feel free to share before and after versions in the comments. I'd love to see them!<br />
<br /><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2965176195649202077.post-5393919449785977692018-10-10T15:25:00.003-07:002021-11-02T16:37:41.075-07:00Thinking VisuallyIn novels, you're constantly told to <i>show</i> not <i>tell.</i> In picture books, this works a little differently, because the <i>show</i> is done as a partnership with the one who <i>tells.</i><br />
<i><br /></i>
Illustration <b>shows</b> us: emotion, physical characteristics, detail<br />
It is your MAP: what do you see?<br />
<br />
Text <b>tells</b> us: context, direction<br />
It is your GUIDE: where are you going?<br />
<br />
Let's look at a few examples:<br />
<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix0WwyOVPVch78dlr2pGbmNHOcAURbEUz3UxPs14LBOapGBnMU0xWGpeGOdCCxMo-RZd73zqNRRx1FiHOKC3pBcCfA4sQ7VTH6k58TfBHYqXgwgW5zUVM57jhEiicnAXq0xv3H61CT0kU/s1382/Screenshot+2018-09-12+12.52.45.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1382" data-original-width="920" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix0WwyOVPVch78dlr2pGbmNHOcAURbEUz3UxPs14LBOapGBnMU0xWGpeGOdCCxMo-RZd73zqNRRx1FiHOKC3pBcCfA4sQ7VTH6k58TfBHYqXgwgW5zUVM57jhEiicnAXq0xv3H61CT0kU/w426-h640/Screenshot+2018-09-12+12.52.45.png" width="426" /></a></div>We Don't Eat Our Classmates by <a class="a-link-normal a-text-normal" href="https://www.amazon.com/Ryan-T.-Higgins/e/B00C8IINPG/ref=sr_ntt_srch_lnk_1?qid=1539207036&sr=8-1" style="background-color: white; box-sizing: border-box; color: #c45500; font-family: "Amazon Ember", Arial, sans-serif; font-size: 12px; outline: 0px; text-align: left;">Ryan T. Higgins</a><br /><br /></td></tr></tbody></table>
<div>
<br /></div>
<div>
<div>
What can be shown in illustrations that you don’t need to say?<br />
<br />
The text has given us the context: Penelope is nervous. She's starting school. It's important to know if they'll be like her (how many teeth will they have)? The illustrations show us: the emotion/what nervous looks like, that she REALLY cares about and loves school and friends, because she's been practicing - she has her own table of dinosaur friends pulled up next to her writing board, implying she's used to being alone/with her pretend friends - it deepens the emotional layers and context that the text provided.<br />
<br /></div>
<div>
Think back to your MAP and your GUIDE: what do you SEE vs. what are you TOLD</div>
<div>
<br /></div>
<div>
Here's another example:<br />
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<div class="separator" style="clear: both; text-align: center;"><br /></div>
<br /><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdQgKkFk9OHH_0yvroD9xrQnL4oR1OThPs_TcBvBdWzh0rQmTxPerKb63k30JFsqpo21h-myXjtFlBvzFTIx_RN-PV3oTb_W6KB2Sfste5stRXZe6f48SHhCT7JmK7GzHqEvAMcSY333U/s1184/Screenshot+2018-09-12+12.55.26.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1184" data-original-width="1116" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdQgKkFk9OHH_0yvroD9xrQnL4oR1OThPs_TcBvBdWzh0rQmTxPerKb63k30JFsqpo21h-myXjtFlBvzFTIx_RN-PV3oTb_W6KB2Sfste5stRXZe6f48SHhCT7JmK7GzHqEvAMcSY333U/w604-h640/Screenshot+2018-09-12+12.55.26.png" width="604" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTwCK-7XmIV79quQXa9rBCbG3wxEe8IoJypBo4qVLsGU_bNjsN7CbGkZtV2YWPltY6yT4zdlV_RN9eA_ZJ9_Yh_15cPyub8vgAHO6HRu2s-l_R7kUbU0_c5vqaaO7qVHwUeVsluYuLEvs/s1136/Screenshot+2018-09-12+12.55.33.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1136" data-original-width="1098" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTwCK-7XmIV79quQXa9rBCbG3wxEe8IoJypBo4qVLsGU_bNjsN7CbGkZtV2YWPltY6yT4zdlV_RN9eA_ZJ9_Yh_15cPyub8vgAHO6HRu2s-l_R7kUbU0_c5vqaaO7qVHwUeVsluYuLEvs/w618-h640/Screenshot+2018-09-12+12.55.33.png" width="618" /></a></div><div style="text-align: left;"><br /></div><div><span style="text-align: center;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Not Quite Narwhal by </span><span class="a-size-small a-color-secondary" color="rgb(85 , 85 , 85)" face=""amazon ember" , "arial" , sans-serif" style="background-color: white; box-sizing: border-box; font-size: 12px; line-height: 1.25;"><a class="a-link-normal a-text-normal" href="https://www.amazon.com/Jessie-Sima/e/B01GDT42OG/ref=sr_ntt_srch_lnk_1?qid=1539207134&sr=8-1" style="box-sizing: border-box; color: #0066c0; text-decoration-line: none;">Jessie Sima</a></span></div><div><br /></div><div>The text tells the illustrator what direction to go in for these pages without telling her HOW to illustrate the pages; we aren't TOLD what his "tusk" being different means - we can see that. We aren't TOLD what it means they have different taste in food - we can see that. We aren't TOLD how he's a bad swimmer - we (very adorably) can see that with the ingenious use of floaties. And what's more, we aren't TOLD that his family loves and protects and accepts him anyway - but we can SEE that in the way they are surrounding him in a circle, soft smiles on encouraging faces.</div>
<div>
<br /></div>
<div>
Art notes should be used sparingly; think short and simple sentences. If you have multiple complex sentences, descriptive elements, have crafted the text so that you can <i>see</i> the image in your mind's eye...pare it back! T<b>he role of the author is to inspire the artist, to provide the artist with possibility</b>, while giving direction.<br />
<br />
So yes: this means, <b>if you're the text author...you should <i>tell </i>not <i>show</i>!</b></div>
<div>
<br />
Other considerations when thinking visually:<br />
<br />
<b>Is there room for dynamic illustration? </b><br />
<br />
Think about scene and perspective; would each potential spread in your story be in the same space? Would they look relatively the same? Is there room for an illustrator to give spot art, full spreads, motion, creative energy, different perspectives - a variety of art? The book needs to be visually stimulating to capture attention; if you haven't left room for dynamic illustration, you've limited the visual possibility.<br />
<br />
<b>Does it work in a traditional 32-page picture book?</b></div>
</div>
<div>
<br /></div>
<div>
Use a storyboard (red text mine):<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5pyU9i7jnKZSBl7uv_Im166W0O0K0mh4Nc9Oe6mKOZ9V-mr-9mb_jVVVEzLh9DyqNgvbZIpHZ-NxjJlbWKHoVhel7OoVMcowmxDCkpOEpMgwRWeXkChieddrqwG2LzRYMpK5JMrYTu3E/s1495/Screenshot+2018-09-12+14.16.22.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="838" data-original-width="1495" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5pyU9i7jnKZSBl7uv_Im166W0O0K0mh4Nc9Oe6mKOZ9V-mr-9mb_jVVVEzLh9DyqNgvbZIpHZ-NxjJlbWKHoVhel7OoVMcowmxDCkpOEpMgwRWeXkChieddrqwG2LzRYMpK5JMrYTu3E/w640-h358/Screenshot+2018-09-12+14.16.22.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>
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<div>
In your text, place spaces between lines to denote potential pages. Is your conflict occurring around pg. 7, your climax around pg. 28? </div>
<div>
<br /></div>
<div>
<b>Do you have "page-turn"?</b><br />
<b><br /></b>
Does your text invite the reader to turn the next page? Do you wonder, what comes next? Look at the examples above: you know you've just started this story. You've been given the conflict...what happens next?<br />
<br />
You can use punctuation to leave room for page turn, too. For example:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrNUUi-PzYFknBbtnrdoSLYg_qBqM9pJSPrsSmk45MirFziB_uJOF1p0IHD-f2WSBuONggjqaRgWjH0XDmb1KMr0oPqMuXs5q8kRpexOwJX6LyTZL0A2QwSKcJafuLQ7T-PPJ_pSxqXjg/s1394/Screenshot+2018-09-12+14.57.43.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1394" data-original-width="1072" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrNUUi-PzYFknBbtnrdoSLYg_qBqM9pJSPrsSmk45MirFziB_uJOF1p0IHD-f2WSBuONggjqaRgWjH0XDmb1KMr0oPqMuXs5q8kRpexOwJX6LyTZL0A2QwSKcJafuLQ7T-PPJ_pSxqXjg/w492-h640/Screenshot+2018-09-12+14.57.43.png" width="492" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>
<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption">Pete the Cat and His Four Groovy Buttons by James Dean and <span class="author notFaded" data-width="" face=""Amazon Ember", Arial, sans-serif" style="background-color: white; box-sizing: border-box; color: #111111; font-size: 13px; text-align: start;"><span class="a-declarative" data-a-popover="{"closeButtonLabel":"Close Author Dialog Popover","name":"contributor-info-B004ANPHG0","position":"triggerBottom","popoverLabel":"Author Dialog Popover","allowLinkDefault":"true"}" data-action="a-popover" style="box-sizing: border-box;"><a class="a-link-normal contributorNameID" data-asin="B004ANPHG0" href="https://www.amazon.com/Eric-Litwin/e/B004ANPHG0/ref=dp_byline_cont_book_1" style="box-sizing: border-box; color: #0066c0; text-decoration-line: none;">Eric Litwin</a> <br /><br /></span></span></td></tr></tbody></table><br /></div><div>
Mind your P's!<br />
<br />
Provide <b><i>possibility.</i></b><br />
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<br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com3tag:blogger.com,1999:blog-2965176195649202077.post-10713976556984003792018-09-19T10:35:00.001-07:002021-07-16T09:22:40.997-07:00How to Read Royalty Statements (Without Losing Your Mind)Royalty statements can be quite cryptic if you don't know what you're looking at!<br />
<br />
Unfortunately, no two publishers report royalties the same way. However, there are a few* key things I can share to help you understand and interpret these statements.<br />
<br />
<br />
The first thing to know is that <b>you can't read your statement without reading your publishing contract. </b>Everything in the report<b> is tailored to how YOUR contract outlines the publisher will pay you. </b><br />
<br />
<br />
Second, you need to understand what time period the statement is reporting<span style="background-color: yellow;"> (G)</span>. Your contract should state when your publisher will remit statements to you, and what time periods it will cover in those statements.<br />
<br />
<ul>
<li> The most common reporting structure is bi-annually: publishers will send you a report covering sales and returns from Jan-June, and July-Dec.</li>
</ul>
<ul>
<li>Publishers need time, at the close of a "period," to put all of these statements together and send them out with corresponding payments. That is why you will see the statement covering Jan-June a few months after the close of the period (i.e., in September or October).</li>
</ul>
<div>
Third, numbers in () will signal a NEGATIVE balance</div>
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<br />
Let's begin!<br />
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Here is an example statement; I put random numbers in so sorry, this isn't supposed to make sense - it's for identifying pieces of the statement!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ISIEKHs_AFpweNQg8O_vAyjnRWBcT-S58ClezdBgZIWmRfM__x1GDbtzpA-3BZ1t0_UAPOOsfuXNqGI8Xx1kp40j4OYvdrZicKunMDJ8TaQVHILbWxmnVGf31JOzn-_hR-ksm0SOGUg/s1604/Royalty+statement+image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1354" data-original-width="1604" height="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ISIEKHs_AFpweNQg8O_vAyjnRWBcT-S58ClezdBgZIWmRfM__x1GDbtzpA-3BZ1t0_UAPOOsfuXNqGI8Xx1kp40j4OYvdrZicKunMDJ8TaQVHILbWxmnVGf31JOzn-_hR-ksm0SOGUg/w640-h540/Royalty+statement+image.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>
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<br />
<ul>
<li><span style="background-color: yellow;">(A)</span> Books (editions) are (typically) broken out by ISBN </li>
</ul>
<ol><ul>
<li>Hopefully, your publisher has listed the format next to the ISBN as well, so you can tell what edition that page is reporting numbers for (i.e., the hardcover ISBN, the ebook ISBN, the paperback ISBN). If not, you can plug the ISBN into Amazon to look up what edition it goes to.</li>
</ul>
</ol>
<ol><ul>
<li>If you have multiple books with a publisher, they will report numbers on all ISBNs for one book before moving on to the next book you have with them (i.e., you'll see numbers for the hardcover and ebook and paperback for book A before you move on to those numbers for book B). </li>
</ul>
</ol>
<ul>
<li><span style="background-color: yellow;"> (B) </span>Editions produced by third parties, or subsidiary licenses (i.e., translation, audio, permissions, book club, paperback reprints, etc) likely won't be broken down in as much detail as the other editions, simply because these are not products the publisher has directly produced, and thus not products they have as much information on. </li>
</ul>
<ul><ul>
<li>However, these licenses should be reported on the statement, and may be at the end of each title or on a summary page of subsidiary rights for that period. </li>
</ul>
</ul>
<ul><ul>
<li>They may be reported ONLY in the statement in which the money was received. Meaning, if your publisher licensed French translation rights, that may only appear in the statement for the period that the publisher actually gets the advance money in - NOT the period in which the contract for the license was signed. </li>
</ul>
</ul>
<ul>
<li><span style="background-color: yellow;">(C)</span> Some publishers include a "summary page" at the front, or end, of each statement, to roll all of these numbers up together per book or per author so you know in a glance what it means for you regarding any money due (or not due). <--eh, see what I did there?!</li>
</ul>
<ul>
<li>Some publishers will report a current period and cumulative period side-by-side in the breakdown. They likely won't be separated out by nice little divider columns. So you have to look for headings above the numbers to determine what goes with what.</li>
</ul>
<br />
<br />
You'll (likely) see an "X" and "Y" axis format to your statement. Let's begin with the <b>"Y" axis. </b><br />
<br />
<ul>
<li><b>DIRECT: </b>this refers to books sold directly to the consumer (and thus likely not discounted)</li>
</ul>
<ul>
<li><b>DOMESTIC:</b> this refers to the number of books sold in the US</li>
</ul>
<ul>
<li><b>HIGH DISCOUNT:</b> this refers to the number of books sold at a discount outside of the normal range vendors usually receive. </li>
</ul>
<ul>
<li><b>EXPORT:</b> this refers to the number of books the publisher sold and shipped outside of the US</li>
</ul>
<ul>
<li>Each of the Y axis categories will have a royalty rate outlined in your contract. </li>
</ul>
<ul><ul>
<li>For example, X% for books sold at export, X% for books sold at high discount, etc.</li>
</ul>
</ul>
<br />
<br />
The Y axis of a report is interpreted in the context of the <b>X axis:</b><br />
<br />
<ul>
<li><b>LIST price:</b> this refers to the suggested retail price </li>
</ul>
<ul><ul>
<li>Vendors don't have to sell it at this price, and publishers don't have to sell it to vendors at this price. However, if your contract says that you will be paid royalties based on LIST price, you will be paid a % of list regardless of what the publisher or vendor sells the book for. So if your book is priced at $17.99 list, you are paid a % of $17.99 list. </li>
</ul>
</ul>
<ul>
<li><b>Units sold:</b> this is the total number of books sold (and can include books shipped - more on that in a second).</li>
</ul>
<ul>
<li><b>Returns:</b> this is the number of books returned to the publisher. Usually in ()</li>
</ul>
<ul>
<li><b>NET units/Gross:</b> this refers to the total number of sales, including returns. Typically followed by NET SALES, which shows the NET amount the publisher received for those NET sales. </li>
</ul>
<ul>
<li><b>NET sales/proceeds/earnings: </b>this refers to the actual amount of money your publisher gets for sales of the book. </li>
</ul>
<div>
<ul><ul>
<li>Vendors buy books at various discounts (commonly 40-50%) off of list price, so vendors can sell to customers at list price and make a profit. So, if your book is $17.99, and your publisher sells to B&N at 50% off list, the publisher is only actually getting $8.995 per book sold. If your contract states you are paid based on NET sales, you are being paid based on what the publisher actually receives ($8.995).</li>
</ul>
</ul>
</div>
<ul>
<li><b>Royalty TIER/RATE/AUTHOR'S SHARE: </b>this is the rate at which your contract outlines you are to be paid.</li>
</ul>
<ul><ul>
<li>A tier could also refer to escalating rates; i.e., your contract states you will be paid X% for 1-5,000 copies, and X% thereafter. Not all contracts have escalating rates.</li>
</ul>
</ul>
<ul>
<li><b>Royalty due:</b> this is the amount due to you. It will be the calculation of <b>#of books x royalty % x (NET/LIST) sales</b>**.</li>
</ul>
<div>
<br /></div>
<span style="background-color: yellow;">(D) </span>Each reported category of sales in this Y axis is then added up, to show the total royalty due to the author for that book. This is NOT the amount PAID.<br />
<br />
To figure out the amount to be paid, you have to look at:<br />
<ul>
<li><b>Balance carried forward/prior period balance:</b> this is the amount PAID (or remaining unearned) from the last statement. Your first statement will show the advance as the last amount paid.</li>
</ul>
<ul>
<li><b>Reserve held: </b>this is the amount of money (they may also calculate a number of copies this correlates to) your publisher is holding on to in case returns are made. Publishers do this so that they don't pay you for all of the copies shipped out, and then have to recoup fees later when a bunch of those copies are returned. The reserve is a % of total sales. Your contract may state a % of sales cap the publisher can hold a reserve on.</li>
</ul>
<ul>
<li><b>Reserve released: </b>this is the amount of money your publisher is releasing that they previously held on to</li>
</ul>
<br />
<br />
<span style="background-color: yellow;">(E) </span>These numbers are added together to show the total amount actually due to you in this statement period (previous balance + total all ISBNs + reserve held + reserve released). This is the amount PAID.<br />
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<br />
<br />
Your FIRST STATEMENT will (likely) include copies SHIPPED out to booksellers (the number of copies sold to booksellers as inventory); that means, the first statement isn't usually a reliable report of copies sold to <i>customers</i>. Your publisher tracks the number of copies in circulation that go on to sell to customers (typically) per week; you can ask your editor (or look in your author portal, if the publisher has one) for point-of-sale (POS) numbers - that is the number of reported sales to actual customers as reported by booksellers**.<br />
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The biggest period of returns you will see is usually 6-8 months after publication; this means that your SECOND STATEMENT is (likely) to show lots of returns. It does not mean your book suddenly flopped. Don't freak out. Publishers will use copies returned to meet future demand**.<br />
<br />
Hopefully your publisher lists CUMULATIVE or LIFE-TO-DATE units sold <span style="background-color: yellow;">(F)</span>. This is how you can see, each statement, how many copies of your book have sold since it published. If these words do not appear anywhere on the statement, unfortunately, the only way to get this number is to ask your editor, or keep a running tally statement to statement.<br />
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<br />
<br />
<b>How do you know if your book is "doing good"? </b><br />
<b><br /></b>
Well, that's sort of one of those "it depends" kind of answers. There is no magic number that = your book sold well! Publishers consider numbers in the context of multiple factors, including author history, advance paid, similar titles, sell-through, time, the angle of Jupiter's fifth moon, among other things. I.e.: you have to ask.<br />
<br />
A common misconception is that your book going to reprint means you've sold a gazillion copies. While it's fabulous to go into reprint (it means that your publisher sold more than they expected), if your first printing was 5,000 copies, well then, you sold 5,000 copies**.<br />
<br />
Your publisher will have an idea of what kind of numbers they're hoping to hit long before publication. It might be squirrelly trying to get this out of them, but you can always ask, if you want to keep this in mind! However, HUGE caution on this...it can lead to a rabbit hole of disappointment and obsession when you should be focusing on OTHER things, like promotion and WRITING YOUR NEXT BOOK!<br />
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<br />
<b>So you sort of promised I WOULDN'T lose my mind?!</b><br />
<br />
Did I?!<br />
<br />
In reality, knowing what you're looking at and practice are the best ways to understand your statement. Not everything is always spelled out in a statement; reserves held or released, a summary page, etc.<br />
<br />
I recommend setting yourself up with an excel template (because lord do I love templates) that looks like the example I prepared. Review your contract to plug in your X axis categories and the rates they should be reported at in the Y axis. Keep record of any sub rights (book club, translation, audio) your publisher has sold, and the statement that you saw it reported on, so you can keep track of those.<br />
<br />
You can get fancy and create formulas for yourself that will calculate royalty output, but keep in mind, this is only going to be an accurate number if your publisher is reporting based on LIST price, because you won't have all the details (such as discounts to vendors, or agent/foreign transaction fees for translation deals) to calculate NET. But you should be able to get within the ballpark; for example, in the example report above, you can get a rough idea of what the publisher received per book for export sales by dividing Net Sales by Net Units.<br />
<br />
Each statement, review these key items:<br />
<br />
1. Everything is calculated correctly (as best you can estimate, when you're dealing with Net)<br />
2. Your royalties are being reported at the correct rates<br />
3. Any subrights earnings are accounted for<br />
4. Help keep tally (if the statement does not) of sales and returns<br />
<br />
If you find an issue, or think something looks off, ask your agent - or, the royalty department!<br />
<br />
<br />
<b><br /></b>
<b>I hope you have enjoyed this novel on reading royalty statements.</b><br />
<b><br /></b>
*I really meant it to just be a few when I started. Promise.<br />
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**there are qualifiers and extended things to discuss here that I'm not getting into<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc85ALUYhPyMOx91ORlmHZia4fWcsPQ7TFgxlb1FHM2jGXMpu6Ajxp-5XXVHHMkMvcXFsutXJad3PiWuH61zekQSOXVxEte8P8fbHbNSHKVkwBc9oxN88oZzfXlIojCveHIV18mNSAuic/s1604/Screenshot_2018-09-19_09_25_08.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1354" data-original-width="1604" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc85ALUYhPyMOx91ORlmHZia4fWcsPQ7TFgxlb1FHM2jGXMpu6Ajxp-5XXVHHMkMvcXFsutXJad3PiWuH61zekQSOXVxEte8P8fbHbNSHKVkwBc9oxN88oZzfXlIojCveHIV18mNSAuic/s320/Screenshot_2018-09-19_09_25_08.bmp" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHiYDYlwjObvWUwDgAjNUzKxlk8Hl9I2vvAew5yEgZMWGPZoXEMyRbnh8gdsPgoleHQg7layaQEJGwCmEb9lJKQjHKVlb3dN16BD_xnisYjV1OzOYhcX3N578jAsM34AF6AcQH4-A5GDk/s1604/Screenshot_2018-09-19_09_25_08.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1354" data-original-width="1604" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHiYDYlwjObvWUwDgAjNUzKxlk8Hl9I2vvAew5yEgZMWGPZoXEMyRbnh8gdsPgoleHQg7layaQEJGwCmEb9lJKQjHKVlb3dN16BD_xnisYjV1OzOYhcX3N578jAsM34AF6AcQH4-A5GDk/s320/Screenshot_2018-09-19_09_25_08.bmp" width="320" /></a></div><br /><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymoushttp://www.blogger.com/profile/07381280989103788917noreply@blogger.com1tag:blogger.com,1999:blog-2965176195649202077.post-47558055813648823452018-08-24T08:00:00.000-07:002018-08-24T08:27:34.808-07:00Establishing Motivation in Picture Book BiographiesIf you've ever heard: but WHY did he do this? What was DRIVING your subject? What INSPIRED her to...<br />
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My friend, you are in need of establishing motivation.<br />
<br />
Motivation is the heart of your subject's actions. It's a key element that your reader can connect to and be inspired by. It takes a biography from "telling" to "showing."<br />
<br />
This doesn't mean you need to psycho-analyze your subject; the reader just needs to see the connection between how your subject grew up to who s/he became and what s/he did. Because the picture book audience is intended for children, typically that is set up through the childhood lens, because it allows the audience to connect on a relatable level.<br />
<br />
How or what in your subject's childhood helped him/her solve the problem s/he faces later in life, that led him/her to do the thing (s) you are writing about?<br />
<br />
Here are some examples (I linked to these so you can see the previews):<br />
<br />
<b>1. <a href="https://www.amazon.com/Funny-Bones-Posada-Calaveras-Informational/dp/1419716476/ref=sr_1_3?ie=UTF8&qid=1534794409&sr=8-3&keywords=posada+biography">Funny Bones</a> by Duncan Tonatiuh</b><br />
<br />
Here, you can see the progression nicely; the author sets up why Posada become a printer & why he was into art, and leads into, why did he start doing political cartoons (you can't see in the preview, but it explains the political atmosphere in Mexico, and how most people couldn't read and write, thus Posada was doing the cartoons to help spread the word and reach people).<br />
<br />
<br />
<b>2. <a href="https://www.amazon.com/Dissent-Ruth-Bader-Ginsburg-Makes/dp/1481465597/ref=pd_sim_14_13?_encoding=UTF8&pd_rd_i=1481465597&pd_rd_r=55245cf5-a70d-11e8-8e51-357518f34f72&pd_rd_w=GhztX&pd_rd_wg=XOVTi&pf_rd_i=desktop-dp-sims&pf_rd_m=ATVPDKIKX0DER&pf_rd_p=a180fdfb-b54e-4904-85ba-d852197d6c09&pf_rd_r=2G1CSKD399K50WB96Z01&pf_rd_s=desktop-dp-sims&pf_rd_t=40701&psc=1&refRID=2G1CSKD399K50WB96Z01">I Dissent</a> by Debbie Levy (Author) and Elizabeth Baddeley (Illustrator)</b><br />
<b><br /></b>
Here, you can see who inspired Ruth (her mother), the atmosphere she grew up in, and how her personality built into who she became.<br />
<br />
<br />
<b>3. <a href="https://www.amazon.com/Right-Learn-Yousafzais-Encounter-Nonfiction/dp/1491465565/ref=sr_1_3?ie=UTF8&qid=1534794832&sr=8-3&keywords=picture+book+biographies">For the Right to Learn</a> by Rebecca Langston-George (Author) and Janna Bock (Illustrator)</b><br />
<br />
Here again, you can see how Malala developed her love and passion for learning in childhood, and why it was important to her, and when that was threatened to be taken away from her, she fought back.<br />
<br />
<br />
<b>4. <a href="https://www.amazon.com/Picture-Book-Martin-Luther-Biography/dp/0823408477/ref=pd_sim_14_1?_encoding=UTF8&pd_rd_i=0823408477&pd_rd_r=3f272032-a4b3-11e8-8ca5-3701795e9eab&pd_rd_w=YG3Z2&pd_rd_wg=p28Su&pf_rd_i=desktop-dp-sims&pf_rd_m=ATVPDKIKX0DER&pf_rd_p=a180fdfb-b54e-4904-85ba-d852197d6c09&pf_rd_r=EZBQRY0WCXZEWFZCST85&pf_rd_s=desktop-dp-sims&pf_rd_t=40701&psc=1&refRID=EZBQRY0WCXZEWFZCST85">A Picture Book of Martin Luther King, Jr.</a> by David A. Adler (Author) and Robert Casilla (Illustrator)</b><br />
<br />
Here you can see where Martin Luther King Jr. got his peaceful side (father was a pastor, attended church) while establishing the turmoil/problem within the atmosphere he lived in, both of which help the reader to understand why he approached the problem the way he did, what the problem was, and why he was passionate about advocating for equal rights.<br />
<br />
<br />
It isn't so much a matter of picking THE defining moment in your subject's life so much as WHAT about your subject's life led him/her to who he/she became.<br />
<br />
Within the span of a few pages and a few hundred words, of course!<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2965176195649202077.post-38724697584172578442018-07-19T15:12:00.000-07:002018-08-24T08:28:26.249-07:00Characterizing Parents in Children's & YA LitThere's been enough talk about the over-used dead-or-missing parents trope in children's and YA lit, but something that needs to be considered if you're breaking the mold and KEEPING THAT FAMILY TOGETHER: appropriate characterization!<br />
<br />
If your manuscript is set in "present day," more than the landscape, technology, culture and slang around your character should shift and change. Your characters' parents' generational traits should also shift!<br />
<br />
Here's a breakdown of the most common parental-types I see (though of course, there are <a href="https://en.wikipedia.org/wiki/Generation">plenty of others</a>, particularly with parents who weren't born and/or raised in the Western world):<br />
<br />
<b>Baby boomers</b><br />
Born roughly: early-to-mid 1940s through 1964<br />
As of 2018, this means your MC's parents would be 54-78<br />
<a href="https://en.wikipedia.org/wiki/Baby_boomers#Characteristics">General characteristics</a>: early boomers are experimental, into individualism, free spirited, and social cause oriented and tend to be Democrats; later boomers are less optimistic, have a distrust of government, and general cynicism and tend to be Republicans. Tend to have a belief that it is important for each generation to earn their own money.<br />
<br />
<b>Generation X</b><br />
Born roughly: mid 1960's through early 1980's<br />
As of 2018, this means your MC's parents would be 38-53<br />
<a href="https://en.wikipedia.org/wiki/Generation_X">General characteristics</a>: entrepreneurial spirit, balanced, active, and happy in mid-life, unfocused as twentysomethings, bleak, cynical, and disaffected as young adults,<br />
<br />
<b>Millennials (Gen Y)</b><br />
Born roughly: early 1980's through mid 1990's<br />
As of 2018, this means your MC's parents would be 23-37<br />
<a href="https://en.wikipedia.org/wiki/Millennials#Traits">General characteristics</a>: special, sheltered, confident, team-oriented, conventional, pressured, achieving, a sense of entitlement and narcissism<br />
<br />
<br />
I i<u>n no way</u> want to imply by sharing these GENERAL characteristics above that you MUST write your characters to fit within the traits typical of their generation. However, it can be a useful starting point to think through how your MC's parents or grandparents act, what they're passionate about, how they raised their children AND, most importantly, that you aren't unintentionally assigning traits more common to another generation to your MC's parents/grandparents because that is what YOU know, even if that doesn't make sense for your book.<br />
<br />
If your manuscript is set TODAY, think about how old your main character's parents are - what generation does that correlate to? The music they love, the way they act, the jobs they have, and experiences growing up that will have shaped how they raised your MC will vary depending on that. That, in turn, will have shaped your MC, too!<br />
<br />
Other important things to consider (that is not an exhaustive list by any means):<br />
<br />
<br />
<ul>
<li>The age your MC's parents started having children. This will ALSO determine how they are as parents. Did they start having children in their teens, early 20's, or later in life? This will also impact how the parents act, and interact, with your MC.</li>
<li>What immigrant generation (first, second?) your MC's parents are? If your MC's parents (or grandparents!) are instead emigrants?</li>
<li>The family dynamics of THEIR families - meaning, were they only children? One of six? Raised in foster care? Raised by a single mother?</li>
</ul>
<br />
<br />
I know guys. Characterization is complicated. And no, this doesn't mean that I comb through manuscripts looking to see if you've answered or addressed these questions through your MC's parents. (Or DO I?! ....no. No, I do not).<br />
<br />
But I firmly believe that understanding the full dynamics of your characters, and writing them as real people, is worth it. Because at the end of the day, real characters are what agents, editors and readers are looking for!<br />
<br />
<br /><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymoushttp://www.blogger.com/profile/07381280989103788917noreply@blogger.com0tag:blogger.com,1999:blog-2965176195649202077.post-10404493056292412292018-06-13T13:09:00.001-07:002018-08-24T08:28:48.077-07:00What is Authenticity in Voice?Are you hearing from agents that they're not connecting to your characters? Perhaps you need to work on authenticity in your voice.<br />
<br />
Anyone could write a book about my grandmother. And they could probably find out a heck of a lot more about her life than I know through research.<br />
<br />
That doesn't mean they knew her.<br />
<br />
That's not authenticity.<br />
<br />
It is <u>factual</u>; it is not authentic.<br />
<br />
<b>Authenticity is heart. </b><br />
<br />
I've written before that voice is the aspect of the novel that lets the reader forget about the writer. It's what makes characters real. It has perspective, a unique way of thinking about and looking at things based on where he/she is from and the experiences he/she has had.<br />
<br />
If you were to ask me to describe my grandma, I would smile and laugh a little as I reflect and begin to speak. Why? What prompts that emotional reaction? Authentically writing about my grandma is evoking in the reader that same reaction - allowing them to feel my perspective.<br />
<br />
<b>A writer's craft is in figuring out what tools to use and how to do this</b>; showcasing memories? Using key words (for example, notice I immediately switched to "grandma" instead of "grandmother" when I started writing about her)?<br />
<br />
My point of view is one of the more intimate; it is <u>not</u> the only point of view or the whole story or even perhaps the most accurate. But it is authentic because it is based on experience. It is perfectly possible to portray her in a different way based on a different authentic point of view because mine is not the only experience with her.<br />
<b><br /></b>
<b>Heart comes from an original experience.</b><br />
<br />
<b><span style="color: purple;">So here's the challenge: a writer, who has never met my grandma, needs to figure out first, what an authentic point of view would be, and second, how to accurately evoke the emotional response in the reader to convey that POV</span></b><br />
<br />
The farther the writer's intimacy with that point of view, the harder it will be to accomplish.<br />
<br />
And it's not just research that will do that.<br />
<br />
It takes a lot more introspection and dissecting. It takes a full understanding of the limitations the writer may have to understand that point of view.<br />
<br />
The problem I often see is that a lot of writers confuse this work (creating authenticity) with research, or presenting facts.<br />
<br />
<blockquote class="tr_bq">
<b>An exercise in authenticity:</b><br />
<ol>
<li>Tell me about your grandma.</li>
<li>What emotional reaction did you have as you began to reflect and think about what to say? (This is your authentic point of view).</li>
<li>How (and what) do you write to evoke that same emotional reaction in the reader as they are given the information? (This is writing an authentic point of view).</li>
</ol>
</blockquote>
<br />
I hope that you find this exercise challenging; it should be! It is the effort any of your characters' voices should be given. Find the heart!<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymoushttp://www.blogger.com/profile/07381280989103788917noreply@blogger.com1tag:blogger.com,1999:blog-2965176195649202077.post-10282804807905622162018-06-07T13:50:00.001-07:002021-11-02T16:24:05.961-07:00Breaking Down 2017Ok folks! I'm done incubating kids, and so excited to get back to fully dedicated agent time! I've JUST re-opened to submissions, and thought I'd finally share my last year's stats post!<br />
<br />
Here's how my agent life stacked up in numbers for 2017:<br />
<br />
<b>Queries (unsolicited) rec’d:</b><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVsJZa-o0r_xVNRh1R5wSVVGOyYHZebJ2YHkjRRxWlWPFkeQCtFXmQb6qzTVkS3hG3ruR8oszTczz1468ePGEqaggAnv85Ji9Z6lpvzaAs3DzUspfLsOnt20M67G_EudqM5mRb75lDjFg/s828/Screenshot+2017-02-08+15.03.32.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="396" data-original-width="828" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVsJZa-o0r_xVNRh1R5wSVVGOyYHZebJ2YHkjRRxWlWPFkeQCtFXmQb6qzTVkS3hG3ruR8oszTczz1468ePGEqaggAnv85Ji9Z6lpvzaAs3DzUspfLsOnt20M67G_EudqM5mRb75lDjFg/w640-h306/Screenshot+2017-02-08+15.03.32.png" width="640" /></a></div><br /><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>
<b><br /></b><b>Request rates (based on above):</b><br />
<br />
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<div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfqF9SsibOO61WHKI8QBEBIndhskuQWQetM7nVyr3S1hXc9lHSAZ6BKp1eLqJr78idGIWbETmclI3BbZb2qeqx0K2JqqPSmuLf3oIMK9DjjcySezN-T4Ccb0RExM6bGR5i3dzsMA_svyQ/s294/Screenshot+2017-02-08+15.03.52.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="204" data-original-width="294" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfqF9SsibOO61WHKI8QBEBIndhskuQWQetM7nVyr3S1hXc9lHSAZ6BKp1eLqJr78idGIWbETmclI3BbZb2qeqx0K2JqqPSmuLf3oIMK9DjjcySezN-T4Ccb0RExM6bGR5i3dzsMA_svyQ/s0/Screenshot+2017-02-08+15.03.52.png" width="294" /></a></div></div>
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<br />
<b>Requested genres by number:</b><br />
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<div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0RUYr7yTX0WsgCUZfxsjIOBV03XkDL6A6Ar31LJeRend5Nw8KzgWy6jTddR7rPgKOpOacK3URr9kcauRvhbeRmhA0QkNcQu46-oQ-mHrY5ZEzYDvj-T0zLGnU5mcmvY6Vy4vzwm9QRb4/s478/Screenshot+2017-02-08+15.08.31.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="296" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0RUYr7yTX0WsgCUZfxsjIOBV03XkDL6A6Ar31LJeRend5Nw8KzgWy6jTddR7rPgKOpOacK3URr9kcauRvhbeRmhA0QkNcQu46-oQ-mHrY5ZEzYDvj-T0zLGnU5mcmvY6Vy4vzwm9QRb4/s320/Screenshot+2017-02-08+15.08.31.png" width="198" /></a></div></div>
<br />
<br />
<b>Hot buttons:</b> humor, science, adventure, mystery, gritty, fantasy, assassins, poison, LGBT, gothic, romance, magical realism, #ownvoice, book club fiction, author/illustrator<br />
<br />
<br />
<b>Avg. response time:</b> EONS<br />
<br />
I'M NOT EVEN GOING TO GO THERE.<br />
With being closed and preparing for leave, sadly, submissions fell very behind. But! No more! Promise!<br />
<br />
<br />
Months with most queries: January- March<br />
<br />
Months with most requests: Feb-April, June<br />
<br />
Most active period of offering and signing: June-Oct<br />
<br />
<br />
Happy querying! Here's some more info!<br />
<br />
<a href="http://bradfordlit.com/submission-guidelines/">How to Submit to Me</a><br />
<a href="http://www.manuscriptwishlist.com/mswl-post/natalie-lakosil/">#MSWL</a><br />
<br /><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymoushttp://www.blogger.com/profile/07381280989103788917noreply@blogger.com0tag:blogger.com,1999:blog-2965176195649202077.post-10990406974596674212017-10-18T09:38:00.000-07:002017-10-18T09:38:51.367-07:00An Announcement!I am excited to share that my husband and I will be expecting our second baby boy on March 2, 2018.<br />
<br />
In preparation of my upcoming maternity leave, I will be closing to submissions starting October 31, 2017, through June 1, 2018, in order to get caught up and fully focus on my clients before and after the leave.<br />
<br />
I will respond to and consider all submissions sent before October 31 (including any requests made before October). I will also still accept submissions sent from the remaining conferences that I am attending, up until my leave.<br />
<br />
Cheers!<br />
Natalie<br />
<div>
<br /></div>
<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymoushttp://www.blogger.com/profile/07381280989103788917noreply@blogger.com4tag:blogger.com,1999:blog-2965176195649202077.post-78839041921521193812017-02-24T09:58:00.000-08:002017-02-24T09:58:36.849-08:00Getting to Yes...Yes...YES!Last week, I answered a question about why the query process is so frustrating and specific. This week, I want to continue that post, because I think the heart of the frustration isn't really (all) in having to follow guidelines - it's following guidelines and not getting a <i>yes</i>.<br />
<br />
I mentioned the five points I look for in a query; I think these are pretty universal (with the usual I-can't-speak-for-everyone disclaimer) and I want to break these down further to help you in your process.<br />
<br />
1. Is this an area I represent?<br />
2. Is this something I think I can sell?<br />
3. Is this something I think is marketable?<br />
4. Is this an author who has the platform to go with it all?<br />
<br />
And, most important, #5: is this well executed?<br />
<br />
Let's break these down.<br />
<br />
<b>1. Is this an area I represent?</b><br />
<b><br /></b>
This is all about your research. Look up the agents you submit to - and not just the bios. Read #mswl, take a look at what books they've sold. What's important is not just what they want - but what they have. Because an agent isn't going to want two of the exact same (or very similar) book.<br />
<br />
<b>2. Is this something I think I can sell? (back-market)</b><br />
<b><br /></b>
Or is this something that I've seen a million times before? Boil down your <a href="http://www.adventuresinagentland.com/2011/05/hook-em-in-in-three-seconds-or-less.html">hook</a> and take a look at what else is out there; how fresh is your idea, really? Are you introducing something new? If yes, is there a reason it hasn't been done before? Are you banking on something you think is a hot topic? Hot topics are a flash in a pan; by the time you think it, someone else has already done it. I spoke with a client today regarding an idea about the Women's March. Guess what? Already a bunch of books sold and lined up on it. You can always get a subscription to <a href="http://www.publishersmarketplace.com/">Publisher's Marketplace</a> for one month to do research - both on agents (what they're selling to see if they're active in your area), and for editors (to see what they're buying, to see if there's a saturation in your genre).<br />
<br />
Still not sure? Well, there are a few ways you can try and get an answer. Google, for one; I looked up "can I sell a vampire book" and found <a href="http://insanity.today/2016/06/21/guest-post-not-another-vampire-book-selling-the-unsellable/">a pretty relevant post </a>to share on the topic of trends and selling the unsellable. This quick search would have told me vampires are indeed a topic that is hard to sell right now. Ask around: there are plenty of online chats with agents, events with agents, and conferences. And guess what? Ask an author who has an agent! I've had authors ask me questions on behalf of critique partners, and authors with agents are also batting around ideas and may have insight into what's working. Not everyone will be open to it, but it doesn't hurt to... Ask! It might not be what you want to hear, but maybe it will help you figure out how to (I loved this post's title) sell the unsellable!<br />
<br />
<b>3. Is this something I think is marketable? (front-market)</b><br />
<br />
There are two layers to the strategy of what I take on: will editors bite (the "back" market), and will readers bite (the "front" market) (I promise I'm totally not trying to pun up the vampire theme...). Basically, is there a demand for this genre in the readership? Will they be totally saturated by the time this hits shelves (traditional publication cycle is 18+ months)? Is this the kind of book with a large audience, or a limited audience, in which there are already a number of books for the readership to choose from? Would this stand out - would someone pick your book over another? Why?<br />
<br />
<b>4. Is this an author who has the platform to go with it all?</b><br />
<br />
Since I personally represent primarily fiction and children's nonfiction, I'm not thinking about this from the <a href="http://www.adventuresinagentland.com/2015/11/on-platform.html">traditional platform</a> sense, more of authenticity. Is this author writing from an authentic perspective (#ownvoices)? For those in the adult nonfiction world, traditional platform is key.<br />
<br />
<br />
<b>5. Is this well executed?</b><br />
<br />
Key point: I said <i>executed </i>not <i>written. </i>A work can be wonderfully written but fall apart in plotting and pacing. I do often judge this from the query itself - if there are ten million different things going on and I can't figure out what the primary conflict is and it feels all over the place, I will move on. This is where a poorly executed <i>query </i>can shoot you in the foot. Which is why your query should be critiqued for clarity just like your manuscript. Here's my <a href="http://www.adventuresinagentland.com/2010/11/template-for-good-query.html">template</a> for a query - this is how simple it should be.<br />
<br />
As for execution of the manuscript, I dedicated <a href="http://www.adventuresinagentland.com/2010/09/common-manuscript-mistakes-and-how-to.html">a post</a> to this a while back, but truly, the very best way to help with your writing is to keep writing, and keep reading. The best way to help with your execution of that writing is to keep working on your craft. Find a mentor, not just a critique partner; expand your circle to writers and events you haven't met or been to before to consider different perspectives and different tips and approaches. Try out different <a href="http://www.adventuresinagentland.com/2013/07/plot-dot-test.html">tools for plotting and pacing</a>; run your synopsis, not your first chapter, by your critique group and see if it makes sense to them, is predictable, has holes. <a href="http://www.adventuresinagentland.com/search?q=pacing">Think critically about the feedback</a> you receive.<br />
<br />
<br />
As a last step, if you think you have a "yes" to all of these points, I would like you to take a moment to reflect on how long you've been at it with this book. Are you stuck <a href="http://www.adventuresinagentland.com/2014/05/a-bad-case-of-revisionitis.html">in a revision cycle</a>, when the best course of action might be to let this one go for now and come back to it after you've grown with something new?<br />
<br />
And if you've done all of the above, and you're ready to throw in the towel...what makes you think you're done? What makes you think it's everyone else, and not you?<br />
<br />
Writing can be a very isolated journey, even with social media. And sometimes, the inspiration you need is a break. Spend three months to a year as a reader and author advocate - offer to edit, but not write, promote, but not be promoted, listen, not be listened to. Surround yourself with <a href="http://www.adventuresinagentland.com/search?q=quit">inspiration.</a> And begin again.<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com3tag:blogger.com,1999:blog-2965176195649202077.post-25439994933363965682017-02-17T15:29:00.000-08:002017-03-01T14:44:59.874-08:00Querying: Why IS it So Damn Hard?<i>Dear Ms. Lakosil:</i><br />
<i><br /></i>
<i>I've seen an agent have a list of 26 do's and don'ts for submission criteria. 13 do's, 13 don'ts. I decided not to submit to said agent. I quite literally imagined a stick in her bum. I imagined our relationship as agent/writer being similarly woody and passed. GOD stopped with 10 commandments. Was he phoning it in?</i><br />
<i><br /></i>
<i>Furthermore, why do so many agents ask to see a 'beautiful sentence' instead of a beautiful story? I've seen an agent say she loves well placed commas. Well, that's nice...I guess. It reminds me of an accountant loving decimals instead of the numbers he's adding. HARRY POTTER had some UGLY sentences while telling an amazing story. I'm guessing she I shall call 'Agent Comma' would have passed on poor Harry.</i><br />
<i><br /></i>
<i>While I'm ranting...why do agents put shockingly heavy emphasis on the query letter? I can see why it is a component of grabbing the eye. I get it. Yet, shouldn't the manuscript itself be where an eye levels first? If agents are judging entirely on the query and skipping the actual work, they are missing great stories. Many agents want as few as five pages, specifically the first five. That's like looking at one cell in a microscope and judging the health of the human body by it. Why not allow a writer to submit a sample of their favorite chapter? </i><br />
<i><br /></i>
<i>If I sound frustrated, I am. I'm hoping you can shed more intense light on this process than I've read online and through experiences in the query process. </i><br />
<i><br /></i>
<i>Sincerely,</i><br />
<i><br /></i>
<i>Stephani Martin</i><br />
<br />
<br />
Dear Stephani, and all writers in the query process:<br />
<br />
Yours is a valid and understandable frustration. I'm in a unique position, in that I've been <a href="http://www.adventuresinagentland.com/2010/08/queries.html">in both shoes</a>: that of the writer, desperately seeking agent, and that of agent, desperately seeking compatible clients. I think I wracked up upwards of 150 rejection letters before I stopped writing and querying.<br />
<br />
I share my similarly-frustrated query in the post linked above; I too had very much reached that pulling-your-hair-out-why-the-hell-is-no-one-biting point.<br />
<br />
So I get it. I want to start with that.<br />
<br />
<a href="http://www.adventuresinagentland.com/2010/08/query-letter-death-of-dickens.html">I've ruminated on this before</a>, but there are some additional points I think are worth making that might help shed some light on the other side of the fence.<br />
<br />
I just posted <a href="http://www.adventuresinagentland.com/2017/02/breaking-down-2016.html">my query stats</a> for 2016; I received a total of 4,612 unsolicited query letters. I probably also received roughly another 100 query letters direct into my personal inbox, which, if you read my guidelines, I deleted.<br />
<br />
<a href="http://www.bradfordlit.com/submission-guidelines/">I can admit that my guidelines, and that of our agency's</a>, aren't really the most user-friendly; there's red text, there's green text, there's guidelines for one agent that are different for another, and they're OUR guidelines, not necessarily any sort of industry standard. I want to also add for the record, that most agents understand that it's not EASY to research and appropriately query agents.<br />
<br />
But.<br />
<br />
On our guidelines page, we did try and add some explanation as to why we need things a certain way. For example, when you're getting as many unsolicited emails as we do, LOTS of things are determined to be spam. We set up a special filter that relies on key wording in the subject line to prevent that. With the sheer volume, it's also difficult to respond to check-ins - so we've outlined the response time. We don't want a bunch of viruses, so we've also told you we don't want attachments. We also understand, sometimes query letters aren't the best, so we give you a chance to submit your first chapter so we can see a sample of your work. We want the beginning, not a random piece, because as much as YOU might love a specific scene, we have no context for it, and thus, there's no way it will resonate appropriately for us.<br />
<br />
Basically, our guidelines are in place for a reason; every agent has similar reasons for why he or she needs you to submit to them in a specific way. Most agents aren't trying to be threatening or overly specific and rigid - we're just trying to very clearly lay out what we need. And very clearly communicate that we have no time to review projects outside of those guidelines. I imagine the agent who listed the do's and don'ts of querying was really just trying to be helpful.<br />
<br />
<b>The time we spend reviewing submissions is completely unpaid work.</b> Even if we hire an assistant to read the queries, and yes, some agents have a salary vs. commission, that assistant's work and that salaried time spent on submissions doesn't immediately lead to revenue. In fact, most of it will never lead to revenue at all. There is value in it, for those who are actively seeking clients, which is why we do it. But any successful business needs to focus on and prioritize revenue-generating activities by the level of return investment.<br />
<br />
<b>Think of the query process like the job search process;</b> this is our business, and this is how you are applying for the "client" job.<br />
<br />
I'm sure, just like with queries, you would love to be able to show up to your dream job and SHOW them how AWESOME you would be. But no employer wants to take the risk and time for applicants to do that; most applicants who apply, just like with query letters, aren't even qualified for the job, regardless of what they think!<br />
<br />
We need a way, as agents, to quickly weed out those who wouldn't fit what we're looking for. Query letters are your resume and cover letter. A big red flag is someone who can't follow directions, or simply CHOOSES not to. Why is that a red flag? Because it implies (whether your mean to or not) a lack of respect for my time and judgement - that you as author know best how to submit to me- and what does that say about our potential working relationship? It's your chance to highlight that you are qualified for the position, and stand out from all the others who are equally as qualified so I will meet you in person. In order to do this, you do need a well-crafted query letter.<br />
<br />
It's also a step that readers expect, too! When browsing, do readers turn first to pages, or the blurb at the back of the book? ANY reader (agent, editor, buyer) needs a way to determine if it's a fit before they commit to reading. It's the art of advertising - movies have trailers, goods have commercials - this isn't something specific to the publishing industry. And yes, bad products have great commercials, and great movies get horrible trailers - so do your book justice and invest in the art of the query and pitch!<br />
<br />
I spend about 30 seconds on the query letter. Truthfully, I'm not holding it against you if it's not perfect. Really. Maybe some agents do - and more on that in a second. What I'm looking for:<br />
<br />
1. Is this an area I represent?<br />
2. Is this something I think I can sell?<br />
3. Is this something I think is marketable?<br />
4. Is this an author who has the platform to go with it all?<br />
<br />
If the answer is yes to even 3 out of 4, I'll turn to the sample writing. Because the most important question is #5: is this well executed?<br />
<br />
If you've followed guidelines, you're probably being rejected because you didn't get a "yes" in #1-5 above. I see TONS of query letters that get a yes to #1-4, and fizzle at execution.<br />
<br />
And that's back on you, to work on your craft, and send me something that'll knock my socks off.<br />
<br />
Yes, it's frustrating that you don't know which it is - which # did you miss at? Is it your idea? Is it that you picked the wrong agent? Is it that the execution was off? The execution of your letter or your writing? Well. That my friends...is for another post (which I've already scheduled for next Friday! Say whaaaaat!).<br />
<br />
For now, I'll end with one last thing: I've used "most agents" and "some agents" a lot in this post. That's because I can't speak for every agent. And also because <b>not every agent is going to be a fit for YOU.</b><br />
<b><br /></b>
<b>It is absolutely your right as an "applicant" to judge the potential "work environment" as not compatible with your style.</b><br />
<b><br /></b>
When agents compete against one another, we call it a beauty contest; that's because quite frankly, sometimes it just comes down to who is shiniest and prettiest. We can all do the same thing (ahem, <a href="http://www.adventuresinagentland.com/2014/12/agent-vs-schmagent.html">schmagents</a> excepted), and many of us represent very similar areas.<br />
<br />
That's why we're "out" there - that's why our guidelines are out there. We want you to think about whether or not we'd be a fit, too. We want you to come in the door having done all that research. And we're people; we need to have a good relationship with one another in order to work well. This is especially important right now - you'll see a lot of agents on social media very blankly telling you they won't work with clients from certain view points. Does that make them bad agents? No; that makes them good <i>recruiters</i>, because they're actively telling you: I am passionate about this! You will NOT be happy with me if you don't agree! We won't respect each other!<br />
<br />
You don't have to agree with them. You don't have to suck up to them. You just have to decide: not for me. But if you decide: for me, follow guidelines.<br />
<br />
And for the record, Stephani, the voice in your letter to me was quite engaging. I hope that passion translates to your characters on the page!<br />
<br />
<br />
<br />
<br />
<br />
<br /><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com7tag:blogger.com,1999:blog-2965176195649202077.post-26896217087059377622017-02-08T15:25:00.002-08:002017-10-18T09:31:43.765-07:00Breaking Down 2016Whew! 2016 was...quite a year. Politics, celebrity deaths, severely slacking on blog posts, debuts and all else aside....<br />
<br />
Here's how my agent life stacked up in numbers for 2016:<br />
<br />
<b>Queries (unsolicited) rec’d:</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-VHqKK6kz5nk/WJulJdSHpyI/AAAAAAAABBQ/ohjBqy8vB1ws4QSHoDNpaXAydEbiGTWIACLcB/s1600/Screenshot%2B2017-02-08%2B15.03.32.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="190" src="https://3.bp.blogspot.com/-VHqKK6kz5nk/WJulJdSHpyI/AAAAAAAABBQ/ohjBqy8vB1ws4QSHoDNpaXAydEbiGTWIACLcB/s400/Screenshot%2B2017-02-08%2B15.03.32.png" width="400" /></a></div>
<br />
<br />
<b><br /></b>
<b>Request rates (based on above):</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-lZ5p4gHbh2c/WJulRGKvwJI/AAAAAAAABBU/KCOP9dIRweUWZLN1cSU_GErrfNdueGbdwCLcB/s1600/Screenshot%2B2017-02-08%2B15.03.52.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-lZ5p4gHbh2c/WJulRGKvwJI/AAAAAAAABBU/KCOP9dIRweUWZLN1cSU_GErrfNdueGbdwCLcB/s1600/Screenshot%2B2017-02-08%2B15.03.52.png" /></a></div>
<br />
<br />
This means, roughly, that I requested a partial on 6 out of every 1000, a full 8 out of every 1000, and offered on 3 out of every 1000 queries I received.<br />
<br />
This year, I was 11% likely to request the full from a partial<br />
I was 33% likely to make an offer on a full request<br />
<br />
Requested genres by number:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-tVfibXY0NDw/WJumdFGoiBI/AAAAAAAABBg/nGTClOnsN5IdxEH_5J7f1JFLh_oPhvvvgCLcB/s1600/Screenshot%2B2017-02-08%2B15.08.31.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-tVfibXY0NDw/WJumdFGoiBI/AAAAAAAABBg/nGTClOnsN5IdxEH_5J7f1JFLh_oPhvvvgCLcB/s320/Screenshot%2B2017-02-08%2B15.08.31.png" width="198" /></a></div>
<br />
<br />
<b>Hot buttons:</b> humor, science, adventure, mystery, gritty, fantasy, assassins, poison, LGBT, gothic, romance, magical realism, #ownvoice<br />
<br />
<b>Avg. response time:</b> 11 weeks<br />
<br />
THIS IS DEPLORABLE.<br />
<br />
<br />
Months with most queries: January, August-November<br />
<br />
Months with most requests: March-April, June-July<br />
<br />
Most active period of offering and signing: Feb-April, June-July<br />
<br />
<br />
<br />
My agent resolution last year was to Grow, Sell, Grow - and I really lived up to that! I was on a requesting SPREE last year; I got double the submissions but I tripled my requests and client signings. Unfortunately, I fell horribly behind in unsolicited reading and response times. Which really leads into...<br />
<br />
<b>My 2017 agent resolution: SELL!!!! And respond to submissions in a more timely manner. AND SELL!!!</b><br />
<div>
<br /></div>
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p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Calibri}
</style><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com3tag:blogger.com,1999:blog-2965176195649202077.post-30729709054526343842016-08-19T12:53:00.002-07:002016-10-28T12:59:29.936-07:00A Few of My Favorite Things...<span style="font-family: inherit;">I wanted to share some wonderful articles and words of wisdom I've come </span>across<span style="font-family: inherit;"> recently.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">First, contributing to #weneeddiversebooks and #ownvoices, these two articles:</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>From an editor perspective:</b></span><br />
<a href="http://www.cbcdiversity.com/post/141153360148/i-just-dont-identify-with-the-character"><span style="color: black; font-family: inherit;">http://www.cbcdiversity.com/post/141153360148/i-just-dont-identify-with-the-character</span></a><br />
<span style="font-family: inherit;"><br /></span>
"If you’re a white editor reading this, pause for a second and think about how an African American or Native American might feel getting that pass letter. Consider the fact that your very whiteness might prevent you from understanding the lives diverse characters and peoples lead, and the daily erasure they face" - Kate Sullivan, Senior Editor, Delacorte Press<br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>From a writer perspective:</b></span><br />
<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://readingwhilewhite.blogspot.com/2016/08/on-white-fragility-by-guest-blogger.html&source=gmail&ust=1471722555740000&usg=AFQjCNFf6RNfmTGeXtAcfoIfqBQDKDUrNw" href="http://readingwhilewhite.blogspot.com/2016/08/on-white-fragility-by-guest-blogger.html" target="_blank"><span style="color: black; font-family: inherit;">http://readingwhilewhite.<wbr></wbr>blogspot.com/2016/08/on-white-<wbr></wbr>fragility-by-guest-blogger.<wbr></wbr>html</span></a><br />
<span style="font-family: inherit;"><br /></span>
"To help diversify YA, we white authors can support Indigenous authors and Authors of Color by reading their books, recommending their books, blurbing their books, and recommending them to our agents. When we're invited to conferences, or festivals, or to be in anthologies, make sure they're not majority white. We need to make more space for People of Colour and Indigenous people in our very white publishing industry."<br />
<br />
(yes, I realize, both white perspectives; please share any other wonderful articles....I want to include them...)<br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Next, some words of wisdom from SCBWI LA. I wasn't able to attend all sessions, but from what I did....</span><br />
<br />
<ul>
<li><span style="font-family: inherit;">"</span><b style="font-family: inherit;">Diversity is not a trend</b><span style="font-family: inherit;">. </span><span style="font-family: inherit;">It is real life, and diversity needs to be the norm." -Justin Chanda, </span><span style="font-family: inherit;">Vice President & Publisher, Simon & Schuster BFYR</span></li>
<br />
<li><span style="font-family: inherit;">"You will hear all sorts of rules about what you can't do [when you write]. What they mean is, you can't do anything </span><b style="font-family: inherit;">badly.</b><span style="font-family: inherit;"> You can do whatever you want </span><b style="font-family: inherit;">if you do it well</b><span style="font-family: inherit;">." Melissa Manlove, editor, Chronicle Books</span></li>
<br />
<li><span style="font-family: inherit;">"Publishing is a marathon, not a sprint." Stacey Barney, Senior Editor, Putnam</span></li>
<br />
<li><span style="font-family: inherit;">Don't wait for the perfect idea to strike: "Writers have to come up with a lot of bad ideas to hit a few good ones. It's not the lightning bolt that hits someone sitting in a sunny field. It's the lightning that strikes someone who has been cranking a generator." Melissa Manlove, editor, Chronicle Books</span></li>
<br />
<li><span style="font-family: inherit;">What makes a good picture book? It "has to evoke that same feeling/connection as when you first read it - every time....the perfect picture book text is a writer lobbing the ball up so an illustrator can carry it." - Susan Rich, editor-at-large, Little Brown</span></li>
</ul>
<br />
<br />
<br />
<br /><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com2tag:blogger.com,1999:blog-2965176195649202077.post-13551818376878593062016-04-01T11:00:00.000-07:002016-04-01T11:00:19.992-07:00Format Changes; Story Lust Remains<div class="MsoNormal">
I was watching TMNT (2014) with my husband tonight*. And at the end,
he said: you know what’s sad? Our son is going to see this and think, man, the
older versions SUCK! <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And I said: so? <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A reader of romance today vs. a reader of Jane Austen of
yesterday will not necessarily like it the same; and yet that doesn’t
discount either of the books. It doesn’t discount them in the same way that
Homeric tales passed around a fire are no less valid than TMNT (2014). <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
People fear change in publishing; when I tell people what I do,
they say…oh. And…what will you do when books go away?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Books won’t go away. The format may change. But stories will
always remain. That is publishing. That is the world I’m in.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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And if my son connects to it in a different way than I did,
I don’t care. Because he’s connecting. And that is what matters. <o:p></o:p></div>
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<br /></div>
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That is why as an agent, I embrace change and challenge. </div>
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<br /></div>
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<br /></div>
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*on our first date, I picked Teenage Mutant Ninja Turtles to watch. I still think that was the moment that sealed the deal for us. :)</div>
<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-2965176195649202077.post-56730441552794332612016-01-14T08:30:00.000-08:002017-10-18T09:33:45.870-07:00Breaking Down 2015After reviewing all the stats, I have to say: I kicked 2015's ass. I had a baby; I negotiated a deal while having that baby. I kept turnaround times, contracts, correspondence, sales and pitches moving, all with a brand new baby in tow...because challenge: I THRIVE ON THEE! :)<br />
<br />
Here's how my agent life stacked up in numbers for 2015:<br />
<br />
Queries (unsolicited) rec’d:<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-aT2cPuK3VD0/Vpa83vT7L6I/AAAAAAAAAv4/ymO6TqxI3_k/s1600/2015%2Bstats.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="187" src="https://1.bp.blogspot.com/-aT2cPuK3VD0/Vpa83vT7L6I/AAAAAAAAAv4/ymO6TqxI3_k/s400/2015%2Bstats.JPG" width="400" /></a></div>
<br />
<br />
Request rates (based on above):<br />
<br />
<b>Partial:</b> .2%<br />
Partial Request genres:<br />
<br />
<ul>
<li>MG funny contemp</li>
<li>historical romance with mystery</li>
<li>YA contemp</li>
<li>YA historical magical realism</li>
<li>contemp romance</li>
</ul>
<br />
<br />
<b>Full:</b> .6%<br />
Full Request genres:<br />
<br />
<ul>
<li>adult multi-cultural</li>
<li>Chapter Book boy funny </li>
<li>PB author/illustrator</li>
<li>PB text only (2)</li>
<li>MG speculative</li>
<li>MG magical realism/multi-cultural</li>
<li>MG funny contemp</li>
<li>YA adventure</li>
<li>YA historical</li>
<li>YA historical magical realism</li>
<li>YA magical realism</li>
<li>Gritty YA contemp</li>
<li>YA fantasy</li>
</ul>
<br />
<b>Offers:</b> .2%<br />
Signed Genres:<br />
<br />
<ul>
<li>MG magical realism/multi-cultural</li>
<li>YA magical realism</li>
<li>Chapter book boy funny</li>
</ul>
<br />
<b>R&R’s</b> requested: 2 (.1%)<br />
Offers from R&Rs: 1<br />
<br />
This means, roughly, that I requested a partial on 2 out of every 1000, a full 6 out of every 1000, and offered on 2 out of every 1000 queries I received.<br />
<br />
This year, I was 40% likely to request the full from a partial<br />
I was 29% likely to make an offer on a full request<br />
<br />
In sum: I was more likely to request a full, though I was not as active with signing and requesting as<a href="http://www.adventuresinagentland.com/2015/01/breaking-down-2014.html"> last year</a> (down from 70% likely to request full from partial, and 59% likely to make an offer on a full).<br />
<br />
<b>Avg. response time:</b><br />
Partial: 7 weeks<br />
Full: 8 weeks<br />
<br />
After tracking my turnaround times for several years now, this has been pretty consistent. I always wish I could be faster, but, considering this year I <i>felt</i> like a literal black hole as I adjusted to everything baby, it's an accomplishment to have kept things the same.<br />
<br />
<br />
Months with most queries: June-July, Sept-Oct (last year March, June-July)<br />
<br />
Months with most requests: July, Oct (last year Feb, April-May)<br />
<br />
Most active period of offering and signing: Aug-Nov (last year Jan-Feb & June)<br />
<br />
With being closed to submissions until May 1, everything shifted down!<br />
<br />
<br />
My agent resolution last year was to keep up the momentum; I was pretty on par for deals, and managed overall growth while being shut down for four months, which is a 100% success!! I pulled in to focus on my fabulous clients, and this year...<br />
<b><br /></b>
<b>My agent resolution: GROW, SELL, GROW!!</b><br />
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<br /></div>
<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com5tag:blogger.com,1999:blog-2965176195649202077.post-81073338093439549102015-11-24T08:00:00.000-08:002015-11-24T08:00:02.796-08:00On Fan Fic: Food For ThoughtFan fic, or writing fiction based on existing worlds and characters, isn't new - what is new is that it can turn into opportunity.<br />
<br />
The Wall Street Journal <a href="http://online.wsj.com/news/articles/SB10001424052702304058204579495491652398358?mod=WSJ_hpp_MIDDLENexttoWhatsNewsThird&mg=reno64-wsj&url=http%3A%2F%2Fonline.wsj.com%2Farticle%2FSB10001424052702304058204579495491652398358.html%3Fmod%3DWSJ_hpp_MIDDLENexttoWhatsNewsThird">covered this over a year ago</a> (hey, I had a baby, I can be late to the discussion), focusing on <a href="https://kindleworlds.amazon.com/">Kindle Worlds</a> and the opportunity it created for fans to legally publish fan fic (because, you know, otherwise it is ILLEGAL - do not publish/post without understanding this!). The more traditional non-profit approach to fan fic survived low on the radar of copyright infringement primarily because it didn't threaten sales of the real books. KW is done through license deals with publishers; authors can make money, but so do the publishers.<br />
<br />
Pretty cool. I guess. As an agent whose client was approached by KW to write for one of their worlds....eh.<br />
<br />
So here's the thing. Fan fic can be great. But not if it's going to take away from your own career.<br />
<br />
What worries me about this new form of fan fic is that it could lead an author too far down the path of writing for someone else. This wasn't something to really worry about before; after all, fan fic could also lead to bigger and greater things like <i>Fifty Shades of Grey</i>, wherein the end new book is original enough it doesn't appear to be a derivative, and bing bang boom a new bestseller can be born.<br />
<br />
But because authors are now free to publish without having to worry about masking the elements that were created by someone else, will those same authors, who might have created the next <i>Fifty Shades of Grey</i>, simply...not?<br />
<br />
Or will an author so excited to be approached by or interested in KW take up the challenge...and spend time that otherwise might have gone to their own work doing it?<br />
<br />
It's been around long enough that I can't really say it's much of a threat. But...something, I think, to keep in mind, the advice of the day on career planning, if you will - for any time spent on fan fic.<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-2965176195649202077.post-65493412313795562702015-11-04T08:00:00.000-08:002015-11-04T08:00:00.963-08:00On PlatformLet's just get this out of the way: no, you don't need a platform to write fiction.<br />
<br />
Ahem. Now onto the post.<br />
<br />
While I don't do much adult nonfiction, I do get asked quite a bit from clients what I think of a nonfiction proposal they'd like to draw up and shop around.<br />
<br />
It's not an issue at all to write fiction and nonfiction; however, there are a few key things to know if you're looking to break into this area:<br />
<br />
<b>PLATFORM</b><br />
<br />
Before you even start drafting up your idea into proposal form, stop and consider your platform. It's very common to confuse this term with <i>experience</i>; platform is <i>not </i>experience. It answers the following question in a way that leaves absolutely no room for follow up: <b>Why are YOU the person to write THIS book?</b><br />
<br />
For example: say you want to put together a writing handbook for other authors, with tips and tricks of the trade.<br />
<br />
Ok. So why are YOU the person to write THIS book?<br />
<br />
Because you've been writing for over ten years, and have published three novels.<br />
<br />
And?<br />
<br />
So have others; why YOU?<br />
<br />
A good answer, incorporating platform, would be: I've been writing for over ten years. All of my novels have appeared on numerous bestseller lists, including <i>USA Today</i> and <i>The New York Times</i>. My blog, XXX, receives over 100,000 hits a day, and I've been teaching workshops and online seminars for the past five years, brining in approximately 1,000 attendees per year. My programs are growing, and I anticipate having over 2,000 attendees in the next year. Success stories from my workshops include bestsellers X, X and X. In addition, I have completed a Master's in Writing and Literacy, and guest post at HowToWrite.com, which has over 500,000 hits a year. My posts regularly see 10,000 hits within the first few days. I regularly speak at conferences as well, including X, X, X. Endorsements from my program include: "OH MY GAWD SHE IS SO AWESOME!!"<br />
<br />
In other words, as Jane Friedman says so very well: "It is not about your qualifications, authority, or experience, although these are tools for growing or nurturing a platform....[platform] gives you power to market effectively....it’s about making waves that attract other people to you." (Seriously, read her <a href="http://janefriedman.com/2012/03/13/author-platform-definition/">full post</a>, it's incredible.)<br />
<br />
Needless to say, platform isn't something you can build quickly. But it's also not unattainable. If you <i>were</i> this writer interested in writing a how-to for other writers whose answer was the first above, you can still do it; step one is simply going to be building your platform.<br />
<br />
<br />
Step two, of course, is your PROPOSAL. This piece convincingly answers the following question: <b>Why THIS book NOW?</b><br />
<br />
I understand why it is that YOU should write this book; but why should anyone PUBLISH this book?<br />
<br />
The tools you'll prepare to answer that question:<br />
<br />
<ul>
<li><b>Project Synopsis/Summary:</b> an overview of what exactly it is you're writing, and why (what is the audience, what is missing in the current field that your book brings, why will people care).</li>
<br />
<li><b>Market/Competition:</b> What else is out there that's like your book? And don't say: nothing. That doesn't help me either; even if there are no other books just like yours, what other books are your audience buying that yours will be better than, and why?</li>
<br />
<li><b>Author Platform & Bio:</b> see above!</li>
<br />
<li><b>Chapter Overview/TOC:</b> an outline, with brief (1-2 sentence) descriptions on what each chapter will contain</li>
<br />
<li><b>Sample Chapter:</b> This doesn't have to be the first chapter; it could be any bit of it. Though it's most typical to be the introduction and/or first chapter. After all, you could be killin' it at selling this thing...but I need to see if you can actually write*, too! </li>
<blockquote>
<i>*It's not uncommon to have a ghostwriter in nonfiction; it is uncommon, however, for a publisher to want to front this cost unless you're presenting a Big Book. If you want to go this route, expect to have to royalty and/or advance share or front this yourself. You'll typically want to have the ghostwriter in place before you sell the proposal. When you're looking, you'll want to make sure your ghostwriter is up to snuff too. Read: what else have they done? Get referrals and and references!</i></blockquote>
</ul>
Whew! Lots to chew on here for those of you looking to take this plunge. Me, I think I'll stick with blog posts.<br />
<br />
<br />
<i>Further resources:</i><br />
<br />
On platform:<br />
<ol>
<li>http://thewritelife.com/author-platform/ (it even includes a pie chart of what goes into platform):</li>
<li>http://www.writersdigestshop.com/create-your-writer-platform-group</li>
</ol>
<br />
On proposal:<br />
<ol>
<li>http://www.huffingtonpost.com/2013/07/10/nonfiction-book-proposal_n_3569043.html</li>
<li>http://www.bradfordlit.com/how-to-write-a-non-fiction-proposal/</li>
</ol>
<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-2965176195649202077.post-84891832957294274992015-10-27T08:00:00.000-07:002015-10-27T08:00:00.710-07:00Real Talk: Agent LifeSo this happened:<br />
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And I'm pretty happy that Jenn clarified what she meant, because the statement in the bottom tweet has me all fired up.<br />
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<span class="s1">Fact: for MANY, agenting is kind of like this: </span></div>
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<span class="s1">No, not that we're all secretly crazy (I just happen to like this clip); what I mean is that what we present, and what the world sees, is a fraction of the reality.</span></div>
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<span class="s1">I'll be honest; it's taken me many years to find the courage to write about this in a post, because of potential backlash from authors OUTRAGED at the idea or my clients FREAKING OUT about my availability.</span></div>
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But you know what? That's crazy. <b>Because the bottom line is that I am a better agent because of it.</b><br />
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<b>So here it is: when I, and quite a LOT of new agents, started out...agenting wasn't my only job.</b> I had three jobs, actually; mostly because I'm a crazy person who thrives on challenge, but even that isn't all that uncommon: I know agents who have two jobs, write their own books, AND have a bunch of kidlets running around. Some agents work 9-5 in an agency as an assistant; others also handle sub rights or even just have kids - that's a job in and of itself, you know.<br />
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And right now? Heck, I still have <a href="http://www.cognella.com/company/">another job </a>and a kidlet of my own, because I happen to love both things very much. And for any agent who continues to write, or assistant, or crochet and sell adorable little hats: if it's not slowing you down (and in fact, I'd argue a lot of "other jobs" only benefit the agent, in both experience and networking and time management), why do you have to stop?<br />
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Because trust me; as an agent who does it all, I am constantly only doing better because of the challenge. Last year was my <a href="http://www.adventuresinagentland.com/2015/01/breaking-down-2014.html">best year ever</a>, and this year, I've already exceeded that by 45% - even <a href="http://www.adventuresinagentland.com/2015/04/baby-and-agent-achievement-unlocked.html">negotiated a deal while in labor</a>. And the year's not over.<br />
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What's important, as Jenn noted in the tweet above, is that the other jobs don't conflict with agent duties; <b>absolutely, a second job should never be a conflict of interests.</b><br />
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I LOVE what I do; and yes, I do think there should come a time when an agent can pay the bills from what they do - if he or she is doing it full time. It used to be a 3-5 year ramp up; now, with digital offers and lower advances, I'd say it can be 5-7. Because remember, this is a commission-based in a snail-paced industry job; royalties take time to ramp up, and advances are paid out in increments, once that contract is negotiated.<br />
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But even if an agent is never able to make it fully on their own (without another job, or support of a spouse) does that REALLY mean he or she isn't a real or legit agent? That he or she should try another job? I don't think so. Sometimes, doing what you love, what you're best at, doesn't ever pay the bills. Doesn't mean you should stop.<br />
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<b>Writers, hear us roar! Publishing can just be that way. It doesn't mean we're not successful!</b><br />
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Though word of caution: <b>there's still a big, big difference between a legit agent working her ass off who can't pay the bills yet and a <a href="http://www.adventuresinagentland.com/2014/12/agent-vs-schmagent.html">schmagent.</a></b><br />
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But this publishing biz can be a bitch; let's not make it any harder for ourselves by being haters and assuming our walk of life should apply all around. That goes for everyone out there - writers (traditional, self pub, hybrid), agents, editors, publishers, publicists, etc.<br />
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Be strong. Be fierce. And don't apologize if you're being awesome just because it's not what everyone thinks being awesome should look like.</div>
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<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-2965176195649202077.post-50343796489968678082015-09-25T15:01:00.001-07:002015-09-25T15:01:59.882-07:00Read Aloud: the Magic of Picture BooksI was lucky enough to hear Mem Fox read her work at this summer's SCBWI LA. I wanted to share with you all a video of her reading, because I think watching her highlights PERFECTLY the complexities involved with writing a picture book:<br />
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I talked previously about <a href="http://www.adventuresinagentland.com/2014/08/common-picture-book-mistakes.html">the most common mistakes</a> that I see writers make. Mem Fox boiled it down to: "Would a child give a damn about this book?"<br />
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In the video, listen to the rhythm of her words; listen for the inflections and try and feel the suspense. Picture books, unlike novels, are an interactive experience. When I love a picture book, I don't just recommend to others that they read it; I want to read it with them. I want to read it to them. I want them to feel what I felt.<br />
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That's what giving a damn is.<br />
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With the right rhythm, tone, repetition, pacing, and narrative arc, you can do that - you can share directly with others the magic you feel as you read. You don't have to be a brilliant reader to do it; the writing and flow does it for you.<br />
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Read your picture books aloud before you submit; and have others do so, too. Listen to others read it to you. How do they feel after reading? Did they stumble? Was the rhythm and emotion and spark you felt when you put pen to paper conveyed back to you from the reading?<br />
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If not, you've got some work to do.<br />
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More read-alouds are on <a href="http://memfox.com/for-everyone-current-read-alouds/">Mem's website</a>.<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2965176195649202077.post-6307799102466648612015-09-21T22:55:00.002-07:002015-09-21T22:55:54.595-07:00What's with the Banner?I'm re-decorating!<br />
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I've been meaning to re-design my banner for a while now...and you know, what better way to give me a kick in the pants to do it than to take down what I have?!<br />
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(panics)<div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2965176195649202077.post-62186415241503793102015-09-16T09:00:00.000-07:002015-10-25T15:17:55.642-07:00Writing to Trend: the Easy Way Out, the Hard Way InNANOWRIMO is fast approaching, and I'm sure the plot bunnies are hop hop hopping in preparation...what to write?<br />
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What's next? What's the next big thing?<br />
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Because of course, that is totally what you want to write next.<br />
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Wrong.<br />
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When you write to trend, you are incorporating elements to try and replicate another book's success. But it isn't those elements that made it great; what makes a book great is a magical unicorn of a thing - writing and hook and timing and passion and cupcakes and jalapenos.<br />
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So does that mean you should throw your hands up and leave it to fate? No; it just means that you can't force a great book to happen. You can't pop in the elements and expect that to do the trick; it has to be inspired.<br />
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Should a current trend inspire you, or totally be the launch pad for your crazy I've-had-this-in-my-drawer-forever wheelhouse, rock on. Publishing is cyclical, and so even if what your passion is now isn't "on trend," likely, there will be a time for it later (unless it's, you know, something like erotica for children 0_0).<br />
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So this NANO, let yourself be inspired; and write that next great book.<br />
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<br /><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2965176195649202077.post-67388648036623571172015-08-28T13:08:00.006-07:002015-09-21T22:39:35.741-07:00Words of Wisdom from SCBWI LAI've been struggling to get back into the post-writing groove for a few months now; I keep starting and scrapping posts, second-guessing myself and trying so hard to pick the perfect first new topic...<br />
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Forget it.<br />
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Writer's block: take THIS!<br />
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All you need to think about when writing a picture book:<br />
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<span style="font-size: large;">"Would a child give a DAMN about this book?" ~Mem Fox, author</span><br />
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When laboring over the start of your novel, think:<br />
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<span style="font-size: large;">"If you were my friend telling these first ten pages to me in the grocery store, how would you start? How would you tell me?" ~Jordan Brown, Walden Pond Press</span><br />
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When agonizing why your R&R didn't make the cut, just realize - it wasn't the best fit anyway, because an agent and editor will only take it on:<br />
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<span style="font-size: large;">"If I have a clear vision on how to fix it, a clear vision for how to make it sing." ~Alison Weiss, SkyPony Press</span><br />
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And remember:<br />
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<span style="font-size: large;">"Envy is a good emotion <b>if it drives you to be better</b>." ~Jordan Brown.</span><br />
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Images: <a href="https://archive.org/stream/kittenscatsbooko00grov/kittenscatsbooko00grov#page/n67/mode/1up">lolcats from 1911</a><div class="blogger-post-footer"><a href="https://twitter.com/share" class="twitter-share-button" data-count="none">Tweet</a><script type="text/javascript" src="//platform.twitter.com/widgets.js"></script></div>Anonymousnoreply@blogger.com1