What People Are Saying About the Recent SCBWI New York Conference...

In my recent newsletter (click here to subscribe), I asked to hear from writers and illustrators who attended the SCBWI Mid-Winter Conference which took place in New York February 8-10. I was not able to attend so this was my way to live vicariously through those of you would did.

These bloggers alerted me to their posts about the conference: Kristi Valiant; Mary Cronin; Donna McDine; and Darcy Pattision whose blog includes links to other attendees conference reports.

I'm keeping me fingers crossed that I'll get to attend the SCBWI Conference in LA this summer.
If I do, I'll be blogging like mad, just as I have the past two years. (See my August 2007 and August 2006 archives if you're interested. I just now relived the last conference as I read through my old post. It was lovely to think about being in sunny Los Angeles, abuzz with children's book people, instead of here in cold, snowy, icy Cincinnati.)

Check Out Chuck's Blog...

Guide to Literary Agents editor Chuck Sambuchino recently posted notes from a conference session he attended with agent Jennifer Laughran of Andrea Brown Literary and author Wendy Lichtman. They offered tips and advice for writing for tweens and teens.

Click here's to check it out.

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



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Anything else you want to tell us?

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

New Agent Info: Greenhouse Literary Agency...

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

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

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

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

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

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

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

2008 CWIM Agent Updates...

As mentioned in my recent newsletter (click here to subscribe), here are full CWIM listings for some agents and art reps who've recently sent us updated information. (2008 CWIM page numbers are included.)

LIZA DAWSON ASSOCIATES (page 278)
350 7th Ave, Suite 2003, New York, NY 10001. E-mail: anna@olswanger.com. Web site: www.olswanger.com. Member of SCBWI, WNBA, Authors Guild. Represents 10 clients. 30% of clients are new/unpublished writers. 50% of material handled is books for young readers.

• Anna Olswanger coordinates the Jewish Childrens's Book Writers' Conference each fall athe 92nd Street Y in New York City and is a children's book author. Represents Fiction, nonfiction; author-illustrator pictrue books. How to Contact Query with first 5 pages. Must include e-mail address for repsonse. Considers simultaneous queries.

Represents Fiction, nonfiction; author-illustrator picture books.
How to Contact Query with first 5 pages. Must include e-mail address for response. Considers simultaneous queries. Responds in 4 weeks to queries; 8 weeks to mss. Obtains most new clients through recommendations and queries.
Terms Agent receives 15% commission on domestic sales; 20% commission on foreign sales. Offers written contract. Charges client for color photocopying and overseas postage.

EDUCATIONAL DESIGN SERVICES LLC (page 278)
5750 Bou Ave, Ste. 1508, N. Bethesda, MD 20852. E-mail: blinder@educationaldesignservices.com. Web site: www.educationaldesignservices.com. Contact: B. Linder. Handles only certain types of work. Estab. 1981. 80% of clients are new/previously unpublished writers.
Represents Considers text materials for K-12 market. "We specialize in educational materials to be used in classrooms (in class sets) or in teacher education classes." Actively seeking educational, text materials. Not looking for picture books, story books, fiction; no illustrators.
How to Contact Query with SASE or send outline and 1 sample chapter. Considers simultaneous queries and submissions if so indicated. Responds in 6-8 weeks to queries/mss. Returns material only with SASE. Obtains clients through recommendations from others, queries/solicitations, or through conferences.
Recent Sales How to Solve Word Problems in Mathematics, by Wayne (McGraw-Hill); Reviewing U.S. & New York State History, by Farran-Paci (Amsco); Minority Report, by Gunn-Singh (Scarecrow Education); No Parent Left Behind, by Petrosino & Spiegel (Rowman & Littlefield); Teaching Test-taking Skills (R&L Education).
Terms Agent receives 15% commission on domestic sales; 25% on foreign sales. Offers written contract, binding until any party opts out. Terminate contract through certified letter.


SALZMAN INTERNATIONAL (page 290)
1751 Charles Ave., Arcate CA 95521. Phone/fax: (707)822-5500. E-mail: rs@salzint.com. Web site: www.salzint.com. Commercial illustration representative. Estab. 1982. Represents 20 illustrators. 20% of artwork is children's book illustration. Staff includes Richard Salzman. Open to illustrators seeking representation. Accepting both new and established illustrators.
Handles Accepts illustration.
Terms Receives 25% commission. Offers written contract. 100% of advertising costs paid by illustrator. Advertises in Workbook, ispot.com, altpick.com.
How to Contact For first contact, send link to Web site or printed samples. Portfolio should include tearsheets, photocopies; "best to post samples on Web site and send link." Finds illustrators through queries/solicitations.


S©OTT TREIMEL NY (page 284)
434 Lafayette St., New York NY 10003. (212)505-8353. Fax: (212)505-0664. E-mail: st.ny@verizon.net. Contact: Scott Treimel. Estab. 1995. Represents 45 clients. 10% of clients are new/unpublished writers. Specializes in children's books, all genres: tightly focused segments of the trade and institutional markets. Member AAR, Author's Guild, SCBWI.

• Prior to opening his agency, Scott Treimel was an assistant to Marilyn E. Marlow of Curtis Brown; a rights agent for Scholastic, Inc.; a book packager and rights agent for United Feature Syndicate; the founding director of Warner Bros. Worldwide Publishing; a freelance editor; and a rights consultant for HarperCollins Children's Books.

Represents 100% juvenile books. Actively seeking career clients. Not seeking picture book authors, but author/illustrators may submit.
How to Contact Send query/ouline (include word count, number of chapters, and protagonists' ages), SASE, sample chapters of no more than 50 pages. No multiple submission. Queries without SASE will be recycles. No fax. queries.
Recent Sales Sold 29 titles in the last year. Right Behind You, by Gail Gailes (Little, Brown); Comic Guy, by Timothy Roldand (Scholastic); Kitchen Dance, by Maurie Manning (Clarion); The Ninja Who Wanted to be Noticed (Viking); Love is a Good Thing to Feel, by Barbara Joosse (Philomel); Kiki, by Janie Bynum (Sterling); The Hunchback Chronicles, by Arthur Slade (Penguin Canada); Before and After Otis, illustrations by Cyndy Szekeres (Harcourt); Grandma Calls Me Beautiful, by Barbara Joosse (Chronicle).
Terms Agent receives 15-20% commission on domestic sales; 20-25% on foreign sales. Offers verbal or written contract, binding on a "contract-by-contract basis." Charges for photocopying, overnight/express postage, messengers. Offers editorial guidance, if extensive charges higher commission.
Writers' Conferences Speaks at Society of Children's Book Writers & Illustrators Conference, The New School; Southwest Writers Conference; Pikes Peak Writers Conference.
Tips "Keep cover letters short and do not pitch. Let your work speak for itself."


WYLIE-MERRICK LITERARY AGENCY (page 284)
1138 S. Webster St., Kokomo IN 46902. (765)459-8258. E-mail: See Web site. Web site: www.wylie-merrick.com. Contact: Sharene Martin-Brown or Robert Brown.

• From Wylie-Merrick's Sharene Martin-Brown: "Although we continue to work with our established children's authors, we are not looking for new clients in this area.

ASCIUTTO ART REPS., INC.
1712 E. Butler Circle, Chandler AZ 85225. (480)899-0600. Fax: (480)899-3636.Web site: www.Aatreps.com E-mail: Aartreps@cox.net. Contact: Mary Anne Asciutto, art agent. Children's illustration representative since 1980. Specializing in children's illustrations for children's educational text books, grades K thru 8, children's trade books, children's magazines, posters, packaging, etc.
Recent Sales Bats, Sharks, Whales, Snakes, Penguins, Alligators and Crocodiles, illustrated by Meryl Henderson (Boyds Mills Press).
Terms Agency receives 25% commission. Advertising and promotion costs are split: 75% paid by talent; 25% paid by representative. US citizens only.
How to Contact Send samples via email with a cover letter résumé. Submit sample portfolio for review with an SASE for it's return. Responds in 2 to 4 weeks. Portfolio should include at least 12 samples of original art, printed tearsheets, photocopies or color prints of most recent work.
Tips In obtaining representation, "be sure to connect with an agent who handles the kind of work, you (the artist) want."

SCBWI Bologna Interview Series on Cynsations...

A note from webmaster/blogger extraordinaire Cynthia Leitich Smith:

"It's my pleasure to host the SCBWI Bologna 2008 interview series, which launched today with an interview of Tracey Adams of Adams Literary in the U.S. Please check back at Cynsations or my MySpace blog over the next few weeks for 32 sequential question-and-answer interviews with agents, editors, art directors, publishers, authors, illustrators, and other publishing types about the international youth publishing scene. The series is offered by the SCBWI Bologna Biennial Conference in
conjunction with Cynsations."

Agent Info...

If you haven't visited Chuck's Guide to Literary Agents blog in a while, check out his recent post with info on an agent interested in picture books, middle grade and young adult work.

You should also click here and sign up for my monthly CWIM e-newsletter (just promise to ignore all the old info about the 2007 CWIM--I'm a little behind with updating this landing page). The February edition will mail at the end of the week (a late Valentine of sorts from yours truly) and will feature an interview with an brand new children's book agent about her brand new agency (!) as well as a Debut Author of the Month interview, market updates, and other things I feel like talking about. There will be newsletter-related content here on my blog as well.

Class of 2k9 Accepting Applications...

An executive member of online marketing collective the Class of 2k9 posted to the CW list on Friday saying that the Class is accepting applications for membership. If you have a mid-grade or YA novel under contract for 2009 publication and have an interest in joining the Class of 2k9, you can e-mail them at theclassof2k9@hotmail.com.

If you're not familiar with the Class of 2k7 and Class of 2k8, visit their websites. Also see Greg Fishbone's 2008 CWIM article: "Class of 2k7: First-Time Authors Band Together for Book Promotion" (pgae 98).

Children's Authors and Illustrators Week...

There's an exciting event coming up, and I'm not talking about the Super Bowl. (Go Patriots! Actually I don't really care who wins, although an undefeated season sounds kinda fun. I'm just excited about the Big Sandwich--vegetarian for me--and the guacamole.)

I'm talking about Children's Authors and Illustrators Week which my loves-to-send-me-links brother clued me in on. Why is this not on my Madeline calendar in my office?

I love the idea of a week devoted to creators of book for young readers visiting those readers. Here's what the California-based Children's Authors Network says about CAIW:

During this annual event, acclaimed authors and illustrators from Children’s Authors Network (CAN!) visit schools, libraries, and children’s shelters all over the country. Lively storytelling, fascinating presentations, and hands-on writing workshops make books spring to life, and inspire a life-long love of reading and writing.

I say we turn CAIW into a national holiday! Even if you just heard about CAIW, you can still celebrate in your own way. Visit a bookstore or a library with some tiny little readers. Start a new YA novel on Monday. Devote next week to mailing out your own manuscripts. (Make a Big Sandwich in the shape of J.K. Rowling.)

Agent News I Swiped from Chuck...

If you haven't visited Chuck Sambuchino's Guide to Literary Agents blog lately, you've missed some children's book agents news. I've stolen a few pieces of news from his blog that might interest you. (He said it was OK. I wouldn't borrow from someone's blog without asking. Plus he's my co-worker and I'm his boss, so it's all good.) If you're looking for an agent, I encourage you to bookmark the GLA blog and visit it regularly. Chuck is really on top of things and continually offers useful, up-to-date info.


Stimola Literary Studios, LLC, has a new e-mail and Web site. The new site includes information on submissions, clients, previous sales and everything in between. It will definitely help if you want to submit to them. According to their submission page, they handle nonfiction and fiction, adult and children's, but they do have a big interest in children's work--middle grade, young adult, graphic novels, etc. The new submission e-mail is info@stimolaliterarystudio.com.




Prospect Agency, LLC, has some new agents. Reminder: Newer agencies are golden opportunities for new writers because they're likely building their client list; however, always make sure your work is as perfect as it can be before submitting, and only query agencies that are a great fit for your work. Otherwise, you're just wasting time and postage. Finding one new agent building her client list is a nice treat. But what if you had two at the same agency? That's exactly what's happened at the Prospect Agency. Here's the down-low on these two new(er) agents. Visit the agency's official submissions page!

"Rachel Orr (rko@prospectagency.com) joined Prospect Agency in 2007, after eight rewarding years editing children's books for HarperCollins. She enjoys the challenge of tackling a wide variety of projects—both fiction and nonfiction—particularly picture books, beginning readers, chapter books, middle-grade/YA novels, and works of nonfiction. Rachel is currently taking on new clients."

"Becca Stumpf, (becca@prospectagency.com) junior agent, joined Prospect Agency in 2006 after working as an assistant at Writers House Literary Agency. As a reader, Becca falls hard for sentences that are beautifully crafted, for humor in unexpected places, and for characters that come to life and follow you around for a while. Becca is looking for adult and YA literary and mainstream fiction that surprises. She's also interested in select nonfiction, including narrative nonfiction, journalistic perspectives, fashion, film studies, travel, art, and informed analysis of cultural phenomena. She has a special interest in aging in America and environmental issues. Becca is currently taking on new clients."

The Power of (Certain) Words...

Sunday morning my son, who is 3-and-a-half, dropped the F-bomb. Yep. Out the F-word came from his innocent little mouth. Twice. Do they still make Lifebouy soap? thought I. Crap--I hope he never says that in front of my mother. Or at preschool.

My husband was witness to this. After a What did you say? to confirm, he asked Murray where he heard That Word. "From you," he said to his dad (AHA! I KNEW IT!), "And my mommy."

Um--I don't think so! It couldn't have been me! I don't say it much. (And if I do, it's more likely I'll say it at the office, and even then, under by breath.) But if not us, then who? He's only got basic cable in his room. All his DVDs are rated G. He hasn't seen our potty-mouthed friend Jerry since summertime. We must be the guilty party. What a proud moment in parenting!

And how do you explain to a kid his age just why that's not a nice word to say? Why can one little word can have so much power? The F-word. Scrotum.

The fact that's it's ALA awards time, along with the fact that my son suddenly curses like a sailor, reminded me of the whole The Higher Power of Lucky/Newbery/scrotum controversy happening around this time last year. Based on my quick BookScan check, Susan Patron's Newbery winner seems to be selling just fine, controversy or not. At home, I haven't gotten Murray to use the s-word when discussing his anatomy, but these days I'm not sure if it would be preferable to the daddy-taught terms he currently uses. I suppose I should go Google Lifebouy. Just in case.

Awards, Awards, Awards!...

Today's the big day for ALA: Awards day. Here's a link to Publishers Weekly's rundown of all the winners (Caldecott, Newbery, Printz, etc.).

And Here are covers of a few of the winning titles (click on them to view Amazon's listing for the books).

Blooming Tree Correction...

In my haste to get my CWIM updates posted before my newsletter mailed, I made a mistake in the Blooming Tree Press info, adding new names but neglecting to delete others. Here is the correct contact information for Blooming Tree. (I've also corrected this in my previous post.) Sorry about the error.

• BLOOMING TREE PRESS, (08 CWIM page 142) P.O. Box 140934, Austin TX 78714. Estab. 2000. (512)921-8846. Fax: (512)873-7710. E-mail: email@bloomingtreepress.com. Web site: www.bloomingtreepress.com. Publisher: Miriam Hees; Madeline Smoot, senior editor, children's division; Kay Pluta, associate editor, children's division; Anna Herrington, associate editor, children's division; Debbie Smart, editorial assistant, children's division; Bradford Hees, senior editor, graphic novels/comics. Art Acquisitions: Regan Johnson, art director. "Blooming Tree Press is dedicated to producing high quality book for the young and the young at heart. It is our hope that you will find your dreams between that pages of our books."

New CWIM Listing: Razorbill...

Penguin YA imprint Razorbill has not previously appeared in CWIM. Below is information on the imprint. (See my interview with President and Publisher Ben Shrank here.)

RAZORBILL
Penguin Group, 345 Hudson Street, New York NY 10014. Imprint estab. 2003. (212)414-3448. Fax: (212)414-3343. E-mail: razorbill@us.penguingroup.com. Web site: www.razorbillbooks.com. Specializes in fiction. Acquisitions: Laura Schechter, Editorial Assistant; Kristen Pettit, Lexa Hillyer, Jessica Rothenberg. Publishes 10 middle readers/year; 30 young adult titles/year. "This division of Penguin Young Readers is looking for the best and the most original of commercial contemporary fiction titles for middle grade and YA readers. A select quantity of nonfiction titles will also be considered."
Fiction Middle Readers: adventure, animal, contemporary, graphic novels, fantasy, humor, problem novels. Young adults/teens: adventure, animal, contemporary, fantasy, graphic novels, humor, multicultural, suspense. Average word length: middle readers--40,000; young adult--60,000. Recently published Spud, by John Van de Ruit (ages 12 and up, South Africa's fastest selling book); Thirteen Reason Why, by Jay Asher (ages 14 and up, a suspenseful psychological thriller); Those Girls, by Sara Lawrence (ages 13 and up, a peek at the privileged lives of fabulous private school seniors).
Nonfiction Middle readers: activity books, arts/crafts, biography, cooking, health, how-to. Young adults/teens: biography, concept, health, how-to.
How to Contact/Writers Submit outline/synopsis and 3 sample chapters. Responds to queries/mss in approx. 8 weeks. Publishes a book 1-2 years after acceptance. Will consider e-mail submissions and simultaneous submissions.
Terms Offers advance against royalties. Authors see galleys for review. Catalog available online at www.razorbillbooks.com.
Tips "New writers will have the best chance of acceptance and publication with original, contemporary material that boasts a distinctive voice and well-articulated world. Check out www.razorbillbook.com to get a better idea of what we're looking for."

Debut Author of the Month: Liz Gallagher...

Seattle-based writer Liz Gallagher's debut novel The Opposite of Invisible, was released just days ago by Random House imprint Wendy Lamb Books. Below Gallagher tells us about her book and what inspired her to write it as well as the Class of 2k8, the Vermont College MFA program, how she found her publisher, promoting her debut, and why her city is the perfect backdrop for a YA novel.

Tell my readers and me about your debut novel The Opposite of Invisible. Would you say your book is a coming-of-age novel?

I would say it’s a coming-of-age novel, yes. But it’s not on an epic scale; it’s not representative of all of the ways youth helps my character grow into herself. It’s about a particular moment in her growth. The book centers on Alice, a 15-year-old Seattle girl, who has always lived in what she thinks of as a comfortable cocoon with her best friend, a boy named Jewel. Their friendship is a real cornerstone of her life, but she starts to realize that it might not be enough, and when the boy she has a crush on starts to take notice of her, she emerges from that cocoon. She remains aware, however, that she might lose her most important friendship by expanding her circle. She’s also trying new directions in art.

Your website bio says you’ve always wanted to be a writer. Had you written or submitted novels before The Opposite of Invisible? What inspired you to write the book that would become your published debut?

Opposite is the first novel I wrote. Falling in love with young adult novels was really the key for me in deciding to pursue a career as a novelist. When I first realized that I was passionate about writing for young people—and about reading the literature that other people write for young people—I was lucky enough to get a one-year editorial internship at the magazine Highlights for Children. My first short story for younger kids was published in Highlights. I thought at that point that I would continue on an editorial path, but finally decided to pursue writing after I fell in serious love with YA—which happened while I was working at All for Kids Books & Music in Seattle. I was inspired to write this particular story based on the scene of Alice buying the dress that she wears to the Halloween dance; that was the kernel of the beginning of the character starting to see herself in a different light, and I wanted to see where that new vision would take her. It was the first scene of Opposite that I wrote.

What made you decide to enroll in the Vermont College MFA program in Writing for Children and Young Adults? Tell me about that experience.

I knew that I wanted to study writing craft and, for a while, it seemed like every book I was reading and enjoying mentioned in the acknowledgments that the writer was either a graduate or a faculty member at Vermont! Most notably, I was obsessed with M. T. Anderson’s books Feed, Burger Wuss, and Thirsty, and he was, at the time, the faculty head at Vermont. Once I did a little bit of research, it was a no-brainer that Vermont was my choice for an MFA. Not many programs give the degree specifically in writing for children and young adults. I think that I owe Opposite to the program; without deadlines and careful feedback from my advisers, I don’t think I would’ve accomplished the goal of writing an entire novel. The experience is intense, and wonderful in every way. Above all, it’s a community of like-minded readers and writers. Eight other graduates and I have a blog where we discuss writing craft and interview other writers.

I love the name of your main character! Any particular reason you called her Alice?

Hmm—I wonder why you would love it? Cute! Honestly, I’ve always had brain strain when it comes to naming characters. Toward the beginning of the writing process, I did some journaling in the voice of my character, about names, and she told me, “My name’s Alice. Am I supposed to live in Wonderland?” It stuck.

Judging from your website, you’re quite enamored with your town. What makes Seattle the right backdrop for Alice and Jewel? How important is setting in a YA novel?

I think that setting is important in any novel, but what’s even more important is the writing element that Seattle was able to lend to Opposite: atmosphere. Because of the drizzle, Alice and Jewel practically live inside of sweatshirt/jacket hoods. It’s cozy, but it also highlights the completeness of their small cocoon. The rain also helps to amp up the discomfort in scenes that are…uncomfortable. I love the grayness of Seattle for exactly that reason: it fits both warm and fuzzy moments, because you get to bundle up, and it fits restless moments because it can be annoying. Seattle is also a good choice for Alice and Jewel because it’s a city where kids their age can be free to roam to cool and quirky places on their own, without cars or parental escorts. They take buses, or walk. When I look around Seattle, I see that I’m lucky to live in a place where you can go by foot or bus to the movies, to concerts, and to about a ga-jillion coffee shops! I do love Seattle.

How did you end up with Wendy Lamb Books and why is that a good place for you? Tell me about your path to publication—do you have an agent?

I do have an agent, Rosemary Stimola. I signed on with her right before I graduated from Vermont, and right after I graduated, she had three interested editors. One was Wendy, and she made a preemptive offer. My path was “easy” because I had done my homework: put myself in the right communities to meet mentors, researched which agents and editors would be a good fit for me and my story, and worked hard on a manuscript.

Your bio says your “inner voice is perpetually 15 years old.” Many YA authors say the same sort of thing. Why do you think so many writers are compelled to tap into their teen selves? Why are you so compelled?

That voice in your head only matures to a certain point, I think. For some of us, it stops in teen-hood. I know mine did. I just feel that teen awkwardness so strongly, and the almost-tangible importance of events that to some adults might seem like silly teen things. Almost nothing seems unimportant when you’re a teenager, questioning the world for the first time. The things on my mind fit well with the themes of adolescence – Who am I? What do I want? Where will I end up? What really makes me happy? Some adult writers of teen books say that they eavesdrop on teen conversations to pick up language and speech cadence. I don’t do that. Maybe some day I will, but for now it’s all in my brain. I think what a lot of us YA writers are trying to do is honor teen-hood. We want to say to teenagers: Yeah, this time of your life really does matter. And we even want to say to other adults: Remember how much that summer when you were fifteen changed you?

Your book is just coming out and you’ve planned a number of events. What did you do to promote these events? Are you nervous? Excited? Psyched?

I think that e-vites are a good way to go, and I plan to use them in the future, but for my main two events—a release party at Chester County Book & Music Company in West Chester, PA, and another at All for Kids Books & Music in Seattle, WA—I had postcard invitations made and sent them to everyone in my address book! People have been so supportive over the two years since I signed my contract, and I want to celebrate that support by having as many friends around as possible. I’m lucky that I know a world-class poster designer, Jeff Kleinsmith, whose main gig is making rock show posters (and doing other graphic design) for Sub Pop Records. He created a truly beautiful image based on my book, and I used that for my Seattle postcards and for posters to have as keepsakes and to put up in the coffee shops I frequent. I’m really excited for those two parties! I’m a bit more nervous for other events—school visits, radio interview, smaller signings. Luckily, I’ve spent a few years working in schools, and that’s a great way to gain confidence in public speaking. I also just love talking YA books, so I’m excited to meet more YA readers! I truly feel like Cinderella at the ball, only better because there’s no midnight looming.

How and why did you get involved in the Class of 2k8? How has it been helpful to you?

I was originally scheduled for publication in 2007, and knew about the Class of 2k7. At ALA Annual in Washington, DC, I ran into Jody Feldman. She’s the co-leader of the Class of 2k8, and when I mentioned that I was interested, she put me on the waiting list and I ended up in the class. It’s definitely been helpful to have another community of support and advice; we’re all learning the steps after the writing and selling together, and it’s definitely helpful to have the experience of 27 other writers to learn from and commiserate over. Some of us have learned how to create a MySpace page; some have bounced publicity plans off of everyone; all have celebrated together.

In addition to being in the 2k8 collective, you have a website and a blog. Any other promotional tools you would recommend?

I think that having a web presence—be it a site, blog, MySpace, Facebook, or other—is key. So many readers, booksellers, teachers, and librarians are online, and my hunch is that teen readers are especially likely to seek out writers online. I also think it’s so cool that you can become friends with someone based on a true shared interest, regardless of geography, age, or any of the other roadblocks to “real life” friendship. For the record, I’m loving Facebook and if anyone wants to feed my pet penguin over there, Snowflake, he could use the strength! I also have a new Shelfari membership, to keep track of what I’m reading, and I like BookTour.com to post my own events and to keep track of others. I think contests are great. The other day, I rushed to do Cynthia Lord’s name-the-author photo contest so that I could win some books. And of course you can’t talk about Internet publicity and networking in the YA world without mentioning John Green and the phenomenon that is Brotherhood 2.0. Video blogs are certainly on the upswing. With all of that Internet stuff said, I know lots of writers who simply don’t want to get involved in blogging and web sites. The real secret to promotion? Write a great book.

What’s your advice for unpublished YA authors? Have you gotten any particularly useful advice from publishing industry types or authors you’ve met?

It goes back to what I said up there about writing a great book. The most important part to becoming a published YA author is to write, write, write and read, read, read. Know what books are out there—which you probably do anyway; if you love writing ’em, you probably love reading ’em. Have a discerning eye. Study craft; read a few craft books, but don’t take them as gospel. (There is no instruction book, but I love Anne Lamott’s Bird by Bird and Robert Olen Butler’s From Where You Dream.) Once you’ve got a manuscript that you believe in, do some research online and in the writers’ guides to find out which agents/editors might be interested. Be professional. Learn the process. Write an appropriate query letter. For me, mentorship was key. My friend Lara Zeises was leaps ahead of me in the publishing game (still is!) and she helped me narrow down the field of agent possibilities, was a very helpful eye on my query letter, and a generally peppy cheerleader. Overall, the YA world is a very friendly place! Scour the Internet for industry news, communities, places to commiserate. SCBWI is a good organization to join if you’re just starting out. The process of earning an MFA was essential to my personal journey in that it allowed me to give myself permission to prioritize writing, but the degree in itself is certainly not a must. Write away!

Can you give us a teaser for your second novel (also under contract with Wendy Lamb Books)? When will it be published? Did you sign a multi-book deal?

I did sign a two-book deal, and am working on a companion piece to Opposite, set the summer before Opposite and exploring the character of Vanessa. I’m still only mid-way in the writing process, and don’t know when it will be published. I have a third novel mostly written that I hope to see in print someday. I’d like to do this forever!