Brian Selznick on Writing After the Caldecott

Being on the bottom of the in-house circ list for magazines means I often don't see Publisher's Weekly until months after the cover date.  The other week, for instance, I just got the January 14th edition.

In that edition is an article titled "The Call That Changes Everything -- or Not" by Shannon Maughan.   The article consistes of brief interviews with authors and illustrators who have won the Newbery or Caldecott Medals.  In the interview with Brian Selznick is this great quote:

"Selznick says he did not find it intimitdating to return to work after winning his medal, "because for a long time my goal with each new book has been for it to be 'better' than my lst one.  I don't mean more commerically successful, I mean with each new book I have tried to push myself to do something I've never done before.  Therefor, I'm not trying to win another Caldecott, or make a book that sells more copies than Hugo, but I'm trying to take all the things I learned from that book and do something new with them."

Yet another reason why I like Selznick and his books.


-- Tom

Websites I Use(d): QueryTracker

Downtown Raleighwood, Early Morning

When I first started putting together a list of agents to submit queries to I was going back and forth between a spreadsheet and text in Evernote.  The spreadsheet provided a better organizational layout of the data, the text in Evernote was more easily accessible from different locations.

Then I found QueryTracker.

Here's what makes QueryTracker so great:

• QueryTracker is a free database that lists agents who represent all types of genres.  You can search by agent name, agency name, and, more importantly, by genre -- and save your own list of agents.  

• Each agent's profile has their contact information, how they prefer to accept queries, and writers they represent.

• Each agent's profile has a Comments section where other writers who have or are querying that same agent report on their querying experience.  (This gives you a good idea of how long an agent takes in getting back to the querying writer.)  

• QueryTracker allows you to put a Watch on an agent, allowing you to easily discover if a new comment has been added and/or an agent's status has changed.

• Your saved Agent List can be viewed in several ways -- by all agents selected, by those agents who you've sent queries to, those agents with outstanding queries/submissions, those agents not yet queried, etc.

• The premium (paid) version allows you to track more than one project and gives you access to additional reporting tools.

QueryTracker was a convenient, essential tool in helping me keep track of the agents I wanted to query and of their responses.  If you haven't tried it out, you really should.


--Tom

World Book Night 2013

Last night I set out to give away my 20 copies of Norton Juster's "The Phantom Tollbooth" as part of World Book Night.

My first stop, as I did last year, was at my local library.  Last year I gave away almost half of my copies of Kate DiCamillo's "Because of Winn Dixie"to kids there--kids who were amazed someone wanted to give them a free book.  This year, however, I was told I couldn't give away books there. Something about no one being permitted to distribute materials in a public building or something.

I was disappointed, more for the kids than for myself.  Our local library attracts a lot of kids from lower socio-economic backgrounds who probably own very few books of their own.  Still, I figured I shouldn't have much trouble giving away free books.

Yeah...

Turns out I had forgotten something important that I wrote last year.  Something that is going to likely remain true until I'm even grayer and more bent-over than I am and take on that sweet old grandfatherly appearance:

"...There's something potentially creepy about a middle-aged man scouting out kids to approach, even if it's just to give away a book."

I made a point to talk to the parents first, explaining in a single sentence what was going on.

"It's World Book Night, the night when lucky people like me get to give away books for free."

Most parents were okay with the idea.  I think those that were suspicious thought I was peddling some kind of religious tracts.  (Which, to be fair, is what I would have thought if someone approached me saying they were giving away free books.)  The most suspicious person who took a copy remained suspicious until I actually walked away saying, "See?  No money.  It's all yours!"

A few interesting observations:

• Mothers were more receptive to me than fathers.
• Girls were generally more receptive to getting a book than boys.
• The two people who said no were both male.  One was a father shut me down before I could finish my first sentence.  The other was boy who said no at least let me tell him what the book was about before saying no.

The Best Part:

• Most parents liked the idea that they could read the book to their kids and enjoy it just as much as the kids.

I'm definitely signing up again next year, though I think I'll change my strategy for giving away the books though.  Scouting through grocery stores trying to find kids is just a bit too awkward for me.

Did you participate in World Book Night?  Which book did  you give away?  What was your experience like?

-- Tom

Editorial Letter Brings Awkward News

Bedtime Maxx 

After you sign with your agent she will send you a lengthy write-up on your manuscript known as an Editorial Letter.  In this, she will describe what she likes and what she thinks needs work.

All of which, of course, means more rewrites.

My Editorial Letter started off with a bit of awkward news.  According to the full (pay) version of Publishers Weekly email newsletter, another author has just signed a three book deal with a major publisher for a series that, on the scratch-the-surface level, sounds similar to my book.  The setting/time frame and professions of my two main characters are the same.

The rest of the story is completely different, but those elements that are the same were enough to have my agent suggest I consider making some additional changes to my book and recommend that we talk about the situation over the phone.

The choices were clear to me.  I could do another round of rewrites and hope my book catches the eye of the right editor (i.e., a good editor who doesn't think my book sounds too much like that other book) OR shelve my book for a few years and see what happens with the other book.

Here's the thing that makes choosing The Right Agent essential: There is no right/wrong answer  here, but the first thing Caryn wanted to know was what I thought about the situation.  I told her that I chose her as my agent for her experience and knowledge--and I knew I could trust her opinions completely.

So, at her recommendation, I'm back in the deep end of the revision pool.  Even if the manuscript gets shot down by editors now, at least I'll have a well-developed manuscript sitting on a pixellated shelf for the future.

As Rosanne Rosannadanna used to say, "There's always something."


-- Tom

A Tale of Five Agents: To Recap...

My final points on the long process of getting a literary agent:

• Querying is, IMHO, even more gut-wrenching a process than writing/revising.  However: It. Must. Be. Mastered.  My query is what got me noticed from the slush piles I submitted to, it can do the same for you.

• Befriend other writers.  Be a true friend, willing to help them, and be willing to ask them for help.  I did not, could not have done this alone.  I doubt many can.  Be honest, be sympathetic, cheerlead for them.  It will feel amazing when they do the same for you.*

• Getting feedback on your writing is essential.  Consider it seriously, weighing it against what you feel to be right, true, and best for your story.  Keep your ego out of the equation.

• There will always be revisions.  And revisions.  And some more revisions.

• Rejections will hurt.  Acknowledge the feelings, then be strong enough to move on.  

• Personalized rejections mean you're on the right track.  Your query was good, your story and writing were good.  It was just that the agent wasn't the right fit.

• Patience, patience, patience. 

• It's not about getting any agent, it's about getting The Right Agent for you and your career.  Your agent should be enthusiastic about you and your book, should have a good track record, and work for an agency that knows what it's doing.  Most of all, you should feel some sort of connection with your agent.  Don't just talk to him or her if you're not absolutely sure about them, interview them.  You are hiring this person to work for you.  

• Trust your instincts.  Say "yes" if it feels right; say "no" if it doesn't.

• Review any contract carefully before signing.  It will be one of the most important legal documents of your writing career.  Seek the opinion of a contract/legal professional.  Only sign it if you are confident the contract is fair and works for you.

• When it comes to the process of trying to secure the right agent and getting published, most of it is out of your hands.  The only thing you can control throughout the entire process is your writing.  Keep writing.

What did I forget?  What suggestions would you add?

-- Tom

====================================
* My very public thanks to Amlaped, Heather Kelly, and Anna Staniszewski.

A Tale of Five Agents: Agent #5

Watch for Pedestrians
Downtown Raleighwood, March 2013

And then, one day in March, there was an email waiting for me from an agent.

Only instead of the standard, form rejection, this one was different.

She "adored" my main character.  She called my book, "refreshing and fun... a terrific middle-grade read."  Best of all, she said she wanted to talk to me about representation.

I remember shaking my head at what I had read, doing something of a double-take.  After all the ups and downs, after all of the Revise and Resubmits, after being This Close from shelving The Book and working on The Other Book, there is was.  An offer.

And not just any offer.  This was an offer from Caryn Freaking Wiseman of The Andrea Brown Lit Agency.  Caryn Wiseman -- as in Caryn reading over her list of clients I almost didn't bother sending her my query because I thought there was no way she'd ever consider even talking to me Wiseman. 

We spoke the next day (my birthday!) and had a great conversation.  I almost laughed when she started selling me on her abilities as an agent and the Andrea Brown agency.  (I had done my research.  I knew who she and the agency were.  I felt like I should be the one trying to sell her on me.)

I asked to see their contract.  She sent it.  It was clear, simple, concise.  I called back saying, "let's do it."  She sent out an actual, signed contract.  I signed it and put it back in the mail before Caryn could come to her senses and call me back saying she'd changed her mind.

That was it.  No big heroic struggle climax, just a simple email and chat.  In fiction it would would be considered almost anti-climactic.  : )



-- Tom

A Tale of Five Agents: Agent #4

My initial phone call with Agent #4 went very well.  She liked the concept of my story, enjoyed the humorous writing, and even had a soft spot for my main character.  However, like Agent #2, she felt the story needed some work before she could offer me a contract.

So it was back to the realm of R and R again.

Every agent works in their own way, based on their individual preferences and personalities.  There was one thing, though, that I didn't quite get about how Agent #4 worked.  At the time of our call she had only read the first fifty pages of my manuscript -- and that was all she wanted to read and work on for the moment.  In her experience, she explained, problems that are found in the first fifty pages are endemic of the remainder of the manuscript and needed to be dealt with before anything else.

In that conversation she said the first fifty pages raised a lot of questions about the characters and the plot that she wasn't clear on.  I explained these were all points that were revisited and resolved later in the book.  Instead of reading the rest of the manuscript, however, she asked for an "overview" of the remainder of story.  This seemed strange to me, but I agreed to provide her with what I termed a chapter-by-chapter outline of the book so we could procede.

One of the things we talked about at length was the opening of The Book.  I had followed the advice that you should start your story as far into the story as possible.  Agent #4 surprised us both by telling me, "I've never suggested this before, but I think you need to back up and start your story a little before you currently start it."  She suggested starting it only about 30 seconds before I was starting it.  Just enough to give the reader a better sense of what's happening and why before launching into the first bit of action that sets the rest of the story in motion.

To her lasting credit, Agent #4 was completely correct in this.

The first sign of real problems came about in our second phone call.  I had submitted one revision of those first pages (I'd bumped the number up to 75 because I felt she needed to see the next chapter) and during our call she said she was having some problems with one of the major characters.

The Book features my nine-year old MG protagonist and an eccentric scientist/professor.  The eccentric scientist/professor is intentionally a bit over the top.  He's at times absent-minded, a genius, off in a world of his own, lacking in social graces... you get the idea.  I like this character a lot.  I find him funny, interesting and incredibly easy to write.  Agent #4 found his inconsistent personality to be a problem -- so much of a problem that she considered him to be unrealistic and asked me to consider rewriting him.

From Draft Zero, I have been open to the idea of revising most of the plot of The Book.  I knew there would be plot points, dialogue, and scenes that would need to be improved and/or tossed.  Character-wise, I was willing to change the initial nature of my main character and the professor's manservant to increase the tension of the book.  However, there were some parts of The Book that were non-negotiable: the essence of who my characters are is the foundation that the entire book is based on.

So complete was my belief that I was willing to lose the chance of working with an agent.

We had one more phone call, one that we both knew was more formality than anything else.  We both expressed gratitude for the other's willingness to work with us.  Then she ended the call by asking me to think things over, adding that she might not be the right agent to work on this project.

So I did.

Then I decided to give myself a four month vacation from even thinking about The Book.  Which I also did.


MORAL 1: Be open to revision, but know and respect the difference between those changes that ring true by make your story stronger and those that ring false by making the story something other than your own.

MORAL 2: You don't just need an(y) agent, you need the right agent for your book.


-- Tom

A Tale of Five Agents: Agent #3

Reno Bobcat

In January 2011 I heard back from another agent concerning a query I had sent out in October 2010.  Agent #3 echoed many of the initial reactions Agent #2 had given me about my book: there was a lot to like, but enough points in need of drawing out that she didn't feel she could make me an offer of representation.  From my blog she had read that I was already working with another agent and it sounded like I was on the right path with those revisions.

We exchanged a few emails.  I thanked her for her interest and told her that my work with the other agent was going well.  She asked that I keep her in mind if something happened and I said I would.

Then, that something happened.  The same day I received the rejection from Agent #2 in email, I contacted Agent #3, re-replying to our last email exchange.  Did she remember me and my book?  Was she interested in seeing the revision?

Within the hour Agent #3 responded.  She did, indeed, remember me and, even better, she'd love to read my revised manuscript!

I sent it out before the tear-stained pixels were dry on my monitor.

And then I waited...

And waited...

A polite, "Hi, remember me and my manuscript?" email many weeks later was returned by and out of office message.  A few hours later an actual response came, saying she was on vacation but had taken the manuscript with her and would get back to me in a week.  And then silence.

Three weeks later I sent out another, "Hello?" email.  This was followed up by an email that began by saying my manuscript was making its way around the office.  It ended by saying how Agent #3's Agency was committed to working with a writer for their entire writing career, not just a single book, and did I have sequels in mind? Could I send some sample chapters, perhaps?

Surely that was a good sign!  I scraped up the latest full revision of Book Two and sent it out along with pitches for Book Three and Book Four as well as two other story ideas.

And waited...

Somewhere back during one of those long waiting periods I decided I had a writing career to be responsible for and so I sent out another round of queries.  I let Agent #3 know this and dutifully updated her whenever I received a request for a partial or a full.  When one of those queried agents expressed an interest in working on the manuscript with me (more revisions!) I asked Agent #3 if we could speak sometime in the coming week so I could know what the status of my manuscript was within her agency.

Several days later I received a "Thanks for your patience, we've all be out at conferences" email that mentioned the members of the agency weren't united in their opinion of my book.  And since I had another agent interested in working on it, they felt it best to pass.

Luckily, I had had a good phone call with Agent #4 days before.  This meant my disappointment/frustration/annoyance was kept to a minimum and I was able to concentrate on Thinking Good Thoughts, even if they included yet another round of significant revisions.


Moral 1: Clear communication between yourself and an agent is essential.  If either side isn't willing to give it to the other, it probably means there are problems.  

Moral 2: It's YOUR career as a writer.  YOU have to be your own best advocate.  While patience is a necessary component to the process, know for yourself when it's time to move on. 

A Tale of Five Agents: Agent #2

Tonka Tiger, sleeping the afternoon away.  There isn't much
cuter in this world than seeing a full-grown tiger sleeping
with their not-so-little pink tongue sticking out.

Call me a dreamer.  Call me egotistical.

The night after I got the call from Agent #1 saying she wanted to represent me and my book, I sat down and reviewed my QueryTracker.net list of agents.  If my query and manuscript were good enough to get one agent interested, why not send it out to some of the agents on my If You Gotta Dream list

 So I did.

And to my absolute thunder-struck You-Have-Got-To-Be-Kidding-Me amazement, I received an email from someone from KidLit Agency That Represents One of My Favorite Authors.  Who asked if I had time for a phone call.  Me.  Phone call.  With her.  About my book.

(Um, yeah, I think I can fit your call in... between the hyperventilating and the attempts to calm down.)

I spoke with Agent #2 that afternoon.  She was upfront and said while she liked many things about the book, she didn't feel it was at a point where she could make me an offer of representation.  She understood that I had a solid offer in-hand, and was sorry she couldn't offer me more, but if anything was to happen with Agent #1 she was interested in working with me.  Even better, she was willing to tell me what she felt my book needed to bring it to a level where she could make me an offer.

Forty minutes later I had a handful of notes.  I was already thinking how I could incorporate some of her suggestions and how they would make The Book much better.  The rest of the day was spent in a mild state of shock and getting comfortable with the idea of letting go of the firm offer of representation for the sake of improving my book.

What Agent #2 was offering was her time and energy, but nothing formal in terms of a contract.  The understanding was that we would work together, exclusively, on getting the book to a point where she could make me an offer -- but there were no guarantees that an offer would come at the end of the process.

For me, it was a question of belief: did I believe in my story and myself as a writer to take her suggestions and turn my goofy little story into something much better, much deeper, and more complex?

That night I emailed Agent #1 with my appreciation for her offer but that I was going be working with someone else.

Over the course of six months I wrote four major revisions.  Agent #2 sent me a line-edited print-out of my manuscript.  Her suggestions for revisions were encouraging, never dictatorial.  She always treated me like a creative, professional writer who could piece together ways of giving my story and my characters the boosts she felt they needed.

The book went from 22,000 words to 56,000 words.  My characters had history and deeper interactions.  New scenes were added.  The tension throughout the ending chapters was amplified.  My goofy little kids book had grown and matured!  Each revision was greeted by Agent #2 by more praise, stronger encouragement.

In early April I sent off the revision of the book that I knew was going to be The One.  I started practicing looking at my cellphone and apologizing to people saying, "I'm sorry, I have to take this.  It's my agent" before answering.

Weeks went by.  Silence.

Nothing new.  I told myself Agent #2 was busy and, besides, she now needed to write up a contract with my name on it.  I'd waited before, doing so for another few days wouldn't hurt anything.  Besides, I needed to get to work revising Book Two to match up with the new standards set by the Revised Book One.

The first week of May Agent #2 sent me an email.

"it’s SO much richer, deeper, improved, and I really enjoyed all the changes this round..."

And then she said she was going to have to pass on my book.

I stared at my monitor for... well, I have no idea how long I stared at my monitor.  It was a long time.

Was it me?  Was it something I'd written?  Not written?  Had she loved the book only to have it vetoed by another agent in the office?  What changed from months of nothing but praise and encouragement to "just not close enough to take it on"?  I felt left at the altar... or something.

I wanted answers, but I knew there was no way I'd ever find out what happened or what changed or... anything.  The best I could do was take all of the good things that had happened with my manuscript and move on.

Luckily I had a Plan B.

Next: Plan B = Agent #3!

MORAL: Believe in yourself, your manuscript and your ability as a writer. 


-- Tom

A Tale of Five Agents: Agent #1

Downtown Raleighwood, 2013

My cell phone rang one afternoon in October 2010, displaying a number I didn't know from an area code I didn't recognize.  "Telemarketer," I muttered.  I glared at the number for a moment eyeing the "Ignore" button on the display.  At the last second, I clicked "Answer" instead.

"Hello?" I said in a slightly challenging tone.

"Hi? Is this Tom Franklin?"

"Yes."

"Hi, Tom!  I'm Agent #1 and I want to represent your book!"

I don't know how your mind would handle such a statement, but mine reacted by throwing a rod and seizing, right there in my office.  I believe I said something pithy, witty and charming along the lines of, "Wha?  Huh?  Heh!"

While I was trying to recall how to restart both my heart and my lung functions, Agent #1, in a fine showing of grace, took the chance to say, "Let me tell you a bit about myself."

I managed to restore enough motor coordination within myself enough to close my office door and pull up my Evernote account on my computer to look at my Questions for Agents list.

Agent #1 thankfully went on about herself for several minutes, not realizing she was describing having grown up and lived in places I was familiar with.  We had things in common!  (If only I could regain the power of speech long enough to acknowledge this out loud!)

Within a few minutes I was back to uttering reasonably astute one-syllable answers to certain questions so she moved her part of the discussion into talking about my book.  She actually talked about the things she liked about my book!  She spoke my characters' names aloud, thereby making them somehow more real to me than they had ever been before.  She loved the sense of humor, the voice, the dialog, the plot...

"I tell you what," she said after a bit.  "I'm going to send you a copy of our standard contract in email.  Take some time to go over it and we'll talk again in a few days, okay?  I'm really looking forward to working with you!"

I printed out the contract, then walked around the office for a bit to stop shaking.  Contracts should never be read while shaking.

When I finally calmed down enough, I read through the five pages of the contract... and wasn't too impressed with what I read.  Agent #1 worked for a fairly well-known NYC Agency, one that has represented authors and books you would probably recognize.  I re-read the contract and despite wanting to keep the light-headedness going, my mind was pushing annoying red flags in front of me.  One paragraph, for instance, stated their agency would earn their 15% commission on The Work regardless as to whether they sold it to a publisher or, failing that, I signed with another agent who end up selling The Work.

The jubilation of the early afternoon was replaced by slight hackles rising on my neck.

I'm lucky in that I work for a well-respected University Press during the days.  We have, on staff, someone whose job it is to deal with all author contracts, whether that contract goes solely through the author or through an author's agent.  I called that person and explained the situation.  She said she'd charge me one autographed copy of my future book for her services (sold!) and agreed to review the contract.

Two days later and a call to an agent she had recently worked for, my co-werker summed it up quite succinctly.

"This agency is doing a lot to protect themselves in this contract, and not a lot to protect you." 

Drats.

I will note that a "standard contract" is rarely synonymous with "this contract is set in stone."  Most agencies/agents will enter into negotiations concerning their contract and will be willing to change language, strike and/or add paragraphs, sentences and clauses.  Having a lawyer or an expert on literary contracts is essential.

To that end, I could have negotiated the contract with Agent #1 to get it more to my liking.  However, after several days I found that I felt quite put off by Agency #1's contract.  We were supposed to be working together for our mutual benefit.  Instead, I felt I was working for their benefit and I didn't get a sense of their commitment to me, my book or my career as a writer.

So, I did something rather remarkable: I turned down their offer.

As it turned out, a second phone call made this decision that much easier...

NEXT: Enter Agent #2!

MORAL 1: You MUST find someone knowledgable and trustworthy to go over any contract with you.  A contract is a legally binding document that you must understand and agree to line-by-line.  To not do so is to do yourself and your writing career a serious disservice.

MORAL 2: Come up with a general list of questions for any agent and save them somewhere where you'll be able to access them at a moment's notice.  You never know where you'll be or when an agent  might give you The Call.


-- Tom