Category: Agent Interviews

Agent Interview: Jazmia Young (Curtis Brown, Ltd.)

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While OPB regularly interviews well-​established and senior agents, editors, and publishers, we wanted to take a fresh look at the industry here at the start of 2021. With that goal in mind, we’re trying something different this month, which is why this month’s 2021 Industry Insider interview is with Jazmia Young, an agents’ assistant at Curtis Brown, Ltd. After two years of working alongside some of the top kidlit agents in the business, she’s got a lot of insight and perspective to share.

Let’s get started!

RVC: In the two years that you’ve been at Curtis Brown as an agents’ assistant, what has surprised you the most? 

JY: The most surprising discovery is how much intuition goes into agenting. I’ve been in certain communications where I’ll have this gut feeling it’ll go my way, so I’ll be more forceful (in a nice way) with my negotiations or asking for more. Also, being organized and having an organizational system is beneficial for your sanity.

RVC: One of the agents you work closely with is Vice President Elizabeth Harding, who has a sizable list of clients. What impresses you most about Elizabeth?

JY: I can say, without a doubt, Elizabeth Harding is the most generous, caring, poised, and warmhearted person I’ve ever met. There’s nothing I can’t come to her with that she won’t have a solution to. She’s a wealth of knowledge and extremely generous with it.

RVC: Agreed, though I’m biased since she’s my agent.

JY: Before being hired, I was an intern for two other agents at Curtis Brown. I was told by a few people how kind Elizabeth was but I just didn’t know to what extent. I can say without a doubt, Elizabeth has been by far my best boss (aside from the other agent I work for, Katherine Fausset.)

RVC: What does it actually mean to be agents’ assistant? What’s your day-​to-​day work like?

JY: It’s safe to say any assistant’s workload heavily includes administrative work and mine’s no different. I process book contracts to make sure they’re executed and all respective parties have a copy. I answer client questions. I handle small contracts such as magazine, audio, and anthology rights, etc.

Besides the administrative work, I give my thoughts on client’s manuscripts, then Elizabeth and I will discuss our thoughts. That’s my favorite aspect of the process. My thoughts are really valued and as I go through these readings with her, I’ve honed in on the genres and subjects I’m interested in.

RVC: Which are?

JY: Middle grade has definitely been one genre that has caught my attention. King and the Dragonflies and The Thing About Jellyfish are two of my favorite middle grade novels. There’s a sort of innocence to that age range that an author can play with, and, if done well, it entraps my heart and easily rises to the top of my “Favorite Books of All Time” list.

RVC: What’s the most difficult aspect of your work?

JY: I wouldn’t say this is a difficult aspect but learning when to take the next step in agenting has been a recurring issue for me. This is purely a personal issue–I find myself worrying about when/​if I will take on clients. I’ve spoken to my colleagues and it seems like it boils down to a gut feeling. You’ll when you’ll know. Also, the time between being an assistant and being an agent is not a linear path, and that flexibility gives me comfort.

RVC: You recently took on a role with the AALA (Association of American Literary Agents). How’d that happen, and why is the AALA so important?

JY: At the end of last year, Elizabeth came to me about a part-​time position that she thought I’d be a good fit for. At first, I was a bit confused because here was my boss letting me know about a job offer. I thought I might be getting the boot. Lol!

But she explained to me the details of the job, what it has to offer, and what it meant to be the Administrative Assistant to the AALA (formerly known as the AAR). It’s a wonderful organization that really cares about educating agents on all aspects of publishing. My ties are deeply rooted with them. They have an internship program that I was a recipient of and that’s how I ended up interning at Curtis Brown. Then by way of that, I obtained my current position there. I really owe the start of my career to the AALA.

RVC: Let’s talk about how your career got started. You earned a two-​year degree in liberal studies at Borough of Manhattan Community College. Did you have your eye on the publishing world at that point?

JY: I didn’t. I wasn’t sure what I wanted to do. All I knew was that I liked to read and write. So, I began taking courses in English, creative writing, and literature. Then I realized I liked my creative writing courses above the rest. After that, I knew that was the path to take.

RVC: That makes sense since you went on to complete a BA in creative writing from CUNY. What’s the most useful thing(s) you learned there about writing and stories that still helps you today?

JY: One thing that has stuck with me is to be receptive to the criticism of others. Someone is always going to see a text or a manuscript or a body of work differently than you. That doesn’t mean they’re wrong–it just means you have another perspective to consider. Not everyone is going to like what you like, and that’s definitely okay. I just feel more receptive to different angles and different ways of looking at someone’s writing.

RVC: After college but prior to Curtis Brown Ltd., you were an editorial intern at W.W. Norton (a publishing house) and then at Fletcher & Company (a boutique literary management company). What tips do you have for those interested in breaking into the publishing side of things like you did?

JY: I got both of those internships by way of my alma mater, The City College of New York. There, I was in the Publishing Certificate Program and one of the classes was an internship. That was my W.W. Norton position. For Fletcher, I was interviewed by them for the AALA internship program. I ultimately didn’t choose them to be my agency for the program but they needed an intern for a month and they asked if I could fill that spot, so I said yes.

There isn’t any clear-​cut way of breaking into the industry but being genuine and taking opportunities you wouldn’t think of taking is a start. Networking is a big plus, too, and being part of a publishing program is a huge step in the right direction.

RVC: Compare the type of work you did at those places with what you do at Curtis Brown, Ltd. 

JY: It’s completely different. As an intern, you don’t really feel as significant to the company as regular employees. I was doing the same thing each day and some days I didn’t do anything. But, at Curtis Brown I feel valued. Clients know me and are familiar with me. People trust me and give me responsibilities. I’m relied on. It feels good to be part of a company that values your time and effort.

RVC: What kind of career plans do you have? Are you going to be part of the next generation of agents? An editor? Something else entirely?

JY: I don’t have any three-​year plan or five-​year plan–I just set goals for myself. Then once I meet them, I go further. For now, I’d like to transition to taking on clients and really delve into agenting. But, for my publishing legacy, I hope to publish a variety of Black literature, both children’s and adult books by Black authors–specifically Black women.

When I was younger, Nikki Grimes and Sharon M. Draper were staples on my bookshelf. The characters they wrote were so relatable and mirrored problems I had in my life. Now, Angie Thomas and Nic Stone are dominating with their writing. I hope to discover new amazing Black women writers.

RVC: What do you think Elizabeth Harding would say if I asked her about you and your work?

JY: Elizabeth would say that I’ve been a huge help to her. She would boast about how insightful I am. Even though she’s completely too kind, I know she’d say having me as an assistant has been immensely helpful to her over these past two years.

RVC: What’s the #1 attribute of a good literary agent?

JY: Communication. Being honest with your client and knowing how to delegate between them and an editor is key. It takes a person with good communication skills to take their client’s comments into consideration and relay them to the editor concisely. I think once the communication can flow freely, the relationship can have longevity.

RVC: Whether they admit it or not, almost all literary agents have writing projects of their own. What are you working on?

JY: My writing is in a box in the back of my closet. I haven’t had the motivation to write. I used to write all the time and have so many notebooks full with scribbles of stories. I do have a recurring idea that floats in my mind consistently. My brother passed away four years ago. Often times I’m fearful that I’ll forget him. So, I desperately want to write his life but my emotions get in the way. I hope to revisit it soon.

RVC: Wow–that’s what we call a “heart book,” as opposed to what Jane Yolen calls a “head book” or a “pocket book.” Good luck with that!

JY: Thank you so much!

RVC: So, you’ve now seen like a million manuscripts. What advice do you have for budding picture book writers?

JY: I would say don’t submit an already finished book with illustrations. It stifles and pigeonholes the text. And I’m not talking about illustration notes but an actual fully composed book. Obviously, it’s different for illustrators who are also authors and other authors but if you can’t draw/​illustrate, don’t.

Also, your text doesn’t always have to rhyme.

RVC: Do you see the #OwnVoices movement affecting the demographics of editors and agents as much as we see it affecting writers? How do you think this is going to affect the kidlit world over the next few years?

JY: Well, I would hope that it would have more of an effect on the publishing world. Honestly, I don’t think it’s enough for a white agent or editor to publish a BIPOC author. It feels like they’re checking off a box. They’re done their good deed for the BIPOC community and now they can pat themselves on the back.

No.

The real change comes when you make your team diverse. You hire more diverse editors and agents, then put those people in positions of power. Once that happens, it opens more doors for BIPOC authors and illustrators. I believe the disconnect happens when the editor or agent doesn’t find a text relatable or it is far from their realm of understanding. And, maybe, the text wasn’t meant for them to understand. That’s why having a diverse team is necessary. It pushes for more books to be published that isn’t just relatable to the people publishing it but to the people that want to see themselves more within them.

RVC: Okay, Jazmia—you’ve been waiting for it, and now the time has come. It’s the LIGHTNING ROUND! We’re firing off 100mph questions and hoping for equally zoomy answers. Are you ready? 

JY: I was born ready, so I never have to get ready!

RVC: Best NYC comfort food: cronuts, cupcakes, burgers, or mac & cheese?

JY: Pizza.

RVC: What secret talent do you have that no one would suspect?

JY: I can bend my fingers backwards. It’s kind of unsettling.

RVC: If you had to play no-​limit Texas Hold’em poker against your coworkers at Curtis Brown Ltd., who would be the most fearsome opponent(s)?

JY: Sarah Gerton. She’s super sweet, but I just know she’d have a good poker face.

RVC: Biggest writer-​fangirl moment at work so far?

JY: Elizabeth represents Nikki Grimes, and I used to read her books in middle school. When I met her, she gave me a huge hug. I couldn’t contain myself!

RVC: If you could change one thing about the picture book world, what would it be?

JY: More depictions of BIPOC children in all situations by BIPOC authors and illustrators.

RVC: Let’s wave the OPB magic wand and WHAM, we’ve now got the Jazmia Young Literary Agency. What’s the motto?

JY: Your stories are safe here.

RVC: Thanks so much, Jazmia! I really appreciate the chance to get to know you and your work better!

Agent Interview: Clelia Gore (Martin Literary & Media Management)

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Let’s give a big OPB welcome to Clelia Gore, the VP of Martin Literary & Media Management, where she serves as Literary Manager of the Children’s and Young Adult Division. Normally, I create a fabulously researched and often-​amusing made-​to-​order biographical introduction at this point, but when someone takes the time to create such an fine Twitter bio as Clelia did, what can I do but share it here?

  • Optimist
  • Lover of things lovely
  • Crooked smiler
  • French-​Peruvian-​American living in Singapore for a bit
  • Mama

And if you’re wondering how to pronounce her name, I asked, and I have the answer. From Clelia herself: “For those wondering, it’s pronounced Clel (rhymes with bell)-eeee-uh. Named after an Italian duchess from a Stendahl novel.”

Perhaps most important, she recently tweeted that “PBs are my jam.” Same here.

With that, let’s get to the interview!

RVC: Rumor has it that you had a great book experience in first grade that got you on the literary path. Care to share your special magic book moment?

CG: Yes! Charlotte’s Web by EB White sparked something within me that has stayed with me through adulthood. I was the kind of reader that devoured everything on my bookshelf, pretty much as soon as I got the hang of reading. I had read only one other chapter book on my own prior to Charlotte’s Web (a book about a dogcatcher called The Terrible Mr. Twitmeyer). My older brother had acquired it through a Scholastic Book Fair order. He didn’t like me touching his things, so I went into his room secretly, swiped it, and read it behind closed doors while sitting in a bathtub!

I remember being completely affected by the story—how much I loved the characters, the farm and county fair settings, enchanted by the storytelling and feeling ALL the emotions when Charlotte met her fate. I remember crying in the bathtub by myself, completely moved by this terrific pig. From then on, I understood the magic of books in a big way and I’ve spent the rest of my life chasing that same feeling in the books I read.

RVC: Some pig, indeed!

CG: I still have that same copy of the book today! I used to read it right before school started every year, as a comforting ritual. Now I bring it with me wherever we move, carrying a bit of my childhood with me.

RVC: I keep my first copy of  The Saggy Baggy Elephant for the same reason.

But back to you–how do you go from an amazing reader experience like that into the world of lawyering? What happened?

CG: I continued to be an avid reader through high school and college. At that time in my life, I was a bit of a book snob and only read classics—I was determined to read all of them. I think I was the only 17-​year-​old who had read all of John Steinbeck, Mark Twain, and Edith Wharton’s entire catalogs. I took a lot of pride in having read their deep cuts. In college, naturally, I became an English major. My parents put it in my head that, with that major, I could become a lawyer and I just decided to go with it. I wish I could say I put more thought into it than that, but I didn’t. Looking back, it wasn’t an illogical choice, just not the most thoughtful one. I ended up going straight to law school after college.

RVC: What got you out of the legal world and into the literary agent arena?

CG: I knew early on that being a lawyer was not for me. It was 2009 and I was working at a big corporate law firm in Manhattan litigating securities disputes—not quite the scene for a whimsical gal like me. I will say this—I gained so much from my experience in law school and practicing as an attorney for about four years. It, of course, helps me as a literary agent who negotiated contracts. I’m a better analytical thinker as a result of it, better equipped for the adult world and most importantly, it helped me develop a sense of professional confidence. For me, being a lawyer was a really hard job during a really hard time (the recession). I was challenged every day and was able to rise to the occasion, and I succeeded at it even though I didn’t like it. I brought the confidence I developed from that experience with me to publishing. I also met many lifelong friends and my husband along the way! Plus, I like knowing and learning about the law—I just didn’t like practicing it.

RVC: You’re not the first ex-​lawyer to say something like this here at OPB. Maybe one of these days, I’ll get you all together for a special Picture Book panel discussion.

CG: When I was first contemplating a career switch, I immediately thought of children’s book publishing. Kids books, especially picture books, were always an important part of my life. Even as an adult. As a lawyer, I worked in the Chrysler Building, across from Grand Central Station, and when I was feeling really stressed or sad, I’d go to the Posman Books that used to be there and just browse the picture book section and it would always bring me a sense of calm.

RVC: What happened next?

CG: I reached out to Rotem Moscovich for coffee, who is now editorial director at Knopf. She and I went to high school together and I asked her about children’s book publishing. She was the first person to put the idea in my head that I could be a literary agent—a career I didn’t really know anything about. It took me a few years to figure out how to transition, and I wanted to make sure I made the right step. I decided to go back to grad school, where I received a scholarship at Emerson College’s M.A. in Publishing & Writing. This program helped me try out a few avenues I was interested in: I interned at Houghton Mifflin for half a year in their children’s book division and then I tried out academic publishing at Oxford University Press. I also tried out teaching writing to college freshmen. Funnily enough, I never did an internship with an agency, but when I graduated, I was convinced that that was the path for me. As it happened, my then-​fiancé (now husband) had moved to Seattle from NYC for a job, so I joined him out there.

I was lucky enough to connect with Sharlene Martin right away—she agreed to meet me after I sent her a cold-​call email. I was going to ask her questions about starting my own agency such as: What is Step 1? We ended up sitting in a coffee shop talking for two hours, and at the end of it, she said: “Don’t start your own agency—come work for me! I’ll teach you everything you need to know.” Here I am seven years later, still calling her my mentor!

RVC: I’ve got a lot of creative writing majors here at Ringling College contemplating a path similar to yours. Some of them are thinking about going after internships like the one you had at Houghton Mifflin. How valuable was that for you?

CG: That was truly my first experience in children’s publishing, something I had always dreamed about. I was so grateful for the opportunity. It was definitely an odd experience going from being an attorney in NYC to an intern making $11/​hr. But I was determined to make the best of it, learn as much as possible, and I tried to make the weird situation as comfortable as possible—and the wonderful women I worked with were game, too. It was a great education in how kids’ books are made—having that foundational knowledge absolutely helped me in my career as an agent. I also made some great relationships—I still pitch to editors at HMH whom I knew as an intern. I made several book deals based on a referral from their former managing editor. And I crossed paths with Scott Magoon there, who was working there at the time and he ended up being the illustrator for Rescue and Jessica: A Life-​Changing Friendship by Jessica Kensky and Patrick Downes, which was an award-​winning and bestselling book that I represented.

RVC: You’ve been at Martin Lit for a good while now. In all your experience at that agency, what has surprised you the most?

CG: I started in September 2013, so it’s been seven years now, and in that time I’ve learned so, so much. I mean I was really starting off with very little knowledge and had to learn on the fly from Sharlene and from any resources I could access. I was very determined to right my career path and be successful at this.

One thing that surprised me is how thick-​skinned I would become. Publishing can be a roller coaster ride, especially at the submissions/​acquisitions stage and, having ridden that roller coaster over and over again, I can weather even deep disappointments well—and happily celebrate the highs. I also didn’t realize how my business relationships with clients could form into strong bonds of friendships.

RVC: A lot of early-​career picture book writers ask me if a platform is necessary. What do you think?

CG: I truly think the most important thing is that a book be great (and the timing is right!). Platform is a bonus and plus, of course, but if the work has that special sauce, it doesn’t matter if the author is unknown and has no platform to speak of. If you want to sell a book that plays off of your platform, then, absolutely, you should have an established platform. In certain genres like adult nonfiction, platform is everything. In kidlit, it’s less important, especially at the acquisitions phase. I do think it’s important to signal to publishers that you understand the author’s role in promoting and publicizing the book, that you are willing to play the game.

For authors trying to figure out what kind of platform they have to offer, I would think about what access you have to the target readers and book buyers for your book. Social media is one thing, sure. But…

  • Do you have or can you seek out media contacts that you can take advantage of when the book comes out?
  • Do you belong to certain groups or industries or speak at conferences or events that are made up of your target buyer?
  • What are ways that you can use those groups or gatherings to promote your book?
  • Can you reach out to your school alumni networks to promote the book in some way?
  • Can you write articles, start a podcast, create a blog related to your book or topics you cover in your book?
  • Can you start a newsletter that accesses your entire personal network?
  • Do you have connections to others who have a large platform who would be willing to promote your book?
  • Have you scoured Instagram for influencer accounts that reach your book-​buying audience and are ready to reach out to them?

Think about all the ways you can take advantage of your personal and professional networks so that people can find out about your book.

RVC: Love those examples–thanks!

You’re a self-​confessed sucker for picture books that are a “heart squeezer.” What are some PB examples that really made you get out the Kleenex (in the good way)?

CG: As a mother who struggled with infertility, I cry 100% of the time I read Matthew Cordell’s Wish. Seriously, I have not gotten through even to the third page turn without misty eyes.

Other recent heart-​squeezing favorites include Julián Is a Mermaid by Jessica Love, The Rabbit Listened by Cori Doerrfeld, Hair Love by Matthew Cherry, Hello Lighthouse by Sophie Blackhall, and Home in the Woods by Eliza Wheeler.

RVC: You dig nonfiction—so says your Manuscript Wishlist as of May 2020—but biographies aren’t really a big hit with you. Is that a marketplace thing, personal preference, or something else?

CG: I already have several picture book biographers amongst my clientele so I’m looking to diversify. I have said in the past that the market was thinning a bit to picture book biographies, but I do see evidence of the market opening back up. I sold two this summer. Publishing is dynamic! I will always love picture book biographies, but to me, there are a lot of cool things happening in kid’s nonfiction outside of biographies. I want to see more of those kinds of books!

RVC: How do you describe your agenting style? Is it different with your clients than with prospective editors? 

CG: Collaborative. Respectful. Transparent. Hard-​working. Analytical. Confident. Kind!

One thing I learned from my job as a lawyer, another client-​services industry, is the importance of maintaining professionalism. You can count on me to always be professional.

RVC: Unlike some agents, you’re open to developing MG and YA nonfiction projects with talented writers. Do you ever do such a thing with picture books? 

CG: I think there is a lot of room for growth in the middle grade and YA nonfiction space. There aren’t enough writers of these genres yet! So, at this point, I’d be willing to work with authors who are experts in a field, or journalists or researchers interested in specific topics to help pull good, marketable book ideas.

Picture books have a lot more nonfiction contributors so I’m not looking to develop ideas from scratch beyond my own clientele. I do LOVE coming up with ideas for market-​ready books. It’s one of my favorite parts of my job. Typically, when I think up a good idea, I think about which client would make a good fit and reach out to them and see if they are game to write it. Often, they are. At this point, I think there around about 6–7 books out or coming out that started as one of my brain children. It’s my way of bringing some of my own creativity into this job which is about supporting amazing creative talent.

RVC: Your clients are so lucky! Here’s hoping they send you a jumbo box of gourmet muffins when those book ideas you launched actually happen.

MMMmmmMMMMM…gourmet boysenberry muffins with cream cheese frosting.…

Sorry–I got distracted there. Now here’s a question I wish I didn’t have to ask. How has COVID-​19 changed your day-​to-​day agenting work?

CG: COVID-​19 came at a weird time for me. Since July 2019, I’ve been living in Singapore with my husband and daughter on an ex-​pat stint for my husband’s job (we’ll be back next year). So I was already operating a bit differently than I typically do in that there was less in-​person stuff. Because of COVID-​19, everyone else is doing less in-​person stuff, too. So I would say my day-​to-​day is very similar, but more editors are open to having video meetups as it’s now the norm. I do find that all of this has made me cherish life more and I’m motivated to only work on projects that I’m really passionate about and believe in.

RVC: I quite agree with that!

One last question before we move to the final part of the interview. Did you ever get that longed-​for picture book manuscript about the mathematical golden ratio?

CG: Ha ha, nice memory! No, I didn’t. I did a project on the golden ratio in the sixth grade and I remember it fascinated me, a math-​hating girl. I feel like if that topic could reel in the likes of me, it could reel in lots of other kids!

Feel free to send me one, dear reader!

RVC: There you have it, OPB friends and family. An exclusive manuscript request. When you send it to her and she sells that book, do remember me for helping facilitate this (hint: muffins, muffins, muffins).

Alright, it’s time for The Speed Round! Ferrari-​fast questions and Corvette-​quick answers please. Clelia, are you ready?

CG: Let’s do this.

RVC: Best place for food in Singapore?

CG: Hawker markets. There’s a stand in the Zion Food Centre in a neighborhood called River Valley that has the most perfect pan-​fried dumpling you can possibly imagine. I salivate every time I think about them. I’m salivating right now….

RVC: “If I wasn’t a literary agent or a lawyer, I’d be…”

CG: Government lawyer at the Federal Communications Commission (an alternate history in my lawyering career); speech writer; something in TV/​Film production; book-​related shop owner; First Lady of anything.

RVC: If you put together a golf foursome with PB characters, it’d be you plus which three others?

CG: Okay, I’m going to go pragmatic on this one—maybe that says something about the way my brain works. I own a gorgeous Anne of Green Gables-​inspired picture book from Tundra Books called Goodnight, Anne so I’d pick her so I can hang out with Anne-​With-​An‑E, one of my first major heroes. Ruth Bader Ginsburg from I, Dissent (rest in peace, legend), a major real-​life hero. And Jessica from Rescue and Jessica because that Jessica is really author Jessica Kensky, my longtime friend who is hilarious and probably as bad at golf as me and we could all have a good laugh together.

RVC: Describe your Dream Client in five words or less.

CG: Talented, perseverant, kind, charismatic, self-starter.

RVC: A forthcoming client’s book that has BIG commercial potential?

CG: Oh man, I am seriously SO excited about my upcoming titles. But in terms of which might have major sales potential–I would guess two picture books: Daddy Speaks Love by Leah Henderson and illustrated by EB Lewis (Nancy Paulsen), a beautiful tribute to fathers and The Very True Legend of Mongolian Death Worms by Sandra Fay (Godwin Books), a truly hilarious and very uniquely illustrated picture book that I think will appeal to Jon Klassen and Mac Barnett fans. She’s from New Zealand and brings that trademark dry Kiwi wit to her stories. She’s brilliant!

RVC: What’s the One That Got Away?

CG: In terms of picture books, I remember deciding not to offer representation on The Crayon Man by Natascha Biebow and that always bugs me–I would have made a different decision today. One book I offered on but the author ended up going with a different agent is an upcoming middle grade novel called La Loteria by Karla Valenti. I was dying to rep lovely Karla and her book, but she went with Ammi-​Joan Paquette, whom I like and respect very much, so I can’t be too mad!!

I just realized these responses were not “Corvette-​fast.” Sorry!

RVC: No worries, Clelia. The real bar for anything at OPB is quality, and you delivered, no doubt about it. Thanks so much!

Agent Interview: Kaitlyn Sanchez (Olswanger Literary LLC)

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This month’s Industry Insider Interview is an interesting one because our interview subject, Kaitlyn Sanchez, can come at picture books from so many angles.

Oh, and she’s an Associate Agent at Olswanger Literary. Clearly with a picture-​book resume like that, we’re in for a treat. Let’s get ready for the interview with five bonus Kaitlyn facts.

  1. Short stories are her jam.
  2. Was a jock and a band nerd.
  3. Adores math and English.
  4. Loves the smell of cement. (She admits: “I know, weird, right?”)
  5. Jamba! not Starbucks.

Now that we have a better sense about our new friend Kaitlyn, let’s have a hearty Q&A session on our shared fave topic—picture books!

RVC: So, you got into agenting the way many do—you started at Olswanger Literary as an intern in 2019. Why did you seek that position, and how did you land it?

KS: My critique partner Andrea Walker was working as an intern at Olswanger and one day it donned on me that she was in Japan and still able to be an intern, so I asked her about it! She told me about Bookjobs.com and how they list if an internship is at a location or online, and of course, Andrea suggested I apply for Olswanger, so I did! I sent Anna [Olswanger] my letter and resume, and she responded the same day!

RVC: Congrats on recently moving up to Associate Agent. Yay! But let me ask—what are some of the often-​undiscussed challenges and obligations of being a literary agent? 

KS: Thank you so much! I can’t explain how exciting that day was. For agenting challenges, funnily enough, it’s the same I’d say for teaching–there’s a ton of research to do as well as spurts of super busy times.

RVC: I hear you there! Now, in terms of what you want to see in submissions, you mention that you appreciate “rocking rhymes.” What does that mean to you?

KS: For rhyme, I want the story to be the focus and the rhyme to support it. The rhythm should be spot-​on (with variations to keep it from being sing-song).

Diana Murray and Josh Funk are great examples of writers who do that.

Ned the Knitting Pirate is one of our favorite books in my house and Lady Pancake and Sir French Toast is another fun example of a great rhyming book!

RVC: We’ve got an interview with Josh Funk coming up in September, so I’ll be sure to ask him about rhyme, too. But from your perspective, what kind of rhyme crimes do you most often see?

KS: Oh, I can’t wait for Josh’s interview, he’s so amazing!

As far as rhyme crimes, the two I often see are lack of rhythm and inversions. Ironically enough, Renée LaTulippe just put out an awesome Peek & Critique Video on rhyme crimes! Make sure to subscribe; she’s amazing.

RVC: You’re currently closed for submissions. When do you expect to throw wide the doors again and invite new work?

KS: I honestly have no idea. I still have hundreds of queries to get to!

RVC: Here’s a question I don’t typically ask agents (for obvious reasons). How does being an agent inform your work as a picture book author? And/​or the other way around?

KS: That’s a great question. The biggest thing is the recognition that, especially for debut PB authors, your idea really has to stand out. I think reading pitches during #PBPitch can give you that same sense, too. When you’re participating, go out and find those pitches that are getting tons of likes.

As for the other way around, being an author, I know what it’s like to be in their shoes, so when I give feedback or communicate with clients, I always first think about how I’d feel.

RVC: Your own picture books are repped by Joyce Sweeney, who is your second agent, I believe. Why is Joyce a great fit for you?

KS: She is my second agent, and I can’t explain how perfect Joyce is for me. We see eye to eye–she’s totally honest and open like I am, and she found my voice. I thought I found my picture book voice before, but once she found this “outrageous” side of me, the stories just started to flow. I can’t thank her enough for that!

RVC: That’s exactly what a great agent can do. 

KS: Yes! It can be a really amazing relationship when you find the right fit.

RVC: What are you working on now? 

KS: I just sent two new stories to Joyce and she loved them (whew!), so I’m trying to start another idea from my Outrageous Ideas document. What’s an Outrageous Ideas document? Well, based on the story I queried her with, she told me those stories were my jam and said to show her more of these. So, I sat down right after that and filled a few pages with outrageous ideas. I’m thinking she was definitely right! The one I’m working on is about magical creatures warring in the kitchen.

RVC: I’ve got some of those creatures in MY kitchen, too. Unicorns, I think. And they’re eating all the strawberry jam. I’ll have to read your book to figure out how to deal with them because bad puns (like “are small unicorns puny-​corns?”) aren’t doing the trick!

KS: LOL! And ironically, you hit on the topic of one of the stories that already has the Joyce seal of approval 😉

RVC: Let’s talk about manuscripts. How do you know when your own story-​in-​progress is ready to be seen by others? 

KS: Lol, I don’t know if I do. My first and longest running critique group, Awesome Ladies, is totally amazing and bears with me at all stages. I’ll often say, “Hey, Awesome Ladies, I have a first draft but I haven’t finished, and I’m not sure where to go, wanna see it?” And they’re ALWAYS on board and give me the confidence and ideas to keep going.

RVC: It sure sounds like you’ve made the most of critique groups over the years. What are some best-​practice tips for those thinking about creating or joining one?

KS: Thanks so much! I absolutely love critiquing and reading stories. For CGs, just remember, every group is different. The most important thing–in my opinion–is to click with the group, so if you’re just starting one, it’s good to have check-​ins and time frames for determining if it’s a good fit.

RVC: I often point people to Jane Friedman’s fine post on that subject, too, for guidance on critique groups. 

KS: Oh, yeah. She’s got a lot of good info there!

RVC: Care to share a bit about the kidlit contests you’re part of?

KS: Oh, man. I can talk about these fun contests for hours! The main things for all of them is to connect people in the writing community in a fun, positive way! (And having awesome prizes!) Check them all out here.

RVC: You just completed Kidlit Zombie Week. Tell us more!

KS: For those that don’t know about Kidlit Zombie Week, it’s a week filled with inspiration and discussion to help and encourage people bring back their zombie manuscripts (the ones that they set aside, thinking they’d never again see the light of day) and of course there’s tons of prizes from generous kidlit donors! We were hoping it would be a fun event but could not have predicted how amazing it would end up being; we’re over-​the-​moon with how it turned out.

This was Jolene Gutiérrez’s brainchild. She brought up Brian Gerhlein’s blog post, and we were like “So cool, right?” And she already had the wheels turning and asked if we could do something to help others revise their dead manuscripts. Brian was stoked to hear what he had inspired, and he and this agent (the ones who inspired the event) were our first-​prize donors. Find out more about Kidlit Zombie Week here.

RVC: From all you’ve just shared plus your wide-​ranging bio—which is only part of the story!—it’s clear you have a full plate. How do you juggle it all?

KS: I don’t always, but balance is always my goal. At one point, my husband had to sit me down and talk to me about balance. When I was offered my internship, we had a discussion, and I decided to give up a few critique groups (I may have had like…8?) to have time for agenting. Overall, though, I think you make time for things you’re passionate about, and I’m incredibly passionate about kidlit!

RVC: One last question for this part of the interview, and FYI—this one might tickle your high-​school math teacher heart. Which of the following jokes would work best as the jumping-​off point for a picture book?

  • Are monsters good at math?
      • Not unless you Count Dracula!
  • Why does nobody talk to circles?
      • Because there is no point.
  • How do you count cows?
      • With a cowculator!

KS: Ha! As a math teacher the second one made me go “Oh no!” because the definition of a circle is the set of all points equidistant from a single point so not that one, LOL. But, I have definitely been into the whole monsters in picture books concept since reading and falling in love with Zombies Don’t Eat Veggies, so I adore the Count Dracula one!

Did you come up with these, Ryan? If so, you should write some math pbs!

RVC: I just might do that. Who knows what’s next for me in the long term! But in the short term, I know what’s next. It’s the SPEED ROUND where we pair Zoomy Qs with Zippy As in fashion fast-tastic.

Audiences, beware. Participants, be ready. Passersby, stop where you are. We’re ready to GO GO GO!

Kaitlyn, are YOU prepared?

KS: Hold on, let me stop gawking at your awesome intro to this, limber up, annnd, wait for it.…

Okay–GO!

RVC: The answer’s algebra. What’s the question?

KS: What type of reasoning do you use every day and don’t realize it?

RVC: Craziest rhyme you ever tried to make work?

KS: Ha, I wish I knew. I’d have to go back through my manuscripts.

RVC: Best late-​night reading snack?

KS: Cheez-​Its. No, chocolate. NO!! CHEEZ-​ITS ANNND CHOCOLATE! 😋

RVC: Favorite math picture book?

KS: Tie between Zero by Kathryn Otoshi and One Family by George Shannon.

RVC: Dream picture book submission?

KS: One that I can’t stop reading and the world falls away until I’m done, and I’m totally satisfied, but also want to read more from this author because it just swept me off my feet. (Btw, I have had these, and luckily, I get to rep some of them.)

RVC: What’s your picture book motto—as a writer and/​or agent?

KS: Almost anything can be a picture book as long as you can approach it from the kid angle (and please don’t quote me on this because I’m definitely not the first to say it😃) And, if I can add a bit more, there are no steadfast rules. Many books break the mold, so trust yourself and have a reason for your approach.

RVC: Thanks so much, Kaitlyn! From one kidlit zombie fan to another, it’s a no-​brainer having someone like you stop in for an interview with us. Much appreciated!

KS: Thanks for having me, Ryan. This was SO fun, and I’m so glad you loved Zombie week! Sadly, I didn’t revise one myself, but thanks to a funny gif from Clare Helen Welsh, I wrote a new story that my agent loves!

Agent Interview: Christa Heschke (McIntosh & Otis)

On By Only Picture BooksIn Agent Interviews

The June Industry Insider interview is with none other than Christa Heschke, who’s been with McIntosh & Otis, Inc. since 2009. While there are many reasons why she’s a great a fit for OPB, here are just three.

Reason One: Her Twitter bio claims a Hufflepuff affiliation.

When I was last in NYC, I made a point of seeing Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic & Magic. Kindred spirits!

Reason Two: She’s a Green Bay Packers fan.

I was born in Neenah, WI (a stone’s throw from GB), and I taught at UW-​GB, where I lived walking distance from Lambeau Field. Plus, my folks had season tickets when I was a kid!

Reason Three: She likes LOTR, zombie TV shows, and RL Stine.

My take on those same things? Yes, amen, and wahoo!

With so many things in common, the two of us making some magic at OPB is all but guaranteed. Let’s prove it right now!

RVC: Let’s start with an unexpected connection we have–Kristen Schroeder (one of your clients!). I just met her at the Jane Yolen/​Heidi Stemple Picture Book Boot Camp back in November. She had an Advance Reading Copy of her debut, Alien Tomato, which was a real hoot to see, to say the least. What do you like most about that book (which comes out in July 2020)?

CH: I love the humor and Gopher is such a fun main character! The ending twist is perfect! Seeing the art capture the text was really cool, too. It’s one of my favorite things about working on picture books.

RVC: Please say a few words about why Kristen’s pitch to become your client worked.

CH: Kristen had queried me and then later notified me she had an offer of rep from another agent. I remember really liking the project she sent me, Howie, which was a fun look at dog-​shaming photos. I liked the humor and I thought the idea was standout. After reading that one and enjoying it, I asked her to tell me more about her body of work and she sent me a whole list of projects she had written or was working on and I was SO impressed! I could see her range and once I read a few more of her projects, I just had to offer her representation!

RVC: Is that something you recommend others do?

CH: Yes! I think it’s helpful to have a handful of finished polished picture books ready when you start querying. When it comes to picture book authors, I always like to see a few projects–I’m rarely offering rep based on just one project. This may be personal preference, but I have stepped aside a few times when I really liked one project but the author didn’t have anything else to share or tell me about.

RVC: Let’s jump back to the beginning. At what point did the publishing career become your path?

CH: Well, it all started back in college. A friend interned at Writers House and suggested I apply. At the time, I had no idea what I wanted to do, but hey, I loved to read so I applied. I loved my time there and that led to another internship at Sterling Lord. When I graduated college, I applied to all kinds of publishing jobs. After some time, I got the job offer to be an assistant at McIntosh & Otis in their children’s department. I said yes, and haven’t looked back since. I got lucky that I fell into the area of publishing I was meant to be in. I love working on the kids side and I’ve always been a kid at heart, so it was a perfect fit for me! After assisting a few years, I moved up to agent.

RVC: I’ll bet you REALLY got the literary bug a bit earlier than college. Did you write term papers about copyright infringement and intellectual property issues? As a teen, were you negotiating deals for writer friends to ghostwrite prom-​posals? Were you doing Muppet Babies fanfic? The OPB family wants to know!

CH: Other than reading a lot growing up, I did have my own magazine for a while called Gal’s World. I was in the 12–14 range when I was actively putting the magazine out there. I also had my own website dedicated to Sailor Moon fanfiction. So, from a young age, I was active on the writing side of things. In school, we wrote and illustrated our own books from kindergarten up through 4th grade. I still have most of them!

RVC: Let’s take a closer look at your time as an intern at Writers House and Sterling Lord Literistic. What does life as an intern look like?

CH: A big part of interning at an agency is reading queries and manuscripts, and then writing reader’s reports. Writers House also had classes on different topics for their interns on everything from subrights to contracts, so it was a great learning experience. At Sterling Lord, I got to help a bit with foreign rights which was cool, including editing their rights guides/​preparing for a major Fair (Frankfurt, if I’m remembering correctly).

I basically helped whomever needed it, so I got to read kids and adult work as well as perform general office tasks such as filing, mailings, organizing, answering phones, etc.

RVC: Any tricks to landing one of those coveted jobs?

CH: Networking helps SO much when getting an internship. Without my friend having a connection at Writers House, I’m not sure if I would have gotten an interview.

RVC: You joined McIntosh & Otis in 2009. What about that agency makes it such a good fit for you?

CH: I love that we’re more of a boutique agency. There are only two agents (plus two assistants and an office manager/​royalty manager) and we handle everything for our clients. So, aside from editorial work and sending projects out on submission, I also handle all subrights (translation rights, audio, film/​TV/​stage etc.), my own contracts, helping authors with promo, permissions, and more. It certainly keeps me busy, but I like that I get to work on a little bit of everything!

I especially love working on foreign/​translation rights. It’s always a good day when a copy of one of your books translated into another language comes in and sometimes with an all new cover! I also like that I can build my list how I want to. So, I can take on the projects that I’m passionate about. Of course, it’s also very important to me to do what I can to raise up marginalized voices. I strongly believe every child should be able see themselves and characters like them in books.

Getting kids to start reading and enjoy reading from a young age is so important to creating lifelong readers. Whenever I see kids reading (whether it’s on the subway or in the park) I get excited! M&O gives me the support to do these things which I sincerely appreciate.

RVC: Though you rep all types of kidlit, what about picture books appeals to you? 

CH: It’s a child’s first experience with reading. I love that! I remember how much I enjoyed picture books as a little kid. My parents told me before I could read, I would flip through picture books and make up the words based on the pictures (or what I remember from my parents reading them to me). So, they have always been special to me. I love how they can be fun and character driven, but still have a great message. I also like seeing how the art works together with the text to create a finished book. I could go on and on!

RVC: How important is voice to picture books?

CH: It’s important. If the text is wordy and the voice feels “too old,” it won’t work for the age-​range. Every so often, I see picture book texts that almost read more like a middle grade as far as word choice, wordiness, and overall voice. Every word counts with a picture book. Voice often comes across more strongly when you have an engaging and developed central character. Even in a picture book they will grow and change from beginning to end and when that’s done right, it helps the voice!

A good example off the top of my head is A Place for Pluto by Stef Wade. Of course Alien Tomato is another. Lindsay Bonilla’s Polar Bear Island. Piglette by Katelyn Aronson. I may be biased but I think all my clients have great picture book voices.

RVC: What are your thoughts on rhyme?

CH: I work on the occasional rhyming text, but I wouldn’t say it’s something I gravitate towards. My assistant, Daniele, is the resident poetry expert.

RVC: How can a writer do a better job if they decide it’s the route to go?

CH: To do a rhyming book right, you need to be well-​versed in poetry and understand meter, rhythm, etc. When you want to write in rhyme, it has to be perfect. I’d also ask writers why they feel this particular story needs to rhyme. Maybe it doesn’t. Some stories work better in prose.

Reading the story out loud can help you find areas where you trip up and may need to work on. Getting extra sets of eyes on a story also helps–especially if you can find readers that specialize in rhyming work or poetry!

RVC: How many submissions do you see per week?

CH: A lot! The number fluctuates a bit. If I recently participated in a Twitter pitch event or a writer’s conference, my inbox numbers will often go up quite a bit. I’d say I get at least 10 queries on a typical day, so upwards of 100 a week is common.

RVC: And what does the process look like going forward from a good query all the way to an offer from you and then having you submit the project to editors?

CH: Once I come across a query that jumps out at me after reading the first pages, I’ll request either a partial manuscript or a full manuscript. When I request a partial, I’m interested but want to read on a bit and see what I think. When I request a full, I generally love both the premise and writing, and I’m intrigued by the synopsis enough to want to see where the story is going.

After I’ve read the entire manuscript and I know I’m in love, I contact the author via email. I like to offer rep over email and give the basics before having a phone call. On the call, I answer any questions, go over any editorial feedback, and ask my own questions. Then I wait. That author likely will have the manuscript with other agents and will wrap up those submissions. A two-​week deadline is pretty standard.

During this time, the author may get more offers and will have to decide who they feel is the best fit for them and their career. If they end up going with me (yay!), we work on editorial and get the manuscript as polished as possible before submitting to editors. I come up with a submission list, share it with the author, and take it from there.

RVC: Last question for this part of the interview. Rumor has it that one of your secret literary weapons is an assistant named Daniele. Care to dish?

CH: Daniele is amazing, and that’s no secret! Daniele helps me SO much. She’s another skilled set of eyes on manuscripts, she has a great editorial eye…She literally assists me with pretty much everything! She also keeps me organized. We always have a high volume of pending things to do, submissions to read etc. etc. and without her, I’d likely get to things a lot slower!

And she’s a ray of sunshine and optimism. She’s so supportive and genuinely loves what she does and working with my clients, and they love working with her. We are very much a team!

RVC: Alright, it’s time…for…the… LIGHTNING ROUND!!! Are you ready for zip-​zappy question and electrifyingly fast answers?

CH: You bet!

RVC: Star Wars, Star Trek, or Stargate?

CH: Star Wars.

RVC: Best fake language—Parseltongue, Dothraki, or Tolkien-Elvish?

CH: Definitely Elvish! A recent highlight was watching the LOTR cast reunion Zoom special. All the feels!

RVC: It’s a night of magical mini-golf…with a literary theme. What three authors (living or deceased) do you invite out onto the (mini) links?

CH: That’s an impossible question to answer! LOL!

Hmm…how about Jane Austen, R.L. Stine, and Garth Nix? These are all authors who I loved reading growing up. If I were to go into authors I admire and fangirl over as an adult, it’d be a super long list. There are so many authors doing such amazing things and creating necessary change in the kidlit world!

RVC: Beyond typos and getting your name wrong, what’s a query pet peeve?

CH: Not doing your research. If you’re sending me something I don’t represent, it’s an automatic no.

RVC: Name an agent‑y bucket list item.

CH: Having a book I rep win the Newbery, Caldecott, or another major award is definitely up there!

RVC: Three words that sum up your picture book philosophy?

CH: Every. Word. Counts.

RVC: Thanks so much, Christa!

Agent Interview: Steven Chudney of The Chudney Agency

On By Only Picture BooksIn Agent Interviews

While literary agent Steven Chudney is a bit camera-​shy (I’ve worked around this via the “photo-​realistic” artwork I provided alongside his agency’s logo!), The Chudney Agency is devoted mostly to kidlit (about 10% of his list is Adult), and there are plenty of clients who sing his praises. That’s already got the OPB radar turned his way.

But when I learned that he was part of the marketing campaign for the 40th anniversary of Eloise, the launch of a line of kidlit books for Nickelodeon, and the development of the Cheerios board books, I knew he had to pop in to chat with us at OPB.

With that, let’s pour two cups of oolong, get comfy on some easy chairs, and have a chat with our new friend, Steven!

http://thechudneyagency.com/

RVC: What was the turning point that set you on the path to become a publishing professional? How early did that happen?

SC: Although I’m American born, I grew up and lived in Israel for 7 years as a young boy and teenager. I didn’t enjoy reading in Hebrew, and so I read a ton of British books for kids, like all of those lovely and kitschy Enid Blyton books. Then, I got my first real job working in a small English used bookstore in our town, Andy’s Books. Tons of paperbacks. I was about 12, before my bar mitzvah! That’s when I discovered Agatha Christie mysteries. I loved working in the bookstore and felt so lucky to be surrounded by books. To this day the scent of old books is quite intoxicating.

RVC: That helps explain how you went on to hold a number of different jobs in the book world (sales, marketing, licensing, and sub-​rights positions at Viking Penguin; Farrar, Straus & Giroux; Dell; Simon & Schuster, and Winslow Press). How has that range of experience positioned you to be a successful literary agent?

SC: It seems cumulatively I had the perfect background to become an agent. Every one of those positions offered me experience needed in my present job: how to negotiate, how to review a contract, how to think about a manuscript in terms of future marketing and sales potential. When I worked at Winslow Press (now defunct) I handled sub rights for the small list there and was lucky that they sent me to the Bologna Bookfair–so that was wonderful, of course, but it really opened up my eyes to the international scope of children’s books and introduced me to many foreign children’s publishers.

RVC: It must’ve been a real treat, then, being able to work on such big brands like Eloise and the Cheerios board books?

SC: It taught me the power of the brand, and specifically for an evergreen or legacy brand. Everyone knew Eloise, of course, and it was our responsibility to keep the book in the forefront of booksellers minds, so the 40th anniversary was a perfect opportunity to create more awareness and to increase sales.

Cheerios was very different. It’s not a literary brand, of course, but it was such a known commodity, a top brand–especially with mothers/​caregivers and snacking toddlers. At this point in my career, I was the director of licensing and product development at Simon & Schuster. I was charged with bringing in all kinds of licenses to see how they could be leveraged and made into books for children.

I kid you not, this is how it happened: I had read an article about the pincer grasp, which is a big milestone for toddlers in their fine motor development. So I was food shopping, rolling down the cereal aisle, probably thinking about work as one does, and I stopped to let a mother and her kid pass–their cart had 3 boxes of Cheerios in it. Somehow my brain made a connection with the article I had read and this cereal brand–and I knew I wanted to do Cheerios toddler board books. Back in the office I presented the brand and described that the board book pages needed to be thick so that a toddler could insert a Cheerio piece in a round indentation. Voila! The perfect book to help a toddler with their pincer grasp.

RVC: Wow. That’s an amazing story.

SC: I went on to negotiate the license with General Mills, though I eventually left S&S. By that time, I think there were three Cheerios books that had sold millions of copies. A shoutout to Lee Wade who was the art director at the time at S&S (she now has her own imprint at Random House). She designed and gave birth to all the books.

RVC: Since we’re talking about giving birth here…let’s move ahead to chat about you forming The Chudney Agency in 2002.

SC: I actually became an agent because I was in between jobs. I had foolishly quit a position without having anything else lined up (I did say it was foolish), and then September 11th happened and all of New York froze. For months…no jobs opened up, nothing. I needed to do something and it was suggested to me that I be an agent–and that’s exactly what I did.

I must say here I couldn’t have done any of this without the tremendous support of Ralph, my beloved partner when I founded the agency, who is now my husband. I literally would have been homeless had I tried to do this totally on my own. He was totally onboard and behind me from day one.

RVC: What would you have done differently, knowing what you know now?

SC: If I had to do it all over again, I would have tried to get a position with an agency to really learn the ropes. Doing it alone was a bit daunting, but I muddled through it. Getting clients was the easiest: if you were the new agent in town, at least back then, one would be bombarded with authors and illustrators looking for representation.

RVC: What was the biggest surprise? 

SC: The biggest surprise was that I couldn’t sell everything I sent out on submission. I thought I could do poetry, picture books, novels, nonfiction–the sky was the limit! But that wasn’t the case. It took me a couple of years to find my groove and understand where my strengths lay within kidlit.

RVC: Indeed, your agency website says you specialize in “the wonderful world of books for children and teens.” What is it about kidlit that interests you?

SC: I actually began my career selling mostly adult books and eventually became a children’s specialist. I was drawn to the artistic side of children’s books–all that art!–and the many school and library conferences for kids books allowed me not only to travel around the country, but  also to meet teachers and librarians firsthand. It was a great way to learn more about their jobs and their young readers. I really felt part of the process.

I secretly also felt that the people in children’s books were nicer. But it was when I was at Farrar Straus & Giroux over 2 decades ago that I first enjoyed a marketing promotion success which lead me forward in my career: then I did both sales and marketing. FSG then distributed a small press that had the lovely Linnea in Monet’s Garden book–a backlist staple for FSG for years. A big anniversary was coming up and I proposed we do a promotion to increase sales. I don’t remember all the details, but we designed and printed a cardboard easel-​backed cutout figurine of Linnea that bookstores could get for free if they ordered a certain amount of copies of the book. Probably 5–8 copies, I imagine, with maybe a little extra discount. It worked, and sales bloomed for Linnea in Monet’s Garden. That cutout figurine remained in stores for years and years.

RVC: You’ve said that you really enjoy the “beginning of the process,” which I take to mean reading submissions and discovering new talent. What do you find so appealing? 

SC: It’s discovering new talent that excites me a lot, the proverbial diamond in the rough–reading something that is really good, if not wonderful–and realizing there’s something here, that once revised and polished, there may be an audience for the piece down the road once it’s ready for submission.

Since we’re talking about the beginning of the process, I also like bringing ideas to my authors. For example, I suggested that Alice McGinty write The Water Lady, forthcoming from Anne Schwartz Books/​Random House, after seeing a heartbreaking and astonishing news segment about the lack of running water on Navajo reservations. I had read Marcel Marceau’s obituary and learned he had survived the Holocaust–perfect for a picture book biography by Leda Schubert, Monsieur Marceau: Actor Without Words. And author Elisa Boxer took my idea of a picture book bio about Nancy Pelosi and ran with it–this is due with Crown /​ Random House in 2021.

RVC: Those books sound terrific. But let’s talk about the submission process a bit. Pretend “Joe Smith” sent you one and it’s now at the top of your to-​read stack. What are three things you might find in Joe’s manuscript that get you excited?

SC: At the moment, I’m only looking for author/​illustrator projects–that is, text and art from one individual–so let’s use that as an example.

First, I must like and relate to the art. This is entirely subjective and can be frustrating for authors when I reject a submission. Believe me, this happens to me with editors all the time, so I totally get it. Luckily I do like a variety of art styles. I have to love the story, feel there’s something worth telling and that it has value of some sort to the general consumer, but especially to editors and publishers. Is it fresh and maybe unusual? Is it a new take on a classic issue for kids? Is it a perfect blend of story and art? And then, does it have some kind of hook or sales handle that an editor can use to get the project through the acquisition process?

Besides loving the art, of course, here are some more tidbits.

What I loved about Joowon Oh’s Our Favorite Day story was that it was intergenerational: about how a grandfather couldn’t wait for his granddaughter to come for a visit. That Joowon and the characters are Korean added another element–and the dumplings didn’t hurt the story!

Jacob Grant’s Bear books with Bloomsbury are so wonderfully simple and humorous, yet their plots all relate to things that any toddler goes through in life. All those fears and issues!

Sarah Brannen’s two picture books with Philomel, Bear Needs Help and A Perfect Day, have very brief texts, but deliver colorful, beautiful art. Each book has a clever, wry twist, as well.

Julie Fortenberry’s forthcoming Darcy’s First Sleepover (Christy Ottaviano Books) and Pearl goes to Preschool (Candlewick), both offer wonderful art and also little kid issues told in a comforting and very appealing manner.

RVC: Beyond the obvious things—typos, preachiness, and length issues—what are some of the common reasons you say no to a manuscript?

SC: If the art doesn’t appeal to me, then I’ll pass on the project, of course. A lot of the art I pass on feels too amateurish and wouldn’t pass muster with my editors, I’m afraid. But then I look at some art in books from major houses that looks like my four-​year-​old nephew could’ve done it–and I sit back and simply wonder at that!  If a story feels derivative, if it’s too similar to others out there, or ones I’ve seen, then I’ll pass on it. I’m not a big fan of alliterative stories, or of rhymed texts–unless superbly done.

RVC: What’s a typical workday like for you?

SC: This is pre-​pandemic: I’m up early, and already reading manuscripts in bed. One of us walks the dog, and then I’m at my desk at 7:00am eating breakfast and reviewing overnight emails–my foreign rights agency is based in London, so I’m always hopeful some good news might have come in about a book. A finalized deal from Italy, an offer from Poland, interest from the UK about a novel? I delete all the crappy emails that come in…and then it’s on to the rest of the work day stuff.

As I work totally alone (a true sole proprietor!), I don’t have partners, other agents, or an assistant. I do everything here. All day long I’m responding to a variety of emails from clients and editors and other agents, reading queries (up to 10 to 15 a day). I’m following up with authors on their projects, cajoling some of them to write something new, reviewing a picture book text for the 8th time to see if it works, does it flow well, is it as strong as it can be for submission – does it need one more round? If there’s art involved, is the text laid out well and is it readable? Does the character look the same throughout the pdf?

Many times I send the author an email full of notes about their project, and then we hop on the phone for a conversation to make sure we’re both happy and on the same page. I break for lunch for an hour–and I do a lot of reading of manuscripts, especially novels. After lunch it’s maybe walking the dog again and then back to the computer. The afternoon is filled with much of the same, though I may need to run to the post office or the bank. By 4:00pm, I’m slowing down a bit, and by 4:30 until dinner time, I can be found reading manuscripts in the sunroom. No work until bedtime, when you’ll find me reading manuscripts in bed–or a non-​client novel for pure pleasure, if I’m lucky.

RVC: Can we take one of your books as a case study in how the process works? How about Joowon Oh’s 2019 Our Favorite Day, which earned a starred review from School Library Journal and Publishers Weekly?

SC: I met Joowon in August 2016. She’s from Korea and was living in New York when she submitted two pdfs to me. I was very much drawn to her art style, I loved the mixed media and her vibrant colors. I passed on one story, yet I told her the other one–then called The Gift–had potential, but needed work. And it did. The story was about a grandfather waiting for a visit from his granddaughter–totally sweet. She wanted some more revision details from me, which I provided, and we decided then to meet in the city for a coffee. Things went well, and I made her an offer of representation, which she accepted. Then we got to work on the text and story, as well as some things in the art.

Once the pdf was ready to go, the submission process began. Our first submission was an exclusive in November. The editor passed on it, so then I did a multiple submission round in December. And another one in January, and another one in March, which finally generated some interest from Candlewick! But then that editor was leaving and she passed it on to another editor there. The new editor, Kate Fletcher, loved it and eventually made an offer, which we negotiated and accepted.

Kate did a beautiful job working with Joowon on this story–it’s ostensibly the same story, but so much better. The title was changed to Our Favorite Day, and it published in September 2019 to lots of wonderful critical acclaim.

RVC: You’ve been closed to submissions for some time, but you’re open again now (June 2020). What are a few things you’re NOT really looking for in picture books at the moment?

SC: Yes, it’s been a tough several months for my family: we lost an aunt to cancer and I was her primary caretaker–it took up a lot of time, both literally and emotionally, and so I needed to close for new submissions for a while.

RVC: I’m so sorry to hear that, but I’m sure that writers and illustrators seeking representation understand.

SC: I’m open now to author/​illustrator submissions only. I want kid-​friendly, mostly character-​driven stories of any kind. A touch of humor always helps! But, first and foremost, I’m looking for stories that a child would pick up and want read to them (again and again)–not one where the appeal is more for the adult.

I’m also open to fun and or unusual nonfiction in picture books, too. If it has an anniversary tie-​in of any type, even better.

RVC: Just to be clear, you’re NOT looking for writers unless they also do their own art.

SC: That’s right. I’m not open to text-​only projects. Sorry, but I have enough clients writing those.

RVC: Now, it’s time for the long-​awaited, always-​appreciated, rarely equaled OPB SPEED ROUND! Zoomy questions and zippy answers, please. Ready?

SC: Let’s do it!

RVC: Best bakery in New York City?

SC: We love Breads Bakery down near Union Square, although there are other locations. You must try their chocolate babka!

RVC: If The Chudney Agency were ice cream, what flavor would it be?

SC: Italian pistachio gelato.

RVC: Your dream picture book project?

SC: Gosh, there are so many. Hello Lighthouse by Sophie Blackall. Martin Rising: Requiem for a King by Andrea Davis and Brian Pinkney. There are too many, so I’ll stop here.

RVC: Favorite picture book from childhood?

SC: Bread and Jam for Francis.

RVC: Favorite line from a Chudney-​repped picture book?

SC: “I don’t need pants to party” from Jacob Grant’s forthcoming book, No Pants!, Viking, 2021

RVC: Way to end strong, Steven. Thanks so much!

Agent Interview: Jennifer Unter (The Unter Agency)

On By Only Picture BooksIn Agent Interviews

I had genuine worry that the COVID-​19 situation would understandably keep the OPB blog from continuing with the every-​Monday posts we’ve managed since we launched in April 2018. I’m incredibly stoked that we’re able to keep on trucking thanks to the generosity of literary agent Jennifer Unter who agreed to be this month’s Industry Insider Interviewee. What luck!

Here are three things you need to know about Jennifer before we get rolling.

  1. She has her own literary agency.
  2. She has her own literary agency.
  3. She has her own literary agency.

Let’s be clear about something. Jennifer has plenty of other selling points that make her an agent any writer would be ecstatic to partner with, but here’s what I’ve come to realize over the years—if you can launch your own agency and keep it up for more than a decade, you’re doing not just one thing but a BUNCH of things well. Let’s find out what those are!

Agency Website: www.theunteragency.com

Twitter: https://twitter.com/JenniferUnter

RVC: There’s no way to interview anyone right now without asking this question—how has the COVID-​19 virus affected your work?

JU: It’s so hard to tell at this point. In the present moment, many editors are asking me to re-​pitch them with projects in June since they’re so overwhelmed with working from home (with kids and other issues) that they aren’t buying anything. A few of my books have been pushed back to 2021, but some are going forward as planned, so we’ll see how that works. I’ve been trying to support my authors whose books are out now with new ways to publicize–online storytime and the like. Publishing is a real community, so everyone is trying to help everyone else out and we’re all just getting used to the new (temporary) normal.

RVC: Thanks for that honest update. I get a lot of questions from students, colleagues, and writing friends about what’s going on in the writing world. We’re all sort of holding out collective breath.

JU: Holding our breath and taking very deep breaths at the same time, if that’s possible!

RVC: Exactly so! Let’s circle back to the beginning. At what point did you know you were going to work in the writing world?

JU: I knew when I was in college that I wanted to work with writing in some way. I was an English major and my favorite thing was to read books, so I figured that working in publishing would be an extension of that!

RVC: How did you land that first editorial job at Henry Holt & Co.? And what was the most valuable lesson you took from that experience?

JU: I went to the publishing course at NYU the summer after I graduated college and the editorial assistant job at Henry Holt was on the job board, so I applied and, luckily, I got it. My boss, Allen Peacock, was a brilliant editor, and he taught me to trust my instincts and to have passion for every project. Every book is at least 2 years of work and if you don’t completely love it from the get go, you’re going to fall out of love pretty quickly when you have to read it for the 4th time.

RVC: While you’re not a copyright lawyer, you did attend Fordham University School of Law, and you spent some years at an entertainment firm, so I’m guessing you have better-​than-​average insight into this. What’s the most common misconception that writers (and maybe some agents and editors) have about contracts in general, and/​or copyright? 

JU: Many people believe that contracts are ironclad or can’t be negotiated, but that’s not the case. In addition, contracts can be difficult to read or make sense of–that’s what I focused on as a transactional entertainment attorney. After reading many hundreds, they become much clearer!

RVC: Is there one part of them that most early-​career authors don’t appreciate or think though? I guess I’m thinking about what a genius move George Lucas made way back when to keep the merchandising rights (and sequel rights!) to the Star Wars franchise. Any recommendations for contract parts to read with extra-​care and attention?

JU: Definitely the competition clause. A contract should never prohibit a writer from doing their job, which is being a writer! A contract that doesn’t allow a writer to publish other things–whether it’s another book, an article, or anything that isn’t very similar to the work that is the subject of the contract–is going overboard and should be negotiated so that it’s fair to the writer.

RVC: Great advice there for sure! Now let’s talk about the decision to create The Unter Agency, LLC in 2008. 

JU: I knew I wanted to work for myself for a long time, but it’s hard to find the right moment. I had two young kids at home, and I wanted to do something that was for me. I felt like if I didn’t go for it then, I was never going to do it.

RVC: What was your first sale?

JU: David Gumpert’s Raw Milk Revolution to Chelsea Green Publishing.

RVC: Unlike some kidlit agents, you also represent a host of other areas—food/cooking, nature/​environment, biography/​memoir, pop culture, travel/​adventure, true crime, politics, and health/​fitness. What percentage of the books your rep are kidlit in general? And picture books in specific?

JU: I would say that 60–70% of my list is kidlit. And out of that 60%, probably ½ is picture books.

RVC: What do you like most about picture books?

JU: I love the whimsy and the truth of picture books. They are our emotions, distilled down to 32 pages.

RVC: What picture book project at your agency—at whatever stage it’s in—are you most excited about?

JU: That is not really a fair question, since I love them all! But, I think for this current moment, a picture book that just came out entitled Krit Dreams of Dragon Fruit by Emily France and Natalie Becher–which is about weathering change–is perfect for kids right now.

RVC: Okay, it’s time for another installment of the World’s Greatest Picture Book Blog Speed Round™(ish)! Jennifer, are you ready? 

JU: Ready, willing, and able!

RVC: Since your agency’s office is a half-​block from Central Park…“The strangest thing I’ve seen at Central Park was…”

JU: A clown with a pet snake.

RVC: Best-​yet-​somehow-​underappreciated indie bookstore in NYC?

JU: I think because there are so few of them, no bookstores in NYC feel underappreciated, but my favorite at the moment is The Corner Bookstore on the Upper East Side.

RVC: If picture books were comfort food, what would they be?

JU: Eggplant lasagna.

RVC: Top attributes of your top clients?

JU: Their dedication to their craft and their desire to bring joy to their readers.

RVC: Best non-​Unter-​repped picture book of 2019?

JU: Magic Ramen by Andrea Wang.

RVC: What’s the secret sauce of YOUR success?

JU: I work all the time! And, I love what I do.

RVC: Thanks so much, Jennifer!