Tag: Agent Interviews

Agent Interview: Natalie Lakosil (Irene Goodman Literary Agency)

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Natalie Lakosil is an agent at the Irene Goodman Literary Agency. An honors graduate of the University of San Diego, California, Natalie holds a B.A. in Literature/​Writing. For over a dozen years, she has championed and helped build the careers of numerous award-​winning, critically acclaimed, and bestselling authors. Natalie represents adult nonfiction, adult cozy mystery/​crime, female-​driven thrillers, upmarket women’s/general fiction, illustrators, and all ages (picture book, chapter book, MG, YA) of children’s literature, both fiction and nonfiction.

In terms of her agenting needs, Natalie is especially looking for:

  • BIPOC and underrepresented voices where identity isn’t the focus
  • projects with intersectionality

She’s also a “total cat person, unicorn lover, fierce female, and mother of two tiny humans.” She also admits that for a good decade, she was terrified of going back in time and screwing up her life. “I literally documented my schedule and everything I needed to do so that if my adult self ever went back in time and went into my own kid body, I’d be able to pick right up and not screw up my grades.”

Now that we’ve got a good sense of who Natalie is, let’s get to that interview and find out more about what she does!

RVC: When you were a kid, what was your relationship to reading and writing?

NL: Oh, great question. While I always wanted to be a writer, I didn’t love writing until middle school. That might because I got Cs in spelling and grammar throughout elementary school–I was really bad at capitalizing words and spelling. Because I started reading so much in middle school, I did a 180 and writing became my strongest subject.

Love came first. Perfecting and honing the skills came second.

RVC: I love the idea of turning a weakness into a strength. What books proved important in fostering that love for reading and writing?

NL: My go-​to is Ella Enchanted, though when I really started reading a ton, I was into Meg Cabot and Tamora Pierce. That’s when I fell in love with the age level I handle now as an agent. Then I moved on to romance novels.

Teresa Medeiros, Jude Deveraux, Nora Roberts, Julia Quinn–all those greats inspired me to want to do it myself, but also to help others. I wanted to represent them and help their careers, too. I still have the books that I loved the most (except for library books–checked out one a day!) so here’s a glimpse at that shelf.

RVC: What was the career goal you had when you went to UCSD to study literature and writing?

NL: I’m one of those really weird agents because I started writing at such a young age. My mom got me Jeff Herman’s annual Guide to Book Publishers, Editors & Literary Agents when I was thirteen and that’s how I found out what a literary agent was. I was like, “That! I want to do that!” So, I went into UCSD with this five-​year plan. I was going to graduate, move to New York, then work at an editing house–maybe even work as a copy editor for a bit, to get my feet wet and build my connections–and then I was going to become an agent and write a lot, as well.

Obviously, my five-​year plan didn’t happen. I got an internship in college at an agency. Once I actually start working in the industry, I didn’t want to be a writer anymore. I just found I couldn’t get past my own head. I’d be critiquing my own ideas and I’d say, “Oh, my goodness, I don’t know that I’d be able to do everything that writers do.” I shifted completely away from writing myself.

RVC: Is that internship what led you to your first “real” job in a literary agency? That was with Sandra Dijkstra, right?

NL: Yes. I interned there for a couple years, and then I interned at a newspaper, where I quickly found out that journalism writing wasn’t for me!

When I graduated, I thought I was going to go to grad school and get my PhD in English. I got rejected everywhere. Then I reached out to the agency where I interned and asked, “Got any openings?” They did. I got really, really lucky.

RVC: At the agency, were you working on kidlit from the start?

NL: Oh, I never thought I was going to go into handling children’s books at all. I thought I was only going to do romance novels. That’s what I was reading. That’s all I wanted to do. I liked women’s fiction, historical fiction, romance novels. When I eventually made my way up to being an agent, I was told that I was now the children’s agent at the agency. I said “Okay!” and I figured it out.

Through trial and error, I actually found I was pretty good in this space. Before long, I fell totally in love with children’s books. I just kept pushing my way into all the different genres, and I now represent everything within the children’s area. Today, it’s almost all of my list. I’m trying right now to break into more adult nonfiction, but I don’t take on romance novels at all anymore (only from existing clients).

RVC: This change to kidlit as a focus–was that still at the first agency, were you at Bradford by then?

NL: It was the first agency. The Sandra Dijkstra Literary Agency.

RVC: What was the first picture book you got to work on?

NL: It was by a client who’s still with me–Roseanne Greenfield. And to this day, I’m still trying to sell that first picture book. I’ve gone on to sell seven other books for her, but the first one we worked on together didn’t sell. It was a lyrical nonfiction texts about bioluminescence, and I still think it’s going to sell. I love it so much!

RVC: It sounds pretty cool to me, too.

NL: Roseanne helped ease me into things because she’d been previously represented by the Andrea Brown Agency–she was a talent. And she’d already published several books before we worked together. So, I actually grew a lot with her.

RVC: What are some of the lessons you learned by agenting children’s books?

NL: What I learned over the years was that you’re going to suck at it for a little bit. You have to push past that, the “I don’t know what I’m doing, and nothing is selling–why is nothing selling…WHY?” because you’re kind of figuring out your own path.

Obviously, I didn’t NOT sell anything, but I have a much stronger sell-​through rate now. Back then, I was still building connections. I learned that you have to stay flexible as an agent. Don’t be afraid to branch into something new, even though it’s going to take work. You’re going to have to do a lot of research. You’re going to have to talk to colleagues. You’re going to have a lot of trial and error and not be perfect in your style and process. That could all take years, but it’s worth it in the end. You just have to push past that learning curve.

RVC: Is it REALLY that different working at different agencies?

NL: In terms of perspectives and ideas, yes, there’s absolutely a difference at each place. And agencies absolutely are and should be thinking about different voices in the room and opening space for new agents and underrepresented voices. But it’s also an apprenticeship model, so usually the hope is that an intern or an assistant will stay and build into an agent.

As for moving around, career-​wise, I’ve grown, so I’ve had different needs. I needed a lot of support and handholding when I was new, versus now, I just need more administrative support. Moving agencies is kind of just you growing in your career. As an agent, you have to reevaluate where you’re at. Is it offering what you know you need? If you have a conversation with the team and it’s just not the right fit, you sometimes have to move.

RVC: I’ve had those same conversations with college and universities, too. I’m at my seventh one now, though I’ve been here for 13 years.

NL: I don’t know if this is still the case today, but that’s how it was back then. The idea was that you can’t be friends with other agents–they’re your competition. My next agency was the complete opposite of that. They were more, “Let’s talk about stuff, and be friends with people.” I even ended up joining a book club with other agents, including ones from other agencies. We all came to each other with what we’re facing, what was going on, and we just bounced things off of each other. I grew so quickly that way because we were all at varying levels. Collaboration is so important to growing. Everybody does things a little bit different as an agent. Every agent is going to have their own style. Even today, I do a lot of mentoring.

I’m still learning things about how different agencies operate. And I know it’s okay not to have all the answers. As long as you’ve got a support system, you’ll be fine. There’s room for all of us. We’re going to sell books, even if we have tastes that overlap. We’re making sure we’re all working in a good way which helps the industry too because editors get overwhelmed. That’s partially because some newer agents don’t have anybody to talk to. “Should I do this? Or should I do this?” they wonder. That creates problems in the pipeline for everybody.

RVC: Why is the Irene Goodman Literary Agency your forever home?

NL: The structure. The way this agency is set up, there’s no reason for me to ever leave. It’s very much like owning my own agency and running a business, yet I have the resources of an incredibly successful team with me. And compensation-​wise, it’s all about long-​term growth, which fits where I’m at. I feel like I have the best of both worlds here.

RVC: What is the hardest part about being a literary agent?

NL: The emotional roller coaster of the industry. I get rejection daily. I pour my heart and soul into projects that don’t sell. I fall in love with projects that I don’t get to work on. I get horrible news when a book is cancelled, or something bad happens and something’s in jeopardy for an author or client. There are so many things that shift daily that you have to practice self care a lot so you can manage the ups and downs.

It’s commission work, too. Not everybody works on commission, but at least for me, it means there are ups and down throughout the year. You could have a fantastic first quarter that makes your year, then maybe nothing comes in for the next couple months and you’re questioning, “Am I ever going to sell a book again?” because you’re seeing other agents doing amazing things. And you’re thinking like, “Oh, should I be doing that?” There’s a lot of comparison going on. It’s like the Facebook thing, a lot of people shouting about all their amazing things. But they don’t share the hardships, and we all experience hardships.

RVC: It’s so refreshing how honest you are on all of this. In fact, I’m going to take advantage of that and ask you a question I don’t ask people in these interviews. Brace yourself!

Whenever I talk to other writers, most of them complain about their agents at some level. What would be the thing your clients might complain about you? It’s a terrible thing to ask, I fully realize, but I’m so interested in your thoughts here.

NL: Honestly, I hope there’s nothing. I try my best. I have end-​of-​the-​year calls where I review with everybody to make sure we’re aligned vision-​wise and career-​wise, and we have clear goals for the next year. I always ask, “Is there anything else that I could be doing better for you or more for you?” I’m not afraid of hearing from my clients or having to adjust to a client’s needs.

I was a little behind in reading because I got COVID, so I didn’t work for two weeks, which set me back like two months.

RV: Sorry to hear that!

NL: It was frustrating. But I dug out!

Specific to picture book writers, because they are so prolific, it can be really frustrating for them when we have to talk about how many things we can submit at a time or how often. I’m very strategic about what we try to sell. I’m not just throwing everything out there. We’re carefully building careers.

With a debut author, I find that they want to do everything even after they sell that first book. They ask, “What else can I do? What more can I do?” It’s because the mindset hasn’t shifted yet from “I need to sell, I need to get on submission, I need to sell!” But again, we have to be strategic, and we also don’t want to damage relationships. I usually see that shift as launch approaches, and they realize, “There’s going to be so much work with editorial and launch and marketing.”

RVC: Oh yeah. That part of the process can and does take up a lot of time.

NL: I interact a lot with my clients, and they interact with each other. I have a ton of client resources on a client portal at my website where I literally just downloaded all of my years of information and workshop materials for them. I’m always available for calls and I check in a lot. Communication is pretty important to me. I need that and I need honesty from them so I can be a fierce advocate.

RVC: Let’s talk about how all that support and those client resources have translated into successes. What’s a favorite client success story?

NL: It’s a hard question. Do I have to pick just one?

RVC: We don’t have to call it your #1 favorite–just one of your many favorites. We don’t anyone to feel snubbed, right?

NL: There are different kinds of successes. When I worked with Tiffany Jackson for six years, seeing her rise from debut to bestselling author and watching her talent be recognized was just so wonderful. Though there’s immediate successes, too, where you sell an author’s debut for six figures plus, and then they continue to rise from there.

RVC: Both of those sure sound like the definition of success to me!

NL: I think there’s a a fallacy in the industry to say that success is based on one thing, because I have authors that aren’t bestsellers, but they’re consistently selling well, and they’re consistently publishing new books. To me, that’s successful. That’s a very successful career.

RVC: I agree completely. Now, some writers get writer’s block. Do you ever get agents block?

NL: Yes. With the ups and downs of working for yourself, you have to push yourself to do stuff. And there are times when I’m in a rut, you know, where I’m just not finding anything that sounds great to me. I’d like to sign someone, but nothing is really hitting it.

There are those lulls in the industry too such as right after Thanksgiving where the whole industry is wondering, “Are we on vacation yet?” That’s a challenging time because you just kind of want to be with friends and family. The rest of the industry also does, but there’s still a ton of work to do for everybody.

RVC: What do you think of the state of kidlit right now?

NL: It’s in a really exciting place. With picture books, we’re having a renaissance. Lots of picture books are selling for more than they ever did before. I’m loving the conversations that we’re all having together about how we work, what kinds of things we work on, who we’re working with in the process of the above, and really questioning everything. We need to make sure we’re not just doing things because it’s how it’s always been done. And, finally, we’re opening the door and recognizing the need for voices as diverse as the rest of the country. It can be challenging to navigate sometimes, but I’m not afraid of that challenge.

RVC: Brag time, what’s a project or two that you’re really excited about?

NL: I have a middle grade novel that releases in May called Freddie vs. the Family Curse. It’s so cute and fun. Everyone who reads it is just falls in love with the humor and the characters; it has two starred reviews already. I’m really, really excited to see that one hit the market.

I also have a debut YA coming up, called The Loophole that’s coming out in June. It’s got one of those memorable voices and while it’s fun and funny, it also just tugs at your heart and gives you all the feels. I can’t wait for people for the world to read it.

I also have a new novel from the talented Katie Henry coming soon, Gideon Green in Black and White. It’s already got some starred reviews; her writing is sharp and funny and delightful and this new one has a mystery noir edge I think readers will love. And I have to mention Juliana Brandt’s next MG page-​turner Monsters in the Mist. She tackles really tough subjects through genre metaphor, and her writing is incredible. This one explores grief and processing trauma through a haunted island (which is also just a spooky and creepy ghost story!).

RVC: Any picture book bragging?

NL: Oh, gosh, I have a lot of picture books in the works. In June, The Notebook Keeper: A Story of Kindness from the Border comes out. I read it and I wanted to cry–we sold it immediately. It’s so moving and beautiful. It’s going to affect a lot of people.

I have another picture book coming out in May that also made me want to cry. It’s called The Little House of Hope. It’s got an English and Spanish version and it’s about this house that becomes a refuge for all sorts of people coming into the country and how over the years, people come in and out as they find their footing. It’s always a place where people can safely go.

RVC: Okay, Natalie, we’re moving into the the lightning round. Fast Qs and faster As. Are you prepared?

NL: I guess?

RV: We’ll soon find out. HERE WE GO! If animals could talk, what animal would be the most annoying?

NL: Birds.

RVC: If the answer is “unicorn,” what’s the question?

NL: “What’s your soul animal?”

RVC: How do you organize your books?

NL: My client books, alphabetically. The books I read, by the order I read them in.

RVC: If I looked at your workspace, what are some of the things I’d see?

NL: A ton of books everywhere. I have a huge floor to ceiling shelving of all my client titles. And hopefully you notice all the plants in the room. I’m very big on plants. I have an enormous sign that says Carpe Diem and crystals everywhere. Hopefully it all looks organized and clean, too.

RVC: What’s a recent picture book that came out that really caught your attention?

NL: I have a four-​year-​old and a seven-​year-​old so I’m constantly buying picture books. A few recents: Perfectly Pegasus by Jessie Sima, Itty-​Bitty Kitty Corn by Shannon Hale, Take a Breath by Sujean Rim, The Year We Learned to Fly by Jacqueline Woodson.

RVC: What’s your agenting philosophy in six words or fewer?

NL: Transparency, honesty, strategy, passion, client satisfaction, and collaboration.

RVC: Thanks so much, Natalie. This was terrific!

Agent Interview: James McGowan (BookEnds Literary Agency)

On By Only Picture BooksIn Agent Interviews

The February 2022 Industry Insider Interview at OPB is with James McGowan, a literary agent at BookEnds Literary Agency. He joined the agency as an intern and worked in multiple departments. Now, as an agent, he represents an accomplished list of award-​winning writers and illustrators, focusing on “illustrated projects for young readers (board books, picture books, chapter books, and middle grade) as well as adult nonfiction and mystery/​suspense novels.”

In addition, James is a picture book author himself. His first book, Good Night, Oppy!, was published this past year. Clearly, he knows this industry inside and out!

And just because fun facts are great to know, here’s additional information about James:

  • He’s an enormous Jeopardy! fan.
  • He considers himself a professional snacker.
  • He has a deep love of science.
  • He loves a good laugh and probably provides some laughs, being fluent in sarcasm.
  • He currently lives on Staten Island, where he was born and raised.

Let’s share some links and get right to the interview!

JW: When did you discover your love for reading and writing? 

JM: In the most cliché answer: I’ve always been a reader. I can remember my mom teaching me to read using a board book (whose title I sadly cannot remember). I remember taking a book to parties and sitting in the corner, and begging to stop at bookstores. It’s something that has always been with me.

Writing came much later, after I graduated from college and listened to Big Magic by Elizabeth Gilbert on my commutes to and from the BookEnds office. I always had ideas, but that book made me think I can see them through.

JW: You began working at BookEnds Literary Agency in 2015 as a summer intern. How did you go about getting this internship?

JM: I applied to just about every internship program one could find in publishing, and BookEnds was one of the only two or three that replied to me. Finding an internship in this industry is all about persistence!

JW: What was the most helpful lesson you learned as an intern?

JM: Ask questions. I am by nature a question-​asker but it is crucial that every intern abandon any level of fear and just ask the question they have. There is no stupid question when you’re learning a field. Also, it makes you look engaged, interested, and people remember you better when they talk to you more.

JW: What was it about picture books that made you decide this is where you want to be?

JM: For me, it’s the combination of text and illustration. Picture books are a work of art and that’s because of the collaboration. Seeing your book come to life is a feeling no picture book author will ever get tired of.

JW: What’s your favorite part of being a literary agent?

JM: Much like above… the collaboration. I’m not sure of another job where you work this closely with creators in both a creative and strategic setting. I love having a roster of brilliant minds that I can learn from and create with.

JW: Since joining BookEnds, you have worked in various departments. How do these different experiences help you when representing your clients?

JM: This has made me a better agent, hands down. I would not trade my time as an assistant for anything. I can speak confidently in every aspect of running a literary agency, from the accounting department to contracts, taxes, subsidiary rights, social media, etc. I’ve always felt I can bring my clients a deep understanding of how the agency can and will serve them, and I’ve always appreciated that.

JW: As an agent who represents both writers and illustrators, how is the process different between the two?

JM: Oh, totally different! But… not? At the same time? I mean, authors do not have the guide that illustrators do in terms of story. They’re crafting and creating that from scratch, whereas the illustrator has the author’s roadmap (manuscript). But each of them are creating details and story arcs that the other is not. An illustrator can add a visual arc to a story that the writer never could have imagined. The process is obviously different in that one is text and one is art, but the creative process, I imagine, is quite similar.

JW: I have noticed more and more authors are getting into self-​publishing. As an agent, what do you think about that?

JM: This really depends on what the creator’s goal is. If you want to self-​publish, then you wouldn’t need an agent. If you wish to traditionally publish your book, an agent is the first step. Most publishers do not accept submissions by unagented creators so you’ll need an agent to submit, but we’re not just here to submit for you. A good agent will negotiate your offers, your contracts, manage schedules, advocate for you in terms of marketing, track payments and royalty statements, seek new opportunities for subsidiary rights, and more. All of that is not something most authors are able to do, and in my opinion is worth the commission.

JW: What do you look for when you get a story that features or covers issues involving the LGBTQ+, BIPOC, and other groups with historically lesser representation so that the story champions these groups?

JM: Overall, I’m looking for good storytelling. I, like any reader, wants to be swept away by something. I want to invest myself into the story the author or illustrator wants to tell. That is the same for any creator. When working with marginalized creators, I see my role as one of amplification. How can I assist in getting their story and experiences out there?

JW: Making connections with an agent for brand new writers, while extremely important, can be pretty intimidating. What advice would you give to a new writer on the scene with making these meaningful connections?

JM: Don’t overthink it. Agents are humans, and we all just want to connect with others.

JW: I have heard you appreciate a good laugh. Why do you feel humor is important in picture books?

JM: Humor, to me, is the most foolproof way of captivating someone’s attentions. When we’re dealing with kiddos, whose attention is sacred, humor is your best friend.

JW: With the vast number of ways humor can express itself, what do you look for in stories with humor?

JM: I’m open!

JW: What type of humor turns you off?

JM: I’d say I’m not typically a potty humor person, but if something is done inventively, it could totally work for me.

JW: One upcoming humorous book from an author you represent, Becky Scharnhorst, caught my attention, This Field Trip Stinks!, the follow-​up to My School Stinks! What elements of a picture book make it a good candidate for a sequel?

JM: Stuart (the main character) is one of my favorite picture book characters ever. In terms of what makes a good sequel for a humorous picture book, to me, it’s just that: a great focal character.

JW: Also, congratulations, as you recently had your own picture book published, Good Night, Oppy! Space books were my favorite as a kid. How did you come up with the idea for this book?

JM: Thank you! Mine, too. When the news broke about Oppy, I heard it on the radio during my commute to work. As soon as I got into the office, I was chatting with my agent about it and the story came to life from there.

JW: Finding a way to make science appealing to young readers is so important. What advantages do you see to using fictionalized characters and stories to present this material?

JM: This is a great question. It really depends on the science to me, but I think it’s a great way of hooking a younger reader. To me, Oppy was instantly loveable. By following her journey in the book, I hope readers were learning a bit more about uncrewed space travel.

JW: Was there anything about the process of having your book published that took you by surprise, having worked in the industry?

JM: Ha! No, not really. I knew what to expect. Well, maybe just the general anxiety of it all. I did not realize how much pressure one can feel when gearing up for a publication day.

JW: On Twitter, you encourage all clients to celebrate new deals at least twice, and your favorite part is hearing how clients celebrate the news. What’s been your favorite celebration story from a client?

JM: This is my favorite part. One of my clients has her go-​to coffee shop that she runs to get her favorite latte from. Some of my clients go out to dinner. One person finds a celebration that ties into their book’s subject (i.e. buying themselves a space-​themed gift for a space-​themed book).

JW: How did you celebrate the news your book was getting published?

JM: Super low key. I was TIRED. Ha! My family did get me a cake and sang happy birthday which I thought was funny. But otherwise, I just accepted the love on social media, and really just appreciated the moment for what it is, which is an incredible achievement.

JW: On social media, you’re pretty active as an agent. What are the benefits of being on social media regularly as an agent?

JM: Connection. Community. Especially as a younger agent, building your reputation as a kind person that others would want to work with, social media can be incredibly useful. I’ve always seen it as connecting with people and a place to share what I’m working on.

JW: Okay, James, it’s time for the SIX QUESTION SPEED ROUND with lightning-​fast questions and answers please! Are you ready?

JM: Of course not, but here we go…

JW: Name your favorite sitcom.

JM: You’re kidding me right now. I have lots! I have always loved Friends. Brooklyn 99 and New Girl were more recent favorites. The show I cannot shut up about right now is Abbott Elementary.

JW: As a professional snacker, name your go-​to snack and, as a daily-​double, any snacks you do not like.

JM: Goldfish. A snack I do not like…. Potato chips. I’ve always found them greasy! But I do liked baked potato chips.

JW: If you could write questions for Jeopardy!, provide the category you would create for your questions.

JM: Children’s books, of course. Or snacks!

JW: Five things we’d see if we checked out your office.

JM: A ton of books. Approximately .5 million paperclips. Post-​its everywhere. My iPad. Schweppes lemon lime seltzer.

JW: What’s a recent picture book that really got your attention?

JM: Nigel and the Moon by Antwan Eady and Gracey Zhang.

JW: What’s the most important trait you bring to the keyboard?

JM: Honesty!

JW: Thanks so much, James!

Joshua Walls is a children’s author and travel writer who isn’t afraid to fuse, challenge, or deconstruct genres in the pursuit of creating compelling stories. Currently, he lives in Sarasota, FL where he’s pursuing a BFA in Creative Writing at Ringling College of Art and Design. He’s also the co-​founder and co-​host of the Fluff It podcast.

Agent Interview: Saba Sulaiman (Talcott Notch Literary Services)

On By Only Picture BooksIn Agent Interviews

This month’s Industry Insider interview is with Saba Sulaiman, a literary agent at Talcott Notch Literary Services. While I could put all kinds of traditional bio things here, I’m going to instead offer part of her own terrific Twitter bio. “Eternally recovering from maternity leave. Probably hiding behind the crib, eating cake.” With an awesome Twitter bio like that, what more do you need to know?

We’ll give more anyway, because that’s what we do here at OPB.

Saba admits that when she’s not reading, she’s likely:

  • running after two small children,
  • secretly learning another language,
  • playing Scrabble,
  • watching a Bollywood movie,
  • or singing in the bathroom.

If you REALLY want to know the regular bio stuff, I’ll get to that in the interview itself. Speaking of that, let’s get right to it!

RVC: Rumor has it that your sister played a big role in your initial love for books.

SS: She did! She was (and remains) a big reader and there’s no way I would’ve gotten into reading at all if it weren’t for how much she influenced me (read: how obsessed I was with everything she did) when we were young. She’d probably argue that there’s very little that’s original about me, to be honest, but isn’t that true for everyone?

RVC: That sure can feel like the case from time to time! Now, from the start, you were culturally displaced. How did that affect your reading interests and your relationship to language?

SS: Until I came to the US for college, I spent my whole life being expected to know a language I didn’t know well enough, and was then ridiculed for not being fluent enough. My petulant (and understandable, in retrospect) reaction to it was to make sure my English (the only language I felt confident speaking) was better than anyone else’s, and I think reading a lot helped with that. And then, of course, because my life got so much easier in the US when language wasn’t a barrier anymore, I decided to complicate it further and start learning three more languages in college.

RVC: Wow.

SS: I know.

RVC: Were your graduate studies in Persian literature at the University of Chicago a path toward your future publishing career, or were you still thinking of other career options?

SS: You know what they say: everything in your past plays a role in how things turn out in the future. I wasn’t thinking about publishing at all when I began graduate school—in fact, I was fairly sure I’d purse a Ph.D. and a career in academia. But my experience there definitely informed the kinds of books I tend to gravitate towards, and how I think about, read, and evaluate writing.

RVC: The next step in your journey took you to Sourcebooks as an editorial intern. Their home base is in Naperville, Illinois, right? What kinds of things did they have you doing there?

SS: I was actually at one of their satellite offices in Milford, CT, where their romance imprint is run. It was an incredible experience, truly—they had me write back cover copy my first day there, if that’s any indication of how happy they were to throw me into the deep end. I read submissions and wrote reports on them, attended acquisitions meetings, maintained their various author and comp title databases, and assisted the editors there with anything they needed help with. It was a really comprehensive and wonderful introduction to publishing, and I had a blast.

RVC: What was the most valuable lesson you learned while at Sourcebooks?

SS: I think it’s a combination of a few things: that working with good people is a highly underrated and very necessary aspect of enjoying your work; that supporting and advocating for people looks very different depending on the person; and that there is actually very little reading involved in the work we do (at least during office hours, alas), but that it’s absolutely essential not to lose sight of how important it is to keep in touch with what’s being published so we can best help our authors thrive.

RVC: Let’s tackled a super-​basic issue. Why is agenting the right fit for you?

SS: I get to work very closely with creative professionals and help them achieve their goals without having to take on the actual work and stress of creating art, plus I’m surrounded by people who inspire me and I get to read a lot and call it market research—what’s there not to love? I’m also a bit of a Mother Hen, and agenting allows me to channel my protective instincts in a pretty satisfying way.

RVC: You say that being an author today is an entrepreneurial enterprise. What do you mean by that? 

SS: Since publishers can’t support all the authors they publish with equal amounts of fervor when it comes to marketing and publicity, authors are expected to participate as much as they can in doing outreach, finding and connecting with their audience via libraries, conferences, and social media, and making promotional material that can aid in increasing their books’ visibility and sales. It requires time, energy, and a lot of strategy development and implementation for each author to figure out what works for them, which is why it’s much more of an entrepreneurial role than it used to be, say, fifty years ago.

RVC: Do picture book authors and illustrators have to do as much of this PR work as writers for a MG, YA, or adult audience?

SS: I think the nature of the work required is different but the amount is comparable. PB writers may not have to do a lot in terms of being personally active on social media in order to connect with their audience, but they often have to focus more on the school and library market–being available for story times, both virtual and in real life at bookstores and libraries (where safety permits), presenting their books to students at schools via classroom visits, etc. All authors want their books to find more readers–the process is just different for PB writers.

RVC: I’ve heard you say that you think every author should have an agent. Care to explain that a bit more? Especially as to how it might pertain to self-​published authors?

SS: Well, first of all, I will admit that I’m clearly biased since I am an agent, but I do think having someone in your corner whose entire job is to support and advocate for you, find opportunities for you to improve your craft and publish widely, review your contracts and advise you on how you manage your career overall–especially in an industry as frustratingly esoteric as publishing–is very useful. Authors can certainly manage their careers without agents, especially if they’re fairly certain they want to self-​publish and continue to do so, but it requires doing a lot of research that is hard to access without the help of a professional who has had the experience working in this space, as well as having a tremendous amount of energy—energy that I think would be better served being channeled into writing their manuscripts.

Finding a good agent isn’t just a means to an end, it’s a long-​term investment in your career, and a wise decision, I believe.

RVC: What was the first picture book you sold? What made you want to represent it?

SS: The first PB I sold was Muslim Girls Rise by my client Saira Mir (illustrated by Aaliya Jaleel). I fell completely in love with it because it was written so beautifully and with such clarity and an earnest desire to share these exceptional women’s voices. Also as a Muslim woman myself, I found that even I hadn’t heard of a majority of these women before I read this submission, so I knew I had to do my part to help make their inspiring stories available to read for kids all over the world.

RVC: I’ve got a copy of that one–it’s a worthy book, indeed. Now, let’s throw a bone to the writers out there. What do you want to see out of submissions? What are some must-​haves and turn offs?

SS: In picture books, I’m drawn most to stories with a nuanced emotional takeaway, fun wordplay, notes of whimsy, textual economy, and memorable characters. I love smart, unexpected narratives where authors are experimenting structurally; I love funny books, both the sweet and soft kind and the wry, dry kind; I love layered storytelling with subtextual richness that can provide a launchpad for readers to start a conversation; and I love idiosyncratic narratives that take mundane processes and make them seem utterly delightful. I also represent non-​fiction, and am particularly interested in creative storytelling with a STEM component, biographies of lesser-​known trailblazers who have made a significant impact in their fields, stories with environmental themes, and creative nonfiction that almost feels like it could be shelved in the fiction section. I’m also always especially excited when I receive submissions from BIPOC creators, queer creators, disabled creators, immigrant creators, and creators who are writing stories of joy and celebration at the intersection of these identities.

RVC: Is there anything you don’t want to see?

SS: I don’t usually find stories that have a very heavy moral or “lesson” component very appealing.

RVC: Picture book trends. Should writers pay attention to them? 

SS: Writers should absolutely pay attention to trends–knowing what kinds of stories the market is responding to at any given point is important because books aren’t published in a vacuum. Writers can (and should feel free to) choose not to respond to or write to these trends, but I do think they should know what kinds of books are selling if they’re seriously pursuing publication.

RVC: How do you describe your agenting style?

SS: Forthright, honest, encouraging, collaborative, and flexible.

RVC: One final question for this part of the interview, Saba. What’s are some picture-​book projects that you’d like to brag about?

SS: Ooh yes, thank you for the opportunity! This year a picture book very dear to my heart called Laxmi’s Mooch by my client Shelly Anand (and illustrated by Nabi H. Ali) was published–it’s a really sweet, joyful story that celebrates body hair and inspires kids to be confident about who they are—it was featured on the Today Show which was really thrilling!

And then next year, I have three PBs forthcoming: The Meaning of Pride by Rosiee Thor (illustrated by Sam Kirk), Zahra’s Blessing by Shirin Shamsi (illustrated by Manal Mirza), and If You’re a Kid Like Gavin by Kyle Lukoff and Gavin Grimm (illustrated by J. Yang), all of which I’m very excited about!

RVC: Alrighty. It’s now time to double the points, double the speed, and double the overall goodness. Welcome to…THE LIGHTNING ROUND! Are you ready? 

SS: Go for it!

RVC: Biggest time waster?

SS: Someone sent me a few funny Instagram Reels and I made the mistake of going back to browse for more–don’t get sucked in, it’s a trap!!! Even more so than TikTok, I think, because of how much shorter the videos are and how easy it can be to tell yourself you’ll only watch one more…

RVC: If we overheard you singing in the shower (we get it—the acoustics are great!), you’d be belting out…

SS: It varies a lot depending on my mood but “I Want More” from The Little Mermaid is definitely a repeat offender and has been since I was a kid–both my mom and my husband can definitely attest to that.

RVC: A favorite autocorrect misadventure?

SS: I once praised a client for how fantastic and transportive their decryptions are. That was fun!

RVC: A recent picture book that really impressed you?

SS: Ooh, there are so many but I’ll name the most recent one–it’s a picture book biography coming out in January 2022 from HarperCollins called When the Schools Shut Down by Yolanda Gladden and Dr. Tamara Pizzoli, and illustrated by Keisha Morris. It’s got such beautiful, contemplative, rich, nuanced, and rousing storytelling, such gorgeous, warm illustrations, and it’s such an expansive story told with intimate, emotionally exacting detailing–I just love it. Both the author and illustrator really managed to convey a sense of Yolanda Gladden’s soul, her family, and her nurturing community, which is so difficult to do with a PB biography.

RVC: Three must-​haves in a picture book manuscript?

SS: Voice, kid-​appeal, and a sense of sincerity.

RVC: Best moment in your agenting career (so far)?

SS: Probably the day I found out one of my clients got longlisted for the National Book Award–I was actually in the middle of what’s been one of my best runs to date, so it was a great personal moment as well!

RVC: Thanks for joining us here at OPB, Saba. Best of luck with everything!

SS: Thanks for having me, Ryan!

Agent Interview: Elizabeth Bennett (Transatlantic Agency)

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This month’s Industry Insider interview is with Elizabeth Bennett, a Senior Literary Agent and Partner at Transatlantic Agency. She’s spent her entire career in the children’s publishing industry, having worked in marketing, product development, and editorial at such companies as Scholastic, Reader’s Digest, and Houghton Mifflin Harcourt. One especially cool thing she did at HMH was establish an IP program that launched several middle grade series, including The Next Best Junior Chef, Survivor Diaries, and Junior Ninja Champion.

Let’s get right to the interview to find out more about Elizabeth and her career!

Her agency’s website

Her Twitter

Her Instagram

RVC: At what point did you first fall in love with books?

EB: When I was in third grade I read the All of a Kind Family series by Sydney Taylor. I loved them so much that I wrote to the author and asked if she was planning on writing more. She wrote back (SHE WROTE BACK!!!) telling me she hoped to some day write more books in the series (spoiler, she did…) and suggested another book she had written. I’m pretty certain that hearing from the author of a beloved book series cemented my love of reading.

RVC: I had the same kind of thrill with Piers Anthony when I wrote him a handscrawled letter about his bestselling Xanth series. He wrote back to me, too! Crazy, right?

When did you go from being an avid reader to knowing books would be your career?

EB: I should have known that a career in children’s books was the right path for me (my favorite course in college was a children’s literature), but I actually stumbled upon it. I wanted to work in children’s television, but back in the 80s there weren’t as many opportunities in kids TV, and the job market was tight all around. Fresh out of graduate school, with a degree in communications, I took the first job I could find–a marketing position at Scholastic. I changed lanes throughout my career, but from that point on, I stayed on the publishing road.

RVC: What type of training did you have along the way to prepare you for success in the publishing industry?

EB: The knowledge base I have from a child study major in college and a communications degree have certainly helped, but in publishing, much of the training happens organically. You listen, you question, you take chances, you grow…

RVC: You spent a good bit of time on the editing side of things. What are some of the key lessons you learned that help you in your work as an agent?

EB: I know that some successful agents don’t have experience on the editorial side and I’m flummoxed by (and slightly in awe of) them. For me, the ability to help my clients finesse their manuscripts before they go out on submission has been key. Because of the volume of my work, I can’t do the kind of line edits that I did as an editor (nor is that my strength), but I know how to make a good manuscript better, getting it ready for submission–while leaving room for the acquiring editor to take it on and make it really sing.

RVC: Scholastic is kind of the 800-​pound gorilla in the kidlit world. What was it like working for them?

EB: So many of us in the industry cut our teeth at Scholastic. When I started there, some of the big brands it is known for were just being launched–Goosebumps, The Babysitters Club, The Magic School Bus. It was an incredibly exciting time to be in publishing and Scholastic was small enough then that we all felt like we were a part of it. To this day, I’m still close to many of the people I worked with there–it truly was a great training ground.

RVC: I’m sure OPB readers will want to know about franchise publishing—you worked on Doc McStuffins, Hello Kitty, and Clifford, among others. What’s different about working with a franchise? 

EB: I’ve worked on brands both as an editor and writer–brands from Scholastic, Disney, Nickelodeon, Marvel, and more. With a franchise, you have to keep the brand bible in mind–the world has already been created and there are boundaries that you have to keep inside of, but you still have the opportunity to tell stories. Franchise publishing is a great entry point for many readers, so I’m a big fan.

RVC: You’ve also worked with some big-​time classics at HMH (Curious George, Little Blue Truck, and The Little Prince). What was the best thing about working with those?

EB: It’s really fun to take a classic character and find a new story to tell or a new format to try. Curious George can celebrate Ramadan. Little Blue Truck can find baby animals on a farm. Toddlers can be introduced to The Little Prince in a series of board books.

RVC: You’ve been at your current agency for some time now. Why is Transatlantic Agency a good fit? What do they do especially well?

EB: We are lean and nimble. Small enough for each of the agents to have autonomy, but established enough to have the systems we need to run our businesses and support our clients. We each are independent contractors, but we come together as an agency to share thoughts, experience, and knowledge. I also love that we have agents and clients on both sides of the Canada/​US border–we can offer our clients a broader market and network.

RVC: Recently, you were made a Partner at the agency. Congrats on that! What does that mean for you? Do your day-​to-​day duties change?

EB: I’ll be honest, the appointment was more of an honor than a promotion. It doesn’t change my day-​to-​day responsibilities. But it does mean that I have more of a stake and interest in the operations of the agency. And it was lovely to be recognized for my work considering that I’m relatively new to agenting.

RVC: You’ve been involved with a lot of graphic novels, so you’re the ideal person to ask this question. More and more, I see publishers making graphic novels for kids. What’s the difference between those and picture books?

EB: Well, the easiest answer is that picture books are for young children–ages 2–5 or so–while graphic novels are for readers of all ages and, as of late, can be found across all genres. But it’s more than that. With a graphic novel, readers are drawn into the storytelling in a way that they may not be with a more traditional text. The pacing and emphasis on action can be captivating and a real bonus for more reluctant readers. Inference comes into play. Using visual cues, readers make connections they may not have to make when storytelling is done through text alone. They build comprehension and critical thinking skills.

Let’s just say, I’m a big fan!

RVC: Me, too! I love them.

Let’s talk submissions. What’s one thing you see too often in picture book manuscripts that ultimately earns a pass from you?

EB: I’m open to accepting a rhyming picture book text, but I see too much bad rhyme. Writing in rhyme is easy–doing it well is really, really hard. That’s why many agents and editors won’t even look at a text that’s written in rhyme.

RVC: You’re busy enough these days that you’re only accepting submissions from non-​clients by referral only. I don’t ask this question enough—what’s an effective way to get a referral without being pushy, aggressive, or stalkery?

EB: I will always look at a submission that comes through a client of mine or a colleague. So, the best way to get a referral is through relationships.

  • Do you have a peer in a critique group who is agented?
  • Did you meet an editor at a conference?
  • Did you go to school with someone in the business?

But, I’ll add that if an agent is closed to submissions, it’s usually because they truly aren’t looking to grow their list. Better to focus on agents who are actively acquiring–your chances are just that much better of getting an offer.

RVC: That last point is really astute. OPB readers, take heed!

Now, I often hear that it’s important for early career authors to be active on social media.

EB: Some of my clients are very active on social media – others not so much. And I always tell them that it’s up to them. Social media is a great way to grow a platform, to make connections, to self-​promote. But I don’t want anyone to think they have to be active on social media–unless of course fame and recognition is part of their pitch (i.e. a celebrity book).

RVC: Brag time. What’s a book project or two you’re working on that you’re really excited about? 

EB: Ack–so many. But I’ll mention a few.

Kayla Miller, the creator of the NYT best-​selling graphic novel Click series, has collaborated with writer Jeffrey Camino and illustrator Kristina Luu on Besties–a spin-​off series which is launching in October. It’s exciting to see this franchise grow.

Damian Alexander’s Other Boys, a touching and poignant graphic memoir about transcending trauma and embracing self, is receiving a lot of (deserving) buzz, and Debbie Dadey is authoring a picture book memoir about Kati Kariko, the woman who’s mRNA research led to the development of the COVID vaccine. It’s the kind of story we need right now.

RVC: Okay, Elizabeth. It’s time for the Speed Round! ARE YOU READY?!?

EB: Ready!

RVC: Favorite place to get a terrific slice of pizza?

EB: I love pizza, but as a New Englander, I’m going to go lobster roll here–Alive and Kickin’ Lobsters in Cambridge is my hands-​down favorite.

RVC: A surprising song that’s on your current playlist?

EB: Shameless plug for my daughter’s boyfriend, Carson McKee. Any song by his group, The Other Favorites–everyone I recommend their music to becomes a fan.

RVC: If your life were a Hollywood movie, which actress would play the role of you?

EB: How about Annette Bening–Annette Bening in An American President…

RVC: What’s the One That Got Away?

EB: I won’t mention any names but there was a YA rom-​com that I really should have taken on–great title, great concept. It’s already been acquired and has a movie deal. I really regret letting that one slip away…

RVC: A recent picture book that really got your attention? 

EB: The Day the Crayons Quit is a recent favorite – so clever!

RVC: Five words that describe your picture book philosophy.

EB: I can do it in four: Never seen this before.

RVC: Thanks so much, Elizabeth. It was great getting to know you and your work better, and congrats on making Partner at the agency!

Agent Interview: Emily Mitchell (Wernick & Pratt Agency)

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This month’s Industry Insider Interview is with Emily Mitchell, an agent at Wernick & Pratt Agency. Emily began her career at Sheldon Fogelman Agency where she says she “handled submissions, subsidiary rights, and coffee.”

Emily then spent eleven years at Charlesbridge Publishing as senior editor, contracts manager, and director of corporate strategy. Things get wonky from there (details on that below) before she eventually found her way to Wernick & Pratt Agency, where she’s been since 2013.

But that’s all just the stock bio material. Let’s gamify this getting-​to-​know Emily thing by playing 9 Biographical Truths and 1 Whopper! Ready?

Emily:

  1. is the shortest person in her family.
  2. considers herself a “terrible eater.”
  3. unironically believes Grease 2 to be a Top 3 movie.
  4. has a playlist that’s an even balance between show tunes and Kesha.
  5. thinks that in her heart of hearts, she’s a twelve-​year-​old kid.
  6. ran five overnight, 200-​mile relay races before she got old and lazy.
  7. can juggle any fruit smaller than grapefruit (she has tiny hands).
  8. regularly conflates loungewear with sleepwear, especially in the past year.
  9. has a fave gadget—a desktop coffee mug warmer.
  10. enjoys an ALL CAPS relationship with the Cubs and Red Sox.

Here are some URLs to get to know Emily and her agency even more, if you’re so inclined. But let’s delay no longer. It’s time for the interview!

RVC: Let’s deal with the career elephant in the room. Not only do you have an MBA, but you left publishing at one point to join corporate America. What the *!$#^ happened? 

EM: I had a little midlife crisis in my early/​mid thirties. I got my MBA and stuck with publishing for a while, but I was determined to branch out—if only to make some more money, and to prove to myself that the skills I’d developed in publishing really were transferable to other industries. I ended up doing marketing communications strategy for a large printing company.

I liked my coworkers, and the work was fine, with some new challenges I enjoyed. But the job and the industry didn’t inspire or motivate me the way publishing did. And then I got laid off. Wheeee!

RVC: It happens to the best of us. I’m glad you found your back to the book world.

EM: Me, too! Fortunately, my former coworkers from my first publishing job had since started their own agency, and were willing to take me on.

RVC: In some of your bios, you claim that you were supposed to be a teacher. What’s the story there?

EM: I grew up in a family and a community full of teachers. I really didn’t understand till I was like nine that there were, in fact, other jobs in the world.

I went to college expecting to become a high school English teacher, and after undergrad, went directly into a master’s program in secondary English ed. I graduated in the middle of a school year and moved to the NYC area to be with my fiancé (now husband). I figured I’d get a job for a few months, and then look for a teaching position for the following school year. Instead, I found a job at a literary agency specializing in children’s books, and that was that.

RVC: Let’s talk agenting. What does a typical day look like for you? 

EM: *snorty laughter* There is no typical day. Most days include a bunch of emailing: follow-​ups on submissions, follow-​ups on contracts, follow-​ups on permissions. Then there’s redlining contracts, working on sub lists and pitch letters, and drafting foreign rights agreements and permission letters. Sometimes I have client calls or editor calls, and I have regular Skypes with my colleagues a few times a week. If I’m lucky, there’s reading and commenting on client manuscripts, and/​or reviewing non-​client submissions.

Sometimes, there’s also handling tech issues (I am the IT department), making website updates (I am the webmaster), waiting on hold with the IRS (I am the foreign-​tax-​exemption filer), and posting client news online (I am the social media manager). Working at a small company means we all wear many hats.

RVC: Wow!

EM: Oh, and there’s also normal life stuff, like doing laundry and taking the dog out and getting a kid to the orthodontist and helping with musical rehearsals and going to the post office and watching the other kid’s softball game and putting out various fires in my volunteer life. I would be nowhere without my phone, which lets me be reachable and work-​able even when I’m not at my desk.

RVC: That’s it. I AM impressed. But I’m curious–what’s your agenting style like in terms of how you deal with current and prospective clients?

EM: I’m much more of a writer than a talker—I do most of my communications with my clients over email. That said, I’m always happy to hop on the phone with a client when they need it.

Apart from that, I try to adjust my style to whatever the client needs. I have some clients who don’t want any updates about their projects on submission: once it’s out of their hands and in mine, they don’t want to hear anything unless and until we have an offer. For other clients, I send regular submissions check-​ins, and we brainstorm ideas for other editors and imprints together. Some people have lots of questions about their contracts; some people just sign and return with little fanfare. I try to be flexible.

RVC: If you had to summarize the most important thing you’ve learned about agenting, what would it be?

EM: Don’t lie. I mean—I’m not a lying person anyway, or at least I try not to be. But I have found my strongest negotiating tool is just to be honest and clear about we want and why. I hope that’s my reputation with editors and contracts departments, and I think my clients appreciate knowing that I’m neither sugarcoating nor catastrophizing whatever news I have for them.

RVC: You recently scored a multi-​book deal for the Arithmechicks. What do you like most about that series?

EM: Honestly, the title sold itself. Chickens! Math! ARITHMECHICKS! Ann Marie Stephens uses her experience as a first-​grade teacher to make books that are so engaging, and so clearly trade (as opposed to textbooks or educational books). They’re just terrific.

RVC: How do you go about crafting a pitch for a series? What’s your strategy?

EM: Arithemechicks notwithstanding, I don’t actually do a ton of series or multi-​book deals, at least for picture books. I’ll often sell a book that has series potential, which I’ll mention in the pitch, but in my experience, publishers are hesitant to make a big bet on a full series off the bat. They’d rather buy one or two and see how those do before acquiring more.

I’ve also found recently that some publishers are open to multi-​book deals where the subsequent books are untitled or unspecified—an open contract, essentially. While this can demonstrate a commitment on the publisher’s part to support the author for a medium- to long-​term, in practice, it can end up being more of a burden than a boon. There’s not necessarily urgency on the publisher’s part to line up a manuscript for that second or third book, so the author ends up submitting story after story that the publisher can reject, which can stall momentum or cast a pall on the relationship. It’s one of those things where both parties go into it with the best of intentions, but the outcomes can be less than ideal.

RVC: A good number of OPB readers are writers who want to land an agent. What’s a question or two most don’t ask prospective agents…but they should?

EM: I think agents and authors need to have clear expectations going into a working relationship. How long could it take to sell a project? What are the likely terms for a picture book acquisition? How many books can a client reasonably work on in a year? What happens if an agent doesn’t sell a project quickly, or at all?

RVC: That’s a good list of questions, for sure. Readers? Take note!

EM: Publishing is a deeply weird industry, with lots of historical practices that don’t really make sense anymore. It’s also an extremely slow industry: books acquired today aren’t likely to be published before 2023. (My MBA classmates who work in high-​tech and finance were flummoxed when I explained that our time-​to-​market was measured in years, not weeks or months.)

RVC: I, too, am flummoxed by this. Clearly we have the technology and infrastructure to go from manuscript to finished book in a few months, or less. Why not make that the norm? Why insist on the wait?

EM: Well, part of the waiting for picture books is art: illustrators need time to create and perfect their vision for the text. Another part is production: most picture books are printed in Asia, so it takes time to get books physically to market on container ships. But it’s true: in publishing, we wait All The Time—for responses to submissions, for draft contracts to arrive, for revisions to be done, for monies to hit the bank account, etc.

People hear lots of buzz about high-​stakes auctions and rapid-​fire acquisitions and books being crashed to market, but that’s not the reality for most books or most creators. We don’t do ourselves any favors by setting our expectations based on the latest deal announcement or Twitter thread.

RVC: How important is it for picture book writers to have an agent these days?

EM: It’s more important than it used to be, as houses have consolidated even further, and more imprints are closed to submissions. It’s still not 100% necessary, but having an agent makes it easier to get your work seen by editors, and gives you protection and perspective when it comes to contracts.

RVC: Brag time. What’s a picture book project you’re really excited about? 

EM: This is the “who is your favorite kid” question, isn’t it?

RVC: Yes, indeedy!

EM: I can’t possibly pick just one. I’ll cheat and name a handful of upcoming 2022 titles:

RVC: Two last questions for this part of the interview. If I asked Marcia (Wernick) and Linda (Pratt) what they thought your agenting secret weapon was, they’d say…

EM: I think they appreciate my experience working at a publisher. I’ve got behind-​the-​scenes knowledge and an understanding of the “other side” of the negotiating table, which can be helpful in sorting through certain issues.

RVC: What’s your ACTUAL agenting secret weapon?

EM: A painful aversion to an inbox that’s more than one screen full (i.e., if I have to scroll to see all the messages, I AM BEHIND AND THAT IS BAD).

RVC: Okay, Emily. Here we go—it’s the LIGHTNING ROUND! The questions will zip. The answers will zap. Are you prepared?

EM: Zop.

RVC: Best place in Massachusetts to get a Fluffernutter?

EM: Fluffernutters are disgusting. Our go-​to apple-​picking place is Carlson Orchards in Harvard, MA. They have excellent cider donuts and hard cider.

RVC: A theme song that describes your agenting life right now?

EM: “BusyBusyBusy” by Sandra Boynton, from the brilliant Philadelphia Chickens.

RVC: You’ve got four extra Hoodsie Cups. Which four figures from the world of picture books gets invited over for an ice cream social?

EM: James Marshall, Frances the badger, Jan Thomas’s Fat Cat, and Ashley Bryan.

RVC: A recent picture book that really caught your attention?

EM: Since COVID kept our library closed to the public till just recently, I haven’t had the chance to do a lot of serendipitous browsing. That said, I’m intrigued by Home Is in Between by Mitali Perkins, illustrated by Lavanya Naidu.

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

EM: “Can we tighten this up?”

RVC: A favorite line from a recent picture book you repped?

EM: “Except when the drag coefficient causes the end of fun.” From Frank Dormer’s forthcoming. We Have a Playdate (Abrams).

RVC: Thanks so much, Emily! Oh, and for those who wanted to know what the Whopper of a Lie was in the introductory bio, it’s the juggling (though she does have tiny hands). No joke!

Agent Interview: Adria Goetz (Martin Literary Management)

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This month’s Industry Insider Interview is with Adria Goetz, a Senior Literary Manager at Martin Literary Management. In addition to earning a BA in English (with a creative writing emphasis) from the University of Washington, she graduated from The Columbia Publishing Course’s intensive coursework in all aspects of book, magazine, and digital media publishing.

Before moving into her current role, Adria worked in the Pierce County Library System’s Communications department, in addition to spending three years as an intern and assistant at Martin Literary.

These days, she lives in an old Victorian farmhouse in the Seattle area—which she dearly hopes is haunted with friendly ghosts—with her husband and two cats.

Adria represents a wide range of writing, including:

  • picture books
  • middle grade
  • young adult
  • graphic novels
  • adult fiction (especially rom-​coms, female-​driven thrillers/​suspense, and general fiction)
  • quirky gift books
  • Christian devotionals

Let’s share some links and get right to the interview!

RVC: I’ve heard rumors that you’ve got a secret weapon in terms of your agenting—the 5 in 5 Rule. Care to dish?

AG: Sure! The 5 in 5 rule is: if I can’t think of 5 specific editors I’d send a project to within reading five chapters of a manuscript, I pass. This is because I want to make sure that if I offer representation to someone, it’s because I love their work but also because I think I’m the right advocate for them. If I don’t have a good sense for which editors would be a good fit for a project, then I’m probably not the right fit for that writer and am better off cheering them on from the sidelines, rather than guiding their career.

RVC: What’s the picture book equivalent of 5 in 5?

AG: I think it’s the same general idea with picture books, in that when I’m reviewing a picture book submission, I really need to make sure that I have a strong sense for which editors are looking for that type of project. Most of the time with picture books, I can make that call at based off their pitch/​description of the project in their query letter. If the concept excites me, then I’ll take a good look at the manuscript to review the writing.

RVC: What appeals to you most about picture books?

AG: I’m a very visual person and I’ve always loved art (my house is covered in art and wallpaper with lots of different patterns and textures), so I love that picture books are a very unique and specific form of visual storytelling.

RVC: What was the story of your first picture book sale?

AG: Aw! The first picture book I ever sold was Rice from Heaven, which was written by Tina Cho and illustrated by Keum Jin Song, and sold to Little Bee Books. I represented the author, Tina Cho, who crafted a really interesting manuscript based on a real story of people in South Korea who fill giant balloons full of rice and float them over the mountainous border into North Korea, with the hope that they’ll be able to help feed the starving, impoverished people who live there. It’s a beautiful story of empathy and kindness.

RVC: That sounds absolutely lovely.

AG: We submitted it to a small list of publishers, and we received good feedback, but it felt like something was missing. It was sort of a straightforward text at the time. I shared the manuscript with my colleague Clelia Gore [OPB interjection and horn-​tooting here–we interviewed her back in 2020!] to get her perspective, and she encouraged us to rework the language to make it feel more lyrical. Once I gave that simple note to Tina, it was like she knew exactly what to do. She reworked it to make it more lyrical and poetic, and the text came to life. We shopped that new version and sold it pretty quickly to Little Bee Books.

Tina Cho was one of the first clients I ever signed, and she really, really took a chance on a brand new, very green agent. Since then, we’ve done a slew of books together: Rice from Heaven (Little Bee Books, 2018), Korean Celebrations (Tuttle, 2018), My Breakfast with Jesus (Harvest House Kids, 2020), The Ocean Calls (Kokila, 2020) which received three starred reviews, and an upcoming graphic novel-​in-​verse called The Other Side of Tomorrow, which will publish with HarperAlley in 2023. There will be many more in the future, too!

RVC: I know The Ocean Calls quite well. It even made it onto the OPB 20 Favorites of 2020 list!

AG: It’s a very special book!

RVC: What about Rice from Heaven initially grabbed you in manuscript form?

AG: I loved that it showed an example of a tangible way to show kindness in a very conflict-​filled world.

RVC: Let’s get into the agenting day-​to-​day stuff. You recently announced on Twitter that while you’ve never closed to queries before, you’re temporarily doing that. How bloated did you inbox get?

AG: That’s right, this is the first time I’ve EVER closed since I started agenting! It’s bittersweet because I love getting to review submissions every day. I’ve never felt like, “Ugh, my slush pile.” I still think it’s somewhat magical to wake up every morning and have a bunch of new stories in my inbox, waiting for me to read them. I only closed because I am taking a temporary medical leave while I recover from an upcoming surgery. (Nothing scary, for what it’s worth.) I already can’t wait to open back up, though!

RVC: I’ll definitely be sending you some warm, healing thoughts!

AG: Thanks!

RVC: In the past, you’ve given a workshop entitled “The Art of the Query Letter.” What’s the extra pizzazz you recommend people use to capture the attention of an agent or editor?

AG: I love teaching that workshop! The most important part of query letters is to make sure to include all of the basics: title, genre, reader category (meaning PB, MG, YA, etc.), word count, concise pitch, comp titles, and an author bio.

My hyper-​specific “pro tip” is to use a specific subject line in your email. When I receive a query, the first place I usually see it is on my phone when I get an email notification. So if I see the subject line “Query” or “Submission” it doesn’t catch my eye and I’ll probably quickly shuffle it to my query folder to look at later. But if I were to see the subject line “Query for MG Fantasy – THE LIBRARY OF CURIOSITIES” I’m instantly intrigued, and probably going to stop everything I’m doing to take a look. And that did happen, by the way, when Jenny Lundquist queried me with The Library of Curiosities, which we are now shopping. 🙂

RVC: When you start reading queries again, what type of picture books would you be most interested in seeing? Mermaids? Raccoons? Ghosts? Karaōke? Something else?

AG: Yes to all of those! Also, my picture book trinity tends to be the three following categories: humor, Own Voices, and magical.

RVC: I find that writers often aren’t sure how to navigate a career that spans both the Christian and general marketplace. What advice do you have for them? 

AG: I would say: learn how to tailor your projects for both markets. Some projects might be inspired by scripture, but if they don’t directly reference the Bible or the Christian faith, they could potentially appeal to the general market. It works the other way around, too. Rice from Heaven by Tina Cho and Keum Jin Song, Taste Your Words by Bonnie Clark and Todd Bright, and The Other Side of Tomorrow by Tina Cho and Deb Lee are a few examples of projects that were pitched to both markets.

RVC: Do you have other clients who offer a good blueprint for this kind of wide-​ranging career?

AG: Caryn Rivadeneira and Dave Connis both write for the general market and the Christian market, and juggle things beautifully, I think.

RVC: Speaking of advice, what’s the best piece of agenting advice you ever received?

AG: My boss Sharlene Martin has always said, “You can’t get what you don’t ask for.” And my colleague Clelia Gore has oftentimes told me, “Plead your case.” I keep both of these in mind when I’m negotiating for my clients, or advocating on their behalf. It’s amazing what you can get if you just ask for what you want, and explain why you should get it. It’s very intuitive and it’s basically Negotiating 101, but it’s stuck with me because I remember when I was a kid watching Trump on “Celebrity Apprentice” and just thinking… there’s no way I could ever be a businesswoman that negotiates because I thought you had to be a bully in order to be good at negotiating. It seemed so scary to me. Now that I’m in the real world as an adult, working with all female mentors and in a heavily female industry, I know that when it comes to negotiating, just being smart and respectful in negotiations can usually get you what you want.

RVC: I ask this a lot, but writers want me to keep asking, so here goes. What are your thoughts on illustration notes?

AG: I think a handful of illustration notes in a picture book manuscript is just fine. I encourage my clients to only use them when it’s something that is crucial to the storytelling, and can only happen within the illustrations themselves. It’s also a project-​by-​project basis. For example, comedic picture books that utilize dissonance between what the character is saying and what is happening in the art, like The Big Bed by Bunmi Laditan, might require more notes to clearly communicate what’s going on in the story.

RVC: We’re on the same page here, it seems. We reviewed The Big Bed, as well!

Now, here’s a weird curveball question—in your “My Favorite Books” board on Pinterest, you have Lisel Mueller’s Alive Together: New and Selected Poems. She’s one of my top five poets of all time because of how she (among other things) manipulates language and animates the world with wonder and sorrow in equal measure. I could go on and on about the bittersweet, shadowy depths of her writing.

What do you like about her work?

AG: Oh my goodness, that collection of poetry is just pure magic, isn’t it? I pulled out my copy this morning and have been rereading all of the dog-​eared and marked-​up pages I have. I personally love reading poetry that feels very accessible, but still has depth to it, which is exactly how I would describe her work. You can see how much empathy and imagination and whimsy she had as a person, but as someone who was a young girl in Germany as the Nazis were rising to power, and then immigrated with her family to the United States, she experienced a lot of trauma and grief at a very formative time in her life, and you can see that in her work. So, her poetry has whimsy, but it also has grit, and I think that’s a really captivating combination.

P.S. It makes me so happy to think of people visiting that Pinterest board, so thank you!

RVC: Happy to help!

Now… last question for this part of the interview. What’s a current picture book project that you’re totally stoked about?

AG: Lou by Breanna Carzoo. It’s about a fire hydrant named Lou who has grown weary of being the neighborhood dog toilet. It’s hilarious, the art is incredible, and I’m so excited for it to publish with HarperCollins in 2022.

RVC: Hah–sounds great! But now it’s time for the SPEED ROUND. Blasty fasty question and zippy skippy answers please. Are…you…ready?

AG: Let’s do it.

RVC: Dinosaurs, dragons, or dolphins?

AG: Dragons.

RVC: Best place to get a Seattle cup of coffee?

AG: Jewel Box Café. Mostly because of the atmosphere—it has a very dark academia aesthetic, you feel like you’re having a cup of coffee in the Beauty and the Beast library.

RVC: If you had to be “trapped” in a picture book for a day, what book would you choose?

AG: Hello Lighthouse by Sophie Blackall! I’d love to be a lighthouse keeper.

RVC: What’s a recent Christian picture book that really got your attention?

AG: I thought The Wonder That Is You by Glenys Nellist and Aurelie Blanz was beautiful.

RVC: What’s the One That Got Away?

AG: Oh, gosh! Just one? So many people have turned me down over the years! Well, there is one wonderful author/​illustrator in particular who comes to mind, but I won’t mention her by name. She signed with an incredible agent though, so I really don’t blame her!

RVC: Your picture book philosophy in five words or less.

AG: Every child deserves a mirror.

RVC: Thanks so much, Adria! This has been fun.