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Tina Wexler is a literary agent ICM Partners.
Tina shares tips that will help us find success.
You need a strong story idea. An idea that will sustain you through the drafting and writing process. Do you have unfinished manuscripts in a drawer? It might be because it didn't have enough to sustain you.
Your manuscript needs to be researched. Read 3 other recently published books in your same genre and age range. Look up the things you don't know. Not all of your research will make it in, but it will inform your story.
Your manuscript needs to be revised. No one gets it right the first time.
Your manuscript needs a strong voice.
Your manuscript needs a vacation. Set it aside. Work on something else. Take time away so you can come back with fresh eyes. When you return to it, revise it again.
Your manuscript needs to be loved. Finishing is not a reason to send it out on submission. You need to love it. It needs to be ready.
Great reads from the session:
Marie Lu is author of the Legends and the Young Elites trilogies.
Her books have "interesting, complex plots that never settle for easy answers," Lin said as she introduced Marie, an extraordinarily successful writer.
SCBWI was one of the first conferences Marie ever heard about as an aspiring writer. LEGENDS is set in a futuristic LA and it's about a boy who's the most wanted criminal and a girl who's the most gifted hunter of criminals.
"I'm a very happy person. My books do not reflect this," she joked.
Marie always liked writing, but didn't know you could do it for a living. She was born in Beijing, and was five years old during the Tiananmen Square massacre. Her family came to the states and settled in New Orleans. The family knew no English. Her mom wanted to go out and see what typical American families do. So they set out—and it was Mardi Gras.
"I have this memory of standing there in this crazy street where people were throwing beads at you for no reason." She didn't know what had just happened—"but I liked it."
She started writing to learn English. In kindergarten, she had to look up five English words every day and put them into sentences. "I eventually realized I liked the practice of putting words into stories."
She became a voracious reader. She loved Brian Jacques's Redwall Series, Harry Potter, and Tolkien. She had a writing desk in her room, and she made the space where the chair went into a library, which she enclosed with a curtain and illuminated with a flashlight.
She also loved to draw and would put a paper up to the screen a trace a frame of a Disney movie. "I eventually figured out how to draw on my own." Her childhood was drawing and reading and playing games. "I loved every second of it."
She wrote her first novel at 14, and she thought it was "amazing." It involved a chosen one on the quest with dwarves and elves "for a shiny thing." She submitted to 100 agents, but didn't get any bites.
She used to set her alarm clock during high school for 2 AM, and she'd write two hours a night. Her second manuscript, written when she was 16 or 17, was "a little bit less bad." It got her an agent, but many more rejections. She would draw and write in her spare time, and before her school work, but her parents worried she wouldn't be able to support herself. So she studied political science in college. She kept submitting books and kept getting rejections, and parted ways with her agent.
She applied for a Disney internship. Her parents: "Our basement is here for you. You go and do what you need to do to make yourself happy." She got the gig and worked there for two years. "It was absolutely a life-changing experience. This was the first time in my life I had been surrounded by fellow creative people."
"Once I started working in video games, I started writing again." She got a new agent, Kristin Nelson, and her fourth novel went out on submissions. She got a lot of rejections. By the time her fifth novel, LEGEND sold, she'd been rejected 500 times. "Rejection eventually becomes a piece of paper. Put it on the pile. We'll build a fort out of it."
Because rejection didn't bother her as much, she could concentrate and write LEGEND.
"Every writer succeeds at their own pace. It took me 12 years and four unpublished manuscripts... There are no guarantees in this business."
She gave us some terrific writing advice: about the importance of hard work, about learning to take criticism, and about the importance of not comparing ourselves to others.
"Be brave and listen," she told us. "None of us know everything. None of us is always right. We can always learn more." She feels she made mistakes with the relationship of a couple in LEGEND. She didn't know at the time, and she learned to see her failure there because she listened. "No one enjoys being called out," she said. But our intentions don't matter if they don't come across on the page.
"We are all in this together. The journey to publication is not always fair. It takes all of us to lift up those voices that struggle to be heard."
Follow Marie on Twitter.
Start reading THE YOUNG ELITES
Marie Lu on Tumblr
Canadian Treasure Jon Klassen, author/illustrator of award-winning picture books as well as the illustrator of many great chapter books, is here! He is quick to clarify he's not going to talk about how to find your style:
How you work on something isn't the same thing as your 'style':
"Style is mysterious and shouldn't be opened, at least not by you...
Don't think about it.
Take care of the machine that makes it, so you can get better at making your work..."
Don't Think About Yourself At All
Jon recommends treating the project as something outside yourself.
Some of his favorite artists subscribe to this particular work ethic:
Agnes Martin, who says "The worst thing you can think about when you're working is yourself."
David Bowie, when asked by a reporter how cool it was to be a rockstar with a crazy successful album, said it's not David Bowie who's successful, it's the character Ziggy Stardust! Jon says Bowie needed a character first to get into his work, which let him not have to ask what would "I" do, but what would Ziggy or the Thin White Duke do.
Artist/weaver Anni Albers has this quote Jon loves:
Another great idea from Jon:
Treat your brain the way Pixar treated computer technology, do your best work with the resources you have at that time.
When first starting out, Pixar had hundreds of ideas for stories, but computer animation made everything look stilted and plastic and non-human. Instead of fighting their technology, Pixar embraced the limitations by animating things that were naturally plastic-y and clunky:
Similarly, Sendak's dummy for WHERE THE WILD HORSES ARE had tons of horse drawings in it, but Maurice hated drawing horses! So his legendary editor Ursula Nordstrom asked him what he
would enjoy drawing and Maurice said he didn't know, but he liked drawing THINGS...
Jon describes how he went from being a grumpy animator who only wanted to draw rocks and chairs, to a picture book author/illustrator who enjoys creating characters outside of himself who can 'write' their own lines. Jon mentions he felt like his voice as a narrator is similar to that of a drunk P.D. Eastman, but when he thinks about the characters acting in a play—spouting their own lines, not his—he's able to take himself out of the equation and make something good.
You are not in control of almost any part of this process, Jon says, except for keeping out what you don't want in a project, chipping all that away. A book is like a child, you can shepherd it along, but it may wander off without you somewhere amazing, and that's a great thing.
Always a highlight of the conference, this gathering of people interested in including LGBTQ characters and themes in our work for children and teens was a warm, safe space that brought up some powerful issues and generated enormous good-will. We sat in an large oval and took the time for each person to introduce themselves and share what they were working on, and, if they had one, ask a question of our 'brain trust.'
Faculty guests included Arthur A. Levine, Bruce Coville, Neal Porter, Emma Dryden, Ellen Hopkins, and Laurent Linn.
Jessixa Bagley is by far Seattle's favorite Jessixa, and she'll be yours, too. BOATS FOR PAPA is a beautiful, lyrical book and her fellow Seattleites are thrilled that she/it have received this fantastic award.
In her acceptance speech, Jessixa thanks SCBWI, her lovely agent,
Alexandra Penfold, and her stellar editor,
Neal Porter. Jessixa got teary as she thanked her artist/author husband,
Aaron Bagley, who she says helped her find her voice.
Jessixa says, upon receiving the call from SCBWI that she'd won the Golden Kite for Picture Book Text, that her Illustrator Brain thought,
"Text!? Did my illustrations suck?"But luckily her Author Brain piped up and said,
"Hey! This is great!"
Jessixa's always felt much more comfortable calling herself an artist, "Calling myself an author... Author almost seemed like a taboo word... It seems like a dream now to be up on this stage. I went from thinking I'd never be published, to being here. Writing picture books is the hardest thing I've ever done, but also the most rewarding."
I love Jessixa's inspiring, concluding thoughts to us: She says if we haven't found our voice yet, to not be scared, it's there. It might be really quiet, but the more you write, the louder it will become.
Congratulations, Jessixa!!!
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| Neal accepting his Golden Kite Award |
Neal Shusterman is the New York Times best-selling author of the National Book Award-winning Challenger Deep; Bruiser, which was a Cooperative Children’s Book Center choice, a YALSA Popular Paperbacks for Young Adults pick, and on twelve state lists; The Schwa Was Here; and the Unwind dystology, among many other books. He lives in California with his four children. Visit:
www.storyman.comNeal's "Challenger Deep" is the winner of this year's 2016 Golden Kite Award for Fiction.
Neal tells us about where "Challenger Deep" came from. About his son's mental illness and struggle and ultimately rising above it. Not a story about his son, but inspired by thing things his son went through. He took the artwork his son had created while he was in the emotional depths, the mental depths, and built a story from that.
"Challenger Deep frightened me. ...I wanted it to be emotionally honest," and something that his son would be proud of. It took him four years to write. How he was so nervous about his editor's response, and how gratified he was by her response that it was "a masterpiece." And then he gets a great laugh when he says that praise was followed by a ten-page editorial letter!
"Challenger Deep is a call to action. To talk openly about mental illness."
The Sid Fleischman Humor Award this year goes to the wonderful Molly Burnham, who wrote TEDDY MARS: ALMOST A WORLD RECORD BREAKER.
The award, named for the beloved writer Sid Fleischman, is given to the year's best funny book. Sid was one of the founding members of the SCBWI. Lisa Yee won the award the first time it was given, and she presented the honor to Molly, a debut novelist.
"Are you freaking out? If you're not, there's something wrong with you," Lisa said to Molly. "There are 1,000 people staring at you. THAT'S 2,000 EYEBALLS."
TEDDY MARS is about boy obsessed with breaking world records. He'll try anything to reach his goal. "Funny, charming, and with its share of pigeon-poop jokes, this is a must-read for anyone who's ever felt out of place."
"When I found out I won this award, I immediately felt I wasn't funny any more," Molly said. (Everyone laughed immediately, proving the Molly is bonkers.)
She cried when she found out she won the Sid Fleischman award. "It's been a faraway dream that I would someday be worthy of this award. This dream ... started when I was a little kid. It means so much, and I am—to borrow a word from Road Dahl—ridonkuloulsly blissful."
Florida RA Linda Bernfeld!
As Lin said of Linda, "She's launched more careers... than you could count."
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| The standing ovation for Linda |
Congratulations, Linda!
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| A well-deserved honor |
On a personal note, I'm so delighted for Linda, who gets the crown after me…
Okay, while it doesn't come with a Tiara, winning SCBWI Member of the Year is a huge honor, and I'm so happy for you -- Congratulations!
It's an open call. Are you an illustrator attending #LA16SCBWI?
If you'd like to share a photo of your conference notes/sketches, you can leave a link here in comments, or tag your image on either twitter or instagram with #LA16SCBWI.
We can't wait to see - and share - what inspires you, and how you express it!
Saho Fujii shares some details about the picture book making process for illustrators. Here are some highlights:
DEADLINES:
Wild fact: She has two books coming out this fall that have been in production for five and ten years! She says these are exceptions, most books take a year or two.
At Little Brown, there are two book seasons, and each have pretty standard deadlines for art.
Spring books: Sketches are due: 4/1 and final art is due 8/1
Spring books: Sketches are due: 10/1 and final art due 2/1 of following year...
These are standard schedule dates in the LB contract an illustrator receives!
I might have to lie down.
Changes to the schedule can be made, but an illustrator must tell their editor/art director production team as soon as possible if they need more time.
TRIM/PAPER/PAGES:
Trim size is chosen, as are paper types (dependent on book age range and category) and pagination lengths.
CONSISTENCY:
Saho is looking for character and setting consistency at the sketch stage to be sure those are consistent in the final art.
COLOR:
Even at the sketch stage when there may be no color, Saho is aware of potential issues, for example, when working on Jerry Pinkney’s TORTOISE AND THE HARE, Jerry had mentioned he wanted the story set in the dessert. But the art team expressed concern the pages would be monochromatic, and that the main characters would blend into the background too much. So Jerry added colorful props and accessories to the tortoise and hare, as well as colorful, extra cast members to help vary the palette more.
Jennifer L. Holm is a New York Times best-selling author and recipient of three Newbery Honors.
Lin introduces one of her favorite authors, who excels with both novels and graphic novels (written with her brother Mathew).
When Jenni's ballerina dreams fell apart at a very young age, she decided she wanted to be writer.
Much of her writing has been inspired by her own family.
Jenni's dad was her inspiration for OUR ONLY MAY AMELIA after finding her great aunt's diary in her grandmother's attic.
But Jenni tells us, when you write a book about your dad's family, you did it wrong. You should have written one about your mom's first.
PENNY FROM HEAVEN was inspired by her mom's family.
Jenni's next book TURTLE IN PARADISE came out of writing PENNY FROM HEAVEN and was inspired by her son.
Jenni didn't want to forget her husband in all this inspiration. In BOSTON JANE, Jane falls in love with a sailor who has a scar on his cheek. This was the time she was falling in love with her husband.
Jenni circles back to her physician father, who always talked about science, as the inspiration for THE FOURTEENTH GOLDFISH.
SUNNY SIDE UP was inspired by her gramps, who is "still alive and kicking at 101."
FULL OF BEANS, Jenni's upcoming novel comes back to Key West (where TURTLE IN PARADISE is set) and it's a book her son asked her write.
Barney Saltzberg is an author/illustrator and musician, including the best-selling
Touch and Feel Kisses series.
"Creating a simple picture book isn't simple, it's complicated."
Barney mentions that if you don't know Peggy Rathmann, you should. She once told him it takes 3 minutes to read a picture book that takes 3 years to create.
Kids always ask, "Is this a hard job?" And Barney tells them that he used to have all his hair.
Picture books may be short but they are one of the most difficult to master. They are works of art.
Barney recommends Ann Whitford Paul's WRITING PICTURE BOOKS.
Two of Barney's former students share their journeys of the many years it has taken them to bring a picture book to life. For one, it's taken 6 years to create a 100 word picture book. Not simple, it's complicated.
Sara Sargent is an executive editor at HarperCollins Children's Books. She's published Deb Caletti, Jennifer Echols, Julie Cross, Aaron Karo and Martina Boone, and she acquires everything from picture books through young adult.
YA editors are wondering what's next when it comes to trends. Books that are hitting shelves today were acquired 12 to 24 months ago. It's true that you shouldn't write to trends. Today's trends will be over when your book comes out. Also, books that aren't written from the heart won't be as good.
"My list is only as good as the books you write."
Sara started at HC a year ago to develop books teens really want to read. She wanted to know what made teens tick, and what drives their purchasing habits. "What could I do to make sure the books I was publishing today reflected the teens of today?"
Publishers were publishing books for millennials and Gen Z—the one that follows millennials. Here's some marketing data:
- First generation to be majority nonwhite
- Average attention span is 8 seconds
- They use on average five devices (phone, laptop, desktop, tv, table)
- More tolerable of gender diversity than previous generations
It's good to research teens to understand what they want. There are a number of things to research: their music, their pop culture interests, their ideas about sex and identity, what they worry about, what their school lives are like (among many other things).
What makes her reject a manuscript?
One that feels like it's a book the authors are writing for the teens they were. You need to make it your business to know what would make a teen want to buy it.
Immerse yourself in teen culture. Watch a lot of YouTube. See what kids are watching. Read advertising industry articles. Subscribe to the AdWeek emails—they have lots of interesting articles on the topics. Download apps. Books are competing with other media for attention, and it's important to know your competition.
She creates separate social media accounts she uses to follow people. You can use it just for work to follow celebrities and such. See what they're talking about and how they're galvanizing their fans.
"We need to cozy up to our audience. We need to understand and know them, and—dare I say—love them."
What does cutting edge mean?
Among other things: Something that pushes the envelope as a taboo, something that experiments with form, something that makes adults uncomfortable, one that turns traditional relationships upside-down, one that portrays a broader set of experiences. "Innovative and pioneering. Those are great words."
Rethink storylines. Surprise her. "I know I'm reading something cutting edge when I can feel my brain carving a new path, rather than going on autopilot."
Something innovative builds on the pre-existing canon. "Read, read, and read some more."
You want to find a new way to express something universal.
Find her online at
sarasargent.wordpress.com and on
Twitter and
Instagram as @Sara_Sargent.
Reka Simonsen, executive editor
at Atheneum Books for Young Readers
ENCHANTED AIR by Margarita Engle - This book shows how Engle became a writer and how she reconciled both sides of her cultural background to feel whole. "The writing is just gorgeous. It's moving. It makes me feel something. But it's very accessible and it's honest." Rena found Margarita in the slush pile years ago, and loved seeing how her writing developed.
THE WICKED AND THE JUST by J.A. Coats
"The best historical fiction feels relevant now." I think Jillian is really one of the best. She tells from both sides a story about colonialism and indigenous culture, and blends light and dark. The lightness in the book gives a way out of the darkness and she creates strong, well-drawn characters who are believable and understandable, even if you don't always like them. "Her writing just blows me away. She's another one of those people who's so smart you almost can't have a conversation with her without feeling a little overwhelmed."
GLASS SLIPPER GOLD SANDAL by Paul Fleischmann and Julie Paschkis
This has two things I love in one book: It's a multicultural approach to something familiar, and takes an incredible job with a story everyone knows, but also personalizes it for each culture. It shows readers there is more than one side of each story, and more than one way to tell a story. You can look at the world in many different ways. It also created amazing illustration opportunities.
Sara Sargent, executive editor at HarperCollins Children's Books
Sara chose three books to highlight.
CRUEL BEAUTY by Rosamund Hodge - a mashup of Beauty and the Beast with classical mythology. The world is complex and Sara and Rosamund had different ideas about resolving these things. "Where we ended up was such the perfect marriage of my editorial guidance ... and staying true to what she really wanted to do with the book."
She felt like it added something new to the canon of Beauty & the Beast retellings.
THE MUSEUM OF HEARTBREAK by Meg Leder
"There are a lot of reasons people become YA editors... I really love romance." This book made Sara feel understood like no other book had. That's a key reason people read YA. "There was something about this book that I absolutely couldn't pass up."
LAST YEAR'S MISTAKE by Gina Ciocca
She had to pass on the book. She was a new editor in her first job, and she couldn't get the rest of the team behind it. Two years later, she was at a new job and asked the agent, John Cusack, to send the manuscript again. They loved it, and the book became a huge lead title on the Simon Pulse list. (The process was agony for the author.)
"If you touch us in some way or inspire us, we don't forget about it, and we are the most die-hard champions of the things you write."
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Neal with Jessixa Bagley at her book launch
(photo stolen from Jessixa's Facebook) |
Neal Porter of Neal Porter Books (an imprint of Roaring Brook Press/Macmillan) shares his three favorites:
__________________________________________
__________________________________________
__________________________________________
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| Matt with a band, not his boy band. Photo stolen from Matt's Twitter feed. |
Matt Ringler of Scholastic has these three favorite books:
A dive into what the editors really love (and acquired!)
Alvina Ling is VP and Editor-in-Chief at Little, Brown Books for Young Readers where she’s worked since 1999. She oversees Little, Brown’s core publishing program (including picture book, middle grade, and young adult), and edits children's books for all ages. She has worked with such authors and illustrators as Peter Brown, Bryan Collier, Ed Young, Grace Lin, Wendy Mass, Justina Chen, Chris Colfer, Laini Taylor, Libba Bray, Barry Lyga, Holly Black, and Matthew Quick. She is the co-founder and former chair of the CBC Diversity Committee. She is on Twitter as @planetalvina.
The books Alvina shares about are:
For Picture Books, "Thunder Boy, Jr." by Sherman Alexie, illustrated by Yuyi Morales
for middle grade, "The Year of the Dog" by Grace Lin
And for YA, "Daughter of Smoke and Bone" by Laini Taylor
Melissa Manlove is an Editor at Chronicle Books in San Francisco. She has been with Chronicle for 12 years. Her acquisitions tend to be all ages in nonfiction; ages 0-8 for fiction. When acquiring, she looks for fresh takes on familiar topics as well as the new and unusual. An effective approach and strong, graceful writing are important to her. She has 17 years of children’s bookselling experience.
Melissa's books she shares with us - and the stories behind them - are:
"Picture This" by Molly Bang
"President Squid" by Aaron Reynolds, illustrated by Sara Varon
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| Justin Chanda presents his keynote address at #LA16SCBWI |
Justin Chanda is Vice President & Publisher of the four flagship children's imprints at Simon & Schuster: S&S Books for Young Readers, McElderry Books, Atheneum, and the new Salaam Reads. He oversees the publication of two hundred and fifty titles per year ranging from the youngest picture book to the edgiest YA. Justin continues to edit, working with the likes of Jon Sciezka, Loren Long, Kenneth Oppel, Patricia MacLachlan, Peter Brown, Michael Ian Black, Karma Wilson, Dan Krall, Morgan Matson, Mike Lupica, and Debbie Ohi. He is also the publisher of Saga press, a newly minted adult Sci-Fi-/Fantasy imprint. Follow him on Twitter @jpchandaSome highlights from Justin's upbeat speech...
Justin covers statistics:
•Children's print books are up over last year
•Teen title sales (especially ebook sales) are down
•2015-2016 have been terrific years for Indie Bookstores
Justin covers trends:
"Trends are the mortal enemy of authentic writing"
#EndTheTrend
And offers some excellent advice:
"The story comes first.
Your story, authentically told, in your own way."
His keynote discusses so much more, including the role of teachers and librarians who "are on the front lines of…getting the right book to the right kid." And how blockbusters "are not the true measure of a book's worth - nor should they be."
Final quote to share, from Justin's significant focus on diversity and how it is so necessary and needed in children's literature:
"Variety is the the true business of children's books, and business remains good."
You know and love his delightful picture book,
The Day the Crayons Quit, and its sequel, but did you know that Drew spent years working in film, particularly horror films?
Maybe because he grew up in a haunted house in western Ohio?He has the pictures to prove it! (They are very good photos.) Besides domestic hauntings, Drew saw
STAR WARS when he was 7 and knew at that moment he wanted to make stories for the screen. He went to Emerson College and became a film major... But he happened to take a writing class from Jack Gantos (!) who told Drew he had a voice for kid's books. But Drew didn't listen. Yet.
Eventually he DID start writing for kids, on TV shows like
Buzz Lightyear and
Timon and Pumbaa.
But the world of Hollywood and screenwriting is pretty cutthroat and in a down moment, Drew gave writing a non-screen story a try and was looking around his office for inspiration when he saw something. He still has the box of crayons that inspired hims to write
The Day the Crayons Quit, a box that was magically on his adult man desk with his other, adult man office supplies.
It may seem like Drew's NYT Bestseller List success was overnight, but like most overnight successes, it took ten years: In 2003 he submitted the manuscript to his agent, a manuscript which did not get picked up until 2009, and which was finally published in 2013.
The librarian who asked Drew to do his first school visit is in the audience! He loved the experience so much, and the children's book industry is so unlike the butt-kicking world of screenwriting, that he's very much embraced his new found title as Children's Book Writer. Drew loves that the children's book industry takes stands, finds the meaningful in the meaningless.
Some final quotes from Drew:
"Every story has been told, that's what you hear every day in Hollywood and here, but it's your story that matters, your voice—your princess story, your pirate story..."
"When you write something and you hand it to something, it's like standing there, buck naked saying, 'HEY! You like it?'"
Thanks, Drew, we like it!
Lin Oliver kicks off the #LA16SCBWI conference by sharing with us all about the 952 attendees - 1/3 published, repping 47 states and 15 countries
She then introduces the conference faculty, who parade in to "We Are The Champions" and then share their words: one word, designed to inspire…
Here's a taste...
Neal Schusterman: Epiphany
Emma Dryden: Empathy
Justin Chanda: Inclusivity
Stacey Barney: Perseverance
Bonnie Bader: Hook
Peter Brown: Awk-ward!
Ellen Hopkins: Metamorphosis
Alvina Ling: Breathe
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| The art deco goodness surrounds the check-in desks |
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| Everyone taking their seats |
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| The Texas Regional Team with flags! |
As I write this, we're just days away from #LA16SCBWI
It's going to be amazing!
If you're not lucky enough to attend this time around, remember to follow along on social media (the hashtag is
#LA16SCBWI) and
here on this blog.
Here's to all the inspiration, craft, business, opportunity and community ahead!
Illustrate and Write On,Lee
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By: Lee Wind, M.Ed.,
on 2/14/2016
Blog:
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| SCBWI Team Blog, left to right: Lee Wind, Jaime Temairik, Jolie Stekly, Don Tate, and Martha Brockenbrough |
What a conference!
We hope you'll join us for all the inspiration, craft, business, opportunity and community of the 45th Annual SCBWI Summer Conference in Los Angeles, July 29 - August 1, 2016.
SCBWI Team Blog
Lee, Jaime, Jolie, Martha and Don
