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You’ve had them. Those dreams of days that exist solely in your mind’s eye. You imagine how you’ll feel, what you’ll say or do as soon as the thing you’ve longed for a long time flips from fantasy to reality.
Then, that magical day arrives, and in a blink, you realize your mind’s eye was playing tricks on you.
It was like that for me earlier this month when my dream agent Erin Murphy offered to represent me. I was near tears, but then a surreal calm covered me. Not at all what I expected. I always assumed I’d hang up the phone and do a squeal/jump/cry combo. (Just picture it!) But I didn’t. I sat alone in my office in stunned silence. I’ve heard from friends who’ve had a similar experience.
Why? Well, I’ve pondered on that.
My best guess is that when your brain has been standing guard over your dream-holding heart for many years, it takes a bit before it can stand down and let your heart be happy. Your mind cares so much about your safety, it goes deaf to the cries of your heart that’s saying, “This is great news! Let’s celebrate!”
Photo by Vicky Lorencen
Thankfully, it only took about 24 hours before my mind unlocked my heart and I was free to be both grateful and giddy (yes, I even skipped down the hall with happiness).
Now, I know there’s still lots of work ahead, no guarantees and more opportunities for rejection, trail and error, and failure. My mind will still be busy watching over my heart, but for now, I’m delighted to enjoy this milestone.
Let me encourage you to celebrate your milestones too–sending out a submission you’ve spent many months (maybe years) preparing, making the shift from beer to champagne rejections (that is a big deal!), selling an article to a magazine you admire, getting that beloved book contract or whatever achievement makes your heart smile and your dear, overworked mind nod in agreement.
Remember to celebrate milestones as you prepare for the road ahead. ~ Nelson Mandela
The time had come… after a pleasant drive through the backroads of RI through the snow drifts and pines…
…so began the 2015 edition of the Whispering Pines Writers Retreat at the Alton Jones campus! This was a special year, though- the 20th anniversary of it’s beginning. I have been coming since I was the illustrator mentor in 2007. Every year is full of inspiration, bonding, and renewed vigor for our writing careers. It is also full of cake. SO MUCH CAKE. And food that magically appears. It is another world, to be sure.
Lynda Mullaly Hunt and Mary Pierce have been the co-directors for many years, and have decided to step down this year. There’s no way they would go out without a bang, and it started right away! KidLit Jeopardy was a great way to kick it off andstart on that bonding I was talking about. It’s always a laugh fest. My team came in 3rd place (pretty decent)!
…and it was fascinating! “Embrace the journey” was a good theme for the whole weekend. Mary Pierce and Kristin Russo got mini trophies for being a driving force (literally) for the retreat.
NESCBWI RA Sally Riley and incoming retreat director Julie Kingsley get commemorative staplers, for holding things together. Julie will be joined by Cameron Kelly Rosenblum as co-director of next year’s Whispering Pines retreat.
Co-director Mary receives a superhero cape for going up, up, and away above the usual requirements!
Some of the mentors: agents Erin Murphy and Ammi-Joan Paquette, and editors Sylvie Frank, Kendra Levin, and Mallory Kass. Laurie Murphy and Linda Crotta Brennan were recognized as the originators of the retreat 20 years ago.
Greenhouse Literary agent John Cusick gave great tips on ignoring the nagging voice that tells you you can’t write, and how to carve out legit writing time in your life. As both a writer and an agent, he knows intimately what he’s talking about.
Lynda and Mary pulled off a pretty incredible surprise by bringing back SIX previous mentors just to be on a panel about “what I wished I knew when I was starting out”. She had asked me casually to weigh in on this subject, but I didn’t know it would become a full-out panel discussion with all these fantastic writers and illustrators. Color me humbled. It was a real high point of the event!
Agents Ammi-Joan Paquette and Erin Murphy turned the tables asked each other questions. Erin looks for things she didn’t know she liked until she read them; it’s the exceptions to the rules that grab her. Ammi-Joan is open to any genre and concedes that there is no one-size-fits-all path in a career.
First pages in the cozy lodge. The mentors really went above and beyond this year is their discussions of the first pages, giving us meaty and useful critiques.
Mallory Kass, Sylvie Frank, Kendra Levin, Lynda Mullaly Hunt, Ammi-Joan Paquette, John Cusick, and Erin Murphy. Carlyn, bringin’ the glamour and spreading it around. “Give me more zhush!”
Food. So much food. Food that we didn’t have to prepare, and dishes that magically disappeared after, only to be replaced by cake. Such is the way of Whispering Pines.
Senior Editor Kendra Levin, from Viking, is not only a great editor, but a life coach. It was excellent to hear how she blends these ingredients to bring out the best in each book. I won’t think of elevators the same way again!
Jennifer O’Keefe has the uncanny ability to paint gorgeous watercolors during the retreat!
Editor Sylvie Frank from Simon and Schuster/Paula Wiseman Books gave a great inside look at the editorial process. I loved how she makes her own dummies of manuscripts just to become one with the flow of each story. That’s dedication!
Kristin Russo stepping up and sharing her writing exercise.
Mallory Kass from Scholastic looks for books that transport the reader, and immerse them in a new world. She seeks characters that have such a unique world view that it colors the reader’s view, too. She was quite a character herself, relating publishing to the dating world in a disturbingly accurate way!
Adieu, Whispering Pines, for another year. You never fail to bring out the best in everyone.
5 Comments on NESCBWI Whispering Pines 2015, last added: 3/22/2015
What a great account of our amazing weekend, Liz. And I loved your wonderful pictures. Makes me want to head back NOW!!
Lisa said, on 3/20/2015 6:54:00 AM
Lovely summary and photos! Thanks for doing this! It was so fun to be a part of this special event.
Cheryl said, on 3/20/2015 7:59:00 AM
You write the best posts, Liz. I felt like I was there again. Thanks for the pix, and the great reminders of some of the details that made the weekend so special. It WAS great to hang out with you!
Linda Brennan said, on 3/20/2015 4:45:00 PM
Enjoyed reliving the weekend through your post…great pictures!
I asked the kidlit agents participating in PiBoIdMo as your “grand prizes” to tell us why they love picture books. Their answers are sure to inspire!
Heather Alexander, Pippin Properties Picture books are easy to love because they are tiny little windows that offer beautiful glimpses out into the whole, wide, wonderful world, and into hearts like and unlike our own.
Stephen Fraser, Jennifer De Chiara Literary Agency I do love picture books! There is nothing more satisfying that to find a picture book manuscript which has been carefully crafted to share a story with the youngest readers. The Impressionist painter Pierre Auguste Renoir said that painting is “making love visible” and I can’t help thinking that is why some picture books are so endearing and everlasting. They make the love we feel for our children, our grandchildren, and the children within us very visible. It is a true craft which needs to be learned and practiced. And I honor those who learn this craft and honor children.
Kirsten Hall, Catbird Agency Picture books pretty much have me wrapped around their finger. I’m obsessed by the story-telling opportunities offered by this highly-visual genre! Picture books (as a format) seem simple at first blush, but they are often in fact quite layered and even poetic, displaying an elegant interplay between text and art. Best of all, picture books are accessible to everyone. You don’t have to be able to read in order to love them. They can be savored for what they offer visually, and when read aloud, until a reader has command over the written word. Simply, what format is better than the first one that takes children by the hand and turns them into book-lovers?
Susan Hawk, The Bent Agency The best part of picture books, for me, is way words and illustration marry together to create a sum greater than its parts. I love the way art builds meaning in the story, and how the simplest of texts can be full of emotion and heart. I remember so well the picture books that I poured over as a child — mystified and delighted to be invited into the world of reading and books. For me, it’s an honor to represent picture books!
I love picture books because they celebrate a time in our life we all look back on so fondly. I love being a part of helping to create them because we’re creating books for kids who will look back on them for the rest of their lives.
Erin Murphy, Erin Murphy Literary Agency I became a reader because of picture books, and I became an agent because of picture books. They are one of the richest and most influential forms of literature. So much feeling, so many laughs, in so few pages, meant to be read over and over again!
Ammi-Joan Paquette, Erin Murphy Literary Agency I love picture books because they speak to the quintessential child in each of us. They reach across the gaps of age and culture and language and bring us under their spell. A perfectly-crafted picture book is a full-senses experience that can last a lifetime.
Rachel Orr, Prospect Agency I love the breadth of story and emotion—from clever and comical, to poetic and pondering—that can be found within the framework of a 32-page picture book. I love the right prose, the visual subplots, the rhythm and rhyme and repetition (and repetition, and repetition). But, most of all, I love them because they’re short.
I love working with picture books because they remind me that the earliest literature we read in life can be some of the most memorable (and the most fun!).
Joanna Volpe, New Leaf Literary & Media, Inc. I love picture books because they’re fun to read aloud, and they’re meant to be read with someone else.They can’t not be shared! Even now, I don’t have kids, but when I read a good picturebook, my husband gets to be the audience. He’s very understanding. :-)
10 Comments on PiBoIdMo Day 24: Agents Love Picture Books, last added: 11/24/2014
I love that Joanna Volpe reads picture books to her husband! I’ve picked out a few picture books that I just had to read to my hubby – but it works best if I tell him he just has to read it to the kids. Why should kids have all the fun?
Jenny Seiger said, on 11/24/2014 5:00:00 AM
It is so nice to hear agents express not only their love of picture books, but also acknowledge the importance and depth of them. Thank you!
kristin gray said, on 11/24/2014 5:01:00 AM
Great responses, all. I love Joan’s comment about PBs reaching across age and culture and this quote by Kathleen R: the earliest literature we read in life can be some of the most memorable.
Beth Gallagher said, on 11/24/2014 5:02:00 AM
Lovely post! It’s nice to know that agents love picture books for the same reasons we love to write them. :)
Kim Pfennigwerth said, on 11/24/2014 5:05:00 AM
Great perspectives and I love their enthusiasm for our genre!
Jewel Sample said, on 11/24/2014 5:07:00 AM
Indeed Picture Books are a fun interactive tool for sharing with others; just like peanut butter and jelly sandwiches or chocolate chip cookies dipped in milk take us to old familiar places. We love short pleasurable experiences that give memories for days and sometimes years. We also like experiences with surprises, that moment when we stop and think huh? Or Wow that’s a place I have never been before….just like eating Hershey Kisses and marshmallow frosted hot chocolate stirred with a candy cane…thanks so much for sharing.
Nina Johnson said, on 11/24/2014 5:08:00 AM
I love this admission of love, inspiration & commitment to picture books from those who know. Long live picture books.
lmconnors said, on 11/24/2014 5:13:00 AM
Lisa Connors
This post really gives a feeling of a picture book community out there. People I may never meet, but we all share a love.
momslifeponderings said, on 11/24/2014 5:15:00 AM
Ha! Joanna, I know what you mean. I recently read “It’s a Book” by Lane Smith to my 20-yr-old. We laughed a lot. It’s fun to enjoy PBs together on a whole new level.
Great post, all!
Dana Edwards
billiesgirl said, on 11/24/2014 5:16:00 AM
Beautiful insights into the magic of picture books….I love sitting with my three year old grandson, listening to him “read” his books to me. Thank you for sharing your love and encouragement! I am off to read some books…
Sarah Davies is the founding agent at The Greenhouse Literary Agency, which has bases in the USA and the UK. She worked as a publisher for many years before founding Greenhouse. Meg Cabot, Karen Cushman, and Judy Blume are among the authors she published. Her agency clients include Lindsey Leavitt, Kat Yeh, and Sarwat Chadda.
The agency represents the range from picture books through YA, and Sarah has a special focus on MG and YA. Her agency philosophy is summed up in the name: It's a place where writers grow.
Erin Murphy
Erin Murphy is the founder of the Erin Murphy Literary Agency, which is based in Arizona but also has offices in Seattle. After working at Northland Publishing/Rising Moon Books for Young Readers, Erin founded her agency in 1999. The bestseller Robin LaFevers is among her clients.
The agency covers everything from PBs through YA, and tends to prefer lasting classics over trendier works. EMLA is legendary in the business for the close relationships clients enjoy, with an annual retreat that generates potentially dangerous levels of fun.
What do you look for?
Erin Murphy: I look for authenticity, both in the author and the work. She likes characters that feel true. "You can't feel the hand of the author pushing them around on the page." Sarah Davies: She's hooked by ambitious writers. "And I'm not talking her about money and deals, much as we love them." She wants writers to crave mastering the craft, who have a big idea even if it might not pay off. She likes experimentation with structure. She's also an editorial agent who works with writers to get their work ready.
"I just love people who work hard," she said.
What would you like to see or not see in a cover letter? Erin Murphy: She wants to see where you are in your career. She wants to get the sense that you've been at this for awhile, and how you're evolving.
Sarah Davies: The sole purpose of the query letter is to point the way to the writing. Keep it below a page, and keep your pitch below three paragraphs. Two is better. Make it intriguing, and make the reader want to go on and read the story. "But it's all about the writing that follows." How do you see your role when you take on a client?
Erin Murphy: Revision is as important a skill as writing. She often asks people to revise before she'll take them on as a client. If she doesn't know they can revise, she can't talk them up to editors. Sarah Davies: She does a lot of work with her clients on their manuscripts. "If the bar can be raised, then I will do whatever I can do help that author get there."
Is it better to work with one publisher?
Erin Murphy: If you're doing a book every few years, it makes sense to stick with one house and build that relationship. If you're a picture book author, you might publish with more houses, especially if you are prolific (which many picture book authors are).
Sarah Davies: Publishing contracts sometimes have limitations that determine this. Publishers want to make sure authors aren't overexposed, and they want to make sure authors aren't selling similar books to different houses. She likes knowing what clients are working on to make sure they're not hamstrung by contracts. What doesn't hook you? What makes you cringe?
Erin Murphy: If you're in prison, don't submit to her. Also, if a project is presented with outsize ambitions and celebrity dreams, that's a flag. "Your ambition should be about you growing as a writer or an illustrator."
Sarah Davies: She doesn't like cut and paste queries. She also sees the same beginnings again and again. Particularly prologues—prologues with car crashes. Then Chapter 1 is different in tone, and it starts with the character getting out of bed. In any given day, a third of her submissions start that way. She likes to be surprised. She likes fresh language and different ways to get into stories.
What's the children's publishing landscape look like today?
Erin Murphy: Children's books are a bit insulated from some of the changes in publishing, because it's still about getting books into kids' hands. Everyone in the business cares most about story.
Sarah Davies: Her agency is having great year. The last two or three years, she's been a lot about YA. This year, she's done really well with middle grade. The international marketplace is improving slightly as some countries come out of recession.
0 Comments on What Hooks Me: Sarah Davies & Erin Murphy as of 8/2/2014 2:50:00 PM
Erin Murphy is the founder of Erin Murphy Literary Agency. She's a cracker-jack agent, whose award-winning and best-selling author clients include Joanne Rocklin, Cynthia Levinson, Chris Barton, Liz Garton Scanlon, Deborah Underwood and Robin LaFevers. …And how did Robin LaFevers become one of Erin's clients in the first place? Well, back in 2001, Erin critiqued Robin's manuscript at this very conference!
Erin Murphy in her session
She's represented, over the past 15 years, 272 books that have been published. She's had so many debut authors, some of them started blogging at EMU's Debuts.
The whole process, from making the deal to being published and having the book out in the world, with all the steps in-between, can take anywhere from a whirlwind year to three years, or in the case of some picture books, maybe as long as six years!
Highlights of Erin's wisdom:
"For every success in publishing, there is a waiting period that feels like a failure."
She shares that it's very easy for us (after all, we make up stories for a living) to make up reasons for the silence - bad reasons - but really it's usually that everyone in publishing is just so overworked.
She suggests to not focus on what you can't control (things like reviews and how many copies a bookstore orders of your book, or your Amazon ranking) and instead focus on what you CAN control:
Like how much you know about how the publishing industry works. (Communicate and get your questions answered.)
Find your community (Like EMU's Debuts and The Class of 2K14 - for learning, marketing and support!)
You control your own marking plan. Your first book, think locally - not just geographically, but the communities you're part of and comfortable in already. (Consider introducing yourself to the local children's librarians in your area…)
And the most important thing you control… write the NEXT book!
It's a remarkable session, with lots more suggestions and advice. Like how success comes in lots of different forms, what to say when friends ask if they can get a free copy of your book, and how to respond when people tell you that they didn't see your book at the bookstore.
She also shares resources from blogs and around the web, and answers attendees' questions. It's great information!
Final thought...
You only publish your first book once, so when it happens, enjoy the hell out of it. But remember the big picture - no one's goal is to only publish one book.
0 Comments on Erin Murphy: Navigating Your Publishing Debut as of 1/1/1900
If you’re an un-agented writer, you might be thinking—do I even NEED a blog? What content should it contain? How often should I post? What SHOULDN’T I blog about?
Well, relax. I asked a few agents what they thought of writerly blogs. Their responses may surprise you.
“I don’t have any strict rules or do’s and don’ts. I find blogs are perhaps less useful than they used to be, with the exception of those with large followings. Mostly I go to them, when considering signing someone new, to get a sense of their personality and how they present themselves (whether to fellow kidlit folks, gatekeepers or kids).”
“A writer’s blog wouldn’t be a deal-breaker for me unless it was wildly unprofessional. First and foremost, when I’m looking at a potential client, it’s all about the writing. But beyond that, a blog or website gives a sense of who that person is, how our tastes and interests might mesh, etc. So make sure your web presence reflects who you are, and that it looks clean and tight and polished. I don’t think they’re essential, but it is nice to put a face and background to the voice I’m reading on the screen.”
“I don’t care if an author has a blog or not. But if they DO have a blog, I hope it is lively, interesting, informative, fun to read, and gives a sense of their “voice” and a glimpse into their lives.
Turnoffs: Lots of word-count posts. Constant self-promotion. Complaining about blogging, complaining about the publishing industry, complaining about specific people (your agent or editor, for example)—or “Humblebragging.” Overly political or “sexy” posts (unless you are a political or sexy writer).
If an author HATES blogging and is struggling to find the time or energy…if it is taking away from their work or making them miserable…then they should absolutely not do it. An unused blog, or a blog that is just complaints or self-PR, is so much worse than no blog at all.”
“Blogs are absolutely important in my decision making. When submissions come in, I tend to visit blogs first because they give me a taste of the writer’s (and illustrator’s) personality, voice and interests. It also lets me see how dedicated they are to the craft of writing or illustrating. Do they post frequently? Do they talk about topics of interest in the children’s book world? Are they honing his/her skills? What books is he/she reading? Would I like to join him/her for
10 Comments on What Do Kidlit Literary Agents Think About Blogs?, last added: 8/9/2012
Tara, this is an interesting and timely post. I got the same message from SCBWI-LA this past weekend. According to Jen Rofé, it’s nice if you have a platform so your books will sell, however a platform does not automatically mean a blog, FB and twitter. A platform means credibility. Your platform could be your teacher’s credentials, your art history expertise (if you write about that), your obsession with natural disasters (if you write about that) etc. For most of us, our blogs don’t attract a big following, and most of our followers are fellow writers. That doesn’t really make a platform or generate a lot of book sales. Plus spending a lot of time blogging, FBing and tweeting can take you away from your own creative work. The takeaway was, “If you use social media, use professionally.” However, it’s totally not necessary.
Laura Sassi said, on 8/9/2012 11:16:00 AM
Excellent post. I wonder if editors would have a similar spectrum of responses.
Tara Lazar said, on 8/9/2012 11:19:00 AM
Thanks for adding this, Kirsten. It is precisely what I told my picture book writing students last night. Most author blogs attract other writers and not necessarily parents and the people who buy books. But those reader-writers are a good source of support and may help promote your books, too. Blogs aren’t necessary, especially if you don’t ENJOY writing them. I happen to really love blogging, and I hope that shows through in my posts.
Tara Lazar said, on 8/9/2012 11:20:00 AM
Aha! Yet another blog post for the future…
Laura Sassi said, on 8/9/2012 11:21:00 AM
Good thinking! I’ll look forward to that.
maryz said, on 8/9/2012 11:55:00 AM
so helpful Tara! Reminds me to update my website. Thanks to you and the agents!
Jarm Del Boccio said, on 8/9/2012 11:57:00 AM
This does surprise me, Tara…it’s good to hear from the agents themselves. Maybe I can relax a bit??
And yes, I wonder what editors would say….
Alexa said, on 8/9/2012 12:01:00 PM
This very topic has been heavily on my mind lately. I know authors need web presence, but blogging just hasn’t clicked for me yet. I need to devote the time I have now to writing stories and keeping my household together. So, for now, I read only a few *select* blogs to help gather the seeds for what will someday be my own. Now, don’t you feel special?
Kirsten Larson said, on 8/9/2012 12:06:00 PM
Tara, your love of blogging does show! I let myself take a blog-cation this summer, and it was very freeing. Now with the understanding that I don’t HAVE to blog, I hope to write fewer, but hopefully better posts.
Erin Murphy (l.) and Liz Garton Scanlon at the 2010 Newbery-Caldecott Award Banquet, where Marla Frazee, illustrator of Liz's All the World (Beach Lane/S&S), was awarded a Caldecott Honor.
So, you’ve got 30 picture book ideas. Now what do you do?
FILE. Keep them. All of them. Do you have an idea file of some kind? You should. It’s obvious that you might turn to the idea file when you’re casting about for something new to write, but it also can do wonders for unlocking writers block. You never know when some seemingly unrelated idea will be just the thing to add the missing layer to another piece. Sometimes it’s less direct than that; just reading through ideas is a way of getting you out of a stuck place, much like taking a walk or strolling through a gallery can knock you out of a creative rut.
CHOOSE. Sort through them to find the most promising ideas to spend more time with. Laura Purdie Salas had some great suggestions about how to evaluate your ideas last week.
WORK. Budget time to work on each of those most promising ideas. Not just once, but two or three times per idea before you decide if they’re worth pursuing further. Even if you schedule 20 minutes of writing time a day, you can spend 10 on a new idea, and 10 on an idea you’ve already worked on some, and by the new year, you’ll most likely have a couple of solid ideas that are coming together into a real picture book manuscript.
GIVE SPACE.
Some ideas seem to have promise, but they resist any time and attention you give them. This is a sign that they need to sit in your subconscious for awhile. They will most likely kick and scream when they’re ready.
OBSERVE. After a concentrated creative period like PiBoIdMo, you’ve got a great opportunity to take stock of where and when you do your most creative thinking. Did you get your best ideas in the car while waiting for your kid to come out of your piano lesson? Well then, perhaps a copy of your promising idea list needs to stay in the car so you can keep using that time for best results.
SORT AND EVALUATE. I’m not talking about evaluating the idea; you’ve already done that. I’m talking about general trends. Try putting all 30 ideas into categories (character-driven, concept-driven, voice-driven, plot-driven; lyrical, funny, quiet; spontaneous-feeling or intellectual…). Are you heavily weighted towards one type of story? Is that your strength? (Or, conversely, are you limiting yourself unnecessarily?) What research can you do about that type of story to help you grow in your picture book writing craft?
REVISIT.
Don’t forget to go back to that full list of ideas now and then. Who knows what discarded idea ends up turning out to have legs! Kathy Duval’s I Think I See a UFO, forthcoming from Disney-Hyperion, to be illustrated by the wonderful Adam McCauley, was a nearly discarded idea that found a home at the first publisher we sent it to!
Erin Murphy was born and raised in Arizona, and founded EMLA
10 Comments on Post-PiBoIdMo Day 8: Agent Erin Murphy on What to Do with All Those Ideas!, last added: 12/8/2011
This is excellent, Erin. Thank you! I will add your suggestions of 1) working on an idea more than once before heading to the draft or re-file stage, and 2) categorizing the ideas to the daily “look at one idea and flesh it out a bit” process I’ve been going through this month.
Jennifer Rumberger said, on 12/8/2011 7:30:00 AM
Thank you, Erin, for sharing your thoughts. Keeping things organized helps me work and your ideas definitely help contribute to that!
Sue Heavenrich said, on 12/8/2011 7:33:00 AM
Sounds like a plan – esp. the idea file.
Lynn said, on 12/8/2011 7:35:00 AM
Thank you for the continued nudging to get those ideas worked over until something becomes SOMETHING. I appreciate the experience shared here.
Diane Kress Hower said, on 12/8/2011 7:48:00 AM
Thank you Erin.
I like having a process as my writing and illustrating life gets more and more complex.
Jennifer DuBose said, on 12/8/2011 7:48:00 AM
Wonderful post! I’m delighted to learn about you and appreciate your advice. I particularly appreciate the suggestion to take second and third looks at ideas before re-filing them. Kind of reminds me that sometimes it takes a few — or more — exposures to a new vegetable for a child to decide it’s palatable. LOL!
Jim Hill said, on 12/8/2011 8:02:00 AM
“Sort & Evaluate” – this might be my favorite. I re-read my ideas yesterday and felt there was a common theme to a few. Am I limiting myself? I’ll take a few and twist them into places that I’m not comfortable with as a writer. Flex my creative muscles. You never know what might happen.
Thanks!
Jarm Del Boccio said, on 12/8/2011 8:16:00 AM
Thanks, Erin! Your post completes the picture….we have come full circle. I love your idea of categorizing our ideas, to see where our preferences lie. Mine would fall into the non-fiction category, but, as I mentioned in my PiBoIdMo blog post, this challenge has propelled me into the fiction world. I like it! I appreciate your helpful suggestions on the last day of PiBoIdMo. It will be missed, but, 12×12 in 2012 is just around the corner, thanks to Julie Hedlund!
Diana Delosh said, on 12/8/2011 8:38:00 AM
LOve your suggestion of the ideal file and of course how to sort and organize them.
Dana Carey said, on 12/8/2011 8:42:00 AM
Great advice– going back more than once and do more than give the ideas a thumbs up or down. A nice checklist of things to do with the month’s output to get the most out of it. Thanks so much, Erin.
This was an absolutely amazing intensive.The three instructors worked so well together, it felt like they’ve been putting this intensive on for years.I’ll share some of the highlights with you and wish I could blog about it in more detail…but I can’t give away everything.If you ever have a chance to take a workshop or intensive with any of them in the future, sign up ASAP!
Erin asked what our fantasy writing life would be like, and said that obstacles are usually assumptions and not reality.
What strengths/talents and weaknesses do you have?Write them down…because we’re often too busy putting obstacles in our way to notice the good things.
Some people are over-disciplined (they might outline or have to write at the same time each day, and others are under-disciplined.
It’s great to have a support community.She mentioned Verla Kay’s Blueboards as a wonderful one (I agree 100%--I’ve learned so much, made tons of writing friends, and even found my online critique groups through the Blueboards).
Erin mentioned a method called the Pomodoro Technique, which helps her stay on task.You write down your goals the night before, then set a timer for twenty-five minutes and don’t let anything distract you from your goal.If you need to look something up or come up with a brilliant idea for a different project, quickly jot down the info so you can work on it at another time.
Joyce talked about the importance of a great critique group. She says to try to have at least one person who is better than you.&n
[I am very excited to share with you the wisdom and perspective of my agent, Erin Murphy in today's guest post!]
Success is Like a Snowflake, Too
It’s not just writing careers that are like snowflakes—it’s equally true that the success that each writer experiences is unique.
This is something my clients and I talk about a lot as we look at the big picture of their careers. Some big quantifiable measures of success out there in the publishing world for all to see: Bestseller lists; deals that Publishers Marketplace calls “very nice,” “good,” “significant,” or “major”; star treatment at conventions like ALA; special placement in chain bookstores; starred reviews and awards; Amazon rankings.
And those measures are even more visible today than they were just five years ago, thanks to the many authors and industry professionals who talk about their experiences on Twitter, Facebook, and blogs. Sometimes I think it must feel impossible to believe anything else is important when you’re a writer.
These seemingly quantifiable measures are simply not as concrete as you might expect. There are many articles out there about the myth of the bestseller list and the Amazon ranking, and about the negatives of large advances. And the major chains (perhaps soon to be the singular “chain,” although I certainly hope not) carry such a small percentage of new books on the bricks and mortar shelves that I believe our entire industry needs to stop using a buy-in from the chains as any kind of requirement for satisfaction.
However, these things are not the only measures of success in publishing. It might appear that way, but it’s just not true.
In Robin’s case, it was tremendously helpful for us to realize that she had reached a benchmark point in her career: her publisher values her steady contribution to their catalogs and sees her as a lifetime author, someone whose work is valuable on their backlist and continues to grow in value as she continues to publish and grow creatively. While her sales figures aren’t bestseller-level, they are steady, and most importantly, her publisher is happy with them.
There are many authors out there that don’t know or understand that their publishers are happy with their sales, or aren’t sure their publisher will want the next thing they write. So having achieved this is huge, but it isn’t quantifiable. And it certainly isn’t as sexy as a significant deal or NYT Bestseller designation.
The danger of the most obvious benchmarks is that it’s too easy to fall into the comparison game, stacking up your own career against someone else’s. You can’t compare apples to oranges, and you can’t compare one snowflake to another and declare one prettier or better.
The author whose books have never been carried by the chains is jealous of the one who has a presence there. The author who has never had a starred review is envious of others who have. The authors who are unhappy with their advances are jealous of having never cracked the elusiv
30 Comments on Literary Agent Erin Murphy: Success Is Like A Snowflake, Too, last added: 2/10/2011
Wonderful, wonderful, wonderful post - I believe I'll have it tattooed in reverse on my forehead so I can read it in the mirror every morning. Seriously, these are words to live by. Thanks Erin, and thanks Robin!
So true that all of our successes are different - for each book and for each person.
One of my recent successes has been a large number of fans who are using portions of my first novel in verse in live poetry performance competitions in Illinois and Texas. It's so exciting! Not many other authors would know about it, but for me, what an honor and thrill.
Thank you for reminding us that all successes should be celebrated. As much as I'm looking forward to seeing my books on shelves, I'm looking forward more to the connection I'll make with readers.
I've been talking about some of this very thing on my blog lately, because it's been on my mind a lot. It can be hard with all of the internet "noise" to feel successful some days. But really, there is success in simply being creative. In having the opportunity to do what we do! And with so many of the other things you mentioned as well.
"Appreciate your successes; don’t downplay them." This is what I'm trying to do more of. Instead of wishing for things I don't have, appreciating what I DO have.
Wonderful post! Thank you! I don't have a book published yet, but last week I had the opportunity to speak to my daughter's class about writing as a career. Now half the kids want to become writers! Sharing my love for the craft is my snowflake of success today!
I am not proud that I read that list of healthy ways to measure success and was checking off the ones I've not yet achieved. Probably not what you had in mind.
So I'm going back to read the whole post again, and I'm pretty sure this time it will sink through my very thick skull.
Thank you for the healthy reminder to focus on the right things.
I only started calling myself a writer a few years ago, though I have been one a whole lot longer. It just took me a long while to realize it.
The "success" trap almost brought me to the point of never writing again because I don't have my own books or anything so substantial. But this past year, my productivity has increased, I am getting positive feedback, even published but what steals the show is when someone writes me and tells me they enjoyed what I wrote; it makes me feel like a giddy child.
Thanks, Erin and Robin! What a great post and an eloquent reminder to focus on what really matters. If we can do that, the rest will follow, no? And even if it doesn't, we'll all be a lot happier in the meantime. ;)
It's so funny that with each milestone come new goals and insecurities. If we don't stop and smell the roses, we can feel like we're never getting anywhere--forgetting how far we've already come.
Thank you so much for this post--the timing couldn't be better, with my first book just out (and me being the type of person who will, despite my best efforts, constantly wish I was accomplishing more!).
The point on your list that I am truly grateful for, though, is the relationship I've had so far with my editor and publisher. It's been amazing. Thank you for reminding me how important that is!
E, this post is so wonderfully you--positive, supportive, and realistic all at once.
Gabrielle Charbonnet said, on 2/8/2011 5:05:00 AM
Thanks, Erin and Robin. What a useful and affirming post. Some days I feel successful if I manage to wear matching socks, and some days it seems like nothing I do will ever be enough. This is a necessary reminder to enjoy whatever comes my way.
I love, love, love that I have an agent who feels this way, who doesn't just care about the huge and the super-lucrative, but one who cherishes each snowflake, who numbers the sparrows. Thank you so much, Erin. I'm going to save this post. These are words to live by.
What a fabulous post! There's always something more to strive for, but it's so important to appreciate what we have, and what we have accomplished. Thank you for this awesome reminder.
Wow, Erin, this is EXACTLY what I needed to read. Thank you for such wise words, and thank you Robin for posting it. This goes into my forever keep file.
What I think I loved best is the message that with every success comes a challenge, and in every challenge we can find the signs of success.
I'm so glad you all got so much out of Erin's brilliant words of advice. This wisdom of hers is just one of the reasons she is an awesome person to have on one's team. :-)
I know I said I would post every Tuesday to let you all know about upcoming author/illustrator events for the week, but this week it looks like there weren’t any in the Houston area. I didn’t have any other news at the time, but I do now.
Varsha is the author of How Many Kisses Do You Want Tonight? and T is for Taj Mahal: An India Alphabet Book (Sleeping Bear Press, Spring 2011). She is currently working on more picture books as well as Middle Grade and Young Adult novels.
Congratulations, Varsha!
Earlier this year, another of our critique partners, MARTY GRAHAM, signed with Jennifer Mattson of the Andrea Brown Agency, and a third member of our group, the esteemed KATHY DUVAL, is represented by Erin Murphy. I am so fortunate to be in a critique group with these wonderful writers, as well as our other two members, novelist Russell Sanders and picture book writer Linda Jackson.
I think 2011 is going to be a good year for our group!
I'm going to do triple duty this week. I'm going to CELEBRATE!, give some revision tips for the SUMMER REVISION SMACKDOWN with Holly Cupala and Jolie Stekly, and add something about First Drafts (Vijaya Bodach, I hope you are humming along.)
First up, a big shout out for my author friend Conrad Wessehoeft. Congrats to him and yay! for his fab agent Erin Murphy. Conrad and I have been in the same critique group for 11 years (yes), and this is a book you will will want to watch for. Persistence is everything, folks. Really.
Here's the announcement: World rights to Conrad Wesselhoeft's YA debut ADIOS, NIRVANA, about a teenaged poet-musician who survives the first anniversary of his twin brother's death with the help of a dying blind man, the best group of thicks a guy could have, a demanding school principal who wants him to play the "pussiest song in the world" at graduation, and one very special guitar, for publication in fall 2010, to Kate O'Sullivan at Houghton Mifflin Harcourt Children's, at auction.
Here is my wonderful group:
From left to right. Back row: Louise Spiegler, me, Conrad Wesselhoeft. Front row: Susan Greenway, Cathy Benson, Megan Bilder.
(Note: this is not my only wonderful group. I'm blessed beyond measure when it comes to the writing journey.)
Now for all the Smackdown folks. You never finish books. You only abandon them. I always feel like a worn-out, wrung-out dishrag when I'm finished with a revision draft.
As promised, here are some tips to handle flaw types.
Typos- It's a good idea to keep a list of your most likely typos so that you can keep an eye out for them.
Stuff that doesn't make sense: You are working too fast. Slow down and give yourself extra time to think as you move forward.
Deleted stuff: Never really delete anything. I keep an extra file called the dump. Any time I delete, that bit goes into the dump and occasionally I do go dumpster diving.
Stuff I've got to move is orange. I use symbols to make moves, like "o, p. 22" and on page 22 you will find the 'o'. That is the destination.
Stuff that is awkward or needs better wording is yellow. It's called a thesaurus, folks. Use it and often.
Stuff that I need to add to is green. If it is short, I just write the addition on the manuscript. If it is longer, I often keep some lined paper nearby and freehand a needed paragraph and staple it to the page.
I hope one of these tips helps you.
Now for the first drafters, what happens when you are stuck? Yes, sometimes a draft grinds to a halt. This is the most disheartening thing ever. I've found a few things that can help this. You can try rereading the manuscript from the beginning. Print it all out and don't take a pen. Just read. This can jump start you. Another thing to try is to skip ahead. Jump to a section where you are sure what to do and get to writing. Here's another thing to try. Pull out the Hero's Journey checklist and start marking off your story points. Is something missing? The last one is stick the manuscript in a drawer for a month. Let you unconscious mind work the problem out. It will sometimes. Hope this get you out of any miry patches.
This week's playlist hit: Whitney Houston and Mariah Carey singing "When You Believe". I hope it inspires you to keep going forward whatever stage you are at.
No doodles this week, hopefully my computer will come back someday and my tech stuff will be set right.
So here is your quote for the week. Have faith, folks.
Faith is like radar that sees through the fog. Corrie Ten Boom
4 Comments on Novel Writing: Celebration, Revision, and First Drafts, last added: 6/20/2009
Oh, Molly, wonderful news about Conrad's book! I know you'll remind me again when it's out. Things are humming along ... but not fast enough.
Anonymous said, on 6/15/2009 10:27:00 PM
You guys all look great! Conrad-I couldn't be happier for you. You so deserve this. I've tried to e-mail you congratulations but, I seem to have lost your e-mail--Can't wait to read your book. Here's to rave reviews! Shelley S. P.S Molly-love the dumpster idea!
Could it have been the book trailer that led to the exciting publishers’ auction for the picture book proposal Toast Friday?
Or was it just the exquisite digital and mixed media paintings by illustrator-author and animation concept artist Clint Young.
Young’s imagery for his story of Toast, a sweet pig on a quest for someone to love him has been causing jaws to drop wherever it’s been shown at gatherings and critique groups and Austin chapter meetings of the Society of Children’s Book Writers and Illustrators (SCBWI.)
Agents and editors first noticed his portfolio at the annual regional conference of Austin SCBWI that was held last May at the University of Texas Club. There Young met Little, Brown and Company Editor Alvina Ling and agent Erin Murphy who both expressed a strong interest in the project.
Over the many months that the work sat at the offices of Little, Brown, Toast portraits began to show up in Young’s art blog, as the former LucasFilm animation concept artist developed and redeveloped his notions and story and talked about his attachment to his character.
Young’s agent Erin Murphy put the project up for auction last week and it wasn’t just publishers bidding, but a film studio, The Weinstein Company.
We’ll have the fun of covering this story as it unfolds in coming months since Clint is a regular member of our Central Market Cafe Inklings, (picture book author-illustrator critique group.)
* * * * *
5 Comments on “Toast” Trumps, last added: 5/22/2009
Well, it's a long, long journey to New York City....
Our story idea has become a manuscript and now must leave the author's hands--a very scary prospect indeed! But in the hands of a great agent, our story will have a fighting chance. So let's take a look at "How a Story Becomes a Book" from the agent's perspective:
For me, a manuscript starts becoming a book when I read a query letter and writing sample and immediately get excited about sending it to editors--a list of possibilities blooms in my mind, and I start thinking about how it would turn into a different book with different editors and publishing houses, and weighing which directions seem best.
But of course I need to read a full manuscript first! If the writer is already a client, that's a much quicker process, obviously, than if it's a writer I'm considering representing, whom I need to get to know a little and determine if we're a personality match. It doesn't matter how much I like the writing if the writer and I don't seem like we'll mesh, and it doesn't matter how much I like the writer if I'm not fired up about the manuscripts.
I work with my clients to revise and strengthen manuscripts before sending them to editors, so how quickly things go depends on how quickly the author works and how jammed my schedule is at the moment. We're not trying to make a manuscript perfect, and I don't have an expectation that an editor will sign it and publish it with few changes beyond copy editing and proofreading--I just want to eliminate any problem areas that might give any editor (or the rest of her acquisitions committee) an excuse to say no.
When a manuscript is getting close to presentable shape, I'll start mentioning it to editors and gaging early interest, honing my pitch and sharing with the client which aspects seem to spark the most oohs and aahs. I compile a list of interested editors and those I haven't mentioned it to yet, but whom I'd like to include when I send it out. I make a second-tier list, as well, which is mostly made up of long shots (more a match for the editor's personal interests than her publishing house's particular slant, for example) and editors who have sister imprints on the first-tier list, because I want to avoid any in-house conflicts. I also determine how widely I want to send it out, which is a decision made individually for each client and each manuscript. If we're uncertain which direction to go with revisions, we might test the waters with just one to three editors to start with, so we can try a different version if needed. If the client already has a relationship with an editor, we'll start with just that person, or that person and just one or two others. But if a manuscript feels like the kind of thing that lots of different editors might be interested in, and I feel really strongly about it selling quickly, I'll send it to a larger group.
When it's time to start sending it out, I email a pitch to editors I haven't mentioned it to before (or pitch it by phone), and send a little reminder to others who have expressed interest, to let them know it will be coming, and then I follow it up by sending the manuscript with an email that includes the pitch, an author bio, and any other pertinent information. If it's an especially wide submission that seems to have a lot of early interest, I'll make sure to point this out to editors so they will move more quickly with reading it.
From here it's a matter of waiting, nudging, juggling interest from multiple people (ideally), taking offers, negotiating a deal--and then it's in the editor's hands. The overall process is roughly the same for every manuscript, but the time line varies greatly depending on the manuscript, the client, the situation, the time of year, the editor, the publishing house....If an editor is especially eager, this process of signing a book can go very quickly--a matter of a week or two. If editors are busier than usual or we don't get any early nibbles that I can use to nudge along the others who are considering the project, it can be weeks before we have a sense of whether an editor is interested enough to pursue it or not. And the same variation goes once an editor wants to take it to the next stage (editorial meeting, then acquisitions meeting)--many houses have these meetings weekly, but some only monthly, and during a busy convention month, meetings are often canceled. An editor may hold a manuscript back from going to a meeting until the schedule clears a little, so she can spend more time on it with others on the committee to give it the best shot, or she may push it through quickly because the urgency will seem more persuasive.
Obviously, everything does not go the same way every time, but this is roughly how I handle it, with variations to allow for the individual needs of each project and each client--because in the end, that's my goal: Making each writer I work with happy and reaching toward each writer's idea of success by building one publication on another. --Erin
Thank you Erin! The process is exhausting, and it hasn't even started yet. We still have to get to the editor! Next stop: Andrew Karre with Flux !
8 Comments on On to the Agent!, last added: 8/3/2008
Very informative - I've always been curious why some sales happen quickly and some not so much. It sounds like if one editor reads quickly and expresses interest, that helps things along because the agent can then go back to the others and get them to hurry up and read. If no one reads quickly or there is no early interest, then it's a longer wait time.
I thought having an agent always meant a quick response time, but I've learned that isn't the case. :)
Thanks for the nice feedback, everybody! Having an agent definitely is not the equivalent to having a magic wand. Because we were talking about how a book gets published, I didn't get into what happens if we don't get any offers after a submission--and it does happen, even with an agent--but at least it happens with someone else on your side who can commiserate and find the positives and strategize about what to do next.
Lisa, you're right, that getting a couple of key editors reading quickly can really speed the process along.
Do you remember that cute Schoolhouse Rock song all about how the little Bill fights his way through all the red tape and goes through all the committees in order to become a Law? Well, it is the same long and complicated trek a story idea takes to becoming a book on a shelf. This week we're going to follow the path a story takes from idea all the way toward its goal of becoming a book on a shelf--from author to agent to editor to book store buyer! Today we're going to talk about how story ideas form and what authors go through to get them down on the proverbial paper!
"The reason I started writing The Gollywhopper Games is well-documented in my acknowledgements (and in some resulting reviews). But wanting to write a book that might appeal to a lover of Charlie and The Chocolate Factory provided a huge set of challenges. Dahl had already claimed candy. Dahl had already claimed a spot as a top master. So how could I craft a book one particular 5th grader would love without being derivative of a master work? I'd give you a replay of my process, but my methods of brainstorming are near-impossible to document. They do, however, involve doodling, massive amounts of pacing and utter disregard for household chores." Jody Feldman author of The Gollywhopper Games
"I was a model booker for years, which gave me lots of material for the book. I worked at two busy agencies, but I was always scribbling down story ideas onto notepads instead of working. Sometimes I’d be interviewing a model, looking at her portfolio, and a detail about her photos would strike me as interesting or funny, so I’d say, 'Excuse me just a sec,' then I’d whip out my notepad and start jotting away while the poor girl had to wait. I also took notes when models made comments I liked, usually something like, 'I’m an excellent actress, as long as there’s no dialogue.' Years later, I referred to all those notepads when I sat down to write BRALESS IN WONDERLAND. I guess I only pretended to be a model booker. I spent most of my time scribbling. I should probably give my ex-boss her money back. " Debbie Reed Fischer author of BRALESS IN WONDERLAND and SWIMMING WITH THE SHARKS
"I paid for my writing time. Seriously. After my third child was born, I hired a babysitter to come for three hours a day, three days per week. I would need a sitter to go to any other job, I rationalized, so why not for being a writer? It is amazing how much you can get done in three hours, especially when those hours are costing you money. However, it’s not the cheapest way to write. Until I sold a book, my job actually cost me more money than I earned. But it was so worth it! I never would have finished my novels without it." Jenny Meyerhoff author of THIRD GRADE BABY and THE IMPOSSIBLE SECRETS OF ESSIE GREEN
Tomorrow our story must head to agent Erin Murphy at the Erin Murphy Literary Agency!
3 Comments on How A Story Becomes A Book..., last added: 7/28/2008
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Picture books are easy to love because they are tiny little windows that offer beautiful glimpses out into the whole, wide, wonderful world, and into hearts like and unlike our own.
I do love picture books! There is nothing more satisfying that to find a picture book manuscript which has been carefully crafted to share a story with the youngest readers. The Impressionist painter Pierre Auguste Renoir said that painting is “making love visible” and I can’t help thinking that is why some picture books are so endearing and everlasting. They make the love we feel for our children, our grandchildren, and the children within us very visible. It is a true craft which needs to be learned and practiced. And I honor those who learn this craft and honor children.
Picture books pretty much have me wrapped around their finger. I’m obsessed by the story-telling opportunities offered by this highly-visual genre! Picture books (as a format) seem simple at first blush, but they are often in fact quite layered and even poetic, displaying an elegant interplay between text and art. Best of all, picture books are accessible to everyone. You don’t have to be able to read in order to love them. They can be savored for what they offer visually, and when read aloud, until a reader has command over the written word. Simply, what format is better than the first one that takes children by the hand and turns them into book-lovers?
The best part of picture books, for me, is way words and illustration marry together to create a sum greater than its parts. I love the way art builds meaning in the story, and how the simplest of texts can be full of emotion and heart. I remember so well the picture books that I poured over as a child — mystified and delighted to be invited into the world of reading and books. For me, it’s an honor to represent picture books!
I love picture books because they celebrate a time in our life we all look back on so fondly. I love being a part of helping to create them because we’re creating books for kids who will look back on them for the rest of their lives.
I became a reader because of picture books, and I became an agent because of picture books. They are one of the richest and most influential forms of literature. So much feeling, so many laughs, in so few pages, meant to be read over and over again!
I love picture books because they speak to the quintessential child in each of us. They reach across the gaps of age and culture and language and bring us under their spell. A perfectly-crafted picture book is a full-senses experience that can last a lifetime.
I love the breadth of story and emotion—from clever and comical, to poetic and pondering—that can be found within the framework of a 32-page picture book. I love the right prose, the visual subplots, the rhythm and rhyme and repetition (and repetition, and repetition). But, most of all, I love them because they’re short.
I love working with picture books because they remind me that the earliest literature we read in life can be some of the most memorable (and the most fun!).
I love picture books because they’re fun to read aloud, and they’re meant to be read with someone else.They can’t not be shared! Even now, I don’t have kids, but when I read a good picturebook, my husband gets to be the audience. He’s very understanding. 
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Erin Murphy, 
Ammi-Joan Paquette, 
Jennifer Laughran, 
Teresa Kietlinski, 
Do you remember that cute 
What a great account of our amazing weekend, Liz. And I loved your wonderful pictures. Makes me want to head back NOW!!
Lovely summary and photos! Thanks for doing this! It was so fun to be a part of this special event.
You write the best posts, Liz. I felt like I was there again. Thanks for the pix, and the great reminders of some of the details that made the weekend so special. It WAS great to hang out with you!
Enjoyed reliving the weekend through your post…great pictures!
Liz, Thank you for returning us to the Pines.