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Molly Ker Hawn

Molly Ker Hawn represents authors who write for the young adult and middle grade market.

Her time in the children’s publishing industry has included editorial roles at Chronicle Books and Dial Books for Young Readers, early social media development for a major teen magazine, and serving as National Programs Director at the Children’s Book Council, the trade association of American children’s book publishers. She’s also been a bookseller, and a past board member of the United States Board on Books for Young People.

She lives in London and works with authors and publishers both in the U.K. and the U.S. She’s bounced back and forth from America to England since she was a teenager: She grew up in Northern California, lived for a time in the West Country, read English at Cambridge University, spent many years in New York City, and now lives a stone’s throw from the River Thames.

She’s looking for middle grade and young adult fiction that’s inventive, well-crafted, and rich with emotion. She is also interested in non-fiction for readers ages 8-18. “I like wit, but not snark; I prefer books that lean more toward literary than commercial, but of course, my perfect book neatly bridges the two. The books on my list all share a strong sense of authentic place, whether real or imaginary. Some of my favorite (non-client) authors are Ellen Raskin, Edward Ormondroyd, Margo Lanagan, Maureen Johnson, Jack Gantos, Jacqueline Woodson, Catherynne Valente, Chris Crutcher, Francesca Lia Block, Noel Streatfeild, Gene Luen Yang, and Susan Cooper. And in the non-children’s/YA pantheon, my favorites include Maeve Binchy, AS Byatt, Mollie Panter-Downes, Agatha Christie, Ray Bradbury, Laurie Colwin, and Judith Krantz.”

If you’ve got a terrific story, well-told, Molly wants to read it.

Send me your smart, funny YA contemp romance, your clever literary MG, your upmarket YA horror.

Twitter: @mollykh

email: [email protected]

Submission Guidelines:

Please do not send an exclusive query. Queries are meant to be shared with multiple agencies. The Bent Agency ONLY accepts email queries. If you send your query by postal mail, it will be recycled and not returned to you.

It is their goal to respond to every query. If you don’t receive a response within a month, please resend your query and indicate that you’re sending it again.

If the agent is interested in your work, she will respond with instructions for sending the rest of your material. If we do request material from you, we ask that you check back with us before accepting representation elsewhere.

Talk tomorrow,

Kathy

This Goldilocks illustration was sent in by Patricia Pinsk. It was done as a paper collage with ink, watercolour, digital textures. Her work includes multi-media drawing, illustration, photography, glass-work, sculpture as well as Web-based graphics for the corporate world. Website: http://www.patriciapinsk.com Twitter: @PatriciaPinsk

Below are the first page critiques done by literary agent, Jenny Bent. We can all learn a lot from what Jenny had to say.

Deena Graves – TERRAZA – Young Adult

Pizza sauce, garlic, and beer did not mix. Not when all three meshed, creating a gag-inducing stench in the faded black fibers of my Perky Pepper T-shirt. Dixie would shoot me dead for sure. The last time I came home from the pizza shop smelling like a garbage disposal, she threatened to hose me down in the front yard before I’d “ever step one soiled foot” into her home.

Shrugging into my fleece jacket, I ignored the stink of my shirt and shoved my dark-framed glasses back up my nose. I scowled down at my beat-up Mongoose and the flat tire forcing me to walk my happy ass home.

“Hey, Luc!” a voice called from behind. I kept walking, stealing a quick glance over my shoulder. Max jogged toward me, holding up the sides of his pants. I snorted. If he didn’t wear them so low, maybe the stupid things would stay up.

“Wait up, man,” he panted, pulling up beside me. “You know bikes were designed to be ridden, right?” Max eyed my flat and sucked in a breath. “Oh.”

“Yeah.” I tossed him the souvenir I’d found wedged in the rubber tread. “And they ride better when the tires aren’t shredded.”

He inspected the chunk of weird black glass about the size of a half-dollar, tossing it from hand to hand. It weighed next to nothing, and no thicker than my pinkie, but its wicked, chiseled edge had almost cut my finger trying to dislodge it. “This was in your tire?”

I nodded. “I bet it was Manager Mike, the douche nugget.” I scowled out at the dark, Edison Square of squat, brick buildings. The stretch of small-town antique shops, specialty clothing stores, and trendy eateries had long since closed for the night. A brisk October wind cut through my fleece jacket.

HERE IS JENNY BENT:

Terraza

Lively voice which is great, I’m seeing too many flat voices in YA contempt these days. Not sure the voice is always completely authentic– “gag-inducing stench” doesn’t feel to me something like a teenaged boy would say. I did like the voice overall however. And line by line the writing is strong here.

I would like to see this author push themselves a little more to write a really “wow” first page. The skill level is there. But I am not sure from reading this that the book is beginning at the right point. I like the hint of mystery that someone sabotaged his bike. But the writer is starting with a conversation, which can be a tricky way to start a book, particularly when the conversation is not necessarily a very interesting or illuminating one.

I would try instead to either start in a place that is a bigger moment for the character or a place with perhaps more emotion for the character.

Alternatively, the author could perhaps have the character show/feel a little more here. What is his mental state as the story opens? We don’t know, beyond annoyed, and I’d like a little more on that. What is his general frame of mind as the story opens? What is he thinking about as he leaves work, is there anything significant on his mind? How does he feel about his friend Max beyond the thought about his pants, I can’t tell. If the author gave us more access to thoughts/feelings, we could get a better sense of him right away. Also, perhaps these two could banter a little more and we could get a sense of their personalities and relationship that way. Right now their conversation isn’t that interesting. It’s there to convey information about the bike, some of which we know already (there’s a flat tire) but it should serve more purpose than that–it should also illuminate character and it should also entertain. And is there a different way he could react to the flat tire? Something funny or unusual that would really intrigue the reader?

And finally, I would love the author push him/herself a little more with the opening line. The opening line to a book should be the best sentence the author has ever written. It doesn’t have to be necessarily super action-packed or dramatic, but it should instantly intrigue, or amuse, or create thought. I fear that this one is a bit of a throw-away.

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Helen Landalf – CLEO – YA novel 

The minute I slither into my sequined tank, Joan starts to disappear. I yank it down to show a little cleavage, slide on my black lace over-the-elbow gloves, and she fades even more. Then I squeeze into a pair of velvet leggings that hug her queen-size thighs, top them off with a flirty skirt, and step into my red stilettos. She’s almost gone.

“Joan,” comes Mom’s voice from outside the bedroom door. “Are you in there, honey?”

Elizabeth Taylor, in her Cleopatra gown and headdress, gazes down at me from the poster above my dresser. Ignore her, she seems to say. You’ve got work to do.

I glance at my phone, but there’s no text from Matt. Grabbing the bottle of foundation, I slather the cold, sweet-smelling liquid along my skin. The little potholes left over from Joan’s acne outbreak back in middle school? Gone. Next comes blush, the soft brush whispering glitter and bone structure onto Joan’s chipmunk cheeks, followed by eyeliner that sweeps into a dramatic V at my temples, adding flair and width to Joan’s squinty eyes. I glance up at the poster again and paint it thick and black, just like Liz’s.

The doorknob wiggles. “Joan?” Mom says.

“Be out in a sec.” I fluff my limp brown hair to create the illusion of fullness and then dim the lights on my makeup mirror. Leaning forward, I suck in my cheeks and survey my work. Not bad. All I need now is a dab of lipstick, and my transformation will be complete.

Just as I’m snatching up the tube of Burgundy Plum, the Lady Gaga ringtone blares from my phone.

“Hi, Matt,” I say. “Hang on, I’m coming.”

HERE IS JENNY BENT:

CLEO:

This is another one with strong writing that could have a stronger opening line. For inspiration, here’s a link to 20 great opening lines in YA fiction:

http://www.epicreads.com/blog/20-amazing-opening-lines-in-ya/

I like the concept here that we are watching someone’s transformation. And there is a great use of physical detail here. But again, as with the last critique, there’s not enough information about this character’s state of mind as this is happening. I want to know more about her and I’m not getting anything about her personality from this–all I’m getting is physical characteristics and perhaps that she is pretty hard on herself about the way she looks.

I love the part where the poster of Elizabeth Taylor seems to talk to her, that gives this a little edge that it really needs. But let me learn more even about this character from her inner thoughts or her dialogue, make every line really work. Maybe she could say something funnier or more interesting to Matt? To her mom? Think something interesting while she is doing this that lets me know something about her or her state of mind while she is doing this? Why does she need to transform? What about transforming makes her feel strong or special? Why does she love Elizabeth Taylor?

I think adding this level of detail and characterization, as well as working on the opening lines, will give this already strong first page some extra added oomph. Remember that you never have much time to hook the reader and focus on making this character as vivid and lively as possible.

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Mieke Zamora-Mackay               SHADOW                                     Young Adult

The hall is buzzing. Not the usual humdrum of the first hour of school. It’s a serious buzzing. Whispers about someone. Murmurs about something that’s happened.

In the woods…

Junkie…

Huffing…

Dead…

These are the words that float above the din.   No one looks my way, but there’s enough space for me to walk through the sea of bodies. I’m used to it. Everyone always walks around me, like I’m encased in some bubble. Protecting their personal space, they’re probably afraid that if they brush up against me, I’ll know everything they keep hidden inside. See into their dark hearts and thoughts, their misdeeds, acts of violence and carnal desires. It comes with being the daughter of a self-proclaimed medium; the local town kook.

The truth is, I don’t know any of their secrets. I don’t see anything they have to hide. Instead, I see spirits, ghosts – lost souls.

I see the part of every person that has left their physical body. Usually, they’re just trying to find their way home, or revisiting a part of their life they wish to say goodbye to. Some just really don’t know what’s happened to them.

I reckon that’s how the fresh one walking in my direction is feeling.

I keep my eyes down low. I don’t want him to catch me looking. He’ll know instantly that I can see him, and that won’t do. Lost spirits are never up to any good. The fact that they don’t have a clue about what’s happened to them in the first place is an indication of that. And this one’s got trouble written all over him.

HERE IS JENNY BENT:

SHADOW

I like this one a lot! The voice is strong, the first line is good and the opening page shows us a lot of information about this person and their place in the world of the school without “telling” us too much. There’s a real attitude to the writing, which I like. I also like that the author sets up the character and tells us about who she is in an interesting way and then starts right into the action. It’s great that she sees this particular dead person and immediately forms an opinion about him that is intriguing to the reader. I want to read more because I want to know more about this ghost and why he’s trouble and what will happen between these two. I also like that the writer starts at a moment of interest in the action–the school is buzzing about something–what is it? And then he/she gives us a lot of information about the character by telling us that she’s an outcast–everyone is buzzing about something, but she wouldn’t know because no one tells her anything. This is a more interesting way of showing us something about her rather than simply telling us that she’s an outcast. There are plenty of question marks to keep us reading but enough information is provided that we don’t feel confused, which is an essential balance.

If the writer wanted to go a little further, she could give us a little more info about the particular state of mind that this character is in as the book opens, or how she feels about the fact that she is an outcast, but overall this is a very strong opening page indeed.

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Peter McCleery       THE STAND-IN           Contemporary Middle Grade

Middle-school is a lot like prison. There is a precise routine and schedule overseen by an all-powerful warden (the principal). There are authority figures who roam the halls and enforce strict rules (guards/teachers). You are allotted a certain time and place to eat grub. There’s a Supermax cell block for repeat offenders (detention). There’s even a rec yard and communal showers. And, of course, there is a very specific hierarchy of cliques and social groups among the inmates. You better know who you can trust and who you can’t.

In my line of work, I can’t trust anyone. If this were prison instead of Glenview Middle School I’d be called a Fixer. The guy who runs the black market. I like to think of myself as a businessman. Or entrepreneur, if you want to be fancy about it. I sell things to the inmate-students that make their 3-year stint here a bit more comfortable. At a fair price, of course. In prison, a fixer deals in cigarettes and shivs. Here, I deal in contraband junk food and fake doctor notes. Now, some of these things may or may not be “appropriate” or “legal” per se, but they do fill a need. I provide a valuable service. There is supply. There is demand. And there’s good, ol’ Digby Fisher in between making a little money. Is that so wrong?

The answer is no, by the way.

Shortly after my mom and I moved to Glenview (which should just be called The Affluent Town of Glenview because that’s always how they describe it the newspaper.) I knew I had a good thing. These kids get more allowance money than my mom gets in her paycheck. One day the vending machine went out of order (I had nothing to do with it, I swear! Just a lucky coincidence.) It just so happened that my mom was doing a Costco run that day. I added a few items to the shopping list. Snack-size Doritos, gum, M&Ms. The next day I sat next to the broken vending machine with a backpack full of snacks and sold out before third period. I provided a needed service. In many ways I was a hero. After maintenance fixed the machine

HERE IS JENNY BENT:

THE STAND-IN

I love the idea of this one and this is a good first page in that it has tons of voice and sets up an interesting, resourceful character that the reader will want to spend time with. However, to my ear, the voice was a little older than middle-grade at times, slotting into that awkward 14/15 year old territory, and in the second paragraph maybe even more 16. Examples of places I would loosen the voice are, “precise routine and schedule overseen ” and “a very specific hierarchy of cliques and social groups” – phrases like this feel a little formal for the target market. The age issue might just be because of Digby’s very in-depth knowledge of how a prison runs, even down to knowing the word shiv. It left me wondering whether he knew someone in prison or just watched a lot of old movies. The opening has a journal feel to it, but I would lose the direct talking to the reader halfway down as this can pull you out of the story. I liked some of the examples of the things Digby can source, like doctor’s notes, and the story about how this ‘job’ started was short enough not to feel like too much up front backstory, although I’d hope the present day plot starts on the next page, with the inciting incident following shortly after.
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Thank you Jenny for sharing your time and expertise with us. Your advice is invaluable.

Talk tomorrow,

Kathy

Brooks Sherman at The Bent Agency

Brooks Sherman represents picture books, fiction for young adult and middle-grade-readers, select literary and commercial adult fiction, and nonfiction in the areas of humor, pop culture, and narrative nonfiction.

Prior to joining The Bent Agency, he worked as a literary agent at FinePrint Literary Management and in the managing editorial department of Henry Holt and Company. He is a hands-on, editorial agent who delights in developing projects with his clients before bringing them to the attention of publishers.

Before starting his career in publishing, he spent several years working in the entertainment industry (in both New York and Hollywood), and two years with the Peace Corps in West Africa. Having bounced around all over the world, he is delighted to be back in Brooklyn—although he looks forward to his next Transylvanian backpacking expedition with great anticipation!

He is seeking projects that balance strong voice with gripping plot lines. Stories that make me laugh earn extra points! My interest in adult fiction runs the gamut from literary to speculative (particularly contemporary fantasy rooted in realistic settings, horror, and magical realism), as well as historical and crime fiction. On the children’s side, He’s looking for middle grade fiction of all genres (but particularly fantasy adventure and contemporary), humorous projects from author-illustrators, and young adult fiction of all types except paranormal romance. He would love to get his hands on a creepy and/or funny contemporary young adult project. 

Here are a few more detailed things that Brooks says he is looking to read.

On the MG side, I’m still looking for someone to send me this generation’s THE WITCHES. Are you my Dahl?

On the YA side, I’d love to find some projects with realistic settings and a speculative twist. (See: NOGGIN; GRASSHOPPER JUNGLE)

Still looking for a historical project set in or around the WWI era to sink my fangs into. Speculative elements encouraged!

I would love to work on some alternate history projects — MG, YA, or adult. A fantasy element (a la BARTIMAEUS) would be just dandy.

“I desperately want to find the next JONATHAN STRANGE AND MR. NORRELL—eerily beautiful crossover fantasy”

And of course, I’d love to get my hands on a dark adult psychological thriller, or historical or speculative thriller (a la THE ROOK).

I’m also keeping an eye out for MG stories that are either funny/contemporary or fantasy/sci-fi adventure!

I’m looking for contemporary YA fiction, in the vein of ELEANOR & PARK or ARISTOTLE AND DANTE DISCOVER THE SECRETS OF THE UNIVERSE.

MG with sweetness and wit (not necessarily snarky).”

I’d love to see a twisted adult thriller like Gillian Flynn’s GONE GIRL or William Landay’s DEFENDING JACOB.

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I will be talking about Query Letters this week, so you might want to read that to make sure you are doing that to the best of your ability. Brook will still be there, so their is no need to rush something out.

To query Brooks, please review The Bent Agency’s submissions guidelines
Then email [email protected]

Talk tomorrow,

Kathy

Jenny Bent is the founder of The Bent Agency. There is no reason why you shouldn’t try to snag an agent who has been in the industry for over 20 years. Just make sure that what you want to submit needs to be revised and polished and you feel the writing is at the top of your game, before sending a query letter.  I thought you might like to read about her and what she is looking for. The Bent Agency has seven other agents working with Jenny. You should check them out, too. 

To send Jenny requested materials, please review our submissions guidelines Then email [email protected]

Jenny Bent represents literary and commercial adult, young adult, and middle grade fiction. She also represents nonfiction in the areas of memoir, humor and select narrative nonfiction.

I was born in New York City but grew up in Harrisonburg, Virginia in a house full of books where I spent many lazy afternoons reading in a sunny window seat. I went on to England to get a BA/MA with first class honors from Cambridge University, but I began my career in publishing as an undergraduate, with jobs at Rolling Stone and Ladies Home Journal. I then worked with prominent agent Raphael Sagalyn and with Michael Cader, the force behind the website Publishers Marketplace, before establishing a successful career at several boutique agencies. In 2003 I joined Trident Media Group, where I was promoted to Vice President before leaving to found the Bent Agency in 2009. I now live in Brooklyn in an apartment full of books and while there are not quite so many lazy reading afternoons, I manage to fit one in now and then.

My list is varied and includes commercial and literary fiction as well as memoir and select humor titles.  In adult fiction, I particularly enjoy women’s fiction and crime/suspense.   I also love novels—for grown-ups or children—that have an element of magic or fantasy to them or that take me into a strange and new world, whether real or imaginary.   All of the books that I represent speak to the heart in some: they are linked by genuine emotion, inspiration and great writing and story telling. I love books that make me laugh, make me cry, or ideally do both.

Please send me:

• Literary fiction
• Women’s fiction
• Commercial fiction, including romance
• Young adult and middle grade fiction
• Memoir
• Humor
• Suspense/crime

I’m not currently considering queries in the following genres:

• Science fiction
• Poetry
• Picture books
• Serious nonfiction
• Reference
• Sports
• Self-help/how-to

JENNY’S SPECIFIC WISH LIST THIS PAST WEEK:

1. A classic YA fantasy with at least one female lead, like the upcoming LARK RISING by @sandrajwaugh

2. In general, I love strong, feisty female characters with a purpose

3. Non-genre fiction with a paranormal, fantasy or otherworldly element to it, like DISCOVERY OF WITCHES or NIGHT CIRCUS or GHOST BRIDE

4. Historical fiction based on a famous real life person

5. Women’s fiction or YA with a strong gothic feel.

6. Here’s some of what I am looking for: stylish psychological crime/suspense with at least one female lead (not cozy mystery, thanks).

7. Women’s fiction with a strong hook or premise and lots of plot and emotion.

8. Definitely would love some YA horror.

Follow on Twitter: @jennybent

About Gemma Cooper: She is a new agent at The Bent Agency, run by Jenny Bent. Find Gemma on Twitter. In her own words: “Although I’m in London now, I lived in NYC for three years and regularly visit, so I’m going to be representing authors from the UK and the US. I look forward to reading your work and really appreciate you sharing it with me. I’m lucky to represent Mo O’Hara, author of MY BIG FAT ZOMBIE GOLDFISH (Macmillan UK/Feiwel and Friends 2013) and I’d love to find other fantastic chapter books (7+ fiction) with an obvious hook and a laugh on every page. One of my all time favourite books is WHEN YOU REACH Me by Rebecca Stead. I love that it blend genres, has an amazing voice and literary feel to the writing. Anything similar would make me sit up and take notice.”

She is seeking: See below…

• I love boy voice young adult (YA) – it’s my favourite thing in YA and so hard to strike the right balance. Think John Green or Erin Jade Lange’s BUTTER.
• In YA, I’m seeing a lot of urban fantasy and am not really looking for this or paranormal romance. However, I’d love a nice juicy contemporary or issues driven YA. Think Jenny Valentine or Sara Zarr.
• A YA or MG crime novel or some sort of heist would be great. My favourite detectives are Poriot and Sherlock Holmes, and I’ve love to read something with the same feel written for younger audiences – red herrings, opulent settings and gathering everyone in a room for the reveal!
• Please send me historical fiction with a realistic narrator that almost has a diary feel to it. Think the ONCE, THEN, AFTER series by Morris Gleitzman
• I would like to see some of the paranormal elements that work so well in YA filtered down into MG or chapter books – ideally with humour.
• I’m obsessed with HITCHHIKERS GUIDE TO THE GALAXY and the TV series RED DWARF, so I’d love to see funny sci-fi stories for a younger audience. The more off the wall the better.

How to submit: Query cooperqueries (at) thebentagency.com.

Talk tomorrow,

Kathy

Louise Fury has left L.Perkins Agency to join The Bent Agency this past week. A select group of advanced and published writers will be getting full critiques with Louise at the end of this month. I will give you feedback on that in October.

Louise is interested in:

Picture books
Literary Middle Grade
Young adult
New adult
Graphic Novels
Commercial fiction, especially all sub-genres of romance
Suspense/Thriller
Erotica/Erotic romance
Cookbooks
Pop Culture

Louise is currently closed to unsolicited materials. To send Louise requested materials, please review our submissions guidelines Then email [email protected]

Louise Fury represents young adult, middle grade, new adult, commercial fiction including romance, and select nonfiction.  

A native South African, I now live in New York City and travel to Cape Town every year, where I spend time educating South African writers, meeting with international publishers and distributing books. Before agenting, I worked in marketing and advertising for both the consumer markets and publishing. Prior to joining The Bent Agency, I worked as a literary agent at the L. Perkins Agency. I represent numerous New York Times and USA Today best-selling authors. I encourage my authors to have one foot in traditional print publishing and the other in the digital-first arena and am a huge advocate of utilizing secondary rights—I have sold film/TV, audio and foreign rights for my clients. I believe in staying ahead of the pack by embracing change, not just adapting to it. 

I’m looking for writers with a unique voice and an unforgettable story. I’m particularly drawn to stories with a strong protagonist. In young adult, I look for manuscripts that are written with an unforgettable voice—this can be deep, dark and gritty or literary, lyrical and emotional. I’d love to find a young adult novel that has a bone-deep sense of danger that haunts me from page 1 and doesn’t let go of me for days. I want delicious adult romances with creative plots, sexy liaisons and unique characters who sweep me up in their love story. I want to feel something unforgettable when I read your pages. I want manuscripts that I can’t stop thinking about.

Talk tomorrow,

Kathy

I’ve bumped into Susan Hawk a few times lately, which is  easy for me, since I walk with a cane and my balance stinks! *rimshot*

Knowing I have blog followers who are eager to snag a picture book agent, I sat down with Susan (after we bumped—yes—right there on the floor) and asked her some questions about picture books, agenting, and the surreal softness of the carpet. Was it Turkish cotton? Or do they only use that for robes and towels? (Um, scratch those last couple questions.)

Susan, what led to your decision to become a kidlit agent? Can you tell us about your professional background?

I’m lucky to have worn a number of hats within the children’s book world. I’ve been a bookseller; I have a degree in Library Science and have worked in an elementary school library as well as the Brooklyn Public Library; I acquired a few book projects for Dutton Children’s Books. But most of my background is in Children’s Book Marketing, gathered at Penguin, Henry Holt and North-South Books. All of that led to my decision to make the jump to agenting three years ago, which feels like the perfect way to put these experiences to work. But, really, I think it all began with this: I’m a reader. I love reading books, I love meeting new characters and going new places in the pages of a book, and that’s always been true for me.

What are some of your all-time favorite picture books?

Ah, a great question. It’s hard to stop!

• ME, JANE by Patrick Jennings
• SPOON by Amy Krouse Rosenthal and Scott Magoon
• I’M NOT by Pam Smallcomb and Robert Weinstock
• THE HELLO, GOODBYE WINDOW by Norton Juster and Chris Raschka
• SO YOU WANT TO BE PRESIDENT by Judith St George and David Small
• OFFICER BUCKLE AND GLORIA by Peggy Rathmann
• “MORE, MORE, MORE,” SAID THE BABY by Vera B Williams
• BLUEBERRIES FOR SAL by Robert McCloskey
• GEORGE AND MARTHA, or anything by James Marshall
• SYLVESTER AND THE MAGIC PEBBLE by William Steig
• MISS RUMPHIUS by Barbara Cooney
• LILLY’S PURPLE PLASTIC PURSE by Kevin Henkes
• BREAD AND JAME FOR FRANCES by Russell Hoban
• FREDERICK by Leo Lionni

What about those books make them special?

Three things: character, humor, and each of these is a very satisfying book.

In most of them, the main character is someone I love. Like, obsessively love. ME, JANE—I already think Jane Goodall is amazing, but in the pages of this book, we’re introduced to a real little girl who’s so true to her own interests, that you can’t help but be entirely charmed. Spoon features the most adorable spoon you’d ever want to meet, not to mention his smart, reassuring parents. And it goes on—every one of these books holds a real, textured person, brought to life in just a few words and pages.

Almost all of them are funny. Some of them are more broadly so, in some of them the humor lies more in a clever twist, but with all of them, I find myself smiling. A lot.

You know the feeling when you close a book and think, I can’t wait to read that again? That happens when the author and artist, together, create a perfect symphony of voice, character and plot. When everything works in concert, you finish the story feeling somehow more whole, and will want to come back to that story again. Obviously, which books do this will be different for different people, but for me, these books all give me that sense.

What do you look for in a picture book submission?

Pretty much what I described above!

Also, shorter text (about 500-600 words), and I’m not usually a fan of rhyming text.

What makes you stop reading a submission?

Predictably, longer texts, rhyming texts—I usually stop reading those. There are also quite a few “evergreen” stories, themes or subjects out there—making a new friend is one. (Here’s a list of a few others.) These can be tricky because in the right hands, they can feel fresh and new, so I’d never say that I’d automatically stop reading a story like this. Still, these texts will be competing with quite a few others out there, so I’m cautious with these.

Is there anything you see too much of in your submission pile?

I see quite a few projects that want to teach kids a lesson. I’m not particularly interested in this, though there are quite a few picture books that want kids to understand some values—fairness, for instance—and do this quite skillfully. I guess that, in terms of message books, I want to see this emerge from the character’s journey, rather than leading the story.

What is the word from picture book editors these days? What are they seeking in picture books?

The main thing editors ask me for is strong, original characters with a compelling, meaty story. If that character has the potential to build a series, all the better. Length should be shorter (see word count above). Most editors will find something funny very appealing and are often looking for something quirky. This is harder to quantify—one gal’s quirky is another gal’s odd—but in general, I think this is about looking for something that feels new and different.

What factors go into your decision to offer a picture book author representation? (Do you offer representation based on only one picture book, or do you prefer that the author have a few ready to submit?)

Two things—I need to love the work, and I need to feel that I can sell it. Easy to explain, hard to find! Mainly that’s because it’s ultimately personal and what I may love is so different than what someone else may love. It’s best if the writer has a few books in the bag, so to speak, but not 100% necessary.

Do your rep author-illustrators? Is it best for them to query with a full dummy, or just a story and a portfolio?

I do! In fact, I’m very eager to take more author-illustrators on. I love seeing a full dummy, but querying either way is fine. My submissions information is here: http://www.thebentagency.com/submission.php.

Could you describe your ideal client?

Someone who loves their work. Writing and illustrating is amazing work, and I feel super lucky to work with children’s book creators, but it requires dedication, patience, flexibility, and some grit. You’re probably going to hear no a few times before you hear yes. Being able to balance all that against a deep love for your work, and a real pleasure in doing it, is key.

Are you open to submissions? How can writers reach you?

Very much so. Please visit The Bent Agency website to learn more about being in touch.

Thank you, Susan! I hope to bump into you again soon! Without dumping us both onto the floor. Although, it sparked a lovely, informative conversation, didn’t it?

Literary Agent Gemma's best picks ... and a BONUS! Nosy Crow publisher Kate Wilson tells us what she's looking for Gemma Cooper is a children’s literary agent with The Bent Agency, representing authors here in the UK and in the US. More information about her and how to submit I’ve read some truly spectacular novels in 2012 and I would love to find some similar manuscripts in my New Year

Agent Jenny Bent of The Bent Agency looks back on some of the things that have changed in the 20 years she has been in the industry.  I thought you would find it interesting.  You can see that I started with number four, so I have provided the link to read the whole post at the bottom.  Susan Hawk, also, from the Jenny Bent Agency is coming to the NJSCBWI Conference.  All her critiques and lunch tables are booked, but there still is one pitch left for Susan.  Of course, she will be talking to attendees throughout the conference.

Here is Jenny:

For the Better:

4. Authors are so much better informed. I used to have to basically reinvent the wheel with each new author, breaking the bad news to them one thing at a time. Yes, it will take a year for your book to be published. Yes, you will only get a royalty statement twice a year and it will be for the period ending three months prior. Now, authors know so much more about the process. Via social media they’re able to connect with published author friends and really learn the ropes before getting tossed in. It’s one of my favorite things about the way technology has changed the business.

5. A corollary to #4: Authors who query now have access to so much more information. The only resources about agents really used to be Jeff Herman’s guide and the LMP (who remembers the LMP?). Now, there are almost infinite sources of information about agents. Beyond just access to sales (which I think is so important) authors can get a real sense of the agent’s personality via twitter, blogs and facebook. It’s a wonderful way of figuring out who might be a great agent match.

For the Worse:

1. Payouts. Don’t get me started. An author’s advance payment almost always used to be half and half–half on signing, half on delivery and acceptance. Now it’s thirds or even fourths–1/4 on signing, 1/4 on d &a, 1/4 on hardcover pub and 1/4 on paperback pub. Sigh. Authors have to write a lot faster these days to make money on the same kind of schedule that they used to.

Read the Rest: http://jennybent.blogspot.com/2012/02/my-how-things-have-changed-jenny-weighs.html

Would love to hear from any editors, agents, art directors, artist reps, or authors.  I am sure you have other things that you could contribute.

Talk tomorrow,

Kathy

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