Summer 2012 - Prepping for the Next 12 Months

Summer 2012 is already booking up. The family calendar is starting to have fewer and fewer unmarked days. What I want to know is how do I fit it all in?

I have one writer's retreat scheduled and I can't wait. I've started a new YA and have been working on the outline. I'm hoping these three and a half retreat days will consist of writing as much as I can of a new first draft.

Now on to bigger and better things: 2013 NESCBWI Conference. The Call for Proposals for the 2013 NESCBWI Conference, "Word-By-Word: The Art of Craft will go out June 1, 2012. So mark your calendars. With the call going out earlier, the deadline will also be sooner, August 27th, 2012!

Registration Table at the 2012 NESCBWI Conference

We will be looking for all levels of craft workshops, particularly those that are for advanced or master level writers. These Master level classes we are calling studios and will be 180 minutes.

So, please start thinking about what you would like to propose. Also, preferential consideration will go to presenters who have sent in two or more proposals.

Y is for YOU Made It!

On day left in the A to Z challenge and this year, I've made it! This being my second year, I knew what I was up against. I had a better plan, a list of ideas and several set in stone topics to write about. This planning, made it so much easier.

What this challenge has really done is made me sit and write, every day for a month. No excuses. This has established a new pattern for me. One that makes me think of writing every day. After I write my A to Z post, I've been working on an outline for a new book.

I only spend 20 minutes researching the different themes that I want to include, it keeps me writing.

This is an exciting time. This idea that has been with me, festering for a few years, now feels fresh and new. I can't wait to work on it more.

So tomorrow is Z and I look forward to to it, knowing that I and many others have made it through this challenge. 

I finish with more than I started. Thank you!

Quality Books

Quality Books! That's what Pugalicious Press is all about. My "Partner-in-Publishing," Jen Carson and I, have been so impressed with the many wonderful manuscripts we have received for consideration.we are amazed at the amount of talent out there. And you are a talented bunch of writers!

You can review the guidelines here.

But think long and hard about whether your manuscript is polished draft. Because most often, we reject because they aren't. The ones we accept are.

So if you want to be let into the Doghouse, send us your very best.

Killer Book Covers

I always wonder why there are multiple covers for books. Was the first one a fail? Is the second one better? What about the numerous editions? I found some examples so let's take a look.

Which covers do you like?

Glorious Blooms

Spring it about to take hold here in New Hampshire. The Weeping Willows along the pond have yellow buds. The snow drops are already receding and the crocus are in full bloom. The lush dark green of the tulip foliage, dark against the newly greening grass, heralding the glorious color about to burst forth has me pulling out the Adirondack chairs and looking through garden catalogs.

I've always loved the meaning of flowers. Each bloom has a different meaning. During Victorian times, life was emotionally strict and people use flowers to express their feelings toward each other.

Tulips are the symbol of The Perfect Lover.

Wisteria  means Youth and Poetry

 Forsythia means Anticipation.

Purple Hyacinth means I am sorry, Please forgive me, also Sorrow.

Cyclamen means  Resignation & Goodbye.

Iris means  Faith, Wisdom, Valor, Your Friendship Means So Much To Me.

 

I can't wait for my garden to bloom!

What would you say with flowers?

Matched

When I walked into the house, Crossed by Allie Condie was on the kitchen island waiting for me.

My kids, both book lovers, were calling dibs before I could even rip the plastic wrap from it. Before I could enjoy the cover.

I smoothly and very mom-like, swatted away their grubby, little book-stealing hands, ran from the room and hid it from them until I can start reading.

I plan on reading it this weekend. Maybe, I'll start it tonight and read it straight through the night until finished. It's been a very long time since I've done that.

What are you reading this weekend?

Here it is! NESCBWI 2012 "Keeping it Real" Conferenece

I can only give you a glimpse of things to come but we did change things up.

Registration opens January 23, 2012. Get your manuscripts and agent quick queries ready! Deadlines for submitting for critiques close early for the upcoming conference due to the dates being in April.

Kudos to Jen Carson for all she's done with her work on the newest version of the postcard and in such a teeny-weenie amount of time.

Calling ALL Volunteers for NESCBWI 2012!

We need you to make 2012 the best conference ever!

Only 251 days until the conference.

Want to volunteer?

Click here to complete the volunteer survey.

The New England SCBWI annual conference is entirely organized and run by volunteers, so help is vitally needed and greatly appreciated. This is one of the largest regional SCBWI conferences, and last year we sold out the conference in two weeks. This year, the theme is "Keeping it Real: Reality and World-building in Fiction, Nonfiction, and Illustration" and the conference will take place April 20-22, 2012 at the Sheraton Springfield Monarch Place Hotel, Springfield, MA.

Please complete the conference volunteer survey if you are interested in helping out. Getting more involved in the NE-SCBWI conference is a great way to meet accomplished authors, illustrators, editors, and other publishing professionals.

Volunteers are needed to assist with many different aspects of the conference. Conference weekend volunteers are responsible for tasks during the conference weekend only, and will be trained that weekend. We also need volunteers to help select workshops for the conference. The Workshop Selection Committee will meet on October 2, 2011 in Holden, MA to choose the best workshops out of all the proposals submitted.

We are also seeking volunteers to take on roles with greater time commitment and involvement. If you are interested in any of the following volunteer positions, please email nescbwi12@gmail.com with your full name, contact information, and a brief explanation of why you feel you would be a good fit for the position.

Open Volunteer Positions

Special Interest Group Coordinator

Special Interest Groups are informal discussions meant to promote networking and discussion on topics of mutual interest. For example, past Special Interest Groups have discussed writing fantasy, using Twitter, and digital illustration. The Coordinator will need to solicit topics for the groups, find and recruit volunteers to lead the discussions, create signage for the tables, and make sure that the event runs smoothly.

Contact nescbwi12@gmail.com if you are interested in this position.

Book Signing Coordinator

Authors and illustrators who present at the conference are invited to sign books. The Book Signing Coordinator is responsible for contacting and scheduling faculty for the signing, coordinating with the conference book seller to ensure that their books are available, and figuring out the best set-up for the book signing room, including line management.

Contact nescbwi12@gmail.com if you are interested in this position.

Assistant Critique Registrars

The Critique Registrar takes every manuscript submitted for a critique at the conference, organizes them by genre, and submits them to appropriate editors and agents. The Registrar also puts together the schedule of critique meetings. Assistant Critique Registrars will work with the Registrar to manage this process and deal with critique requests and scheduling issues. We are looking for volunteers who live in the Burlington, MA area.

Contact nescbwi12@gmail.com if you are interested in this position.

Open Mic Coordinator

Open Mic night was popular this past year, so we would like to offer this event again in 2012. The Open Mic Coordinator will plan the open mic night (or nights) and will be there to ensure that the event goes smoothly.

Contact nescbwi12@gmail.com if you are interested in this position.

Door Prize Coordinator

The Door Prize Coordinator will solicit prizes to give away during the conference weekend, organize the prizes at the conference, and come up with a fun, creative, and efficient way of conducting the raffle.

Contact nescbwi12@gmail.com if you are interested in this position.

Poster Showcase Coordinator

The Poster Showcase Coordinator organizes and runs the Illustrator poster contest at the conference. The Coordinator will come up with a concept for the contest, solicit prizes for the winners, present the prizes to the winners, and take charge of set-up and take-down of the contest.

Contact nescbwi12@gmail.com if you are interested in this position.

Portfolio Critique Coordinator

Art Directors give portfolio reviews at the conference. This Coordinator will seek out Art Directors who are interested and available the weekend of the conference to critique portfolios, and will manage the portfolio critique schedule.

Contact nescbwi12@gmail.com if you are interested in this position.

Portfolio Display Coordinator

This year, we are interested in adding a location for illustrators to display their work. The Portfolio Display Coordinator will recruit illustrators to take part in the display, and will manage set-up and take-down of the room.

Contact nescbwi12@gmail.com if you are interested in this position.

Sneak Peek - 2012 NESCBWI Conference Artwork

The illustrator for the NESCBWI 2012 Keeping it Real in Fiction, Nonfiction, and Illustration, is Jen Carson.  Here is a preliminary sketch that she has shared with me!

NESCBWI 2012 Call for proposals

It's official! Today the call for proposals for the 2012 NESCBWI Spring Conference "Keeping it Real: Reality and World-building in Fiction, Nonfiction, and Illustration" is out. 

Reality doesn't often get the spotlight in the post-Harry-Potter world of children's literature, but even in fantasy or highly stylized illustration, a believable world is fundamental. Also, there is so much we all can learn from nonfiction research and writing techniques. Finally, how do you stay realistic and focused on your future in this rapidly evolving industry?

As always, the conference will have a strong focus on craft. This year, we are moving to a new venue with more space available for workshop sessions. We'd like to invite more small, hands-on workshops. Of course, larger lecture-style workshops are still welcome as well.

This is one of the largest regional SCBWI conferences, and last year we sold out the conference in two weeks. We welcome proposals from everyone. We also encourage artists and writers of color, those who are differently abled, and others from underrepresented groups to propose conference workshops.

What YOU Need to know: Important Information

Conference Dates: Friday afternoon through Sunday afternoon, April 20-22, 2012
Conference Location: Sheraton Springfield Monarch Place Hotel, Springfield, MA
To Submit a Proposal: Please complete a conference proposal form. Separate submissions are required for multiple presentations or workshop/intensive versions of the same presentation.

Proposal Due Date: September 16, 2011
Presenter Notification Expected: November 1, 2011

Types of Presentations: 55-minute workshops; 120-minute intensives

 
What are we looking for?

55-minute workshops

• Presentations that relate to our conference theme.
• Presentations that last 55 minutes in their entirety. When planning, leave time for participant questions and any required audiovisual setup.
• A range of presentations for all SCBWI members, including illustrators and writers in all genres.
• Leveled presentations. We are not trying to find one presentation that everyone can attend. Instead, presenters should direct material toward a specific experience level. For example, an "advanced" illustration presentation should not begin with "Why you should carry a sketch book," and a "beginner's" writing workshop should not address marketing a contracted novel. 
• Focused presentations with clear learning outcomes. These should be clear, tangible "final products" that attendees take away. Plan the presentation thinking, "I want participants to leave with these three tools or ideas." A few examples: ideas for a new direction or revision in their own work; increased understanding of a specific genre, style, area of craft, art media, etc.; a step-by-step plan of attack for marketing, revisions, problem-solving, etc.
• Hands-on workshops where attendees spend significant time in writing, illustration, or marketing exercises applying ideas to their own work.
• Lecture-style presentations  with information that participants can take back to their desks to ponder and play with. 
• Presentations that include a range of examples rather than drawing solely from the presenter's experience or body of work.
• Presenters who are published members of SCBWI, as well as editors, agents, MFA graduates, and other industry professionals. Past presentation experience is appreciated.

120-minute intensives

Intensive proposals should meet all of the criteria listed above for 55-minute workshops. Also consider the following:

• 120-minute intensives typically take place on Sunday, and there are fewer slots available for these workshops.
• Two hours are provided, so plan exercises or some interactive element in the workshop. An intensive should not only be a lecture.
• Past presentation experience and in-depth knowledge of the topic are required.
• Partner presentations are welcome.

Note: If you apply to present a 55-minute workshop or a 120-minute intensive and we feel your presentation may better fit the other format, we will let you know!

Selection Criteria and Topics

Every year SCBWI New England receives many excellent proposals, more than can fit into a conference schedule. Therefore, we must choose on the basis of experience, quality, variety, novelty, attendant costs, and other factors. Please use the NESCBWI Workshop Rubric for more explicit selection criteria and standards.

We would love to see presentations on the following topics. If you are an expert on one of these topics, we would love to see your proposal.

• Hands-on writing workshops: tools, tips, outlining, character sketching, etc.
• Hands-on illustration workshops
• Publishing 101 session for authors or illustrators
• Developing an idea from conception to completion
• Nonfiction and fiction research
• Secrets of Story Arc
• How to lay out a picture book dummy
• How to start your own publishing company
  
• Gesture and emotion for illustrators
• School and library visits and promotion
• Writing nonfiction articles and short stories
• Mystery writing
• Creative writing courses in the New England area
• Game plan for leaving a full time job to become a freelancer

I hope to see you there!

Why a Trusted Beta Reader is a Valuable Addition to Your Toolbox!

You’ve completed your manuscript, edited and revised, read it aloud, and now you want to have a trusted reader complete a beta read.

As a writer, I crave feedback from my peers. I want honesty. I want to know what works and what doesn’t. Which all boils down to having another writer to be my beta reader.

Most writers understands that criticism isn’t about the person, but the manuscript. But, sometimes getting criticism is painful (I remember one very specific occasion where I cried) and can be very difficult to hear. Even for a seasoned, well-critiqued writer.

I want honest and well thought out feedback from someone who recognizes structure, story arc, dialogue, developing characters, plot, and who the intended audience is. Their constructive criticism will empower my creativity and bring with it a desire to continue revising until I get it right.

There are numerous ways to find a trusted reader. Recently, I found a writer who does all of this for me. We’ve swapped manuscripts a few times now. I have learned so much about my writing by reading and offering feedback to her about her work.

I have known her for several years and we first met as members of a critique group. I contacted a critique group that was listed on the NESCBWI.com critique group page. They were looking to grow the group but after a short time the group disbanded. To this day, she and I laugh about it. What I ended up with was a wonderful beta reader and a super writer friend. A girl can get lucky!

You might already be a member of a writer's group. But a fresh reader, someone who hasn't heard all about your struggles with the story is essential when you are preparing for a final round of revision before sending your manuscript to agents or editors.

Do you have a beta reader? if so, how did you find them? I'd love to hear you suggestions and tips.

What Are You Waiting For? NESCBWI 2012 Conference

If you were in attendance at last weekend’s NESCBWI 2011 Conference in Fitchburg, MA., I want to hear from you!

• Tell me what you loved.
• Tell me what you didn’t love.
• Did you step our of your comfort zone and introduce yourself to someone new?

The NESCBWI 2012 Conference - Keeping it Real: reality and world building in nonfiction, fiction, and illustration is all set for April 20-21, 2012 and will take place at the Sheraton Hotel of Springfield, MA, so mark your calendars.

Tell me what you would like to see at next year’s conference.

Now think about this.
Do you have what it takes to be a workshop presenter? Start putting your proposal together. The call for proposals will go out sometime mid to late June. Be ready to submit, because we want you!

J is for Just Remember

I’ve been thinking about how the small things that happen to us, change us. I’m well traveled. My honeymoon was a three week adventure, driving around Namibia (what used to be German Southwest Africa) in an unair-conditioned Ford, diesel station wagon and camping under the stars. A weekend adventure to Costa Rica to zip line the canopy, only to sprain my ankle so badly, I couldn’t. Skinny-dipping in November in the Baltic Sea off of Sweden.

Visiting the German City of Dachau, on a rainy winter’s day to visit the concentration camp.

From the car, we followed the signs for the entrance, down a path along a gray concrete wall. A group of Czech teens were laughing and joking ahead of us. I think I looked up then because the wall seemed unnaturally high. That was when I realized we were walking the exterior perimeter of the camp. A guard tower peaked through the trees and vines, chilling me.

My husband took my hand.

Approaching the entrance wasn’t difficult, what made it hard was knowing that I was about to willingly walk through the gate when others had never had a choice. I needed to compose myself. I closed my eyes and was instantly swept back by the smell of fear coming from the railroad bed under my feet. Time was disjointed, I had to open my eyes.

I heard my name and moved closer to the gate. This is what I saw.

Being there was eerie, as again time wavered between then and now. The place wreaked of despair. My eyes watered the entire time.

As dusk approached, groups of people moved toward the gate. The Czech teens, subdued.
No shouts of Halt as I exited through the gate. No rapid fire machine guns popping. Silence except for the footfalls of those around me.

Then the sky exploded. A sonic boom, my husband said. I felt time tear and this is what happened.

DACHAU REVISITED

Metallic drizzle glazes the decades.

Knees tremble stepping from the car.

Our forced march through time defies fear.

Subtle grays disguise the truth,

a spasm of recognition etches guard tower, ruined wall.

Now covered in vines, leaves of brown

plaster tightly to bricks and mortar.

I walk, eyes straight ahead.

Grays shift in the corner of my vision,

twist into muted shapes of rigor mortis.

Wrought iron lies greet me.

Beyond, the shadows coagulate into ghosts of the once-living

wearing gray and white stripes like the criss-cross of barbed wire.

Gravel crunches underfoot; I taste ashes in my mouth.

Forced march -- double-time -- down the avenue to the gate.

I feel the noose around my neck, choking.

Ovens cold and dark, hungry lips coated with what I do not want

to see. I can’t close my eyes,

I don’t want to look.

I can’t stop.

Jostled and bumped by mournful souls, I flee

through the gate of lies.

Truth explodes around me.

A sonic boom rips through the air, tearing time.

Ghosts walk along side me, through me

Liberated.

The Glimmer of an Idea

That glimmer of an idea, the one that won’t let you sleep, or focus on your family. It shimmers at the most annoying times, just out of reach. You can hear your brain scream as you try to snare that illusive thought. Stretching your gray matter, hoping to capture any essence of this magnificent idea before it slips away.

If you can lasso that runaway thought, form a solid, cohesive concept, you may just have the start of something brilliant. It’s the holding onto that hint of an idea which causes the brain scream.

I’ve tried the “carry around the notebook and pen” approach, but no idea ever forms when I’m prepared for it. Instead, it raps the inside of my skull every once in a while, reminding me it’s still there. Then the day comes, when it dislodges from the gray matter and bursts forth in full color.

If I don’t stop what I am doing the moment this happens, it’s lost. So now I scribble on whatever is available, usually on my arm. Sometimes my kids arm. Just a word or two is all it takes for me to remember. Then I race home, power up the laptop and tell the kids to fend for themselves for the rest of the night.

How do you do it?

Dystopian, Not Didactic

Dystopian novels continue to be popular with Teen readers.

Is this because many dystopian worlds mimic current trends in today’s young adult society?  Or, could it be, this group of readers more closely identify with oppression and control and how it leads to rebellion?

Teens want to be allowed to chose their friends, destinations, and relationships without parental intervention. In The New Yorker article Fresh Hell, writer Laura Miller says, “The world of our hovered-over teens and preteens may be safer, but it’s also less conducive to adventure, and therefore to adventure stories.”

Today’s teens live in well-defined, segmented worlds. Their days cycle through home, school, activities, sports, all of which have rules set forth by adults and must be followed. They can be reached by parents at all times by cell phone and texting.

Many Dystopian worlds emulate the oppression and control which many teens feel they are made to endure. For today's teens, their everyday encapsulated worlds are really dystopian in nature and camouflaged as daily life.

These dystopian heroes do what many teens cannot, they go beyond questioning, they resist authority, and in the end successfully rebel. Often, finding the outcome far from perfect, but knowing change occurred.

If you were to write a dystopian novel, what would your world be like?

Recommended Reading List
The Ember Series by Jeanne Duprau
Feed by MT Anderson
The forest of Hands and Teeth by Carrie Ryan
The Giver by Lois Lowry
How I live Now by Meg Rosoff
The Hunger Games Trilogy by Suazanne COllins
The Maze Runner by James Dashner
Unwind by Neal Shusterman
The Moon Crash Trilogy by Beth Pfifer
Birthmarked byCaragh M. O’Brien
Matched by Ally Condie
The Uglies Trilogy by Scott Westerfeld

The Importance of Crafting Compelling Characters

You know Katniss Everdeen, Harry Potter, and Bella Swan - these aren’t just names, they’re characters whose secrets you know, desires you understand, and whose fears you wish you could quell. Characters so alive, you’ve fallen in love with them.

Why does this happen?

Not by accident.

These characters are carefully crafted so their actions, dialogue and choices show (yes, show) how they think and what they believe. Crafted to make their flaws stand out, their secrets weigh heavy, to allow their fears to be exploited.

As my character’s life unfolds, my goal is to make it easy for the reader to get caught up in the character’s actions and words.  If I do it right, I can facilitate an internal dialogue where the reader reacts emotionally and wants to tell my character not to make that choice or say those words. Where the readers wants to send warnings, because they care about what is happening the character.

Of course my character will make the wrong choice or say the wrong thing, they have to. The reader can’t change what will happen, but they will love my character more for making mistakes, for being human.

Ultimately, I want my reader to cry when my character pays the price for their mistakes, and laugh and cheer them on when they grow and change. Most of all, I want to make reader believe in my character. 

Once a reader believes a character can save the world, fight evil wizards, or love a vampire, you've succeeded in creating a compelling character.

NESCBWI AQQ Sneak Peek Interview with Agent Linda Pratt

We have many so many wonderful agents attending this year's NESCBWI 2011 Celebrating Milestones Conference. Next up on the Sneak Peek tour, Linda Pratt.

Recently, Linda Pratt and Marcia Wernick announced the establishment of the Wernick & Pratt Agency, a full-service agency dedicated to representing authors and illustrators of children's books.  

From their website, http://www.wernickpratt.com "Our philosophy is that we represent people rather than merely the books they create, so our approach to representation is to create strategies for our clients' long term careers."

Linda Pratt

1. What makes for a healthy working relationship between you and your authors?
For me a healthy working relationship seems to come down to three things.  First and foremost is mutual trust.  If that isn’t there, I don’t see how a relationship can be successful. The second is that it always helps to like one another. Not necessarily “best friends” like, but it’s easier to weather the inevitable bumps along the way if you start out liking one another. Lastly, there’s flexibility. An agent should be flexible in meeting their clients needs since over the course of a career those are bound to change, and authors and illustrators are likely to be the most successful when they, too, are flexible in adjusting to the changing markets so that their agent has the tools to create additional opportunities for them when needed. 
 
2. What are you always looking for but never receive in a submission?
I’ve been fortunate enough to work with some really talented first time authors so I don’t think I can say that I’ve looked for something in submissions that I’ve never received. However, the things I do always hope to see in a submission are voice and a clear sense of what’s at stake for the main character:  

Voice – What is the author revealing to me about this character that is going to make me want to know them for the next 150 or so pages?  It’s like a first date; I don’t want to know everything there is to know by the goodnight kiss, but I do want to some well-chosen details that’ll have me agreeing to a second date so I can find out more.
 
Clear Stakes – I want to feel the characters sense of triumph or loss if things go one way or the other.  For that to happen there has to be a clear sense of what’s at play.  Kind of like a seesaw. The conflict is the weight in the middle that can shift to one side or the other depending on what influences ultimately win out. 
 
3. What is your agent style?
Although I tailor my style to each individual client, overall I take a long view in working with clients since I want to work with them for their careers.  So there are a series of things I need to know. What are their goals - both immediate and long term? What are their financial needs? What time do they have to devote to their creative lives with their other professional, family and or personal commitments? What’s realistic once we start putting all these pieces together?  Then it comes down to the nuts and bolts work. How do we try to get them where they want to go?  This tends to involve a lot editorial work, as well as, advising on what projects to pursue, possible networking opportunities, scheduling issues, and many other day to day decisions that fit into the long term career picture. It’s a work in progress that isn’t written stone since life and business are ever-changing. 
 
4. What do you see as upcoming trends in the industry? What themes do see as having endurance?
I think you’ll start to see picture books acquisitions being evaluated differently. With the increase in the e-book and apps markets, a picture book’s adaptability to the “enhanced/enriched” e-book and/or app format will likely play an ever more prominent role in discussions. I’m not sure that’s a particularly good or bad thing, but being able to sell well in these formats is likely going to be a key deciding factor in acquisition. As far as the next theme trend in children’s books, I don’t think I’m prescient enough to predict that. I remember when mysteries in middle grade were going to be all the rage 10 or so years ago. They never went away as far as I could tell, nor did they become quite the rage either.
 
On themes with endurance, however, books that master the classic themes: true love always wins out, star-crossed lovers, triumph over oppression, blood is thicker than water, etc. will always endure. The trick is to find a fresh way to present them. If you think about it, every book that’s begun a thematic trend in recent years incorporates predominant classic themes be it Harry Potter, The Hunger Games, Twilight and on. It’s the books that lose sight of that fact in their attempt to just mimic the thematic trend that’ll fade.   
 
5. What would you like to see more of and why?
I would like to see the inventiveness of subject matter and approach to storytelling that’s been going on in YA emerge more in the middle grade market. One of the great things we’ve seen happen in YA is how arbitrary that upper age limit on the genre is. Many adult women have discovered these books and have become devoted readers.  Harry Potter showed us that middle grade can have the same elasticity in readership, but wouldn’t it be wonderful to see more of that happening?  
 
But that’s my broad response and you probably really want to know what I’d specifically like to see. In terms of my personal tastes, the kinds of things that draw me are: stories about kids that are straddling a major transition in life ( a tween who doesn’t really want to release girlhood when her core friends suddenly cross the line to teens or a teen who isn’t going to college when everyone else around them is), magical realism, unique cultural perspectives, humorous voices, historical fiction on an event or era that hasn’t been overly covered already, memorable supporting characters, sibling stories that go deeper than the stereotypical love/hate relationship, and stories from a viewpoint not often seen in literature.  
 
6. What conferences will you attend this year?
In addition to NESCBWI, which I’m thrilled to be invited to, I will be attending the Kansas SCBWI Fall Conference and SCBWI Southern Breeze Fall Conference.   
 
7. Is there anything you would like to add?
I’ve tried to answer the questions about trends, tastes, and what attracts me in a submission in detail because I know it helps, and I hope that my answers have given a better sense of me. However, if you’re a writer who feels you want to share your work with me, but don’t see it as fitting in with my answers to the questions here, please don’t take these as an absolute definition of what might make me go weak at the knees. I would love to be surprised by a perfect manuscript that I have no idea I’ve been waiting to get! 

NESCBWI AQQ Sneak Peek Interview with Agent Chris Richman

Do you still want to know more about the agents attending NESCBWI 2011 Celebrating Milestones Conference? Here's a peek at Chris Richman, an agent with Upstart Crow Literary. Want to know something cool about the Upstart Crow Literary Agency? They are entirely green when it comes to their submission policy.

From their website: "My love of books started at an early age. In the second grade I fell in love with the gross and wonderful works of Roald Dahl. On career day in third grade I carried a book and called myself an author. In the fourth grade I was sent to the principal’s office when the teacher discovered me reading Stephen King’s Pet Sematary in the back of the room."

This is his first year participating in the NESCBWI’s Agent Quick Query Event.

Chris Richman

1. What makes for a healthy working relationship between you and your authors?
A good, open line of communication is really important to me. I like to know a client’s expectations, frustrations, goals, and more, to ensure we’re on the same page and I’m doing everything possible to help them succeed. I also really value transparency in my dealings with my clients; they always know where we are with a project, including how far we think it is from being ready to submit, which editors have it, and what sorts of responses we’re getting. I expect the transparency to be reciprocated, too, so that there’s always an honest line of dialogue going back and forth between us. Finally, I truly writers who approach the business of books as just that: a business. Sure, there are personal expectations, successes, and disappointments mixed in, but I value an author capable of rolling with the highs and lows without tipping too far one way or the other.

 
2. What are you always looking for but never receive in a submission?
I can’t say there’s anything I’ve never received, since every project I’ve signed has had a special element that made me want to work with it. I will say, however, that I yearn for those projects that make me bolt up in my chair and shout, “Yes! This is the one!” right out of the gate, usually due to a complex mix of stellar writing, strong plotting, and original ideas. Sadly, that experience doesn’t happen as much as I would like. I do, however, enjoy the prospect that the next submission could be “the one.”

3. What is your agent style?
I consider myself an editorial agent, especially for debut writers. More and more manuscripts from debut writers need to be in pristine shape if they’re going to stand out to an editor. As I said above, I’m also completely transparent in my dealings. And, as much as I value professionalism, I tend to get to know my clients, and let them see aspects of my own silly personality from time to time.
 
4. What do you see as upcoming trends in the industry? What themes do see as having endurance?
I tend not to chase trends too much, especially in young adult. I would, however, like to hope the paranormal trend in YA is dying, but all signs suggest it will keep going strong until someone puts a stake directly into its heart. Dystopian, especially with romantic elements, is still doing pretty well, although I could see that slowing down somewhat in the near future, especially as most houses who want that sort of project now have it. I’d love to see more funny books for boys, like those by Rick Riordan and Jeff Kinney, stay popular.

As for what has endurance: good writing, of course, will always find a home, whether it’s middle grade or young adult, as will strong, believable characters. And with young adult, no matter what you’re writing--be it sci-fi, dystopian, stories with half human half animal hybrids, whatever—a compelling romance will always do a story good (even though romance is not something I typically seek out).
 
5. What would you like to see more of and why?
I honestly really like stories with a timeless feel, that could have been published thirty years ago, or thirty years from now, and still feel relevant. I don’t typically fall for stories tied so much to the present in terms of trends, fashion, music, etc. I’d love to see more fantastic middle grade with standout voices, though those are very difficult to do well. I’m still seeking stories with sports elements, though they have to be about more than simply sports for me to consider taking them on.
 
6. What conferences will you attend this year?
So far I’ve stopped in at the New York National SCBWI, I ventured out to San Diego’s SCBWI conference in February, and I’ll be of course attending the NESCBWI event in May. Unfortunately, I’ve had to turn down a fair number of conferences this year because it feels like everyone I know has chosen 2011 as the year to get married, though I may be able to squeeze in some more conferences toward the end of the year. We’ll see!  
 
7. Is there anything you would like to add?
I’m always hunting for the next great project, and I’m hoping I’ll find some in New England this May!

NESCBWI AQQ Sneak Peek Interview with Agent Jennifer Laughran

In case you didn't sign up for an Agent Quick Query, here's another opportunity to learn more about the agents attending this year's NESCBWI Celebrating Milestones Conference. Jennifer Laughran is an agent with the Andrea Brown Literary Agency, Inc. When she's not at writers conferences, she splits her time between San Francisco, NYC and the Hudson River Valley of NY.

This is Jennifer's third year participating in the NESCBWI’s Agent Quick Query Event. I am so happy to have her back with us again.

Jennifer Laughran

1. What makes for a healthy working relationship between you and your authors?
Open communication! I really can't say that enough.

2. What are you always looking for but never receive in a submission?
I am always looking for totally compelling, unputdownable, but beautifully written books, that make me laugh AND cry at the same time. Sometimes I get them - but I am always looking for more! :-)

3. What is your agent style?
I guess I am... Semi- editorial? I give notes to my authors to help them make their work extra-salable... But if it needed a ton of work, i probably wouldn't have taken it on to begin with.

4. What do you see as upcoming trends in the industry? What themes do see as having endurance?
I am not interested in trends. That said, and unsurprisingly I think, the things that are selling the most are the books that lie on the intersection of "beautifully written" and "high concept" -- I'd say the ease of selling is directly proportional to the difficulty the reader has setting the book down. Greater unputdownablity = faster sale. Makes sense, right?

5. What would you like to see more of and why?
I would like to see more of things that are upbeat. Also tearjerkers. Also super-romantic stories. Also thrilling. Also truly, genuinely scary. I am not so interested in grim, gloomy or quiet.

6. What conferences will you attend this year?
Not sure about Fall yet, but so far on the spring/summer agenda after NESCBWI:

* June 11, 2011: SCBWI Eastern NY conference, Poughkeepsie NY
* July 13, 2011: LeakyCon Lit Day, Orlando FL

7. Is there anything you would like to add?
Writers can check out my blog: http://literaticat.blogspot.com
or follow me on twitter: @literaticat

NESCBWI AQQ Sneak Peek Interview with Agent Ammi-Joan Paquette

Registration is now open for the New England SCBWI's 2011 Celebrating Milestones Conference. This year we've added additional Agent Quick Query slots to give attendees even more opportunities for face-to-face conversations with agents.

The second agent in my NESCBWI 2011 Conference sneak-peek series is Ammi-Joan Paquette. She is an associate agent with the Erin Murphy Literary Agency, and she is one of the nicest people I have ever met. Her encouraging words are full of insight, kindness, and encouragement. She is also a writer. Because of this, she understands what it is like on both sides of the Author/Agent realtionship. 

This is her second year participating in the NESCBWI’s Agent Quick Query Event.

Ammi-Joan Paquette

 

1. What makes for a healthy working relationship between you and your authors?
I think communication is one of the bedrocks of a strong agent-client relationship. When questions or issues arise, it’s important to be able to voice these openly—and likewise, to know that questions and concerns will be addressed promptly and efficiently. This type of communication and mutual respect of each other's time is extremely important in my book.

2. What are you always looking for but never receive in a submission?
One of the most wonderful things for me is when I receive something I didn’t even know I was looking for, but that suits my tastes exactly. That said, I would absolutely love to find a terrific food novel!

3. What is your agent style?
I would say: supportive, passionate, encouraging, persistent. Does that cover it?

4. What do you see as upcoming trends in the industry? What themes do see as having endurance?
I think there will always be a market for excellent writing with depth and heart. Trends come and go, but a story that’s imbued with a piece of yourself, that story that only you can write—that’s what makes a stand-out project.  

5. What would you like to see more of and why?
I’d love to see more laugh-out-loud humor, more mysteries, more tightly-woven plots that keep me guessing. I love to be surprised and caught off-guard by a twist I didn’t see coming but that fits the story beautifully. Surprise me and I will follow you just about anywhere. 

6. What conferences will you attend this year?
I have a fairly slow travel schedule so far this year, so I’m certainly open to considering invitations.

 7. Is there anything you would like to add?
Many thanks to the NESCBWI organizers, and I’ll see you in May!