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Posts Tagged ‘ALL ABOUT SUBMISSIONS’

sub six series 2

The ALL ABOUT SUBMISSIONS series is winding down. Only two more posts before we move on. The final guest bloggers will be Emma Walton Hamilton and Julie Hedlund. They will be joining together to talk about submissions. Beginning in the fall, a team of platform building, awe inspiring, social media mavens will share their knowledge and tips in a Platform Building series as guest bloggers. I will be sharing their names next month. Also in the fall, I will be adding more testimonials and some new advanced plans to my critique service, so keep an eye out for announcements.

Today, author and creator of Sub It Club, Heather Ayris Burnell, shares her tips on writing query and cover letters. A big thank you to Heather for her words of wisdom and for taking the time to write this post.

 

SubItClub Badge (175x88)

 

CREATE A GREAT INTRODUCTION: QUERY AND COVER LETTERS

By Heather Ayris Burnell

 

Query and cover letters—lots of writers dread them, but I say embrace those words! Your letter is your chance to talk about the manuscript you’ve worked so hard on. It’s time to think like a sales team and feature your work, and yourself, in the best light possible. Nope, no bragging is necessary, or even advisable.

Don’t stress out! Remember, query and cover letters are business letters. Your one-page letter is an introduction to your manuscript and you. Whether you’re sending in an unsolicited submission, submitting after a conference, or following up on a request, you’re going to need one. Make your letter easy to read and to the point. Agents and editors don’t have time to wade through a bunch of fluff to get to what they need to know.

Let’s get down to business!

COVER LETTER OR QUERY LETTER, WHAT’S THE DIFFERENCE?

These two letters can be very similar, but at the most basic:

A QUERY LETTER asks if you can send the work for consideration. It hooks the reader in a clear, concise manner, ideally making the reader want to request the manuscript.

The COVER LETTER is sent with the manuscript. It teases, making the reader want to move on and read those manuscript pages.

THE BASIC PARTS

HOOK – Sell your story in one short paragraph. (My hook is usually 1-3 sentences long.)

SUMMARY – Give your genre and word count. Expound on your story if needed. This is a great place to show what makes your manuscript unique.

BIO – This is about you. Publication credits, memberships to writing organizations, or work in an area that has to do with books can be great things to put in your bio. Unique experience or qualifications that have to do with the subject of your manuscript can be of interest as well.

If you don’t have anything, it’s okay! Don’t force it. Saying your kids love the story or simply talking about yourself in general isn’t likely to help sell you as a writer. A bio is not a 100% requirement in your letter. If you wow someone with your hook, it won’t matter much what your bio says.

I have read of agents who like to see all sorts of things in bios from the fact that you belong to a critique group to clueing them in on your online presence. But, there are definitely preferences on this. It is always a must to research whomever you are querying! Often times, you’ll discover partialities. If not, go with your gut.

Just be sure to keep your bio short and to the point!

PERSONALIZATION – Why did you choose to send this particular letter about this particular manuscript to this particular person? From something you learned via Twitter that made you choose to submit to comparable books you found while doing research, personalization can be tough, but it can go a long way and shows you are dedicated and educated in your craft.

Again, don’t force it. Personalization is not a 100% requirement. A factitious reason for submitting your work is worse than none at all.

CLOSING – Thank the person reading the letter for their time. Tell them what’s enclosed (cover letter) or ask if you can send the manuscript (query letter).

THE FORMAT

Letters should be one page or less, usually consisting of 3-4 paragraphs, the shorter and more concise the better, of course.

What is the #1 most important thing that the person you’re sending your letter to should read? That is what you want at the top, first paragraph.

If you have a connection from a conference or contest, a manuscript request, or just a really great reason for asking for your work to be considered, putting it front and center can grab the reader’s attention and keep them reading on.

Just have a regular reason for submitting, such as thinking your book might fit their style? Starting off with your hook right from the beginning is a great way to go.

Either way, get to the point. You have seconds to grab a busy agent or editor’s attention with your letter.

DO:

Show not tell. Just like in your manuscript. Create a visual for the reader.

Keep your letter to one page.

Learn the correct format for both paper and email queries.

Address your letter to an actual person. There is a rare .001% of the time, usually at publishing houses, where you cannot find a name of any actual person or are even told to sub to “The Editors”. It’s okay to do this if you absolutely have to.

Have someone else look over your letter. The person you’re submitting to won’t know your story. You want it to be clear to someone who doesn’t know it like you do. Getting your letter critiqued will help you make a strong presentation.

Proofread your query more than once before sending. Reading out loud helps catch mistakes.

Submit to more than one agent or publisher at a time (unless an exclusive is specified in the guidelines). Hearing back on submissions can take a very long time. Keep moving forward!

DON’T:

Write your query as your character.

Worry about the type of paper you use for mailed submissions. Clean, white printer paper is fine. If you want to spend more on high quality paper that’s fine too, just don’t use colored or patterned paper. It’s your letter you want them to take note of!

Resend your query because of a tiny mistake you didn’t catch before you sent it.

Waffle. Know your story. Your genre. For example, don’t offer to change your picture book to a chapter book. If changes are wanted, they will be asked for.

Put sticky notes, photos, or any other sort of extra to “personalize” your query. Everything the reader needs to know to make a decision should be in your letter.

REMEMBER

Creating your letter takes time. Most likely more time than you feel it should! Personalizing each submission takes time. Don’t rush it. You only have one chance to submit your work to someone; you want to make the best presentation possible.

Studying letters that worked is helpful when creating a great query or cover. There are many variations, but one thing stays true, the letter serves to sell the story. Check out the Query Letters That Worked at Sub It Club for some examples of letters that sold manuscripts.

You’ve worked hard to create the best manuscript you can. You need to work just as hard on your query letter. You can do it, you are a writer!

Heather Ayris BurnellABOUT HEATHER

Heather Ayris Burnell loves writing query letters and she loves helping others with them, that’s why she created Sub It Club where they talk about all things subbing and share cover and query letter critiques in their private Facebook group. She also does query and picture book critiques, as well as private consulting with writers to help them figure out the ins and outs of publishing, submitting in particular. She is the author of BEDTIME MONSTER published by Raven Tree Press and is represented by Sean McCarthy Literary Agency.

BedtimeMonster

You can find Heather on her blog,  where she curates the Monster List of Picture Book Agents, on Twitter @heatherayris, and on Facebook.

BONUS LINKS FROM ALAYNE

Note: These days,  many people use the term “query letter” for both a “true” query letter and a cover letter. As Heather pointed out, technically, there is a difference. Make sure when you read the following posts that you are researching the one you really need for your submission.

Heather’s blog post on Picture Book  Manuscript Formatting

Harold Underdown Query Letters That Worked and Cover Letters and Query Letters

Writing Picture Books for Children Writing a Cover Letter and Sample Cover Letter

Rob Sanders Hovering Over Cover Letters

Query Shark Revising Query Letters so the Actually Work

Kathleen Temean Successful Query Letters and Writing Examples

Children’s Atheneum Query Letter Woes or Writing an Honest Query Letter

Carol Brendler (Emu’s Debuts) The Only Way to Write a Query Letter

Writer Unboxed, Chuck Sambuchino, Query Letter FAQs

Jessica Schmeider Query Workshop part 2 of 5 –  Find Links to the whole query workshop here

KIDLIT411.com Submissions: Agents and Editors

 

 

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sub six series 2

I apologize for hijacking Jan’s informative post with a few announcements. I feel it is important to let you know that I have decided to let ALL ABOUT SUBMISSIONS Q & A rest for the summer. However, there are still some ALL ABOUT SUBMISSIONS guest posts coming up. The two main reasons for the summer break with the Q & A are:

1) It’s a busy time for everyone, so I thought it might be nice to give the team a break.

2) I am busy with writing projects and my new picture book critique service.

Many of our Q & A members have had good news since we started the team. I am hoping to share some of it with you in the future.

I would like to thank today’s guest blogger, Jan Godown Annino, for sharing some of the things she has learned in her writing journey. Here’s Jan. . . .

 

Admissions about Submissions:

Things Learned from my Crackerjack Critique Partners

 by Jan Godown Annino

 

It could be that at the end of this day, you won’t submit that poem, story, article or book. I’m talking about that manuscript glowing over there in your To-Go queue.

Why not?

1. There is a time to submit.

2. And there is a time to delay a submission.

Having spent plenty of time around the table with my prize-winning poetry critique partner and two groups of published writers / editors, I’ve been privileged with an inside view of their submission experiences, results, and hopes.

Jan's crackerjack  critique group L to R : Debra, Ann, Jan & M.R. Photo by Paolo Annino

Jan’s crackerjack critique group
L to R : Debra, Ann, Jan & M.R.
Photo by Anna Annino

As the leader of a writing workshop in a retirement community for several years, I discovered a surprising reason to hold back on submissions. Also, in attending crackerjack workshops at the Hollins University summer children’s literature program, I learned a lot about submission attitudes from fellow writers.

Today, I share what I learned about manuscript submissions and writing from the above mentioned experiences.

This blog post is about moving a voluntary, not required writing for everyday employment, submission along. Moving it the long, long, miles from the keyboard toward publication. NOTE:  Writing required for everyday employment such as, works-for-hire, paid/staff writing assignments, writing in other employment settings, or other similar pieces are not in the hopper for this discussion.

Two Little Reasons to Hold Back on Submitting

Little reason one: The poem, article, story or book manuscript ain’t poifect. It’s not the best.

Some things that might get overlooked or might need a little extra attention are: the idea, research, writing, revisions, fact-checking, copy editing, formatting & agreements / commitments previously made with an agent or editor.

Although flush with the thrill of creation earlier, the writer now realizes that all the words don’t work well. The next revisions might start with arrangements for hiring an expert copy-editor where they will work together to provide polish before submitting. They might look for things such as, lax formatting, missing significant facts and so on.

The best work moves forward. The less than best, no.

Now for a word about partial manuscripts. Sometimes, upon request from editors or agents, a writer sends out work that is partially written. But those requests for partials do not mean that those professionals on the receiving end hope to read work without sparkle. Those partials must be the best they can be, not hurry up, rough-and-tumble drafts.

As for the writer who has an arrangement with an agent or editor to peek at works-in-progress that are covered in construction dust, well, that writer owns a unique send button. Brava! Not every keyboard has ’em.

For most of us, it works in our favor to leave the typos, wonky formatting, and blobby ideas at home.

Little reason two for holding back on submitting, with three aspects to it: An unready, unprepared writer.

1. Not the writer’s true topic.

A writer may realize they dislike the topic that they are messing around with in Microsoft Word, longhand, or however it is they bring something to the page.

As a community college adult education writing instructor, I had big ears for the round-the-world adventures of active retirees. They are the ones who taught me about this “wrong topic” problem.

Out of about 20 fascinating writers with lively stories to tell, each semester, usually one-fourth shared that they were slogging away at a piece that they didn’t want to write. But they were dully plodding because a spouse, child, sibling, college group, former employer, etc. tasked them with it. Someone had complimented them on their writing, rhyme, annual family newsletter, vacation report, or anecdote about Uncle Mortimer and the wasp in his armpit by telling them, “You have to publish this!”

If you don’t want to write the piece you are working on, give yourself permission to write something you want to write. (Note – again, under discussion is voluntary writing, not required writing for everyday employment.)

 2)     Scrutiny

A smaller part of little reason two is that an author is unready, at this particular moment, to be out there for scrutiny. Consider the following scenario: An author’s pal runs interference and sets up a pitch session with their editor or agent. The unprepared author doesn’t have the pitch polished, is sick with the ick, is distracted by several serious family kerfuffles, etc. The editor is faced with either wasting time with an unprepared author or a string of cancelled appointments due to the author’s personal issues.

The remedy is to always try to be ready, but to understand if the time is truly not right. Ask the editor/agent if you can be in touch soon, like in two weeks?

3)     Unwilling to budge

A third aspect of little reason two is that the writer is emotionally tied to the story exactly the way it is submitted. The connection, often from a heartfelt childhood experience or other event, is so vivid to the author that any manuscript changes suggested by an editor or publisher feel wrong . . . or it seems as though it would be a betrayal of this emotional material to make changes for improvement.

So why send a piece to a traditional publisher, whose job is to find ways to make the piece better, and whose experience guides them to do this, when the writer’s thinking from the get-go is,  I’m not open to substantial changes. You must be open to changes to work with a top-drawer editor and publisher.

There may be other reasons a writer is unready; please share a comment.

COMMENT prize

The prize(s): A surprise item (or items) from Jan’s writer’s vault (U.S. & Canada postal mail, only.)

To be considered for a prize, leave a comment, by June 30 midnighty and include your real name if that is not the automatic comment name.

I appreciate those who helped. In acknowledging assistance (Ann, Debra, M.R, especially, thank you) any foolishness of thought, fact or interpretation, is my own. I’d like to also express gratitude for Sub Six/Alayne and your supporting cast, and more thanks to Kristen Fulton for the enthusiasm she shares in the writing community.

Photo by M.R. Street

Photo by M.R. Street

About Jan

Jan Godown Annino’s picture book biography of Betty Mae Tiger Jumper, SHE SANG PROMISE, is an ALA Amelia Bloomer Top Ten book. ​The New Jersey native moved to south Florida as a teen and now ​​lives with her family safe from pythons,​ ​crocodiles and most tourists,​ ​in North Florida​.​ ​Her ​poems for children are published in a 2014 Peace Corps anthology for Ethiopian schools, and her poetry for young readers also appears in Milkweed’s STORIES FROM WHERE WE LIVE, Literary Field Guide Series (Piedmont & South Atlantic edition).  ​Her Florida nonfiction books​ ​ ​are also well-regarded. Jan is​  ​an active reader in schools.

Visit Jan’s blog

Learn more about Jan on Twitter

You can also find Jan on GROG a group blog offering guidance and support to writers. 

CLICK HERE TO FIND A COMPLETE LIST OF “ALL ABOUT SUBMISSION” POSTS

CLICK HERE FOR INFORMATION ON ALAYNE’S PICTURE BOOK CRITIQUE SERVICE

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AAS Q&A 4This month, I asked the All about Submissions team the following questions: How do you cope with rejections? What do you do with the rejection letters – even if they are just form letters? I shared some of our answers yesterday in Part One. Here are the remaining answers plus links to some excellent posts. Please feel free to comment and share your tips for coping with rejections. And remember, if you have questions you would like answered, either ask it in the comment section or contact me by clicking the “contact” button at the top of this page.

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Teresa Robeson, author and artist

teresarobeson.com

Rejections used to get me into a deep funk. I think that’s partly why I gave up writing for a while in the 2000s (that, combined with the stress of homeschooling two young kids during that period). I had some wonderfully encouraging, personalized rejections among the form ones, but it was still so depressing.

I think that, with age, I have grown a thicker skin and now rejections don’t bother me as much. They still do, but they don’t define my self-worth. Also, I’ve gotten fan letters and compliments (from readers and editors) on my published works, and that really helps to sustain me when I receive a rejection.

Because I’m semi-organized (more hypothetically than in practice), I save all my rejection letters in files, either real or virtual. I occasionally, like once every seven years, pull out the encouraging ones to look at, but I don’t do anything with them otherwise. No need to re-live the angst of the form rejections, and I hold the good ones in my heart anyway.

As much as rejections pain me, in today’s world of “we’ll reply only if interested,” I would rather receive a form rejection than no rejection at all!

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Sophia Mallonée, Children’s Writer

www.sophiamallonee.com

Rejections suck. Yeah, your skin might grow a little thicker over time, but there really is no getting used to the rejection process.

For me, my coping mechanisms vary from rejection to rejection. The best rejections are the personalized ones. With those, I like to pick apart the letter and try to view my manuscript the way the agent or editor did. Can I utilize their advice? I’ll pour over my manuscript and try to find any weak links that I might be able to strengthen. I take these rejections as learning experiences. Yes, it still sucks to be rejected. But at least in these cases (most often) I’ve received a little bit of knowledge as a consolation prize.

It’s the form rejections that are the worst. It’s more difficult to take away a great lesson when you receive an “It’s wonderful…but just not for me” type of letter. That always stings. It’s like a breakup where you’re never able to say how you felt in the end, and the closure is never had. Why? Just give me something. If it’s so wonderful, then why is it not for you? It took me a while to let go of those rejections. But I get it. I know that a manuscript can be good and still not connect with you – I read stories like that all of the time – for no particular reason. I understand that to respond to every single query/submission would be a ridiculous waste of time. But still, just because I understand the rejection process, doesn’t mean I have to like it. I definitely allow myself to have a mini pity-party, followed by a phone call or lunch with my critique buddies, where we all commiserate. After that, I’ll write something new. Nothing makes me feel more accomplished and happy than diving into a new story.

I like to keep my rejection letters. I keep all of my electronic rejection letters filed away (even if they’re form) in my email. That way, if I query or submit to the same agent/editor again in the future, I can reference back to any correspondence we might have had in the past.

I don’t, however, keep any paper rejections unless they’re personalized and mailed to me. I don’t have the time or space for extra paperwork.

I’ll mention that I also have a running “Submission Tracking” spreadsheet that I maintain. I track all letters received, dates and any specific notes next to the agent/editor info on this sheet. That way, even if I don’t have the letters themselves, I’m still able to reference specifics quickly.

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Cindy Williams Schrauben, Children’s Writer

Raising Book Monsters – kids who devour books and hunger for knowledge

http://www.RaisingBookMonsters.com

What do I do with form rejections? I log them (on my submission spreadsheet) and forget them. Done.

How do I cope with rejections? This question sounds very straight forward, but there are many variables. I can say, though, that my coping mechanisms have become much stronger over time and I can even say that I am grateful for them – okay, not grateful that they said NO, but grateful for the fact that they responded at all.

My first few rejections were very difficult – I, simply, didn’t know how it worked. I had written a story – a good story, so I thought – and put it out there for the world to see. Time for agents to start knocking at my door, right? Finding that others didn’t share my passion for this manuscript was, initially, really tough. I know now that it isn’t quite that easy. But I can say that I ALWAYS read a rejection like a critique, quickly the first time… let it sit… and then read it again later with less emotion and more objectivity.

Call it rationalization if you like, but I cope with rejections by asking myself a couple questions:

Was this a dream agent? If the answer is no, I tell myself that this rejection is just getting me closer to the right one. If the answer is yes, well, I blubber away for a while and then I eat some ice cream.

Another determining factor is the type of rejection – they are not all created equal. Form rejections, for example just suck; that’s all there is to it. There is nothing to learn from them other than perseverance and a tough skin. One way to help is to go to Literary Rejections and read about all the hugely successful authors who have been rejected hundreds of times.  Their tagline is: “helping writers persevere through rejection.” Their web and Facebook sites both offer commiseration and inspiration.

Personalized rejections are a different story entirely. I recently received one from an agent that included real reasons for rejecting my work. It wasn’t a copy/paste response like: “I wasn’t in love” blah, blah, blah, or “not a good fit” blah, blah, blah, but offered some constructive criticism.  I treat these rejections like gold. They are, in fact, critiques from someone who truly knows the business. Sure, it is just another opinion, but an informed one to say the least.

My final piece of advice/rationalization is to tell myself that I want an agent who LOVES my work. Period. If they don’t… well, they aren’t right for me.

* * *

Sylvia Liu, Writer-illustrator

portfolio: www.enjoyingplanetearth.com

blog: www.sylvialiuland.com

Sylvia Liu is a winner of the Lee & Low New Voices Award. http://blog.leeandlow.com/2014/01/15/announcing-our-2013-new-voices-award-winner/

I am very practical and dispassionate about rejections. I figure it’s a numbers game and I will need to rack up many rejections before I find the right fit. I also look on the bright side. If I get deafening silence, I can imagine that the agent or publisher is still pondering the story. If I get a form letter, I get closure. If I get a quick rejection, I’m happy to move on. If I get personalized feedback, I am thrilled to improve my story and am buoyed by the prospect that it is one step further out of the slush pile.

The hardest rejections are after an agent has requested more work and they end up passing on my work. It’s hard not take that personally, but it does spur me to keep strengthening all my pieces.

I keep all my rejections. In the olden days, I’d get photocopies of form letters that I still have in an accordion file. Nowadays, I keep an “Agent Correspondence” file in my emails. My favorite rejection was one where my husband and I submitted a piece he wrote and I illustrated about six years ago. The rejection was addressed to him, but the line, “Tell Ms. Liu her illustrations are brilliant,” still sustains me today.

* * *

Alayne Kay Christian, Award Winning Children’s Author

Butterfly Kisses for Grandma and Grandpa

Represented by Erzsi Deak, Hen&ink Literary Studio

Before I share this month’s links, I want to make one point. Many of the All about Submissions team members mentioned developing tough or thick skin. First I want to say that a form letter rejection, a kind/helpful rejection, or the emptiness of no response from a manuscript submission can all be perceived as criticism. I believe one excellent way to develop thick skin and practice coping with criticism is to join a critique group. But here’s the thing about critique groups, a critique partner who is afraid of hurting someone’s feelings and therefore is not as honest as they can be about their crit partners’ manuscripts is doing a disservice to their fellow writers. Be honest. Tell what you see, think, feel. Critiques are like dress rehearsals for rejections. The author of the manuscript can decide if they agree with you or not. Of course, you want to give positive feedback as well. Ask your critique partners to help you out by honestly telling it as they see it.

Links:

From Jessica P. Morrell

Three posts (all appear on the same page – if you click on any one of the three links below, you will access the page):

What Editor’s Notice

Top Eleven Reasons Why a Manuscript is Rejected

Tips for staying out of the rejection pile

 * * *

From OneWildWorld.com:  SIX GUIDELINES FOR TURNING REJECTION INTO SUCCESS by Carol Despeaux

 * * *

From Distractify: 10 PAINFUL REJECTION LETTERS TO FAMOUS PEOPLE PROVING YOU SHOULD NEVER GIVE UP YOUR DREAMS by Averi Clements

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From Kristin Lamb’s blog: HOW TO TAKE CRITICISM LIKE A PRO by J.E. Fishman

* * *

From MORE online magazine: KATHRYN STOCKETT’S “THE HELP” TURNED DOWN 60 TIMES BEFORE BECOMING A BEST SELLER

by Kathryn Stockett

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TOP 10 FAMOUS BOOKS THAT WERE ORIGINALLY REJECTED

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From Schuler Books Weblog: 30 FAMOUS AUTHORS WHOSE WORKS WERE REJECTED, by Michelle Kerns

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Romelle Broas shares a humorous post, REJECTION LETTERS FROM A POSITIVE PERSPECTIVE

* * *

Tidbits from Alayne

Two responses to rejections that I see in the writing community that I enjoy are as follows:

Onword and upword! (spelling intentional)

Now I’m one step closer to publication (variations: signing with an agent, a book contract)

A list of all the ALL ABOUT SUBMISSIONS posts.

 

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AAS Q&A 4

This month, I asked the All about Submissions team the following questions: How do you cope with rejections? What do you do with the rejection letters – even if they are just form letters? I will share some of their answers today and the rest tomorrow. Please feel free to comment and share your tips for coping with rejections.

I would like to introduce our newest team member, Heather Ayris Burnell, author of Bedtime Monster. Welcome Heather.

As always, a big thank you to all that took the time to share their answers to this month’s questions.

* * *

Kirsti Call, Children’s Author

The Raindrop Who Couldn’t Fall!

http://www.characterpublishing.org/store/index.php?route=product/product&path=82&product_id=60

http://www.youtube.com/watch?v=ILoU8KRTjRM&feature=youtu.be

www.kirsticall.com

Rejection is proof that I’m writing.  Rejection is proof that I’m submitting!  Rejection gives me one less publisher or agent to send that particular manuscript to!  I have dozens or maybe even hundreds of rejections and I keep every one of them. Even form letters are concrete evidence of my dedication to writing stories for children.  And somehow, with each rejection, I feel like I’m one step closer to finding the right publisher.

* * *

Julie Falatko

Author of SNAPPSY THE ALLIGATOR (DID NOT ASK TO BE IN THIS BOOK) (Viking Children’s, 2015)

Represented by Danielle Smith

http://worldofjulie.com/

I am someone who suffered from severe submit-o-phobia for two years. It was good. I am grateful for my fear of rejection, because otherwise I would have submitted some truly awful stories. But as I was working on writing, and knowing I wasn’t ready yet, I’d see friends complaining about rejections, and I was so jealous. I wanted to be ready to submit things! I couldn’t wait until I was far enough along to actually start getting rejections. That was the next phase on the horizon that I could see: submitting stuff, getting rejections. And I knew I wasn’t there yet.

So when I did finally started submitting, I honestly didn’t mind getting rejections. I mean, well, sure, I minded a little. But I knew every rejection just meant the agent and I weren’t a good fit. I was so happy to finally be at a point where I was getting rejections. I found the waiting-for-rejections to be a lot harder than the rejections.

I kept all of my rejections. Some of them were very nice ones, and I would go back and reread them for encouragement. I don’t know what it means that I am someone who read rejections for encouragement, but it’s true.

* * *

Heather Ayris Burnell, Author

Bedtime Monster

www.subitclub.wordpress.com

www.frolickingthroughcyberspace.blogspot.com

Represented by Sean McCarthy Literary Agency

To me, rejection is just part of the process of becoming published. Statistically speaking, it takes a lot of rejection to get to an acceptance. When we send our work out for consideration we are competing against hundreds of other talented writers and their work. There are so many factors that are out of our control once we send our work for consideration. The piece we send not only has to be the best of the best, it has to reach the right person at the right time and fit into their vision, whether it be an agent building their list or a publisher looking for that next great book to publish. Being rejected means you are getting your work out there and trying to reach your goal of publication. That is a positive thing! When I get a rejection, I let myself have that “oh darn” moment but I don’t dwell on it. I read the reply a couple times to let it sink in (I always seem to skim on the first couple of reads), take note in my submission log, move on, and keep on working toward my goal. Sure, I might switch up my query letter if I keep getting forms or do some revising if I get suggestions.

Rejections don’t have to hold you back. They can help you gain insight that can keep you moving forward in a positive direction.

I do think you can have some fun with rejection letters. Why not? I have a lot of ideas of what to do with them, I even wrote a post, Fun with Rejections! I’m saving mine up for a piñata and am hoping to have a big party with a bunch of my writer friends someday. Not sure exactly what I’ll fill the piñata with. Pens…notepads…chocolate? There will definitely be chocolate!

* * *

Elaine Kiely Kearns, Children’s Writer

http://www.kidlit411.com/

Ah, rejection.

After much reflection upon this question I can only answer in one way: rejection sucks, people. It stings, it burns, it makes us feel like we are inadequate and that our writing is subpar.

And of course, anyone reading this post also knows that rejection is a part of this wacky, wonderful path to publication. Getting your manuscript snatched up by an agent or an editor right out of the gate is unrealistic. Of course it happens, but it’s rare. I am guessing that it would be easier to win the lottery – twice.

So what do we do with all of this rejection? How do we cope?

Well, first of all, we have to learn to take comfort in knowing that it is just part of the process. It’s business. Just business. When you look at it like that, it’s so much easier to accept. Another rejection? Who cares! Onward! (Especially if it was the standard form letter rejection.)

However, if you received some notes from an editor or agent on your manuscript, Congratulations! If an agent or editor has taken the time to give you feedback, I would take that as a sign that you are getting closer. A lot closer. Agents and editors do not have the time to give feedback, so even though it’s a pass, be grateful that they thought enough of your manuscript to give you a little bit of something to go on. Celebrate!

The last thing you can do is to arm yourself with information and become familiar with an agent and editor’s job. Wait, what?! Why? Well, if you put yourself in their shoes, you will see that the rejection you’re receiving isn’t personal. Publishing, after all, is a business. That’s the bottom line, and sometimes we need to remind our creative brains of that fact. Your writing may be strong and entertaining, but for a myriad of other reasons, it may just not be the right time for them to accept it. If you understand where they are coming from, it’s much easier to understand and accept that painful sting.

And ultimately, won’t it be that much sweeter when your deal finally does come through? Just think of all the hope you’ll be able to give to those who come after you when they ask, “Did you get a lot of rejections before your ‘yes’?” And you’ll say, “Yeah, a lot. Hang in there, it will happen for you too!”

“You never really fail until you quit.”- Anonymous

Happy writing!

For more information about agents, editors and rejection visit: http://www.kidlit411.com/2014/01/kidlit411-submission-how-to.html

 * * *

Marcie Flinchum Atkins, Children’s and YA Writer

www.marcieatkins.com

Marcie wasn’t able to contribute this month, but Marcie, ten other writers (many you may know), and I discuss “Dealing with rejections” on her blog. Here are the links:

http://www.marcieatkins.com/2013/04/20/were-all-in-this-together-rejection-post-1/

http://www.marcieatkins.com/2013/04/21/were-all-in-this-together-rejection-post-2/

* * *

Alayne Kay Christian, Award Winning Children’s Author

Butterfly Kisses for Grandma and Grandpa

Represented by Erzsi Deak, Hen&ink Literary Studio

Instead of reinventing the wheel, I will offer links to a couple of my previous posts about rejections below.

TWELVE METHODS FOR COPING WITH REJECTIONS

This partly humorous and partly inspiring post offers the yin and yang of coping with rejections.

BLACK JELLYBEANS, MANUSCRIPT REJECTIONS, AND BEETS

This post talks about how taste influences rejections and acceptance.

From Marcie Flinchum Atkin’s blog: WHAT’S SO LOVELY ABOUT WRITING FOR CHILDREN? While all the writers’ answers are inspiring, mine relates to rejections, so be sure to scroll down until you get to my answer.

WHAT’S COMING IN PART TWO?

  • Teresa Robeson talks about growing out of the deep funk that rejections can induce.
  • Sophia Mallonée and Cindy Williams Schrauben both share their thoughts on the many sides of rejections.
  • Sylvia Liu gives her “numbers game” perspective along with sharing a bit about her favorite rejection.
  • I share a bunch of inspirational links on topics such as new perspectives, turning your rejections into successes, and taking criticism like a pro.

A list of all the ALL ABOUT SUBMISSIONS posts.

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AAS Q&A 4DO YOU HAVE A QUESTION ABOUT SUBMISSIONS THAT YOU WOULD LIKE ANSWERED? ASK YOUR QUESTION IN A COMMENT.

Before I get started today, I want to thank the ALL ABOUT SUBMISSIONS Q & A team for their great answers to this month’s question.

When I first got the idea for this series, I asked children’s book writers what questions they would like answered regarding manuscript submissions. Several people asked similar questions about agents and editors. I decided to share all the questions with the team, as I believed it would offer them more brainstorming power. I think if I were to combine all the questions asked, they would lead to two basic questions.

1) How do you manage your agent/editor searches, information gathering, and so on?

2) How do you determine who you sub to?

Here are the questions as asked:

  • How to narrow down your “where to submit” list?
  • I find researching agents and editors overwhelming. Where is the best place to start?
  • How do I know if I am really targeting my manuscript to the right publisher? I know that we are supposed to study publisher’s websites, market guides, read other books published by them in the same genre, etc., but how do I “really” know if mine is right for their list? Are there any tips or tricks that help you to narrow down potential publishers? Are there any “tried and true” methods used by those of you who are published? I don’t know about anyone else, but I tend to feel somewhat overwhelmed when I peruse those market guides.

Once again, the team came through with excellent answers. And once again, they have offered so much information that I will do two posts. Click here for RESEARCHING AGENTS AND EDITORS: HOW TO YOU DETERMINE WHO TO SUBMIT TO? PART ONE

* * *

Sylvia Liu, Writer-illustrator

portfolio: www.enjoyingplanetearth.com

blog: www.sylvialiuland.com

Sylvia Liu is a winner of the Lee & Low New Voices Award. http://blog.leeandlow.com/2014/01/15/announcing-our-2013-new-voices-award-winner/

Here’s how I research and query agencies:

(1) Overall Strategy: Small Batches. The best advice on querying agents is to do so in small batches (4-6) at a time, and include both your top and lesser choices in each batch. That way you can get feedback (or silence, which is a form of feedback), and adjust your query. If you blast out a query that is not working to 50 agents, and they all decline to ask for more, you are out of luck. If you get rejected on your first round of 4-6 submissions, you will still have other top choice agents to send a revised query to.

(2) Initial research. I start researching agencies using Literary Rambles, which has a comprehensive list of children’s agents with detailed interviews of their likes and dislikes and links to other interviews. I also check out lists like the top 25 children’s agents by sales and the many lists on Kidlit411’s agent page.

(3) Excel spreadsheet. I create an Excel spreadsheet with agents I’m interested in, listing their name, website, submission process, and any specific interests relevant to my work. I color coordinate the entries by highlighting my favorite ones in one color and my second choice in another.

(4) More research on top choices. For my top choice agents, I do more research. Their websites usually list their clients. I’ll check out as many books of their clients as I can find and read them (for picture books, it’s easy to read; for middle grade books, I skim or read the first few chapters). This is a good way to see if my work would fit in with the agent’s tastes and to get good personalized information for the query letter.

(5) Send out in small batches and keep track of responses in Excel. I send my query (for picture books, that often includes the story pasted in the email text) to 4 to 6 agents, including 2 to 3 of my top choices, and 2 to 4 of my second choices. I use a spreadsheet to keep track of the date I sent a story, what I sent, and the usual response time (some agents will tell you that if you haven’t heard within x weeks, consider it a rejection).

When I get a rejection, I highlight that entry gray, so I can tell at a glance which submissions are still active. If I get requests for more material, they get a yellow highlight. When I followed this approach last year, I got two requests to see more work, which did not lead to representation. I highlighted those entries in light purple (to remind myself I’m making progress). My 2013 Excel spreadsheet had a lot of lines of gray (rejection) and white (no response), 2 lines of purple, and one bright yellow (my contest win – I also keep track on my spreadsheet all my contest entries).

* * *

Sophia Mallonée, Children’s Writer

www.sophiamallonee.com

Unfortunately, I don’t think there are any special tricks to narrowing down your submission list. The only tried and true method to finding the right agent or publisher is through research. Lots and lots of research.

The thing is, as much as you might not want to hear this, all of that painful time spent researching, is actually really good for you. Think about it. If you find an agent, that person doesn’t simply help you sell your work, they become a partner, working with you to help you mold your career. Speaking not only as a writer, but as an ex-agent (in the photography industry), your relationship with your agent should be just that, a relationship. This is a person who has to not only believe in your work, they also have to share your vision and passion for it too. You don’t want to just sign with anyone, you want to sign with the one.

You need to research, you need to sift through lists and websites and message boards and everything else you can possibly find. Then once you’ve done all that, you can start the courting process. It might be quick and heated, or it might be long and drawn out. But in any case, it is the way it is and the way it should be. None of this is something that can be rushed. This is your career and there are no shortcuts when it comes to building a strong foundation.

As for finding publishers to submit to, the same holds true. Read blogs, read books both in stores and libraries, Google publishers, go to conferences, listen to what editors have to say and in other words, research. This isn’t a race to see who gets published first, this is your passion and your work. Work. It’s not always easy – if it was, everyone would be doing it.

If you believe in what you do, then let your belief be your fuel. You will power through it and eventually, you will find the place that you were always meant to be. Good luck!

* * *

Julie Falatko, Author of SNAPPSY THE ALLIGATOR (DID NOT ASK TO BE IN THIS BOOK) (Viking Children’s, 2015)

Represented by Danielle Smith, Foreword Literary

http://worldofjulie.com/

I found the best way to find agents who would be a good fit was to read a lot of picture books. When I read books that I loved, or that were a little bit like mine, I’d dig around and figure out who the author’s agent is. A few agent names kept coming up again and again, so I moved them to the top of my spreadsheet. I then researched those agents like I was cramming for finals. I wanted to know everything I could. What books do they like? What are they like on Twitter, if they’re on there? Do they seem passionate about books in interviews, or snooty and snarky? And: are they still open to submissions? Are they still accepting picture books? Submission guidelines change, and the biggest best thing you can do is to read them and follow them exactly.

I read advice that said you should simultaneously query huge batches of (well-researched) agents at a time, but I could never get my head around this. Maybe because what I write is kind of oddball, and so it didn’t seem like there were that many agents who might dig my style. Instead I went for a super-focused, very personalized querying approach. It was maybe more nerve-wracking, because I felt like I was narrowing my options, but I think it’s what helped me get an agent. I wasn’t wasting anyone’s time. (I ended up querying eleven agents total.)

* * *

Kirsti Call, Children’s Author of  THE RAINDROP WHO COULDN’T FALL!

http://www.characterpublishing.org/store/index.php?route=product/product&path=82&product_id=60

http://www.youtube.com/watch?v=ILoU8KRTjRM&feature=youtu.be

www.kirsticall.com

Here are 3 things that help me decide where to submit:

1. I go to the library or bookstore and read!  When I find picture books that I like, I take note of who the publisher is. Then think about which of my manuscripts would be a good fit for that publisher.

2. I search Book Markets for Children’s Writers 20142014 Children’s Writer’s & Illustrators Market and SCBWI’s The Book.  I mark each publisher that fits with the name of the manuscript I want to submit.

3. I network.  People in the 12×12 community or Children’s Book Creatives share what they’ve learned about publishers and then I have a better idea of whether they are a good fit for me and my story. I was lucky with my debut picture book, The Raindrop Who Couldn’t Fall.  A friend in my critique group was published by Character Publishing, so I submitted to them.

* * *

Alayne Kay Christian, Award Winning Children’s Author

Butterfly Kisses for Grandma and Grandpa

Represented by Erzsi Deak, Hen&ink Literary Studio

Between today’s answers and those posted yesterday, I believe the team has done a thorough job of answering the question. Therefore, I have decided to share some links that fit well with this topic. First, I want to mention that Elaine Kiely Kearns, Children’s Writer http://www.kidlit411.com/ will be our guest blogger on March 15. Her blog will be a bonus post for this topic. Not only will she give her tips for researching agents and editors, she will be giving some other tips for agent submissions, including bringing your manuscripts to conferences and sending conference submissions.

RESEARCHING AGENTS PART ONE

Alayne’s Links for HOW DO YOU DETERMINE WHO TO SUBMIT TO? Part Two

Before I give you links to resources, I want to offer some links to a couple Facebook Groups that relate to submissions and agents and editors.

Agent/Editor Discussion This board is for picture book authors. We discuss agents/editors, sending manuscripts, cover letters and queries. We support the successes and celebrate the rejections (that means we are one step closer to a yes). It is a closed group, but you can ask to join on the page.

Sub Six The Sub Six picture book support group’s focus is supporting each other as we work toward our submission goals.

Hot off the press. SO YOU WANT TO GET AN AGENT, by Romelle Broas

http://romellebroas.blogspot.com/2014/02/so-you-want-to-get-agent.html

From PUB[LISHING] CRAWL: RESEARCHING AGENTS by Susan Dennard; INDUSTRY LIFE

http://www.publishingcrawl.com/2013/09/06/researching-literary-agents/

4 THINGS TO CONSIDER WHEN RESEARCHING LITERARY AGENTS, from Writers Digest and Brian Klems’ The Writer’s Dig.

http://www.writersdigest.com/online-editor/4-things-to-consider-when-researching-literary-agents

HOW TO RESEARCH LITERARY AGENTS, By Noah Lukeman from WRITERS STORE

http://www.writersstore.com/how-to-research-literary-agents

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