My Writing

1. What does an agent do? Do I need an agent?

An agent is an author’s advocate, career partner, editor, negotiator, advisor and champion. But that doesn’t mean that every author needs an agent.  I will say that at the very least, every author should have some kind of advocate who is well-versed in the publishing industry, whether it be an agent or a publishing attorney.  But a lawyer’s job is much narrower: they advocate and negotiate, but they can’t give career advice, edit your manuscript or work on your publicity and marketing plans.  So it really just depends on what you need. 

2. Is there any way to increase your chances of having your query selected from the slush pile?

Yes, by writing a good query!  There are tons of resources online that can show you how to do that.  

3. What happens after the query is selected from the slush pile?

After a query is selected, I ask for the full manuscript.  And after I read the full manuscript, I decide whether or not I want to have a call with the author and see if we’re a good fit to work together. 

4. Have you ever passed on a ms. that went on to do well? If so, what went into this decision?

Absolutely!  I’ve passed on plenty of projects that went on to sell and some to sell very well.  Many factors go into that kind of decision, and the biggest one is: I don’t offer representation to a manuscript.  I offer representation to an author.  Sometimes I’ll love a manuscript, but as soon as I get to know the author, I realize very quickly that we don’t share the same career goals and vision for their work.  And in times like those, I don’t offer representation.  There are also a number of times when I read a manuscript and think it’s great, but I just don’t personally love it enough to champion it through the good times and the bad times.  So I pass, and watch it go on to sell with the right agent for that author.  There are a lot of reasons, and I have never personally passed on something that I regret.  

5. What are the top three common mistakes authors make? 

In queries, the biggest mistake I see is that they don’t talk enough about the project. They talk more about themselves and why their book is great, but not enough about the story itself.  It happens all the time. 

In revisions, underestimating how much time they’ll need to edit a book.  Particularly early on in their careers. They don’t want to displease anyone, so I’ve seen many authors set deadlines that they can’t keep. Even if something is going to take longer, just be realistic and honest upfront.  It helps everyone else plan around you!

After publication, they read the online reviews of their book.  Big mistake, and one that almost everyone makes.  I am a firm believer that constructive criticism is a crucial element in honing one’s craft.  But there’s no way to filter the constructive from the downright silly or mean things said online.  And every author I’ve ever worked with is not prepared for how painful that experience can be.  It’s creatively stifling, and very difficult to get over.  DO NOT LOOK!

6. How is querying for a picturebook different from a MG or YA title?

When you’re querying as an illustrator, you’ll include links to your portfolio and may include a full “dummy” of the picture book for review. You’ll still need a pitch though!

7. What is your favorite part of your job? The least favorite?

My favorite part of my job is when I get to read a new manuscript that I am enjoying.  It is one of the best feelings!  Even better if I have time to ruminate afterward for a while. Think on it. 

My least favorite part of the job is when I have to part ways with a client. 

8. What is a fun fact that few people know about you?

"No." Says the tuna, "Do you?"

"I have never seen it." Says the whale, "but deep in my body, I remember it."

"Why do you care," says the tuna, "if you will never see it."

"There are bones in my body built to walk through the forests and the mountains." Says the whale.

"They will disappear." Says the tuna, "one day, your body will forget the forests and the mountains."

"Maybe I don't want to forget," Says the whale, "The forests were once my home."

"I have seen the forests." Whispers the salmon, almost to itself.

"Tell me what you have seen," says the whale.

"The forests spawned me." Says the salmon. "They sent me to the ocean to grow. When I am fat with the bounty of the ocean, I will bring it home."

"Why would the forests seek the bounty of the oceans?" Asks the whale. "They have bounty of their own."

We… were not. 

War had ravaged us, and sickness, and war once again, until our population dwindled beyond the point of recovery. We struggled against that, of course… we used genetic manipulation, and cloning, and even more desperate measures. None succeeded. When the humans came, we were sinking into apathy, only a few tens of us left. We had begun to discuss whether we should commit a mass suicide, or simply wait to fade away. 

And then the young species came, in their clumsy ships, and they asked us why we were so few. 

“We are becoming extinct,” we told them. “We have passed the point of recovery.” 

It is custom to avoid the races that are dying – once a species reaches the point of inevitable extinction, even war is suspended, and the fiercest enemy pulls back. The custom was born of plagues and poisons that could be carried forth from a dying world to afflict a healthy one, but it has the implacable weight of tradition now. After we are gone, after they have waited for the prescribed period of quarantine, there will be a fight for our world. Habitable worlds are few, and this is a good one, with plenty of free groundwater and thriving vegetation. It is a bitter thing to be grateful for the custom that allows us to die in peace, but we are grateful.

But the humans don’t know that custom, and they do not leave. They seem distraught, when we tell them we are dying, and try to offer their aid - but their technology is behind ours, and it is too late. When they realize that they can’t save us, though, they do something that bewilders us. 

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!