When Seeking Agent Representation* for Picture Book Writers

 

*Disclosure: I never sought representation for my picture book texts because very few agents are open to such. Both my previous agents did represent my picture books but took me as a client for my Middle Grade novels.

 

The conventional wisdom on agent-seeking is that if you approach such for picture books, it is better to have at least three manuscripts polished and ready to go.

 

Why?

 

In one way, this is counter intuitive. Every manuscript is its own animal, and a great highly marketable one is just that. Writers who seek agent representation with longer works are not expected to have more than that one ready for presentation.

 

In another way, picture book texts require less time (though no less creative spark and skill) to pen, revise, re-revise, and polish, and agents are not interested in investing energy in a relationship with a one-shot wonder.

 

Put another way, Agent might be saying to Writer, “If we’re to become working partners, you better show me that you can do this again and again (and again) because, unlike novels, it’s possible to write twelve picture book texts in one year. I don’t deal with slouches.”

Or something to that effect.

 

Just another of the publishing world’s peculiarities.

SHARING FIVE TAKEAWAYS from a Webinar

 

A few months have passed since I attended a so-called “closed” webinar with a senior editor in one of the big-five publishing houses, and so I feel no shame in sharing the main takeaways for all who are knocking on publishers’ doors.

 

This sort of insider’s view should not be a secret. There are many misconceptions floating on the interwebs, and writers (who the editor remined us— are the bedrock of publishing) have it hard enough already.

 

Takeaway #1

For the big-five and their imprints, you need an agent. We knew this, but it was emphasized as in no real exceptions, period. Forget about special openings or contests.

This ties to the last takeaway, but bear with me.

 

Takeaway #2

For debut fiction*, whether kidlit or adult, your web-presence is not a consideration for acquisitions. Someone asked about the number of Facebook friends and the editor said that “Facebook isn’t a thing anymore.” Nor are any of the other digital town squares. Just make sure you haven’t made hordes of zany cuckoo comments, which if you’re agented is likely not an issue. (Agents weed for this before taking writers on.)

*Non-fiction is a different story

 

Takeaway #3

Yes, it is harder now to get traditionally published. It was never easy and it’s been hard forever. But since the pandemic closures it’s harder, as in much harder. If you had the fortitude to plow forward before, you must double down now. It’s the same trek only steeper.

 

Takeaway #4

The theme, plot, pace--- all must quicken the reading editor’s heart. But none of those matter as much as the quality of the prose. If the writing voice doesn’t “pop,” the big-five editor just moves on to the next submission to be rejected.

 

Takeaway #5

Who your agent is matters a whole lot. Editors remember agents who have sent them “yawners” and “un-sparkling” submissions before. They remember agents they didn’t like dealing with. Worse, they are aware of the bestselling writers the agent also represents or if they don’t have any A-list writers as clients. There is a definite hierarchy in consideration of submissions depending on the agent’s standing.

 

This last takeaway may be the hardest insider’s view to hear.  

 

All that said, I will focus on the only thing in my control: write better.