Friday, April 17, 2015

Cynsational News & Giveaways

By Cynthia Leitich Smith
for Cynsations

Interview with Anne Ursu About The Real Boy by Corrine Duyvis from Disability in Kidlit. Peek: "Oscar isn’t labeled as autistic or having any kind of special needs in the book, and it’s been interesting to see who picks up on his autism. And many readers don’t. I’ve found that it tends to be people who are closely associated with autism in some way or another who see it." See also The Joke's On Me! Humor & Autism by Lyn Miller-Lauchmann.

Hand-holding in Dialogue Tags by Mary Kole from Kidlit.com. Peek: "The star of dialogue is the dialogue itself. Holding the reader’s hand through each snippet of dialogue says to me that you don’t quite trust yourself to communicate the scene in a way that the reader gets it."

Interpreting César Chávez's Legacy with Students by Jill Eisenberg from Lee & Low. Peek: "His remarkable achievements towards social justice and human rights serve as an excellent example to young people of how vital their voices are in bringing about change and championing causes that are as relevant today as they were in his day."

Word Count Intimidation by Deborah Halverson from DearEditor.com. Peek: "First, be done with numbers. Pledge not to count words until you type 'The End' on the final scene."

Showing Emotion: Moving Beyond the Face by Angela Ackerman from Writers Helping Writers. Peek: "The face is the first thing we notice in real life, and the focal point during any conversation."

On Writing & Self-Censorship in Writing for Young Readers by Mitali Perkins from Mitali's Fire Escape. Peek: "Aren't all stories containers for worldview, messages, and morals, even if it's the view that the world is morally uncertain?"

How I Got Into Publishing by Faye Bi, publicist at Simon & Schuster from CBC Diversity. Peek: "A love of books is not enough to work in publishing. Some candidates can’t afford to accept an unpaid internship to get their foot in the door, let alone three. Some need to consider higher paying industries to pay off their loans or take care of their families. Others don’t live near New York, or have any publishing companies near them."

Children's Literature for Math Awareness Month (April) by Jennifer Schultz from ALSC Blog. Peek: "Even if you don’t have a special program planned for Math Awareness Month, you can easily mark it with a counting-themed story time or display."

Ten Children's Bookseller Challenges and How Stores Solved Them by Judith Rosen from Publishers Weekly. Peek: "Every bookstore faces obstacles, but the way that it overcomes them can make the difference between being a so-so store and being a great one."

Cynsational Giveaways

The winner of a signed copy of Silence by Deborah Lytton (Shadow Mountain, 2015) was Rachel in Arizona.

YA Fantasy Cover Survey from Teenreads.com. Once you complete the survey, you'll be able to win a fantasy book or a $100 gift certificate to the bookstore of your choice. Note: for readers age 12 to 29.

This Week at Cynsations


More Personally

With Michelle Knudsen, Texas librarians & Candlewick peeps at Moonshine Patio Bar & Grill!
Colorful Canon panel at the Texas Library Association Conference, featuring Jeanne Devlin (Roadrunner), Lee Byrd (Cinco Puntos), me, Don Tate and Marina Tristan (Arte Publico), Keri Rabe (moderator). My enthusiastic thanks to all!
Novelists Lindsey Lane, Brian Yansky and Katherine Catmull at the Austin SCBWI Monthly meet at BookPeople.

Local Authors Leading Campaign for More Diverse Books by Sharyn Vane from the Austin American-Stateman. Peek: "Quick, check your kids’ bookshelf: How many characters look just like them? The answer likely depends on what race they are. And that’s a reality that many in the literary community — including key players from Austin — are working to change." Note: requires registration to read in full.

Personal Links


Cynsational Events

This morning Cynthia will appear on the panel "Let's Hear Their Stories: American Indians, Arabs and Arab Americans" from 10 a.m. to 11:50 a.m. in Convention Center Room 10 C, Level 3 at the 2015 Annual Conference of the Texas Library Association in Austin. Peek: "Representing American Indians and Arabs/Arab-Americans in library collections is an important component of diversity. The panel of authors and library science specialists surveys the availability of children's and YA books about these groups and will point out ways librarians can evaluate books for accuracy, fairness and freedom from stereotype." Panelists also include: Nancy Bo Flood, Janice L. Kowemy, Elsa Marston, and Loriene Roy.

Join Cynthia from 1:30 to 2:30 p.m. May 2 at Saratoga Springs Public Library for a celebration in conjunction with Saratoga Reads! at Saratoga Springs, New York. Note: Cynthia will be presenting Jingle Dancer (2000), Rain Is Not My Indian Name (2001) and Indian Shoes (2002)(all published by HarperColllins).

Join Cynthia at 11 a.m. May 30 in conjunction with the YA Book Club at Cedar Park Public Library in Cedar Park, Texas.

Cynthia will serve as the master class faculty member from June 19 to June 21 May 2 at the VCFA Alumni Mini-Residency in Montpelier, Vermont.

Cynthia will speak from June 25 to June 30 on a We Need Diverse Books panel at the 2015 Annual Conference of the American Library Association in San Francisco.

Cynthia will lead a breakout session on "Diversity in Children's and YA Literature" Aug. 22 at East Texas Book Fest at the Harvey Hall Convention Center in Tyler, Texas.

Cynthia will appear Sept. 19 at the Mansfield, Texas Book Festival.

Thursday, April 16, 2015

We Need Diverse Books & Children's Book Council To Partner on Publishing Internship Program

From Cynthia Leitich Smith's Cynsations

The Children’s Book Council (CBC), the non-profit trade association for children’s book publishers in North America, and grassroots nonprofit We Need Diverse Books™ (WNDB) today announced their partnership on educational programming and resources for interns selected for the WNDB Internship Program, launching this summer.

The program is designed to open up the children’s book publishing industry to talented job-seekers from diverse backgrounds, providing them with an invaluable opportunity to learn about the industry through professional guidance and hands-on experience.


As part of this effort towards creating a more diverse children’s book publishing industry, the CBC will offer WNDB Publishing Interns:
  • Exclusive educational opportunities, including a luncheon with the CBC Diversity Committee, comprised of children’s book editors and publicists at top publishing houses 
  • Inclusion in the CBC Early Career Committee’s summer event, connecting the interns with publishing staffers in their first five years in the industry Invitation to a CBC Forum, a CBC-member event which provides information and discussion on current publishing trends and issues 
  • Invitation to a CBC Diversity Panel, a CBC-member opportunity which brings together voices within and outside of children’s publishing to communicate the challenges they face in selling and promoting diverse books, and to work together to develop solutions. 
  • Tip sheets for getting jobs in the publishing industry and making the most of their internships CBC-member exclusive multimedia content, including videos and recordings of educational programming 
  • Access to the CBC Early Career Committee’s ECC Newsletter, featuring interviews with mid-level publishing staffers, industry job moves, & member-exclusive news, opportunities, and invitations 
  • Access to Diversity in the News, the CBC’s monthly newsletter rounding-up relevant news in children’s books and diversity 
Ellen Oh
“The Children’s Book Council has been a dedicated champion of diverse books and voices since the launch of the CBC Diversity Initiative in 2012” said CBC Executive Director Jon Colman. “We are excited to team up with WNDB to further the work of creating an inclusive and representative children’s book publishing industry.”

WNDB President Ellen Oh says of the collaboration: “We are thrilled to be partnering with the CBC on our pilot internship program. Not only do we need diverse books, but a diverse and dedicated workforce.”

Wednesday, April 15, 2015

New Voice: I.W. Gregorio on None of the Above

Browse-able Excerpt from Epic Reads
By Cynthia Leitich Smith
for Cynsations

I.W. Gregorio is the first-time author of None of the Above (Balzer+Bray/HarperCollins, 2015). From the promotional copy:

What if everything you knew about yourself changed in an instant?

When Kristin Lattimer is voted homecoming queen, it seems like another piece of her ideal life has fallen into place. She’s a champion hurdler with a full scholarship to college and she’s madly in love with her boyfriend. In fact, she’s decided that she’s ready to take things to the next level with him.

But Kristin’s first time isn’t the perfect moment she’s planned—something is very wrong. A visit to the doctor reveals the truth: Kristin is intersex, which means that though she outwardly looks like a girl, she has male chromosomes, not to mention boy “parts.”

Dealing with her body is difficult enough, but when her diagnosis is leaked to the whole school, Kristin’s world completely unravels. With everything she thought she knew thrown into question, can she come to terms with her new self?

Incredibly compelling and sensitively told, None of the Above is a thought-provoking novel that explores what it means to be a boy, a girl, or something in between.

Could you tell us about your writing community-your critique group or partner or other sources of emotional and/or professional support?

I’ve said it before and I’ll say it again: I never would’ve been published if it weren’t for my critique group. Writing a book, like the process of development for any craft, is such a marathon. You need people cheering you on and passing you water and nourishment in the form of thoughtful, constructive critique. You need to have people who push you to become the best writer you can be.

Most importantly, if you’re going to be publishing a book that is going to be read by the world, you need to help yourself by giving your book baby to kind readers first, because not all critics will be kind. Which is okay - literature is a highly subjective art.

That’s why my critique partners Abigail Hing Wen, Sonya Mukherjee (The View From Gemini (Simon and Schuster, 2016)) and Stacey Lee (Under a Painted Sky (Putnam, 2015)) are the first people I mention in my acknowledgements after my agent and editor.

So where does one find critique partners? Like many, I first met Abby, Sonya and Stacey through the Society of Children’s Book Writers and Illustrators.

SCBWI was essential to me because it taught me the nuts and bolts of the publishing process, dispelling some of the mystique. There’s nothing like running into a famous editor in the restroom to help you realize that editors and agents aren’t mysterious deities.

L-R Stacey Lee, Sonya Mukherjee and Abigail Hing Wen and I.W.

What was the one craft resource book that helped you most during your apprenticeship? Why? How would you book-talk it to another beginning writer in need of help?


I’m a big fan of Anne Lamott’s Bird By Bird: Some Instructions on Writing and Life (Anchor, 1995) because it’s funny and honest and generally inspirational.

It’s title also sums up the one trusim of writing advice: Books only get written if you write. Even if you only take one step a day, you’ll eventually finish that marathon.

For writers who have completed their novel but want to polish it, Renni Brown and Dave King’s Self-Editing for Fiction Writers: How To Editor Yourself Into Print (William Morrow, 2004) is an excellent primer that offers really specific examples of ways to polish your writing on a sentence level.

How did you approach the research process for your story? What resources did you turn to? What roadblocks did you run into? How did you overcome them? What was your greatest coup, and how did it inform your manuscript?

Research was an enormously important part of my story because I’m not intersex myself (a biological condition in which a person’s chromosomes, internal or external sex doesn’t fit the typical definition of male or female). It was so very, very important for me to hear the voices of actual intersex people, rather than treating the topic of intersex as a writing exercise, or curiosity.

So I did a lot of reading, scouring medical libraries and the Internet for first-person accounts. Then I took a deep breath and cold-emailed some support groups. There was silence at first, but I tried different people, and followed-up, and eventually someone agreed to read my manuscript. One one person had read it and vetted it, she invited me to a conference where I met more intersex women and men who wanted to read it.

HarperCollins was gracious enough to provide over a dozen ARCs of None of the Above which I sent to members of the intersex support group. Many of them were kind enough to offer advice and edits that I implemented as late as my second-pass pages (just before the book went to printers)!

Ilene at the AIS-DSD Support Group Conference (Credit: aisdsd.org)

As someone with a full-time day job, how do you manage to also carve out time to write and build a publishing career? What advice do you have for other writers trying to do the same?

This is the question. When I wrote None of the Above I was working full time and had one child. Because the hours between when I come home and when I put my daughter to bed were sacred, I squeezed writing after we tucked her in, typically opening my computer at around 8:30 p.m. and then reluctantly going to bed myself shortly before midnight. Luckily my husband has a career in the arts too (he’s a musician) so he understood the urge to create, and didn’t feel snubbed if I wanted to write instead of hanging out with him.

The day after I sold my debut, I had my second child. Six months after that, We Need Diverse Books was born.

Both of these worthy “babies” have taken up a lot of my time in the past year! It’s been harder and harder to eke out the time to write - I’d say that my window has shrunk to a period from 9 p.m. to 11 p.m.. But throughout the day during quiet times, I’m mulling over my plotline, trying to get angles on my slowly developing characters. Bird by bird, as Annie Lamott says.

How did you go about connecting with your agent? What was your search process like? Who did you decide to sign with? What about that person and/or agency seemed like the best fit for you? What advice do you have for other writers in seeking the right agent for them?

I actually met my agent, Jessica Regel at Foundry Literary + Media, at a New Jersey SCBWI conference! I was actually in the middle of revising my novel from dual narrative to single point of view, and wanted to test drive the manuscript with some critiques.

The conference also offered a pitch session with agents, so I surveyed the list of participants and was delighted to see Jessica on the list because she represents emily m. danforth, who wrote one of my favorite books, The Miseducation of Cameron Post (Balzer + Bray / HarperCollins, 2012). The book is a thematically perfect analogue to None of the Above with its LGBTQI+ theme, so I thought Jessica and I would be a good fit.

I was lucky enough to have my first critique right before the conference, and I was so happy when the editor I was paired with loved it and wanted to see None of the Above on submission.

Of course, I had to explain to her that I wasn’t done with my revision yet, and that I would have to query, etc. I asked her what agents she would recommend. When she mentioned Jessica, I mentioned that I had a pitch session with her the next day.

“Oh, great,” she said. “Tell her that your manuscript is the one I talked to her about.”

I’m pretty sure my response was “!!!!!!!!”

The next day at the pitch session, Jessica asked for the partial manuscript, read it in her subsequent two hour break, and offered representation that afternoon. Afterward, I took some time and actually got two more offers on the partial manuscript, but had to choose Jessica because of her enthusiasm, her representation of a book I adore, and her general professionalism. She sold my book within a month to Alessandra Balzer at Balzer + Bray (who happens to also be The Miseducation of Cameron Post’s editor!) and the rest is history!

Agent Jessica Regel and I.W.

The long and the short of it is: I would recommend that you look closely at the acknowledgments section of books that you love, and try to discover who represented them. Go to conferences not because they’re the guarantee of an offer, but because they can give you a sense of who you might click with as a person. And keep trying! You only need one.

Cynsational Notes

I. W. Gregorio is a practicing surgeon by day, masked avenging YA writer by night. After getting her M.D., she did her residency at Stanford, where she met the intersex patient who inspired her debut novel, None of the Above (Balzer & Bray / HarperCollins).

She is a founding member of We Need Diverse Books™ and serves as its V.P. of Development.

A recovering ice hockey player, she lives in Pennsylvania with her husband and two children. Find her on Twitter, Tumblr, Facebook and Instagram at @iwgregorio.

Tuesday, April 14, 2015

Cynthia & Greg Leitich Smith at TLA 2015: Sync Up!

From Cynthia Leitich Smith's Cynsations

Cynthia and Greg Leitich Smith will appear this week at the 2015 Annual Conference of the Texas Library Association in Austin.

Cynthia will speak on the panel, "A Colorful Canon: Building Diversity in Children's Literature from 2 p.m. to 3:50 p.m. April 14  in Convention Center Room 10 C, Level 3. Peek: "Small presses offer a powerful response to the cal for diverse children's literature. Learn how small publishing houses and authors are contributing to an important conversation about books that help children see themselves in the books they read." Panelists also include Lee Byrd, Jeanne Devlin, Don Tate and Marina Tristan.

Cynthia will sign Feral Pride (Candlewick, 2015) and other titles from 11:30 a.m. to 12:30 p.m. April 15 in aisle 12 of the author area.

Greg Leitich Smith will sign books from 2 p.m. to 3 p.m. April 15 in aisle 4 of the author area.

Cynthia will speak on the panel "Let's Hear Their Stories: American Indians, Arabs and Arab Americans" from 10 a.m. to 11:50 a.m. April 17 in Convention Center Room 10 C, Level 3 Peek: "Representing American Indians and Arabs/Arab-Americans in library collections is an important component of diversity. The panel of authors and library science specialists surveys the availability of children's and YA books about these groups and will point out ways librarians can evaluate books for accuracy, fairness and freedom from stereotype." Panelists also include: Nancy Bo Flood, Janice L. Kowemy, Elsa Marston, and Loriene Roy.

Cynsational Notes

Cynthia also will be appearing at additional select teen, librarian and publisher events in conjunction with the conference. Keep an eye out and come say, "Howdy!"



Monday, April 13, 2015

Agent Interview: Linda Camacho on Prospect Agency

Linda at Cliffs of Moher
By Cynthia Leitich Smith
for Cynsations

You're a writer and an agent. Let's start with Writer You. How did you come to literature for young readers?

When I was in middle school, I was obsessed with YA, like R.L. Stine’s Fear Street series (St. Martin's Griffin), Francine Pascal’s Sweet Valley High books (Bantam), and L.J. Smith’s Night World series (Simon Pulse).

The YA section used to be a lot smaller, so I think I burned through most of them at Walden Books way back when! I tried my hand at typing up my own stories set in the wilds of high school, but never finished them.

I soon moved into the adult section of the store, and years later, got my first job on the adult side at Penguin. I enjoyed my time there, but one day I found myself going through my childhood book collection and wondering why I hadn’t even considered children’s book publishing. I loved the books I was working with, but children’s books were more special to me. Once that train of thought started, there was no stopping it!

After much job hunting and waiting, Random House children’s books called and I made the jump.

Describe your apprenticeship and the types of stories that call to you.

My tastes are broad and I have a varied background at different houses. My first job at Penguin was in production under the Berkley/Jove/Ace/Riverhead imprints, so that was a healthy dose of genre fiction with some literary fiction. After some time, I left Penguin when I briefly toyed with the idea of law school. I missed publishing, however, so to get back in, I interned and rotated through the departments at Dorchester, Simon and Schuster, Random House, and Writers House literary agency.

Luckily, Random House children’s eventually took pity and hired me to work on marketing picture books all the way through young adult titles, which is where I’ve been the last five years.

I have to say, I do skew toward darker books, ones that reflect the human condition in all its ugliness and beauty. Ones that make my heart pound or tear it right out in the telling. Patrick Ness’s A Monster Calls (Walker, 2012), Meg Rosoff’s How I Live Now (Wendy Lamb, 2004), Leigh Bardugo’s Shadow and Bone (Henry Holt, 2012), and Markus Zusak’s The Book Thief (Knopf, 2006), come to mind as examples.

You are a graduate of the MFA program in Writing for Children and Young Adults at Vermont College of Fine Arts. Why did you pursue an MFA?

I knew I wanted to get my graduate degree in something I was really passionate about. I considered getting my MFA to continue building my editing skills, but wasn’t interested in pursuing one at a program that denigrated genre fiction (which, unfortunately, most do).

It wasn’t until I picked up a copy of Keturah and Lord Death by Martine Leavitt (Front Street, 2006) that I noticed her author bio mentioned the Vermont College of Fine Arts.

I then started seeing that VCFA name in the dedication pages of other books, a few of which Random House published. I reached out the admissions folks, and after that, VCFA was the only place I wanted to go. It was a happy day when they accepted me!

What did you gain from the experience?

Like all writers, I was a reader first. I had a gut instinct for what worked in a story, especially as I got hands-on experience in the publishing world; however, I wasn’t always great at articulating those impressions. VCFA really pushed me me to pinpoint what was working (or not) in a manuscript.

It was an intensive two years of craft boot camp. I became much stronger in providing editorial feedback—not to mention, I became a much better writer in the process.

Beyond that practical aspect, I made the most wonderful colleagues and friends at VCFA, ones that I know will be with me for the rest of my life.

What would you say to someone considering an MFA in writing for young readers?

Depending on your goals and means, I would encourage it. Is an MFA necessary for publication? Definitely not. If publication is your only aim, I’d steer clear of the MFA.

If, however, you’re also looking to improve your craft and/or teach writing, I highly recommend it.

And if you didn’t already have it, you’ll gain a supportive writing community and build confidence in yourself as a writer.

In terms of financial means, I found the low-residency format beneficial because I could continue working while I studied. Some programs offer financial assistance and scholarships, so potential applicants should reach out to admissions to learn their options.

How about Agent You? What inspired you to take on this additional career?

I did an internship at Writers House years ago and that was the beginning, really. Before that, I had only been interested in editorial (like many people trying to break into the industry).

I didn’t know much about agenting, but boy did I learn! I took any job I could to get my foot in the door and learned so much about the different publishing departments, but ultimately, I always knew I would settle into an editorial/agenting role. Agenting feels like a better fit for me because I’m not tied to an imprint like editors are. I can acquire anything that catches my eye.


Could you tell us about the history of the Prospect Agency? How has the agency changed over time?

Emily Sylvan Kim is the owner who, after working six wonderful years at Writers House literary agency, decided to hang up her own shingle. Her mission was to provide top-notch representation and a warm community for authors and illustrators, and she has certainly done that these past ten years.

Prospect Agency has grown tremendously and I anticipate that upward trajectory continuing.

What types of clients do you represent—in terms of body of work, art vs. text, age levels, genres and more? Are you looking for a certain kind of book that says “Prospect” or for a widely diversified body of work from your client base?

Prospect is very open-minded in terms of representation, so I’m looking for a high quality, diversified body of work. My tastes range from picture books to young adult, from clean and lighthearted contemporary to edgy and dark fantasy. And I’d love to see diverse stories of all types (ethnicity, disability, sexuality, etc.).

My focus is on genre fiction (romance, horror, fantasy, realistic, light sci-fi, and graphic novels), namely in the middle grade and YA age ranges. I’ll also be taking on literary fiction with commercial appeal (à la Code Name Verity by Elizabeth Wein (Hyperion 2012), I’ll Give You the Sun by Jandy Nelson (Dial, 2014), or When You Reach Me by Rebecca Stead (Wendy Lamb, 2009)), along with very select picture book projects (both writers and illustrators).

I’m not looking for early readers/chapter books or standalone short stories.

To get a better idea of what I like, on my Prospect Agency page, I’ve included a list of titles that are dream representations.

What makes Prospect different from other literary agencies?

Prospect is a boutique agency of six women who really do embody Emily’s mission statement of creating a warm community. The agents not only advocate strongly for their clients, but they do so in a positive way.

When the editors at Penguin Random House learned I was going to be an agent at Prospect, I only heard wonderful things said about the agents there. And that says a lot—not only are they successful, but they’re actually a pleasure to work with.

Why should an unpublished but competitive writer consider querying Prospect (and you specifically)?

Linda's Bookshelf
Prospect Agency is staffed with publishing professionals who are very experienced and open to a broad range of genres. They all have either big five publishing experience or Writers House experience (owner Emily Sylvan Kim used to be agent there).

I’m a new agent, but I’ve been in the business a decade and am being mentored every step of the way.

I’ve seen publishing from just about every angle—publicity, marketing, production, editorial, writing—and it will help me advise my clients about the process.

Want to know what goes on in an acquisitions or launch meeting? Want to know what a standard marketing plan is? Want to know about NetGalley, metadata, or the annoyingly complicated process of cover reveals? If so, I’m your girl! I can give them the inside look at what occurs even beyond the editorial and marketing screens.

How about established authors who, for whatever reasons, finds themselves without representation?

I’d repeat everything I said above. It really depends on what an established author is seeking out of their next partnership, but I’m flexible and can devote the time in helping take his/her career to the next level.

From my years in publishing, I have many editor friends to whom I can already reach out personally, so I’m not coming into this without support.

There was a time when children’s-YA authors and illustrators debated the need for an agent at all. Do you think that time has passed? Why or why not? What considerations should be weighed?

Lucy
It’s understandable that children’s-YA authors and illustrators used to question the need, especially since they might wonder if agents are worth the 15% domestic commission. I would advise getting an agent, especially if an author would prefer to be traditionally published.

At the big publishing houses, editors don’t generally accept manuscripts that aren’t submitted by an agent (there are exceptions, but even if it results in an offer, you’d need to go back and get an agent to proceed with publication).

An author can certainly score a publishing contract at an indie press without an agent, but is he sure that he’s getting the best deal possible when signing on the dotted line?

Publishing houses aren’t actively trying to take advantage of authors, but they are part of big business and do want to get the best deal possible on their end, sometimes to the detriment of the author.

Now, an agentless author can hire a publishing attorney to look over the contract for each deal. If the author wants to do it that way, there isn’t anything wrong with it. It’s just that (and clearly I’m biased) a good agent is a counselor/manager that can help guide the author throughout the course of his career.

A good agent can also be the bad cop who crosses the I’s and dots the T’s while the author gets to be the good cop who smiles and focuses on the creative aspects.

Still, there are those authors who are more hands on and want to handle every single aspect of their career and publishing process. If that’s the case, I encourage smart self-publishing and indie press publishing. It might work better for some than others (I would say that it works best depending on genre—romance writers do better with this, at least on the self-publishing end.)

Personally, if I ever decide to publish, I’m getting an agent of my own. But that’s because I know my own needs. Authors and illustrators need to know themselves as they figure out the best course to take. Word of caution, though: No agent is better than a bad agent. so do your research!

To what degree do you do career framing and consultation with your clients?

Sweet treats from Linda's pantry!
I anticipate working closely with my clients, so beyond editorial feedback and submission check-ins, I’m absolutely available for career consultation. I’m ideally taking on a client for the course of his career, not on a project-by-project basis. I’m available for project brainstorming sessions, marketing tips, and encouragement as they traverse the wilds of publishing.

Do you promote your client list? If so, how? Or do you think that the agency should be more behind the scenes? Why or why not?

I’m on Facebook and Twitter, so I would be promoting my clients on those platforms. Other than that, I’m not in this business to be a star. My clients are the stars and I’m there to support and foster them in the background.

We've corresponded about your strong interest in the current discussion around diversity in youth literature. What are your thoughts about where we are now, where we're going, and how we can best get there? How do you see yourself fitting in the conversation?

I’m so excited about the ongoing discussion! I’m aware that it isn’t a new one, but it’s really cresting and I’m proud to be part of the wave of diverse people in the publishing realm. Things are improving, slowly but surely (and certainly not without a few missteps), and I remain optimistic about the future.

It’s a complicated issue with no clear cut method of engagement, considering that the disparity affects industry folks and consumers at every level—the writers, agents, editors, marketers, publicists, production staff, sales reps, booksellers, readers, and everyone else in between. Still, so long as there is increasing awareness about the lack of diversity, steps can be taken and matters can only improve.

There really needs to be recruitment outside of the typical channels (nepotism or people in the know) and outreach to people in diverse communities. I’m a Puerto Rican girl from the Bronx and I never had any exposure to writers or publishing people. And I was a big reader who frequented the library constantly!

Still, I was completely unaware of publishing as a career. Even in college, I didn’t quite connect my love of reading into a job beyond writing, and even that didn’t seem feasible. If a human resources person (a person of color and fellow Cornellian) hadn’t taken an interest and steered me towards publishing, I wouldn’t be where I am today.

Matt
To be clear, I understand that diversity goes beyond ethnicity. It spans religion, sexuality, gender, and physicality, extending to anyone who finds himself underrepresented in the stories being told.

As a matter of fact, my masters thesis was related to my desire as a plus-sized woman to see characters of size portrayed without the stereotypical weight loss journey, titled “The Anti-Ugly Duckling Tale: Fat Protagonists Who…Stay Fat?”

I’m looking to get even more diverse writers published, so I’m keeping a weather eye out for those narratives. And they don’t need to be issue books. As Matt de la Peña wondered in his 2014 CNN.com article “Where's the African-American Harry Potter or the Mexican Katniss,” that’s what I’d like to know!

How do Writer You and Agent You inform each other?

Before my MFA program, my marketing brain dominated.

Now, though? I have more sympathy for the difficult writing process and better comprehend the need to tell the story you’re burning to tell. As I read submissions, I’m not only asking myself: Will this sell? That’s an important question I do take into account, but it it’s no longer the question since I’ve already turned down some marketable projects.

An even bigger question for me is: Do I love it?

Trends change with the wind, but the projects I love? Those grab hold of me for good.

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