Agent Laurel Symonds on the Creativity, Business, and Work-Life Balance of Kid Lit

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Agent Laurel Symonds began her publishing career in the editorial department of HarperCollins Children’s Books/Katherine Tegen Books in New York City and joined the Bent Agency in 2018. She’s also had positions in the marketing department at a small publishing house, in a library, and as a bookseller at one of the nation’s best independent bookstores. She’s looking for authors and illustrators from across the picture book-YA spectrum, especially underrepresented stories and voices. And! …She’s here to share some of all this kid lit wisdom she’s gathered before she sits on faculty for this year’s Working Writers Retreat.

SARAH PARKER-LEE: Your decades’ worth of experience with marketing, editing, bookselling, and publishing gives you a lot of insight into both the creative and business sides of kid lit. We can’t wait to learn from you at the retreat! What is one thing from each side you think authors and illustrators should know but often don’t?

Agent Lorin Oberweger on SCBWI-CenCal Writers Day, Editorial Agents, and What She Wants to Rep

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By Ann Rousseau Smith, SCBWI CenCal News Liaison

Lorin Oberweger, agent with Adams Literary, is on faculty for this year’s SCBWI CenCal Writers’ Day, Discovering Your Path to Publication, on October 13, 2018. As an agent with Adams Literary, Lorin is actively acquiring authors for her list. She has also served as a highly sought-after independent book editor, helping to shepherd hundreds of books — including many bestsellers — to publishing success. Lorin’s ghostwritten books have received glowing notices from the New York Times and Kirkus Reviews. And she is co-author of Boomerang, Rebound, and Bounce (Harper Collins) under the pen name Noelle August. She is a popular speaker at conferences around the country, including many appearances at SCBWI events. Teaching writing craft rates right up there in her list of favorite things to do. She’s agreed to answer some questions.

ANN ROUSSEAU SMITH: We’re very excited you’re joining us for Writers’ Day in October. How did you become an agent?

LORIN OBERWEGER: Becoming an agent was a natural offshoot of my years and years (and years) of experience as an independent editor, writing workshop director, instructor and traditionally published author. I was attracted to the new role because of the new challenges it represents, but much more so because it allowed me another avenue for helping writers succeed. I know that sometimes all it takes is that one person who really believes in you and can lift you up, and becoming an agent helps me to become that person for deserving writers.

Agent and SCBWI-LA WWR Faculty Victoria Wells Arms On Critiques, First Lines, and More

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Before founding Wells Arms Literary Agency in 2013, Victoria Wells Arms spent 20 years in the publishing industry, working as an editor at Penguin and Bloomsbury, where she was the founding editorial director for their U.S. children’s list. She brings her expertise to this year’s Working Writer’s Retreat (WWR) as faculty.

She’s worked with bestselling and award-winning authors, including: E. D. Baker, Susan Middleton Elya, Nikki Grimes, Shannon Hale, Katherine Hannigan, Han Nolan, Marcella Pixley, Candice Ransom, Susan L. Roth and Renee Watson. She is an MFA candidate at the Vermont College of Fine Arts’s Writing for Children and Young Adults program.

Victoria took time away from her studies to answer our questions and share her insight.

ERLINA VASCONCELLOS: The retreat will feature a panel on first pages. How do first pages make readers eager for more? What are the elements commonly overlooked by unpublished writers?

Agent Nephele Tempest: Choosing Your Agent, Marketing Tips, Synopses, and Being an Equal-Opportunity Nerd

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Nephele Tempest is on faculty for this year’s SCBWI-L.A. Working Writers Retreat (WWR). She joined The Knight Agency in January, 2005, opening the Los Angeles-area office. As an agent, she works with a number of talented writers, assisting them to hone their skills and build their careers. Nephele comes from a diverse publishing and finance background, having previously worked on the editorial side of the business, as well as for several major New York investment firms as a financial advisor and later a financial marketing and communications writer. Her previous experience provides her with insight into multiple aspects of the publishing industry and today she’s going to share some of it with us!

 SARAH PARKER LEE: You’ve been involved with SCBWI events in the past. Are you there just to give back or are you actively looking for clients? If the latter, what makes someone stand out from the crowd at these fast-paced events?

Writers Day Literary Agents on Pitching in Person and Making the Most of Your Time

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By Sarah Parker-Lee and Erlina Vasconcellos

Last month brought us the annual SCBWI-LA Writers Day. Quite a few attendees took advantage of assigned one-on-one pitch sessions with the awesome literary agents on faculty. Some pitchers used the opportunity to work on their query letter or aspects of their pitch with the agent in an advisory role while others went all-in with hopes the agent would request their full manuscript – AKA be interested in representing them professionally. Several folks did get a partial or full request and everyone walked away with some great feedback.

After the pitch sessions were over, we asked our agents how things went, what they liked, and what they recommend so you can put their answers in your toolbox for your next pitch!

Agent Fiona Kenshole on Books Becoming Movies, Traditional vs. Self-Publishing, and Pitching an Agent

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Happy Valentine’s Day! Fiona Kenshole wants to be your Valentine. Her love letter to you: this fantastic interview!

Fiona Kenshole loves the midwifery of being an agent, from getting your debut published to doing the movie deal. At Transatlantic, they like to sell your book to publishers all over the world, so Fiona works with co-agents in 28 countries, selling worldwide rights. Before becoming an agent, she was a publisher in the UK where she worked with best-selling names including Michael Bond (Paddington Bear), P.L Travers (Mary Poppins) and the Laureate Michael Morpurgo. She was also the British editor for authors including Beverley Cleary, Lois Lowry, Richard Peck, Bruce Coville, Gary Paulsen and Cynthia Voigt, and was nominated for “Editor of the Year” at the British Book Awards. She was also the Vice President at Laika Inc. when their first three films were all Oscar nominated: The Boxtrolls, Coraline, and Paranorman. And she will be bringing all this experience and insight into kid lit and storytelling when she appears as a faculty member at this year’s SCBWI Los Angeles Writers Day, taking place on March 3^rd.

Sarah Parker-Lee: How has working as an editor, filmmaker, and publisher influenced your approach as an agent, both on the client side and on the selling side?

FIONA KENSHOLE: The opportunity to work on so many different sides of the storytelling process just increases my respect for writers. It really is an extraordinary gift, to be able to create people and worlds that can feel more real than our everyday lives. My job, whether as an editor, a film executive or as an agent, is to help that writer in their creative process so that the story they tell is the best it can be. I’m often the first person that a story is entrusted to. I can see the places where the writer is too close to a story to see what is missing, for example, and as a professional with many years’ experience, I offer gentle, supportive practical criticism. I spent several hours this week reviewing a new manuscript I am really excited about, by one of my clients, and she came back to say, “All of the structural weakness of the book that you identified are ones that I already knew were there”.​

​That made me feel good: I am doing my job right!

As for the selling side, without being immodest, I am a brilliant story pitcher! It’s the result of my years of pitching to tough executives [at] Hollywood studios who don’t move a muscle. I went out with a pitch for a debut last month and got 20 requests to read from editors within a day! 

SPL: Should writers be concerned about whether or not their book will make a great movie when they’re writing it? If the ultimate goal is to make a movie, do you need to write the book first?

Agent Deborah Warren on Character-Driven Stories and Making the Most of Your Writers Day Pitch Session

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Deborah Warren is the founder of East/West Literary Agency, which represents new and established authors and illustrators of picture books, middle grade, and young adult novels. Clients include Kwame Alexander, author of the Newbury Award-winning The Crossover, James Dean and Kimberly Dean of the Pete the Cat series, and Antoinette Portis, author and illustrator of books including Now, and Best Frints in the Whole Universe.

Deborah is a faculty member for Writers Day on March 3 in Los Angeles.  She talks to us about her agency, what makes a strong manuscript, and the Writers Day pitch sessions.

Erlina Vasconcellos: How did you get into the publishing business and what keeps you here? 

Deborah Warren: I started East/West Literary in 2000, but my career in publishing really began in 1980 at Harcourt Brace Jovanovich (now Houghton Mifflin Harcourt), in San Diego. When I left, I was VP/Director of Sales, and I credit those years for being the best training ground ever. You see, we’re committed to the business of selling. And understanding the in-depth process of acquisitions, sales, and marketing helps the E/W team attain the stated goals for each of the agency’s clients: to close the best possible deal with the best possible editor at the best possible publishing house. What keeps me in the industry? The like-minded souls in children’s publishing, the fabulously talented authors, illustrators, and editors whose main goal is to create books that are both windows and mirrors for today’s young readers. We need these books more than ever!

EV: You have said that you look for character-driven stories. Anyone who has tried to craft one knows that’s not easy to pull off. When authors/illustrators fail to deliver on character in a manuscript, what’s usually missing?

Agent, Editor, & Author Kari Sutherland On First Lines, Revisions, & Representation

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Agent and author Kari Sutherland joins this year’s LA SCBWI Working Writer’s Retreat faculty. She was a Senior Editor at HarperCollins Children’s Books before joining the Bradford Literary Agency in 2017 and she co-writes the middle grade Menagerie series with her sister, Tui Sutherland. She’s worked with bestselling and critically acclaimed authors on projects such as the #1 New York Times bestselling Red Queen by Victoria Aveyard and the #1 New York Times bestselling Pretty Little Liars series by Sara Shepard. Needless to say, she knows a thing or ten or about writing, editing, and publishing books, and she’s here to share some of that knowledge with us!

Sarah Parker-Lee: You graduated from Williams College with a B.A. in English and Psychology. Why do you consider this the perfect combination for working with authors on character and plot development?

Kari Sutherland: I’d say both fields help me pinpoint when a character is behaving in a way that isn’t authentic or in a way that may produce a reaction in readers that the author is not intending. Having studied the way minds work, it gives me insight into personality and character growth. With my English studies, I know how to catch and keep a reader’s attention through voice, sentence structure, and plotting. Psychology classes also prepared me to be an excellent listener and to help coax out what a person really wants to say – in this case, through their manuscripts.

SPL: Your Bradford Lit bio says you’re passionate about helping to polish each manuscript and equip your clients for success. What does that entail?

Clelia Gore: Agent’s Perspective, 2017 Writers & Illustrators Day Faculty

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Clelia Gore is a lawyer-turned-literary-agent who heads Martin Literary Management’s kid lit division. She represents authors and illustrators in both fiction and nonfiction, from board books to young adult.

As faculty for SCBWI’s upcoming Writers & Illustrator’s Day, she will lead a session titled “The Interplay Between Art and Text in Picture Books.” She also will critique manuscripts and will be an illustration contest judge.

Erlina Vasconcellos: What do you want participants to take away from your breakout session at Writers & Illustrators Day?

Clelia Gore: I get two kinds of picture book queries: author/illustrators and authors only. For people who are authors only, they sometimes need a little help seeing how the art and writing can work together to tell the story. A lot of picture book writers who are early in their careers don’t understand how the two forms of art interplay in telling the story.

For authors who are illustrators, it’s honing in on things to think about when crafting their story…Hopefully people will leave inspired and it will lead to thoughtfully crafted books.

EV: What question are you asked often?

Bridget Smith: Agent’s Perspective

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Bridget Smith is more than an agent at Dunham Literary, Inc. She also studied anthropology and archaeology, worked as a radio DJ, fenced on the varsity team at Brown University, and helped design an experiment that she later performed in microgravity at NASA. So, she’s kind of awesome and you want her to represent your books.

Read on for Bridget’s insights into the kid lit community, how to include diversity in your books, and what happens after you get a full manuscript request.