2012 Highlights Founder's Workshop- Whole Narrative Nonfiction

A visit to the Highlights editorial offices in Honesdale, PA

I've just returned from my second Highlights Founder's Workshop with a renewed vigor. Not that I was in a slump before hand but when I learned who was on faculty for this event, how could I pass up the opportunity? Susan Campbell Bartoletti, Elizabeth Partridge, Peggy Thomas- they're all rock stars in the kid-lit nonfiction arena and I've been a loyal fan for a long time. I've studied their works and admired their careers. After a week with them, I have a new appreciation for their professionalism and their personal integrity. I've met the "other side" of their rock star image, and glimpsed at how their own careers evolved.

And, Carolyn Yoder, the notoriously "picky" editor of Highlights and Calkins Creek Books, was on faculty, too. This was a rare chance to pick her brain, and soak in her editorial wisdoms relating to my specific manuscript. Today, Carolyn is more three dimensional to me. She's funny, fun-loving, energetic, curious, and she shares my love of British comedies. 

Check out the new Highlights Barn, aka the conference center. Can you imagine a more perfect design for this rustic setting, especially when flanked by the woodsy cabins we each inhabited? How cool is that?

The Highlights Conference Center (Barn)

I had a specific goal in mind for the week. To find clarity on a manuscript that I've whittled away at for almost ten years. It's been through so many rewrites, so many re-envisionings, so many different approaches, I needed to re-immerse myself in the story to get back on track. And, I did just that.

My week was filled with structured lecture time, one-on-one sessions with my assigned faculty mentor (thank you Peggy!,) one-on-one time with Carolyn, large chunks of private writing time, and chef-prepared meals that were out of this world. But, unstructured time was equally important. I enjoyed numerous walks through the Pennsylvania countryside where conversations with my new friends flitted between craft, marketing, and personal life. There was ample time to pose my endless questions and to benefit from questions posed by others. Often, it was the impromptu discussions that offered the most insight.

Beyond the amazing workshop week, I was reminded how much I admire Kent Brown,  the executive director of the Highlights Foundation, Inc. He is editor in chief emeritus of Highlights for Children, Inc., and the former publisher of Boyds Mills Press, the trade division of Highlights, which he co-founded in 1990. He serves Highlights for Children, Inc. as a director. During this week, Kent was dressed down, ready for hard labor, as he supervised the construction of the new lodge being built on property. We were thrilled when he joined us for several meals. His grandparents would be proud of what the Highlights Foundation accomplishes today. Kent is the supportive and generous backbone to the organization. Rest assured, there is great heart behind the Highlights name.

During my last day's walk, I slowed, allowing my friends to return to home base without me. I needed to meander for a change. To inhale deeply and to take in the natural setting. The sounds of rushing water, fluttering birds, and a whistling breeze centered me. It was time for me to look at the minutia of nature's wonders. The lichen on the rocks, the beaver dam, the buzzing bees on the foliage. Nature is a part of me- the roots to my tree of life. There was no better ending to my week of rediscovery.

my cabin

Calkins Creek-behind the Founder's home

Look who else enjoyed the workshop. My talented friend, Cynthia Levinson

from left, Ann Parr, Peggy Thomas, me, Carolyn Yoder, and Carolyn's mother, Kay

This greeted me every morning

I tried like the dickens to get photos of the adorable chipmunks. They peered through the glass doors during our sessions and one even trapped himself inside the barn until we helped him find his way outside. I could never get my camera out in time. Until this moment. Out of the blue, as I was walking toward the Barn, this little guy ran right up to me. He paused long enough for me to take my phone out of my pocket and find the camera setting.

It was rainy for part of our week, but that didn't stop some of us from walking. Check out the heart-shaped puddle I came upon. I find it metaphorical, really. Something about finding beauty in our work, even when we're muddled in the mire of details.  At the end of the day, it's all about finding the heart of our stories.

Tips and Tools for the Agent hunt

I recently had a conversation with a friend about what questions to ask an agent when you finally get face-to-face or phone-to-phone time with one. Having recently been through the agent jungle, I know full well how intimidating the process is. Preparation starts long before "the call."

How to research literary agents?

* Before you begin the agent hunt, you must have a completed, polished manuscript. Make sure you have had it critiqued by more than your spouse, your mother, or your nine-year old child. Other writers are the best critiquers. Run as fast as you can to join a critique group.

* Do your homework. Don't send a kid-lit manuscript to an adult-only agent. Don't send a paranormal dystopian vampire romance to an agent who states they don't like that genre. Or picture books to an agent who only represents novels. You get the idea.

* If you write children's literature, decide if want an agent who represents only children's literature. Many agents represent adult literature, too.

* Make sure you are really ready for an agent. It takes time to hone this craft and it may take more than one appealing manuscript to attract an agent. Established agents represent career writers who have prolific potential.

Where do you find literary agents?

* See/meet them at conferences where they speak. This is a great way to get the feel of an agent's personality and his/her likes and dislikes. You'll know right away if somebody's not a good match for you.

* Publisher's Marketplace. (there is a monthly subscription fee) Daily updates announce recent sales by agents and editors, though not all agents report to PM. Make note of agents selling projects in your genre.

* The acknowledgement section of books like yours. Many authors thank their agents here.

* Author Websites or Blogs- As before, when you find a book similar to yours in tone or genre, pop over to the author's site. You might find mention of their agent.

* Agentquery.com, Querytracker.com,

* Children's Writer's & Illustrator's Market annual guide. Keep in mind, though, that this is not an all-inclusive list. (Check your library if you don't want to buy it.)

* The Association of Author's Representatives (AAR) Agents who belong to AAR agree to a canon of ethics that can be reassuring to authors. However, just because an agent does not belong to AAR, does not mean he or she is below board.

* Agent interviews on the web. Check out Casey McCormick's blog, Literary Rambles is chock full of interviews with literary agents representing picture books to YA and adult.

*  Related to number 3- Once you zero in on an agent you're interested in, type his or her name into Amazon.com where you would normally type the title of a book. If they are mentioned in an acknowledgement section, the book titles will show up. And don't forget your friend, Google.

* SCBWI.com features agents, editors, authors in their Industry Profiles section.

Time to Submit
You have one chance to make a dynamite impression, so make sure this is your best work.

*Limit your submissions to 4-6 agents at a time. One of them may have constructive feedback that would improve your manuscript.

*Follow the agent's submission guidelines to a T. Seriously! Their agency websites will give specific instructions. If they only take snail mail submissions, DO NOT EMAIL your work.

*If their guidelines say they will respond within X amount of weeks, make note. If they say they only respond if interested, you'll know when it's time to submit to the next agent.

*Do not sit around waiting for a response. Once you've submitted, immediately start your next project. Remember, agents want to sign writers who are prolific, not one-hit wonders.

*If no agent expresses interest and gives you no constructive feedback, your manuscript may need some work. You might consider a) hiring a freelance editor, b) pay for a professional critique, c) work with a writing coach, or d) put this manuscript away for a while and concentrate on your next project.

Now that the call has come, what questions do you ask?

The call is scheduled and you're in a panic. What will you say? What will he/she ask? You're thinking only about the celebration that will follow an offer of representation, right? But, hold your horses. Before you accept the offer, find out how he/she works. Like any contract, you want to go into it with eyes wide open. No knee-jerk reactions allowed. Just because they propose marriage doesn't mean you have to accept. Before the call, write your questions down. Here's what I wanted to know:

1.) What recent sales have you had in the past twelve months? Two years?
      Do you gravitate toward a specific genre?
      What genres do you not represent?

2.) What do you like most about my project? (I know this sounds like fishing for flattery, but it's important to get this perspective)

3.) Do you already have specific editors/publishing houses in mind for my book?

4.) How long have you been agenting? (Newish agents can be awesome. They're hungry, eager, and full of vigor. But, inexperience has potential downsides if they're not mentored through their apprenticeship years. Don't be afraid to ask a new agent who their agent mentor is.)

5.) How do you and your agency help promote authors' books? Social networking? Agent blog? etc.

6.) In what ways do you stay connected with editors?

7.) Do you offer editorial feedback? (Not all do.)

8.) What does your typical submission plan look like?
      How many submissions do you send at one time?

9.) How often do you update your authors re: submission status, rejections, feedback?

10.) Do you follow up with editors who haven't responded to a submission? How much time do you allow them?

11.) Who handles subsidiary rights, electronic rights, foreign rights for your agency?

12.) What kind of work do you NOT represent?

13.) What kind of accounting system is set up for author advances, royalties, etc?

14.) Are there specific areas of your agency agreement that are unique from the standard contract? (just because they say no doesn't mean you don't still need to read through it with a fine tooth comb)

15.) Is there anything else I should know about your agency or your general agenting style?




Good luck with your own agent hunt!