Q: I am writing a novel that is set in a real place. All of the characters and events are fictional. However, I do refer to an actual event and the actual person in the event is still alive somewhere. As an example, if the book is about a boy who does some mountain climbing, and one path on the mountain has (actually) been named after a real person because of a (non-fatal) accident that person had there, is there any way I can include these in my novel? Does it matter that tours of the area regularly include the name of the path and the story of the person? Does it matter if the mountain is in a different country (which might have different laws)? Does it matter if I don’t say the person’s name? or only a first name? If the event was reported in a news source, are the published facts considered public?
According to Mary Flower, an attorney who specializes in children’s book contracts, “In a nutshell, real places are okay, be they towns, streets, mountains, hiking trails, whatever; it doesn’t matter where they are located or how prominent or obscure they are, a place name is a place name.
Actual people and events are okay if they are common knowledge–and a newspaper report of the event would make them such; ditto the fact that there are tours that take you there and describe the event.
It’s the author’s call, of course, but personally unless I were actually writing a non-fiction account of the event or writing a novel where the actual name of the person and the actual event were of great significance to the story, I would change the name and location of the place to suit the story I was writing, drawing on the general details to provide background or theme or whatever. In other words, use your imagination.
I suspect you are worried about someone suing over the use of the name, but unless she is maligning the actual person by name, that won’t happen.” 9:10/05
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Q: Is it customary when an agent represents an author to obtain the author’s social security number so that a separate bank account can be set up for the author? If so, how soon would the agent need this info from the author before he’s negotiated a deal with a publisher?
Elizabeth Harding, Vice President at the Curtis Brown literary and media agency said, “At Curtis Brown, Ltd. we have a general, yet separate, ‘Author Account’ which we use for all author deposits and payments. We use our clients’ social security numbers for reporting of 1099 forms, as we receive monies from publishers and the like on behalf of our clients. The Association of Authors’ Representatives (AAR) Canon of Ethics requires that, “Members shall take responsible measures to protect the security and integrity of clients’ funds. Members must maintain separate bank accounts for money due their clients so that there is no commingling of clients’ and members’ funds. ” Authors and illustrators should check with their agent to confirm policy. For information on the AAR Canon of Ethics, see www.aar-online.org/mc/page.do?sitePageId=10337 1:2/06
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Q: I am using old Christmas cards to illustrate a children’s book. How do I trace an illustrator if the card is only marked U.S.A. or is a company that may be out of business now. What are the copyright laws for using greeting card art?
The artwork on the cards is likely to be the property of an illustrator, a company, or a combination of the two. Using it without permission would be risky. It could jeopardize your book project and put you and your publisher in a difficult position legally. According to Marty Roelandt, a creative consultant with more than fifteen years experience in the greeting card and giftware industries, “Companies or artists who own rights to artwork will often take appropriate action against someone who is infringing on the rights to that artistic property.”
The question of changing a percentage of the artwork to make it your own creation is also risky, though you’d have to check copyright law regarding fair use for specifics. If you don’t want to use the art as is with permission, my advice would be to use the illustrations as inspiration, but to develop your own work. Artists have the most to lose when their work is adapted for other purposes without residual payment. It benefits everyone when ownership of the work is acknowledged and paid for rather than taking a chance that may infringe upon another’s work. 3:4/05
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Q: I realize that if I want to use song lyrics in my writing (a novel) I will need permission, but does the same go for mentioning Aunt Jemima pancake mix or Air Jordan sneakers?
You don’t need to get formal permission to use brand names, but you could ask the publisher if they’d put an acknowledgement on the copyright page listing the brand names with the company name and saying that they are trademarked by those companies. 3:4/05
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Q: I am a member of SCBWI and read your column regularly. I have completed a middle-grade novel, which is now being read by an editor at Dutton. Recently, I heard someone talk about doing for-hire writing assignments for a book series. I am interested in this kind of work. How do I get started? Who do I contact?
According to Kendra Marcus of Book Stop Literary Agency, “To find writing-for-hire work, you can contact book packagers.” Examples in the children’s field are Parachute Press, Mega-Books, and Byron Preiss Visual Publications. “These companies hire writers and illustrators for series they produce for publishing houses. They provide a good training ground for new authors.” 11:12/03
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Q: I write children’s stories in verse. They have an Uncle Remus aire. I need an agent who handles this type manuscript, but I’m finding that a difficult task. How do I find one?
I don’t think most agents are that specific. They generally accept books they like and think they can sell. If you know other poets, you could ask whom they use, or check the acknowledgements of books you feel are similar to see if any agents are credited. 1:2/04
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Q: How would a young writer (9-12 years old) publish a book they have been working on? I’m in fifth grade and I’ve been typing on my computer for over two years, and still am.
While it’s rare for publishers to publish books by children, it does happen occasionally. One publisher I can think of that did that is Stemmer House www.stemmer.com. You may also want to look at a website for Dawn of Day Children’s Publishing http://www.dawnofday.com/index.htm, which is a company that is publishing books by young people between the ages of 6-18. They pay royalties and do marketing and distribution, though at present, they have only published a few titles. 1:2/04
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Q: I have written an adaptation of a popular Jewish folktale, but my version is completely in rhyme and is great for storytelling. It has already been published nationally in an anthology of tales, now out of print. I think it would make a terrific picture book. I have retained the copyright. Should I send it to general publishers first and if it is rejected, then go to Jewish publishers, or should I send it simultaneously to both?
I’d suggest sending to general publishers first, since they’ll provide broader distribution. If there’s interest, wait to see if it will be picked up. If you try a few publishers and don’t get a response, then go on to the Jewish presses. They’ll do well with the niche market and may be more supportive of it when it’s on the backlist. 1:2/04
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Q: I am a writer-illustrator of picture books and have submitted about 40 dummies and manuscripts to various publishers over the past three years. (I’ve gotten encouragement but no sales as yet). Several of these submissions were never acknowledged or returned, even after a year, (SASEs were enclosed), and my follow-up letters and then phone calls were disregarded. What should my next step be? I have sent letters withdrawing my work from consideration and asking for its return, (which has never happened). Is this sufficient to protect me legally and may I then continue to submit my work to other publishers without worrying about these works-in-limbo?
You’re covered once you’ve notified the publisher that you’re withdrawing the manuscript. 1:2/04
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Q: Can I take a well-known person’s name (living or non-living) and invent a take-off on that name? I am writing a fictional story using a cow as the main character. I want the main character to interact with other cows. Example: Cowly Zymand for Carly Simon?
According to Jane Yolen, SCBWI Board member and author of more than 250 books, “Satire is protected speech, and this gentle kind is done all the time.” 3:4/04
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Q: I write for adults as well as children and I’d like to keep these very separate by using a pen name for my adult writing. What are the legalities of it? When I submit adult stuff do I use my real name on everything but have a pen name under the byline? What about getting paid and doing the taxes? I thought I could register the name as a business name but if I don’t have to pay those extra fees and things I’d rather not. Can I open a checking account under my pen name?
Here is a response from Susan Wittig Albert, who will be using her own name for the first book in her new Fall series, The Cottage Tales of Beatrix Potter.
“You’re smart to think of using a pseudonym to separate the kinds of work youare doing. For many writers, it’s a common and useful practice. Forexample, in the 1980s, I wrote YA novels under the pseudonym Susan Blake, and was also one of the writers who wrote under the “series pseudonyms” of Carolyn Keene, Franklin W. Dixon, and others. When I began writing adult mysteries (where Ihoped to establish a significant reputation), I used my own name, SusanWittig Albert. For a series I co-author with my husband, we use the nameRobin Paige.
You may legally choose any pen name or several pen names, unless you aredoing this for an illegal purpose, such as subverting the intent of acontract. When you submit a piece, insert the pen name you are using as thebyline, but also include it, with the letters a.k.a (“also known as”), underyour legal name in the information block at the top of the page. Thepublisher will issue the check to your legal name.
You will report all writing income (whatever pen name it is earned under),on your income tax form, using your legal name. You don’t have to registeryour pen name as a business name (usually called a DBA–“doing business as”) UNLESS you want to open a bank account under that name. If I understandyour purposes, it is probably not necessary for you to open a bank accountunder your pseudonym. It might, however, be useful for you to have abusiness account into which all of your writing income is paid and on whichall your checks for your expenses are written. That would keep it separatefrom your personal account, and make it easier for you to keep track ofwriting income and expenditures for tax purposes. If you choose to set up abusiness account, I would suggest that you adopt a business name that is NOTyour pseudonym. Many writers have several pseudonyms, and you might want towrite under other names in the future.” 7:8/04
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Q: I have drafted several picture book stories using the same little boy character (approx. 300-500 words) and am working to finish them to be submitted to publishers. They are not sequential. I’d like to know if I should submit multiple manuscripts in one mailing so editors can see the scope? Or do I submit only one manuscript (perhaps with a mention of other stories for a series)?
According to Susan Cohen, a literary agent at Writer’s House, “It could go either way. The author could send just one and say there’s a second story with the same character–or, since they might like one more than the other, just send both–especially since they’re so short.” I was inclined to suggesting you send both for the same reason. 7:8/04
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Q: I discovered that a Science Fiction editor and translator share my name. Should I consider this when writing in the children’s trade book industry, or are the genres diverse enough for me to use my legal name?
Some people use middle names if there’s a concern. However, in this case I don’t think it’s a problem, since she’s not an author and she’s not in your field. 7:8/04
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Q: I want to adapt traditional tales as picture books. What’s the copyright status of such stories? Is the retelling irrelevant as far as copyright goes?
According to Jane Yolen, who is the author of many folktale books and has been an editor at Harcourt Brace, “An author must be very careful when adapting a traditional tale because retellings are generally copyrighted.” She advises going to the earliest source of the story you can find –preferably going back at least 100 years to find the core idea of the story, which may have taken different forms in various cultures. A good source is the Stith-Thompson Motif Index, which has the largest compilation of folk stories, or you can check with the University of Indiana, which has an excellent folklore library.
The objective is to be sure not to retell the story in the same words as has been done in another version. Certainly a good editor should be able to advise you on the specific story you are writing. 12/93:1/94
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Q: I have gone to our local post office and asked for IRC coupons [An IRC is an International Reply Coupon. It is used when you send mail to a country other than your own and you want to pay for return postage] to include with my manuscript, one for Canada and one for England. The clerk had no idea how much I should enclose for return postage. How do I find out the rate for certain countries I would like to send either query letters or manuscripts to? If the post office can’t help with the calculation for correct return postage who can?
Sorry to hear that your post office was not helpful. I would have thought they would answer that question. In any case, the US Postal Service’s web site http://ircalc.usps.gov/ has a postal rate calculator for domestic and international rates. I hope that works for you. 9:10/01
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Q: My writing critique group has been discussing the appropriate grade ofpaper to use for submitting manuscripts. Some sources say to usenon-erasable bond, while others suggest premium, water-marked, 25%cotton paper. Could you please advise on what is the current industry standard?
I’d never heard that there was a specific type of paper to use for submitting manuscripts, I think any type of bond in white or off-white would be fine (I was on the receiving end at one point and saw some scary submissions written in crayon and on torn-out notebook paper — not a good idea — but normal double-spaced text on white or off-white paper should be fine). I did check with Scholastic’s Senior Vice President and Publisher Jean Feiwel, and she said, “As far as I am aware, there isn’t an industry standard for the type of paper to use.” 1-2:02
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Q: I signed a contract with my publisher and am overdue on receiving my first payment, which should have been received within a 45-day period. I’d like to know if they’re in breach of contract and how I should proceed.
You’d have to take a close look at your contract, but if the payment were overdue as you state, that would be a breach of contract. According to Jodi Reamer, Esquire, Literary Agent and Contracts Manager at Writer’s House, “these matters are more often a matter of a paperwork glitch at the publishing house than a deliberate intent not to pay on the part of the publisher.” Ms. Reamer suggests first trying to track down the problem by talking with your editor, the editor’s assistant, or the contracts manager in the contracts department. Ask if they have the paperwork on the payment to be made and if they know the status of the check you should have received. In the case of a royalty payment, you can ask to speak to the person who handles royalties in the accounting department. If there’s been a hold up, you can go back to your editor to ask for help in having payment expedited. Reamer adds that, “You may have to make a few follow up calls and be nice and persistent,” but that should generally do the trick.
If not, you may want to have either the Author’s Guild (if you’re a member), or a knowledgeable lawyer send a strongly worded letter on your behalf. If the matter still doesn’t get resolved, then you can consider resorting to Small Claims Court or otherwise trying to collect on monetary damages. Reamer points out that, “it’s always worth first trying to track down the payment through the company yourself with persistence and a degree of patience since going to court does take time and money.” 3-4:02
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Q: I’ve (written – if that’s the correct term) a practically wordless children’s picture book manuscript that I want to submit to publishers. Since I cannot illustrate the few words of text it contains, can you please tell me the professionally appropriate way to submit my manuscript?
Generally, for guidelines on preparing a query letter and for the format for submitting manuscript text, you should request a copy of SCBWI’s free guide to submitting manuscripts. For this particular query, I think your pitch letter would have to make a strong case for your concept, and you should probably include a detailed description with thumbnail sketches, or a book dummy to show how it might be illustrated.
If I understand correctly what you’re proposing, which I think would be a “concept” book (little or no story line with ideas conveyed by pictorial art, or with interactive components like pop-ups, “touch-and-feel” pages, etc.), it sounds as though this would be a very tough sell. I spoke with an agent (who concurred),and we had the following reasons: 1) Unless you are a very well-established author (and even then), it is hard to sell a publisher simply on a concept; 2) Most concept books are either art-driven, or they originate with the publisher or a book packager; 3) The publisher has little reason to commit to you as an author when the book’s success would depend more on the artistic treatment, than on whether the original idea was good; and 4) These concept books usually work best as part of a larger series.
Be aware that because there’s so much competition, publishers need compelling reasons to publish a new book, and they have many good ones to choose from. Picture books are expensive to produce and, when the author is not also an illustrator, the publisher has to pay two royalties to get the book done. The most compelling reasons for committing to an author are: 1) A text has been submitted and the publisher likes the author’s writing and feels the book is marketable; 2) The author has an established reputation and the editor wants to have that author as a part of her list. I think the second instance is when it would be more likely for an editor to consider working with an author based on a concept, or sometimes the editor will propose ideas for a book to see if there’s mutual interest in working together.
So, if you are not a name brand author at this point, and you still think the concept is strong enough to try to sell, you might want to consider proposing the idea as part of a larger series. You can also consider presenting it to both publishers and to book packagers (see “Literary Market Place” for a listing of children’s book packagers) to try to sell it. 3-4:02
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Q: I have written a young adult novel with a historical background of the Catholic faith in Japan and am trying to identify publishers who might be interested. I have sold my work to publications such as Woman’s World, St. Anthony Messenger Magazine, and Our Family Magazine. What would you suggest?
It sounds as though the religious market would be a good place to look for a home for your book. My suggestion would be to talk with editors you’ve dealt with at the magazines and find out if they can recommend book editors or publishers who might be a good fit for your story. Some might even be part of a larger company with a book division. 5-6:02
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Q: I am an SCBWI member seeking advice about acquiring an agent. As both a children’s author and a teacher, I’ve thus far been able to handle my own marketing. I’ve had seven books published: five beginning readers and two chapter books with educational publishers. Do you have any advice, for authors in my position?
While there’s no easy answer to how you can land a literary agent, the fact that you’re a published author should help. As a SCBWI member, you can request the list of literary agents who handle children’s books. You can narrow the list by considering what kind of books an agent handles, the location of the agency (if that matters to you), and the size of the agency. After that, you’ll have to go through the submission process to a literary agency in the same way that you would to a publishing house. In your query you should include information on awards your books have won, list (or enclose copies of) important reviews, and provide an overview of the sales history of your books. 5-6:02
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Q: I am doing a non-fiction book for children and wish to know how to go about getting permission to use old photographs and quotes. The photos are from friends, the quotes are taken from the annual reports of the town that I am writing about. Do I need permission in writing?
According to Don Sedgewick and David Bennett of Transatlantic Literary Agency, “it is always advisable to get permission in writing for the use of anyone else’s text or illustrative material in a publication. This protects you and the copyright holder. Most publishers will also insist that you have obtained these permissions prior to publication, in order to safeguard them from lawsuits. You will also need to give proper credits to these copyright holders in the acknowledgments page of your book. Some authors also send a copy of the finished book as a thank-you gesture.
“With your friends’ photos, it is also safer to get their permission in writing. The permission letter should state the name of the non-fiction book in which the photos are going to be used, the estimated print run for this book, how long the permission is granted, and that the permission granted is non-exclusive.” 7-8:02
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Q: Do you know of any children’s publishers who use photography in “picture” books?
One book from a single-book publisher that has done extremely well with a fictional story and photographs is entitled, Stranger in the Woods. You may want to look at that book for ideas. You can check the web at http://www.strangerinthewoods.com. 9-10:02
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Q: While flipping through my portfolio, one art director suggested I illustrate the work of Edward Lear, an English author who wrote several nonsense poems and stories during the 1800’s. Since NY, I’ve been reading Lear’s work and have found one story, which I love. I would like to turn into a picture book. But, I don’t know if I have the right to do this. One art director seems to think Lear’s work is copyrighted while another believes his work is in the public domain or soon will be. Do you know who is correct or how I can find out?
I’ve spoken with a publishing lawyer and a contact at one of the educational review journals. Both think it’s likely that Lear’s work would be in the public domain, but to be sure, you can do a search online at the U.S. Copyright Office site www.copyright.gov/records, or you can call the Library of Congress’ Public Information Office at (202) 707-3000. You might also find the following website helpful: http://www.library.yale.edu/~okerson/copyproj.html. 11-12:02
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Q: A number of publishers state that they either offer royalties or buy work outright. Sometimes terms are stated in their guidelines, such as “5% royalty based on wholesale price or outright purchase (range: $25-500),” or, “10-14% royalty based on wholesale price or outright purchase for $2000 min.” Sometimes advances are available, sometimes not. How can a writer determine whether royalty or purchase (possibly with advance) will prove most advantageous?
Nancy Gallt, literary agent and owner of the Nancy Gallt Agency replies: “All of the publishers I deal with pay advances against royalties, and I wouldn’t recommend ever selling anything outright. I suppose smaller publishers can claim they aren’t set up to calculate royalties, but if they know how many copies they print and how many they’re likely to sell, it should be possible to pay the author a royalty. I feel royalties are fair — everyone shares in the success if a book does well.
“However, if the author does want to calculate whether to take royalties or to sell outright, the questions she should ask are: the format (hardcover, paperback, board book, etc.), the retail price, and the first print quantity. She needs to know the format to know if the retail price is realistic. If a publisher says they’re going to do a four-color picture book and sell it for $5.95, there’s something wrong with their math (probably that they’re not calculating any money for the author). The wholesale price would be 50% of the retail price, since publishers sell to booksellers at a 50% discount. So the formula to figure out what would be fair would be the royalty rate x 50% of the retail price x the print quantity. Compare that to the outright purchase price. If it’s less, then go for the purchase. If it’s more, then ask why the publisher can’t continue to pay royalties on sales.” 1-2/03
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Q: I do research and writing for my local Historical Society. While poring over books on local history I’ve found some interesting stories about families who lived in this area some 100 years ago. Can I take these actual events and write them into story form, or am I infringing on someone’s rights?
According to Tracey Adams, literary agent and director of the children’s department at McIntosh & Otis, Inc., “If you are using books on local history to create a work of historical fiction, you should be sure to create new names for your characters and fictionalize the stories which inspired you (you would probably end up doing that anyway). It would probably also be in your best interest to include a disclaimer with your manuscript.
If, however, you want to write nonfiction (after all, sometimes the truth is stranger than fiction!), the procedure would be much different. Rights of privacy and rights of publicity laws vary greatly from state to state. You would most likely need to obtain permission from surviving family members, and you should understand that this process can be time-consuming andrequire quite a bit of research.” 3-4:03
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Q: As a writer of children’s poetry, I’d welcome the opportunity to submit writing samples to anthologists. How can I find out who is in the process of preparing children’s poetry anthologies and would accept writing samples?
According to Lee Bennett Hopkins, who is a poet and an anthologist, there really isn’t a way to know in advance when poems are being collected for anthologies. He said anthologists generally find poetry in books and magazines and then either request reprint permission, or ask the poets to submit work. He said textbook houses tend to look for poems that fit themes for their subject matter. He suggested the Cricket Group magazines; Babybug, Ladybug, Cicada, etc.; as good venues for publishing poetry and said you could try sending a query with some sample poems and a self-addressed, stamped envelope to authors and editors who anthologize children’s poetry. 5-6:03
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According to Susan Shulman, owner of A Literary Agency, “titles and artists’ names can be used without permission or payment. Use of lyrics, portions of a lyric, or the music are governed by whether or not the use is ‘substantial,’ that is, if the writer of a song used five notes of the Woody Woodpecker theme that is ‘substantial’ use because the song can be identified and would therefore require permission, which would involve most likely a payment and credit line from the publisher. To use a title, “STARDUST,” would not require permission, but the use of the first line from this well-known song is so recognizable it would require permission from the music publisher which would most likely require a payment and credit line. The definition of ‘substantial’ therefore depends on context of use.”
10:11/07
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Q: FEATURE TOPIC: Finding and keeping your dream literary agent
It takes more than a good manuscript to land a great literary agent. Many authors have torpedoed their chances for a contract by sending out danger signals that indicate to agents that the relationship may be more trouble than the book is worth.
What can you do to insure you’re an attractive prospect to an agent? Here are some tips from Ginger Knowlton of Curtis Brown Ltd., Marcia Wernick and Linda Pratt of the Sheldon Fogelman Agency, and Susan Cohen of Writer’s House, all of whom represent both big-name authors and newcomers to the field.
While agents and literary agencies will have individual preferences, these are some of the common things to avoid.
When first approaching an agent:
-Don’t assume that an agent will represent you just because she has been helpful or given encouragement.
–Do take suggestions seriously and try to incorporate those you can.
-Don’t think you have an ongoing relationship because an agent gave you feedback on your work
–Do ask if the agent would be willing to look at the manuscript again after it’s revised.
-Don’t expect her to be impressed that your kids loved the story, or that students at your local school are fans.
–Do say why you think the book is marketable and could have broad appeal.
-Don’t say you were referred, but don’t know by whom; or use the name of someone she doesn’t know.
–Do mention a referral, if the person has given you permission to use her name.
-Don’t have someone else contact the agent on your behalf (ie. a husband representing a wife) to negotiate.
–Do your own work. The agent wants to know what it would be like to work with you.
-Don’t expect to get a contract based on an idea or concept, or on what you view as the story’s merchandising potential.
–Do provide your best work in a manuscript that’s been edited and neatly prepared.
Once you begin working with an agent:
-Don’t provide elaborate directions about how the text should be illustrated.
–Do include an author’s note if there’s key information about the story that’s not apparent in the text.
-Don’t bad-mouth previous agents you’ve had.
–Do discuss your expectations and share any concerns you may have.
-Don’t intrude on the agent’s personal time or use private contact information you may be given.
–Do be respectful of her time and ask how she prefers to work.
-Don’t redo the contracts the agent draws up, or repeatedly ignore your agent’s advice.
–Do express your concerns, but if you have a good agent, you should value her expertise.
We also discussed the fact that agents are frequently approached by an author with a book that is a collaborative venture either between an author and an illustrator, or between two authors. Agents will consider taking on books under these circumstances, but inevitably having more than one person makes negotiation more complex.
Issues that may need to be addressed are:
-How would the proceeds be split on books and on any licensing or rights sales that may result?
–This can be a 50/50 split, or preference can be given based on reputation or amount of work to be done.
-What would happen if one party wants to quit the relationship or refuses to revise work past a certain point?
–This might require bringing in a third party or scrapping the project.
-Will one person’s name be more prominent on the book cover and in marketing material?
–Often the idea to work jointly comes from the person who is less well known. It’s to your advantage to do what’s best for the book.
-Will work schedules be compatible and are the people involved considerate of each others’ process?
–This has to be thought through up front to insure work gets done.
These are just a few of the ways that you can help a skilled agent do their best to represent your work.
5:6/08
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According to SCBWI Board Member Jane Yolen, who is both a poet and who has edited poetry anthologies, “If the poems are clearly for elementary readers, 14-20 is about right and they will be presented as a fully illustrated picture book. As such, especially if you are a new or fairly new author, an agent or editor will want to see them all. Someone who already has a fine reputation as a poet might not have to show the entire mss, but editors in these times are fairly leery of taking a chance on a new author being able to finish the whole thing to the same standard. Besides, they have to sell the book to their pub committee and few are really excited about poetry, alas.
“If you are thinking about a book of poems for junior high and up, you need at least double the 14-20, and probably much more.”
5:6/08
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You don’t necessarily need to have a literary agent for your first book, especially if it’s a picture book, early reader or work for hire,” says Edward Necarsulmer IV, Director of the Children’s Literature Department at McIntosh & Otis. “For more intricate middle grade, YA or non-fiction (or very out of the ordinary picture book projects, it’s more important because of an agent’s knowledge of the publishing scene, editors’ likes and dislikes as well as the marketplace as a whole.
It can also be difficult to get an agent as an unpublished author, however If you can, it can help quite a bit in getting a book published because a growing number of publishers don’t accept unsolicited or unagented manuscripts. Also, agents help a lot because they know the types of books specific publishers want.
In terms of staying with an agent, Necarsulmer explained that “most agents want a long term relationship that will allow the author and agent to grow together. The better you do in your career, the more an agent can do in terms of advocating for you with your publishers in getting better royalties and in getting more done for your books in marketing and publicity.”
Whether you have more than one agent will depend on the diversity of your work and on the agency you choose. Some are specialized and cover particular areas. Others, particularly larger agencies, have multiple agents who can address a broad range of needs, for example in books, licensing and film. In terms of staying with an agent, if it’s a good relationship, you should get increased value from your agency as your career evolves and contracts and decisions become more complex. At the same time, you’ll need to decide if the agency you’re with is meeting your needs as those evolve.
8:9/08
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