The Big Picture in Children's Publishing - Kait Feldmann / TeMika Grooms

 The Big Picture in Children's Publishing - An Industry Panel

Kait Feldmann / TeMika Grooms

Warmly introduced by Sarah Baker, TeMika Grooms, our moderator, is a "New York Times bestselling illustrator of picture books" who will lead us through thoughtful conversation about where the children's publishing industry is now, and where it's headed. TeMika, SCBWI's Manager of Illustration and Design, is "a creative force in our community, and is known for her teaching, her leadership, and a deep commitment to supporting fellow book creators."

TeMika Grooms: Tell us a little bit about what you do, as well as what inspires you in your business as a creative and as a person who publishes books.

Kait Lee Feldmann: Hi, my name's Kait Feldman, I'm an agent at kt Literary. I started as an editor and edited as an assistant. I worked on picture books through YA, and when I became an acquiring editor, I zeroed in on picture books. For 10 years I worked at Scholastic and HarperCollins as an editor of picture books and graphic novels and last year, I joined kt Literary. I only represent illustrators and author/illustrators. 

Kait is open to submissions and you can find more information on Kait's website, katefeldman.com.

TeMika: Thank you all for introducing yourselves and sharing what inspires you most. So, I have questions about relationships between agents, publishers, and clients. Some of our audience may already have agents, and some of them may be in different parts of their publishing career. What do you think is the mark of a great agent for those who have an agent, and for those who don't. 

Kait Lee: I think a great agent is someone who is your business partner and your creative partner. You want someone who understands your vision for the stories you've submitted, but also, where you want to go in your career. l've had people query me where there's something I really like about their work, but they're going in a different direction than me and as an agent, I would never want you to mold yourself to what I want.

Your agent's vision/ skill set should match what you want. Also, do you want an agent who's more editorial, who can collaborate on the creative process, or do you want someone who's going to be more of a business partner to get your work out there. Some agents are more editorial than others, so that's always a good thing to ask.

TeMika: How do you find new clients for people without agents?

Kait Lee: My advice is always to do a reverse search. Start with the books on your own bookshelf or the books that you check out from the library most often. Take note of the authors or the illustrators, and then look up who their agents are. Google it. Sometimes if it's a novel, you can look in the acknowledgements in the back. Look up the authors/illustrators of your comp titles and who represented them. Publishers Weekly has a twice-weekly newsletter called Children's Bookshelf. It's free to subscribe, and it drops on Tuesdays and Thursdays. It has great articles as well as deal announcements. You can look up recently published books to see what's out in the market and what's coming in the next few years.

TeMika: How often would you like to see a submission from someone who's querying? 

Kait Lee: As an editor, I think everyone can relate to "Inbox Avalanche" and the ongoing battle with our inboxes. When I respond to a submission and a new submission comes back immediately after that, it can be overwhelming so as an agent submitting to editors, I try to keep that in mind. I always appreciated the agents who weren't in my inbox constantly. As an agent, I think it's a little different. But if you submit to me and then wait to hear back, I will usually give you feedback because I'm working with artists. If I pass once, it's pretty much just a pass. But if it's about a particular story I'm interested in, I will let you know if I want to see a revision or see your other works.

TeMika: Picture books are a little different, nowadays. Can you tell us if you are seeing anything that's unusual within the picture book space?

Kait Lee: One thing that l've been super excited to see in the last few years is the graphic novel format making its way over into picture books, creating a kind of hybrid with panels, and speech bubbles. I'd say we're not at a point where really long picture books that become graphic novels work but adapting the composition of graphic novels into that 32-page format is something that is fun to explore.

Also, editors are asking for two things that are kind of the polar opposites but one is horror/scary stories for kids, and also, whimsical/goofy books, especially with kids of color. Kids of color tend to be only in educational books about something traditional, or something where learning is a significant part of it. And though we do need those books, we also need the ones where it's just silly, magical stories about kids getting into trouble. Just adventure.

TeMika: Let's talk about Al now. All technology changes. It influences our creative process. What kinds of changes are you seeing in terms of Al?

Kait Lee:  Most publishers at this point, contractually, have a clause that says you cannot use Al to generate your content. There's no test, as far as I know, but that's not something you want to try to skirt around.

On the submission side, I do have a form letter specifically for Al submissions, because I'm getting a lot of them. A lot of the submissions I'm getting are authors who don't realize you don't need to pair yourself with an illustrator. It is not industry standard, but sometimes they will generate Al to help me visualize the book.

"I just tell them, you don't need to do that. In fact, don't do that. And then a gentle explanation of the reasons why Al is bad."

TeMika: l'm a person who loves technology, but I don't think there's anything that can replace human ingenuity, creativity, lived experience, relationships that you've had, and the things that you're actually trying to say. As much as we use it as a tool, I want to encourage everyone to keep creating, too because it's super important. So, I know that you all talked about what inspires you but now, I want to know a little bit about what you hope your legacy to be.

Kait Lee: I think I want to work on the books that would have brought me joy as a kid, which I think is how I operate now. I want to work on the books that make me feel something. I want to continue on things that make me happy, that refuel, and energize me. I want to feel hopeful, but really, I want books where characters eat each other, and get into trouble and mischief.

"I started off inspirational, but if I'm being honest, I want my legacy to be wreaking havoc in the world through a picture."

ROCK ON, KAIT LEE!

Don't forgot that you can access this panel and rewatch through your membership portal until September 14th, 2025!

Kait Lee Feldmann (Agent) is a children’s book agent at kt literary representing illustrators. She has been romping around as a children’s book publishing for the past decade, previously as an editor at HarperCollins and Scholastic. Her list as editor included award-winning books that received a Caldecott, Coretta Scott King, and Sibert Honor; the Ezra Jack Keats Award; and appearances on Best of lists for The New York Times, NPR, Kirkus, and more. In 2020 she received the CBC Diversity Outstanding Achievement Award. Kait resides in a hoarder’s paradise in Los Angeles, surrounded by books. You can review her client wishlist at her website: kaitfeldmann.com/mswl

TeMika Grooms (Manager of Design and Illustration) is a Georgia-based writer and illustrator creating stories with a belief that all children should be able to see themselves as the hero within the pages of a book. In 2021, she was selected as an Illustration Mentee in the We Need Diverse Books Program and was a member of the first cohort for the Highlights Foundation and The Brown Bookshelf Amplify Black Stories program.  She is the illustrator of several children's books, including Put Your Shoes On & Get Ready! by Senator Raphael G. Warnock, Getting Us to Grandma's by Nadia L. Hohn, and A Century for Caroline by Kaija Langley.

Chad Beckerman: Agent Panel #scbwiWinter22

Chad Beckerman is a bit of an X-Man — he seems to have been born with supernatural design and illustration skills that he originally used (for good, not evil!) as an art director at Scholastic, Greenwillow Books, and ABRAMS Kids and Comic Arts —powers which he now uses to save the worlds of new and established artists alike as a literary agent at the CAT Agency. 

When Chad is looking for illustrators, he's looking for a unique voice. And one of the best exercises he's found is to make yourself do some fan art of a favorite work, for example designing YOUR version of the Harry Potter cover(s). To Chad, style is just the straight look of your work, it doesn't mean 'watercolor' or 'digital', your brand is your stamp on the work. You can evolve that brand over time but Chad is looking for consistency within those iterations.

Even with fan art you should be thinking about all of the different angles of the package, in this case a hardcover book. How do the cover image, title type, spine, flaps and endpapers all work together? Your brand as an illustrator should be evident on the book as a whole.

When Chad is looking to take on a new client he asks himself what kind of work can he get them—board books, YA covers, etc.?

Chad has his illustrators look through their own online portfolios and Instagram posts and ask themselves if the pieces they are showing look like the work they want to be getting and is 'on brand'.

Every single element can be branded, these thoughtful banner examples below make it clear in one image the voice and style of the illustrator, the subjects that are important to them, and a clear indication of where their work fits in to the children's book industry (board books, comics, YA covers, etc.):

How do you build your voice? Chad says to focus on you and what is enjoyable to you. He has his illustrators make a list of 100 things that they love to draw (from John Hendrix's book DRAWING IS MAGIC) and then to find a way to include some of those things in all of your drawings, always.

AGENT PANEL - Real Talk with Four Agents: Saba Sulaiman

Saba Sulaiman is an agent at Talcott Notch Literary Services, a boutique agency located in Milford, CT.

The agency includes Saba and a couple of other agents that work independently with nonfiction, fiction, adult, and children's books. Saba started building her list about five years ago, and she is primarily building the children's list for her agency. 

Saba looks for stories she wishes to champion, stories that showcase the individual and also the world around them. She feels books are a heartwarming way to connect us all through storytelling, and that children are particularly receptive to differences and that they also tend to embrace silliness and absurdity as simple matter of fact.

"We read to understand ourself by understanding others."

Saba represents picture books, middle grade, YA, as well as some chapter books (but mostly clients she already represents). She loves stories with heart, stories with certain sense of urgency, high concept, whimsy, word play, structural experimentation, humor (she notes there is space for humor in everything), honest storytelling, books that open conversations with children, and diversity and inclusivity in all forms. 

Saba has found clients at SCBWI. 

Some authors she represents:

Cathleen Barnhart

Rosiee Thor

Saira Mir

Shelly Anand

Every agent's perspective is different concerning a full list or how big a list they want to have. Saba has about 25 clients right now. 

As a final takeaway, Saba shares that when you're writing, the best way to find success is to be vulnerable and honest. She also suggests that we all should ask ourselves hard and important questions about the kind of people we are and the challenges we will have to face on this journey. 

Follow her on Twitter and IG @agentsaba 

Learn more about her at sabasulaiman.com

Agent Panel: Kirby Kim

Meet agent Kirby Kim!

Prior to agenting, Kirby Kim had been considering a career as a lawyer, but found he didn't have a passion for the law the way his fellow classmates did. Then 'literary agent' popped up on his radar as a possible job that could use his degree but with more creativity and advocacy than found in courtroom roles. He interned with an agency in California briefly before moving to New York and working with various agencies there (including his NY start with superstar agent Charlotte Sheedy) before joining Janklow & Nesbit.

What is Kirby looking for?

He likes high concept, high stakes, mostly contemporary fiction and does do a fair amount of crossover for adult/YA.

What's a good example book or client from his list? 

Kirby shares Golden Kite winner for YA Fiction, The Blossom and The Firefly, by historical fiction writer Sherri L. Smith. Kirby says Sherri writes more than great historical fiction, and his role as her agent is to just follow her in her incredible range. In addition to historical fiction, Sherri is also working on many other projects including a graphic novel and a contemporary teen noir. 

Kirby also shares Peter Bognanni's This Book Is Not Yet Rated, which Kirby was drawn to initially because it occupies that 'indie movie sad/funny space'. Kirby wants to represent books that make him feel moved or changed or surprised in some way. 

How many clients?

He currently represents 50-60 clients. Active projects balanced with natural lulls in production cycles mean not all clients are needing the same type or level of attention at the same time. 

Kirby's career advice: 

There're a lot of different roads to the same place. Comparing yourself to fellow writers is not helpful. Kirby shares a client's Edgar award winner who started writing in his 50s. There's an unhealthy obsession with youth, go by your compass not your clock. And be gentle on yourselves and try to define success by what you can control—the quality of your work and the people you work with.

AGENT PANEL - Real Talk with Four Agents: Erica Rand Silverman

Erica Rand Silverman is a senior agent at Stimola Literary Studio, a boutique agency that Rosemary Stimola founded about twenty years ago, and has a much-celebrated client list. Stimola Literary Studio is passionate about building careers. Erica has been with the Studio for five years. 

It's personally important to Erica to be awake in this world: to see the wonders and the beauty and even the ugliness. To see the good and the bad. All that is happening to us all the time, and all those really big feeling that come with it. 

Erica feels lucky to work with kids' books, which help kids work through all of that, and she loves working with the writers and illustrators who create those books. 

Erica mostly represents picture books. She loves the interactions between illustration and text.  And Erica has found some of her clients right here at SCBWI. 

In terms of illustration Erica looks for very distinct art styles for illustrators.

She also loves fiction and nonfiction stories that are honest and true to human nature and our lives.

THE BEAR AND THE MOON by her client Matthew Burgess is a good indication of what she looks for.

Erica also represents the author of the bestselling I AM HUMAN series. 

And, as a former teacher, Erica loves books that segue well into the classroom, like MAPPING SAM.

Erica reassures those who are not yet published: "Being a debut is a great place to begin. Know that it works in your favor...Be encouraged if you are unpublished." 

Beyond the typical work she does with submissions and contracts for her clients, Erica puts a lot of effort behind working with her clients on marketing and publicity. She also helps them navigate it all, the many moving pieces and parts of publishing. 

A final takeaway: "It's never too early to get engaged in the industry." 

Erica says a book that will give you a great sense of what she looks for is BLUE, BARRY, AND PANCAKES by Dan & Jason (out soon). There's a great sense of play, and the way you can have fun with your work. Erica recommends to everyone: PLAY YOUR WAY IN!

Follow on IG: @ericasilverman @stimolaliterarystudio

YouTube: Stimola Live

Twitter: @ericasilverman @stimolaliterary

#SCBWIsummerspec Agent Panel: Rosemary Stimola

Rosemary Stimola is a former independent children's bookseller, who founded the Stimola Literary Studio in 1997, a boutique agency representing fiction and nonfiction from preschool through young adult, as well as all genres. Stimola Literary Studio is made up of a wonderful team of agents. 

On the wall of Rosemary's office, hangs a framed print of Maya Angelou's poem I Love the Look of Words. In the poem there is a stanza that says:

When I have stopped reading, 

ideas from the words stay stuck

in my mind, like the sweet

smell of butter perfuming my

fingers long after the popcorn

is finished.

I love the book and the look of words

the weight of ideas that pop into

my mind

I love the track

of new thinking in my mind.

This is a mantra for Rosemary. When Rosemary considers a submission, the very first thing that strikes her are the words and the narrative voice that carries them. 

She's attracted to complex characters, even for the youngest readers that exhibit heart as well as well as a penchant for subversive and independent thinking, challenging the status quo, and traversing boundaries. 

Also, who doesn't love a page turner? 

Rosemary shares authors and illustrators she represents that brought words that stuck in her mind, characters that stood up when the world asked them to, and stories that begged to be read until the last page.

All were written by authors that were not so in love with their words that they weren't willing to revise them. And, all sit well in the current marketplace, that seeks diversity, does not condescend to young readers, and challenges them to see beyond themselves.

Rosemary shared some examples.

INSIDE OUT AND BACK AGAIN by Thanhha Lai is a middle grade novel in verse that came to Rosemary as cold submission with a beautifully written query. After reading it, Rosemary was still thinking about it three days later (the words stuck), but she thought she could already write the rejection letters for it. (Historical. Vietnamese protagonist-this was 2009. Told in verse.) This book sold for a very modest advance but went on to win the National Book Award, a Newbery Honor, and still lives on NYT Bestseller list. 

ONE OF US IS LYING by Karen M McManus came to Rosemary at the right time, in the right place (with what was happening with young people in the world). It came with a perfectly crafted query. Ro couldn't put it down. This book has spent 100 weeks on the bestseller list and sold in 41 languages. Karen has earned the title of Queen of the YA Mystery Thriller.

Mathew Cordell has been with Rosemary for more books and years than she can remember. 

WOLF IN THE SNOW won the Caldecott Medal. It was his 31st book! There are no words in the books, so you might wonder: Where are the words that stuck in Rosemary's mind? They were there, in the art.

Some books recently published.

James Bird, author of THE BRAVE, had Rosemary at his character's first word, which happened to be a number. 18. This main character has unique condition that leads him to count every word spoken to him. It makes him a target for bullies and a source of frustration for his dad. 

THE FELL OF DARK by Caleb Roehrig (Caleb's fourth YA novel) was just published days ago. Caleb's was a cold submission. He caught Rosemary's attention with a sharp and witty query letter. He also had a compelling mystery and complex LGBTQ  characters, in what became his debut novel LAST SCENE LEAVING. 

And a forthcoming title by Irene Latham and Charles Waters. Poets and authors. They write independently, but when combined they form the dynamic duo referred to as the The I&C Construction Company. Together they have penned CAN I TOUCH YOUR HAIR and DICTIONARY FOR A BETTER WORLD. Their latest brings something very special into our market, looking deeper into stories that have not been told. AFRICAN TOWN, a historical novel, told in verse through multiple voices, tells the story of the last African's brought to America. It comes out spring of 2022. Rosemary says, "It's told in voices that sing and ache. Even the ship has been given a voice that speaks of her human cargo and their fates."

  

These books "go beyond the moment and bring words and pictures together that stick in minds, just like they did in mine."

#SCBWISummerSpec Agent Panel: Regina Brooks Agent's Panel

    Regina Brooks, CEO of Serendipity Literary Agency and former aerospace engineer, starts off this panel assuring folks that you "don't necessarily need to have an English major" to be successful in the publishing field.  She's says she's "definitively an editorial agent" and enjoys bringing folks from other industries into publishing as she has done. Looking through the authors in her lineup, Brooks believes what makes a book successful is collaboration. Authors and Illustrators collaborating throughout the "entire life cycle of a book" is incredibly important. This collaboration does not only help the story expand itself but also extends "better storytelling about the book after the book is published." 

    She cites examples such as I am Every Good Thing team Derrick Barnes and Gordon C. James, Lubaya's Quiet Roar team Marilyn Nelson and Philemona Williamson who all would meet in their respective illustrators studios to collaborate. Another important thing for Brooks is the trans-media potential of manuscripts. She is always looking for "what other experiences" can be expanded in work. She's working closely with YouTube, other social media professionals, the Calm app, and even orchestras to further share her clients' stories. She tells about a new book coming out soon about the sculptor Augusta Savage and how it will also become a traveling art exhibit! This comes back to the collaboration that Brooks spoke about before, she also values this relationship between agents.

    

    Brooks believes it is critical to look at a book across mediums. The industry right now is very tied to cultural moments and how books are acquired are driven by the need in the market. A couple years ago narrative histories or graphic novels weren't heavily acquired but now the market is wanting more. For illustrators, Brooks suggests looking at their work through a historical lens. Here she cites Crown An Ode to the Fresh Cut illustrator Gordon C. James who structured the style used in the book after 3 distinct pieces to break down stroke, tone, and palette. She also recommends making your work "fresh." Whether that be through merging several formal formats or shifting lengths, these changes have made for successful stories.

    Once asked on accessibility initiatives within her agency, Brooks responds that her agents participate in Twitter campaigns as well as leading their own Twitter campaign on NaNoWriMo. She is more focused on the execution of material rather than the similarity of themes in her roster and doesn't mind having the same themes as long as the execution is done well. On illustrators struggle to find agents she agrees with Linda Camacho that websites are critical as well as reminding that "Instagram is always being sourced for artists." To replace the previously in person tours for this years published books she finds that "mini commercials" through streaming services and social media have been great additions to virtual events. Brooks reminds folks to work with their community to "allow them to help the discover-ability of your books." She states that authors who are a good fit for her usually follow "the three C's;" chemistry, similar communication styles, and be willing to build connections to collaborate.  She smiles and reminds folks,"to be successful, you have to be willing to not have fear or work with your fear."

#SCBWISummerSpec Agent Panel: Linda Camacho of Gallt & Zacker

Linda Camacho has a background in the adult side of publishing as well as an MFA in children's writing with our conference sponsor, VCFA. She wanted to get closer to the talent side of things, though, and feels she has achieved that goal now as an agent with Gallt & Zacker Literary Agency where she represents picture book, middle grade, YA, and adult authors as well as author-illustrators.

Linda says she is definitely an editorial agent, the market is so saturated and competitive that you need that extra level of polish right now before submitting.

When asked what elements make for a successful book right now, Linda says: Escapism is Key.

This can all change tomorrow, but right now not only are people looking for 'happy' stories, they are also looking for 'creepy horror.' Even in middle grade, which is still a hot in general, and graphic novels are definitely being considered true literature and remain in demand. But these 'asks' are just to give you a sense of what editors have been looking for lately, Linda reiterates that no matter what trendy or non-trendy genre or category you are interested in writing in, "Amazing work will always rise to the top." 

Fresh ideas that only you can tell your way is the starting point, the next most important focus is CHARACTER. Linda talks about Brandi Reissenweber's 'Desire Line' concept. You should be able to define a character's internal and external desire lines, for example:

Alice in Wonderland

External desire line: Alice wants to join her family's tea party.

Internal desire line: Alice wants to grow up.

Knowing a character's internal and external desires makes for great suspense when conflict is introduced.

Questions about diversity in publishing: It's not just about bringing diverse author or illustrators to the table, but to the other parts of the publishing industry, too. Linda is a former steering committee member of POC in PUB and continues to serve as a mentor for that group. She'll also be involved with her client Sofia Chang's new mentorship group, Unlock Her Potential.

Questions about how agencies get their illustrators to be 'seen' while there're no publisher offices to mail promo pieces to: To promote illustrators at Gallt & Zacker during the pandemic they send monthly email newsletters/spotlights out to editors and art directors, they also advise their illustrators on their personal illustrator websites.

Agents Panel: Adriana Dominguez, Jennifer Rofé and Alexander Slater

Literary Agents
L to R: Adriana Dominguez, Molly O'Neill,
Beth Phelan, Jennifer Rofé and
Alexander Slater 

Literary agents Adriana Dominguez, Jennifer Rofé, and Alex Slater started out discussing trends (what is popular in a given timeframe), evergreens (universal, timeless feel) and how to sell your book in today's market. Jen cited Merci Suarez Changes Gears as an evergreen book with its focus on a child claiming agency and changing family dynamics.

Concerning trends, Jen warned that "you have to be careful with trends because you'll never catch one. Those deals, those books were sold years and years before they come out on the market."

Alex shared that he recently sold a middle grade horror novel, but he knows that by the time he tries to do another one the trend will be elsewhere.

When asked about nonfiction, the panel offered a number of noteworthy responses.

Adriana says she is not a trend chaser and sees nonfiction is an evergreen. The subject, the way the story is told is more important. We're in a moment of reckoning in the country. Fresh perspectives get us looking at things in new ways. There's less resistance now to stories about people and events that have not been as well known compared to five or six years ago.

Alex responded to the question about diverse books and how they "unearth little known points of history" is a privileged view. He attended the SCBWI OK conference this spring and learned about Tulsa Race Massacre. There are many stories that people know and have been impacted by these events, so there needs to be a focus on these stories.

Jen shared that We Need Diverse Books is less a movement, but a correction. It's what should have always been happening.

Adriana said that some of us (agents) have always been focused on this and the numbers are increasing. But it's still so small compared to books being published with characters who are animals and inanimate objects. She does feel that editors are doing better at listening to diverse authors and illustrators as they bring their stories and art to books.

The agents also offered stories of how they help manage their clients' work and when it's best to submit. As business partners with creators, they are committed to helping the creators best position themselves in the market.

For more information about Adriana, visit her website and follow her on Twitter.

To find out more about Jen Rofé, head over to her agency website or Twitter.

Learn about Alex by visiting his website and Twitter.

Agent Panel: Jenny Bent

Jenny Bent founded The Bent Agency in 2009. The agency now has nine agents, offices in New York City and London, and a strong focus on international rights. Her authors include New York Times best-selling authors Stephanie Garber, Goldy Moldavsky, AG Howard, and Lynn Weingarten. She is actively looking for new clients across all categories of middle grade and young adult. Her website is www.thebentagency.com and you can find her on Twitter @jennybent.

The panel was moderated by Alexandra Penfold.


What kind of stories do you like? 
I like middle grade and YA.  I like stories with twins or siblings. I like stories that take place in a forest. I like magic and dragons. [Note: these are individual elements--you don't have to have ALL of them.]


What are industry changes have you observed?
When I graduated from college, I interviewed in the subsidiary rights department of at a "Big 5" publisher. The interviewer asked me what area of publishing I was interested in and I told her, " I love YA."' She responded, "Why? There's no money in it!"  I didn't get the job, but it seems funny to remember that,  looking at what's happened to YA and to the industry since then [1992].


What's the volume of queries that you get?
I've been closed to queries for a while--I'm super-editorial, so I closed so I could focus on the people I signed and getting manuscripts ready. I'm opening on August 13th.  I get about 50 queries a day and sign about 3 or 4  new clients a year.

What makes you sign someone?
What stand out is voice. That's what keeps you reading--a distinctive and interesting voice. And if it's about sisters and set in a forest. Or twins.


Closing thoughts
The only reason I got into this industry is because I admire writers because you share yourself  and I'm in awe of your bravery. I was talking to another agent at the manuscript consults and I was thinking, there's no way I would go to one of those consults!


Please don't be hard on yourself. Please celebrate every victory. If you came to this conference, celebrate that. If you spoke to one new person at this conference, celebrate that. If you finished one writing goal, celebrate that.

Editors' Panel: Krista Marino

Krista Marino is a senior executive editor at Delacorte Press (Random House Children’s Books), where she acquires and edits young adult and middle grade fiction. Some of the recent books she has published include Girl In Pieces by Kathleen Glasgow; One of Us Is Lying by Karen M. McManus, and Samantha Spinner and the Super-Secret Plans by Russell Ginns. Her list includes the young adult works of Matt de la Peña and Jennifer Donnelly; the Maze Runner series by James Dashner, the Reckoners series by Brandon Sanderson, and the Secrets of the Immortal Nicholas Flamel series by Michael Scott.

The "Five Questions" (actually more like 7-10 questions) format gives panelists an opportunity to discuss general industry trends, as well as their individual preferences.

When considering a manuscript, what makes you stop reading? 
"I have a big problem with books written in the first person present tense. It's difficult to do successfully."

What are you looking for?"
"I want to acquire books that are fun to read, that you want to keep reading."

What can never get enough of?
"The thing you think has been done a hundred times and then it's done a new way.

What are common weaknesses/pitfalls?
"Telling--side effect of the first person present tense. Sometimes you do want to tell--but can you show it? This is something that writers learn over time."

On working on revisions with an author.
"I try to find the best method of working. It can be totally different with each book."

What do you think is the most important skill or attribute that a children's book writer/illustrator can possess?
"Respect for the reader. You can tell immediately if a person writing for a teen or middle grader if they think their experiences are trite just because they are younger. It's something that you can tell immediately."