NY Conference Photos

SCBWI official photog Alan Baker (spouse of Executive Director Lin Oliver) always takes tons of terrific conference pics. I've picked out a few of my favorites. Click here to view the whole lot of them taking during the Friday intensives and VIP party; the Saturday keynotes and breakout sessions; and the Sunday panels, presentations, and autograph party. You'll almost feel like you were there.

(All photos: Alan Baker, Copyright ©2009, SCBWI.)

Writers exchanging work during the Friday intensive.

Illustrators and their glowing laptops during
the Friday intensives.

The crowd takes in an engaging speaker on Friday.

Listening to Jay Asher. (That's Bruce Hale in
the hat, Jarrett Krosoczka to his left.)

SCBWI Illustrator coordinator Priscilla Burris
congratulates portfolio winner Dave Ercolini.

SCBWI staff members manning the table on
Sunday morning.

Agents look to Lin Oliver as she offers a question
during their Sunday morning panel.

Agent Michael Stearns answers (Lin to his
left, Alyssa Eisner Henkin to his right.)

Michael Bourret smiles as Edward Necarsulmer
addresses the audience.

Michael B. talks with a group of writers
following the agents panel.

The multi-talented Bruce Hale sings.


Richard Peck and Lin Oliver happy after the
sneak peek of Peck's Master Class DVD.

SCBWI staff: Sally Crock, Aaron Hartzler, Kim Turrisi,
Liz Brown, Gee Cee Addison, Brandon Clarke.

Conference goers in line to meet Leo and Diane
Dillon during the Sunday autograph party.

Parting Shots from the Agents

Michael B: Hope. Remain hopeful and look to the future with eyes wide open.

Alyssa: You're all here to be writers and artists. Don't let the doom and gloom of the industry take away from your creative endeavors.

Michael S: Success comes for some writers and for some it does not, and it might strike by lightning, but it will never strike there person how isn't all consumed with writing. (I'm paraphrasing him quoting.)

Edward: Quoting Bob Dylan--if you know what you're doing in your heart and you don't stop and you're going to mystify a lot of folks. Keep writing. Write something superlative. And things will go your way.

Do Illustrators Need Representation and Do You Rep Them

Edward: He's expanding this part of his agency. He thinks is can be a home run.

Michael B: He doesn't represent illustrators.

Alyssa: She represents author-illustrators.

Michael S: He represents two illustrators, one who started doing covers. It's different for him and learning to do it has been difficult

How Do Feel About Mutiple Submissons to Agents?

Michael S: It can be frustrating for agents, but he understands why writers want to do it. But by all means say so.

Alyssa: We definitely need to know if it's a multiple submission.

Micheal: He hates hearing from someone whose work he's reading that they are going with someone else. He encourages writers to talk to agents to make sure they're a good fit before you agree to work with them.

Edward: No problem with multiple subs with full disclosure. It's heartbreak when you don't know and hear someone got representation elsewhere. He hates when a client has sent his or her manuscript to every editor in town before he gets to it.

The rule: full disclosure with your agent. Always be above board when you approach agents.

Are You Seeing Differences in the Advances Today?

Edward: We will see fewer acquisions. The days of super high advances is behind us. They are correcting and are "earn-outable." Buzz-worthy books will remain but won't be so off the charts. Where the smart money is is royalties.

Alyssa: Remember advances are advances. In the ideal sence, your book will earn out and make money in royalties.

Michael B: We're going to see advances going down and royalties and profit sharing going up. This will trickle down to children's publishing.

What's Involved in Signing Someone?

Alyssa: She signs clients on a term-by-term basis with yearly contracts. It gives the agent ample opportunity to work with the client editorially then sell. There's a written agreement.

Michael S: They have a contract that's not on a term basis. It's not binding forever, just as long as we're both happy. It gets the business out of the way and let's them focus on the revision and selling of manuscripts.

Edward: He works on a handshake. He doesn't want to be held hostage and doesn't want to hold people hostage. Some clients want some sort of outline of terms in which case he'll write a letter. (Adults side of his agency does use contracts.) Finding a real book is like falling in love, he says, and this applies more in 2009 than ever.

Michael B: They sign an agreement for first book, then work on a handshake after that. They want to lay out how the buisness aspects of the agreement works.

First Question for Panel: Large vs. Small Agencies

Lin Oliver (reading question from the audience): What do you thing the advantages and disadvantages from smaller vs. larger agencies?

Michael B: There are 8 people at his agency. The advantage of a small agency is the personal attention you can get. There's discussion and collaboration possible. He handles all his own clients without assistants and interns. We have a personal touch and a different philosophy.

Edward: If you get him as an agent, you get him. He tries to read everything that comes accross his desk. The advantage of a larger agency--fully functioning film/TV/stage dept. inhouse. The more proliferation of choices, there's more opportunity for writers to find the right fit. Interview your agent, he recommends.

Allyssa: About 35 people at Trident. One great things about being part of big agency is that since she has a full audio and foreign dept., it frees us her time to devote to her clients. Also, they don't use sub-agents for foreign deals in most territories.

Michael S: At Firebrand he is the dedicated foreign rights person. The great thing about a small agency is that everyone in the office is weighing in. They are all editorially minded and do a lot of editorial work. They pool their wisdom.

Alyssa Eisner Henkin

She was formerly and editor at Scholastic initially and moved into agenting in fall of 2006. Trident, where she works is one of the largest agencies in the World. She was tasked with building their children's author base.

One one hand, we don't know quite what's going to happen in this economy. Once great things about children's publishing is because children are the last people you want to scrimp on. With luck, the market will remain constant. There are a lot of synergies going to film these days, as well (ex: Coraline).

She says it's key to treat yourself like a published author before you're published.

Agents Are Assembling

Next up: Agents Panel: Selling Your Work in These Economic Times. Here are the agents who will address this topic and take questions from the audience:

• Michael Bourret, VP/Agent at Dystel & Goderich Literary Management
• Alyssa Eisner Henkin, Agent with Trident Media Group
• Edwards Necarsulmer IV, Director, Children's Dept., McIntosh & Otis
• Michael Stearns, Agent, Firebrand Literary

They are taking the stage and will begin in a few minutes...