Breakout Session: Exploring 1st, 2nd, and 3rd Person Voice with Cheryl Klein

 

Cheryl Klein is the editorial director at Algonquin Young Readers, an imprint of Workman Publishing / Hachette. Prior to her time at AYR, she served as the editorial director at Lee & Low Books for five years and spent sixteen years in editorial positions at Arthur A. Levine Books/Scholastic. She has edited more than 150 titles across all age categories with an emphasis on literary quality and diversity. Cheryl is also well known as a writing teacher and an author herself. Her adult nonfi book THE MAGIC WORDS: WRITING GREAT BOOKS FOR CHILDREN AND YOUNG ADULTS was published in 2016, and she has written five picture books, including HAMSTERS MAKE TERRIBLE ROOMMATES and the forthcoming IT'S HARD TO BE A BABY. Visit her website at cherylklein.com and find her at cherylklein.bsky.social.

www.cherylklein.com

Cheryl had us answer the following "starter questions" as an exercise:
1. As a work of literary art, what do you want this book to do?2. How do you want readers to feel generally while they're reading the book?3. What should be the relationship between you readers and the narrator?
Match your style of writing to the feeling you wish the reader to feel.
Narrative voice is a persona that can be developed like any character, says Cheryl.
You can change how you describe a scene, depending on where you put the camera, and how you move it. 
First person: immediate, intense. 
If the reader doesn't like the main character, however, they may not want to keep reading. If using first person, you need clarity, credibility, and personality. To what degree is this character able or willing to tell the literal (objective) truth? To what degree is this character unable or unwilling to tell an emotional truth? 
Have a purpose to using first person voice with this story. What does this story you want to tell gain from telling the story this way? 
Cheryl gave us tips on how to fix an unbelievable first-person narrator. 
Second person: The camera is the reader. 
We see everything through the eyes of one character.
Can be claustrophobic, can seem like a gimmick.
Third person: some space between camera and the characters. That space is where the magic happens.
With third person, you have more flexibility in moving the camera around.
Third person close narration cannot lie, but third-person objective characters can.
There are different types of third person: personal / limited / close vs objective, how many POVs can the narrator access, tone (it's ok to give your third-person narrator personality).

Questions to ask when deciding what voice to use:
- Can you do first person well?- How close do we need to be to the action to feel the emotional impact what you want to achieve?- How comfortable do you want the reader to be?- Whose story is this?- What do you want the reader to see or find out in the course of the book?- What member of your cast has the most intriguing or entertaining voice?- What person do you want to write in and feel the most comfortable writing in?
There are no rules, except: DO WHAT YOUR STORY NEEDS.

Check Out the Portfolio Showcase: Jaime's Highlights

While we miss getting to flip through portfolio pages in person (not only because there were usually towers of snacks nearby), the show is easily accessed online this weekend. Check it when you have the time. Cheers to all 150+ who submitted for putting yourselves out there!

Here were some of my favorite portfolios:

Yusuke Watanabe

Shannon Henley

Cara Zirou Wang

Shannon Brady

Art Directors Panel: Mela Bolinao

Art Directors Panel: The Changing Landscape in Children's Publishing For Illustrators

Q: What is a recent book project that you've enjoyed working on?

A: Mela is specifically an illustrator agent, representing over 60 illustrators from all over the world. The last few projects that were fun to work on were some Little Golden Books, having worked on some sports biographies. 

Q: On market trends: Are you seeing any trends?

A: On thinking about the type of projects coming in, Mela is seeing more diverse books/countries of origin but that may be almost ending. There are a lot of graphic novels coming from everybody, and a lot of biographical books to cater to more institutional markets since biographies have no shelf life. 

Q: How do you normally find artists?

A: "Honestly, I find them everywhere!" Typically on social media, she follows artists to keep up-to-date with them and their work. She browses directory websites but most of the time, she asks her colleagues or other artists for recommendations/ referrals.  Being in New York, Mela has found artists at school visits when she is invited to galleries. And of course, SCBWI!

Q: On Portfolios: What are some portfolio basics for you and what makes a portfolio stand out?

A:

Portfolio basics: 

- Can you draw the human form? 

- Body portions: Hands, and feet are extremely important to Mela. 

- Body positioning: Making sure they don't look awkward and that they have a spacial voice in the piece. 

- Facial expressions: Range of emotions, interaction between characters, can you tell a story with multiple characters within a scene?

Q: How are you receiving your submissions? Digital? Postcards?

A: Both, but most come through as digital queries. She definitely likes postcards even though we have moved to digital more. 

Q: On Submissions: Are you accepting? How do you like to receive submissions?

A: Ideally, for Mela, digital works very well. You can send a website! She also loves short bios to give her an idea of who you are, and what you like to do. Cultural background is important as well, since it affects the illustrator's work and perspective. Always looking for new clients!

Q: On working with an illustrator: What other base skills, beyond being an artist, do you wish to see in your clients/potential clients?

A: Mela: Adaptability and openness to growth. As an artist, you cannot be stagnant. Things change every year and artists should evolve as well. If you don't adapt, you can get stuck. Being an illustrator, you have to try new things. You may fail, you might succeed but you have to try. If you stop growing, you're closing off creativity coming into your being. 

Q: How often should illustrators update their portfolio?

A: To clarify, what Mela means by growing your portfolio is that you should see what is happening in the industry and incorporate it into your art. Don't change your work drastically but use your style to grow with the industry. You should have a well-rounded portfolio that is living; retire pieces as needed, build upon what speaks to you and your voice, and adapt as the industry grows.

Q: What can artists do while they are developing their portfolio/skills? Other streams of income?

A: If you're developing your portfolio, but are not yet ready, you can work in a creative field so it can give you inspiration and help cultivate work. Surround yourself with things that inspire you and dive into the industry so you can find what works best for you and your style. Keep a thumb on the pulse of what is happening to help you find and know your niche. 

Q: How much are agents and editors involved in marketing illustrators?

A: As an illustrator agent, Mela finds that school visits are great, but as an agent, she has nothing to do with marketing. It is the illustrator's responsibility because they have to incorporate it into their life and schedule. Get creative! Definitely promote your books by going to libraries and bookstores, having readings in-person or even, digitally. 

Mela Bolinao

Agent

About
Mela Bolinao has a B.A. degree in Art History with a concentration in Visual Arts from Barnard College. She is the agent for MB Artists who represents illustrators whose work is primarily intended for the juvenile market in books, editorial publications, licensed merchandise, advertising, toys, game boards or other applications. The agency currently represents over 60 children's book illustrators in the United States, Columbia, Argentina, Spain, Portugal, Italy, Brazil, Singapore, Bulgaria, France, Canada, England, Malaysia, Japan, Mexico, Philippines, and Italy. The majority of the artists represented have many years of professional experience, while some are the emerging talents of tomorrow. All are dedicated to the art of illustrating for children.

www.mbartists.com

Art Directors Panel: Adriana Dominguez

 

Adriana Dominguez represents award-winning illustrators including John Parra, a New York Times Best Illustrator and recipient of three Pura Belpré Honors, Caldecott Honor recipient Janelle Washington, Kirkus Prize finalist Jacqueline Alcántara, and Orbis Pictus Honor recipient Juliet Menéndez. Her author list includes NAACP Image Award winner Katheryn Russell Brown, Pura Belpré Honor recipient Angela Cervantes and Pulitzer and Emmy Award-winning journalist Maria Hinojosa. 

She is interested in illustrators and author-illustrators with fresh, unmistakable styles, and authors of fiction and narrative nonfiction from picture books to middle grade.  Adriana has a long trajectory of supporting authors and illustrators from underrepresented backgrounds. She is based in NY.

www.acmkidsandillustration.com

Lately, she has mainly works with author-illustrators, especially debuts.

On trends

There's been an increase in diversity, representation, and art forms. The industry is more open to different styles. She says that sometimes digital art tends to all look the same.

How do you find artists?

Adriana has found many artists through the SCBWI, through Instagram, referrals from colleagues and clients.

What makes a portfolio stand out for you?

Narrative images. Character consistency, movement. 

Highlight your skills. If you're great with light, for example, make sure you show that in your portfolio.

Turn-offs: weird eyes. Eyes are the windows to the soul.

How do you accept your submissions?

"I miss postcards."

Adriana mainly gets digital submissions through QueryTracker.

She highly recommends bringing a stack of postcards with you to in-person events.

What business skills do you wish author-illustrators have, beyond their art?

Curiosity. Willingness to try new things.

Ability to collaborate. Keep an open mind.

Good communication skills.

How does ACM promote illustrators?

They do monthly newsletters, highlight illustrators on their website, put together a "Look Book." Adriana also reaches out directly to editors to let them know about illustrators.

How much are agents involved in book marketing?

Adriana says that she does get involved quite a bit. She encourages illustrators who are not always the authors to contribute visual elements to the publisher to help with marketing. She says that it varies, depending on the individual. Some of her illustrator clients have a fan base already because of their online socials, shops, etc.

ART DIRECTORS PANEL: Karen Li

Karen Li

Karen Li is the publisher of Groundwood Books. Founded in 1978 Groundwood publishes fiction, picture books, graphic novels and nonfiction that is unafraid of tackling stories that may be considered difficult or controversial — but always centered on a child’s point of view without sacrificing warmth, beauty, playfulness or humor. 

Some titles that Karen calls 'Groundwoody' would include: Moderator TeMika Grooms's upcoming book! As well as picture book called BOOBIES, written and illustrated by Nancy Vo which Karen says is, "Literally about breasts, udders, etc. I call it hilarious and secretly feminist, you know, normalizing a normal body part."

Karen also mentions brand new graphic novel WILDFUL, illustrated and written by Kengo Kurimoto which came in through Groundwood's slush/unsolicited portal.

Temika asks about trends, Karen's reply echoes the other panelists: Groundwood does not go for trends and are certainly a publishing house that enjoys an organic feel to the art, not only interested in diversity of stories but also a diversity of styles which Karen does not see as a trend. Specificity is a window to the universal, Karen says lean into what makes your art different as that is the thing that'll catch an editor's or art director's eye. 

Karen also echoes the answer of where publishers are finding illustrators which is everywhere. Groundwood is fortunate to be in a large city center, so art schools with their end of year shows, outdoor art festivals, etc. And Groundwood has found illustrators from their artwork used on local public transit and subway stations murals, art is everywhere! And organizations like SCBWI, in Canada CANSCAIP (Canadian Society of Children's Authors, Illustrators and Performers), The Brown Bookshelf, and Women Who Draw are all great spaces to see a broad range of illustration talent.

When asked what Karen and Groundwood are looking for in a portfolio, Karen's guiding question is "Can they carry a narrative?" It's not just the technical talent, but the "brains" behind the operation—can you interpret a story? A character? Can we see this same character in a couple different settings? Can you create dynamic layouts? Whatever your style is, lean into it, and show that you can do it more than once.

Check out Groundwood's social media like Instagram for updates on their submission windows. 

Breakout session 1: Getting to the Next Level: Publicity and Marketing with Tracy van Straaten

I consider myself a seasoned author and illustrator; I’ve been in the business for a long time. However, I still consider myself a learner, especially about marketing and promoting my books. Publishing veteran Tracy van Straaten of TvS Media Group, demystified my marketing vs promotion questions. She stressed the importance of authors and illustrators defining their brand. To respect proprietary information, I won’t post specific information or slides. But I’ll share my main takeaway: Educate yourself. Learn the differences between marketing and publicity, because they are two very different concepts. Be informed about who is handling the marketing and publicity of your book. And don’t be afraid to ask the questions. 

I also learned the importance of authors and illustrators defining their brand. In other words, know what makes you and your work yours? Yes, I am a writer and an illustrator. But my brand is that I’m a storyteller of little-known African American historical figures. I’m a speaker/presenter, and diversity advocate. That’s me, that’s my brand. What is yours?

The following websites offer great examples of branding (notice: how do they define themselves/their work?)

Jason Reynolds

Jon Schieszka

Angie Thomas

The Pumphrey Brothers

Editors and Agents Panel: Tiff Liao

Editors and Agents Panel: Tiff Liao 

Before we jumped in, a poll was cast and for many attendees, this was their very first conference, spanning countries, time zones and stages of career journeys. 

"Always looking for books that are timely and timeless, stories that speak to the current moment but have a lasting impact."

Tiff Liao

Q: On submissions: Open or close? What are you looking for?

A: Currently close to submissions, but she is always on social media looking at what is happening in the business. You can follow her @tiff_liao

Q: The publishing world is always changing and the last few years have been challenging, but children's books bring hope. With editors and agents changing houses, there is a sense of publishing not being a stable environment. Talk about fears, what is the reality, how different is it now, and what your feelings are?

A: "As Laurent said, we are humans in this industry, we are a reflection of our environment." Changes and challenges are inevitable. In this business, we tend to focus on imprint closures but new imprints are happening as well. A refresh of perspective takes a while and publishing can take a long time to see the positive. But we are a resilient industry. 

For the creator: Find alignment and partnership in your agent and peers so you can focus on your work. They can help guide you through those changes

Q: Trends? Should creators write something commercial? What are the current trends? What is and isn't selling?

A: Tiff suggest not paying attention to trends. Publishing books takes up to 18 months to 2 years, so by the time the book comes out, the trend may be over-saturated or tired.  

As an editor, Tiff tries to foresee what will be most exciting in the future, seeking out fresher perspectives. Trends are cyclical. What may be tired to an adult may be new to a young reader, so finding the discernment between editor fatigue vs reader fatigue is important. Follow your passion, and write what makes you want to sit at the typewriter and create!

"You be YOU" 

Laurent Linn

Q: On craft: How, as an editor, do you approach craft?

A: For Tiff, at the start of the editorial process, she asks "what is the heart of the story? what do you want to preserve and protect?" 

"My role to help fix the mechanics, to enhance parts that are working."

Tiff is hands-on in the process, where she partners with the creator and works from top to bottom, beginning with large scale edits (character, plot, world-building). "I work very closely to the text." Then with each round, gets closer and closer, until finally, they polish it by the end. 

"I am here to support the author. I will hop on the phone or let the writer take the notes and edit on their own-whatever they need in their process"

Tiff asks a lot of questions and throws out pitches/ideas, helping to figure out how to address trouble areas. She stressed that it is important to adapt to the author. " You are the master of your world. I am here to help create and guide you to keep you excited and passionate about your vision"

She finds areas that can tightened/improved, emphasizing what is working well/what the writer loves.  Tiff wants the author to take the "spirit of the note" to help excavate parts of their brain to make the story sing to the reader. Tiff is upfront early on that she is there to support and will talk through every aspect but the writer is the navigator of the story.

"I'm your champion, your coach! Let's roll up our sleeves and get to work."

Q: On mentors: What is some inspiration from a mentor that has stayed with you? Informed who you are and where you are?

A: Tiff believes the best part of her job is learning. 

"Being a sponge sustains us."

Beverly Horowitz of Delacorte Press, told her the importance of remembering "It is not about you, it is about the young reader."

All of the work you do is to support the reader's intellectual, creative, and emotional journey, giving them knowledge, ideas, resilience, joy, etc. There is so little we can control but you can control the fact that the work you do is not about you. Always return to that. 

"Look in the mirror and ask yourself, 'Did I do my best?'"

This has been grounding for Tiff and she hopes it can be grounding to all in the industry.

Tiff Liao
Editor

About
Tiff Liao is Executive Editor at Random House Books for Young Readers. She's had the honor and joy of editing award-winning and bestselling authors including Tomi Adeyemi, Angeline Boulley, Dhonielle Clayton, Maurene Goo, Goldy Moldavsky, Tochi Onyebuchi, Margaret Owen, Jenn Reese, and "Queer Eye" star Karamo Brown. Previously, she was at Zando, where she launched the young readers program, and at Macmillan. Born and raised in California, she now lives in Nyack, NY, with her husband and puppy-cat.

Breakout Session: Six Marks to Hit Before You Submit with Dan Richards

Six Marks to Hit Before You Submit Your Picture Book 

with Dan Richards

About this Breakout Session:

Are you constantly second-guessing whether your picture book manuscript is ready to submit? Do you wish for a way to bring clarity to the age-old question, ‘is it good enough to send out’? Dan Richards will cover six questions that throw back the veil on what agents and editors want. These six questions will expose manuscript weaknesses before you make the mistake of submitting too soon. This session will also demystify rejection letter double-speak (e.g. ‘too thin,’ ‘too quiet,’, ‘lacks break-out potential,’ etc).

"Writing a picture book is like painting a masterpiece with fingerpaint"

you have an idea.

You been to dream and see all of the possibilities. You build it up into what we think it is in our head then-

the rejection comes. 

Dan spoke a bit about his background to illustrate how he came to discovering his "Six Marks."

Dan shared that he had some early successes where his manuscripts sold immediately, which built a false sense of reality where he thought he cracked the code. 

But soon, he went through several years where nothing would sell, causing much frustration. 

\

This led to a conversation with his agent, who gave him many tips and notes to guide him in a new direction. 

At first, Dan was resistant. So much so that he felt like it was impossible to make a change.

But Dan took two or three of those tips and notes, posted them on his desk, and let that help him build his skills, and shape his writing. 

Those little changes eventually helped him navigate his story block, refining his process which led to his recent successes. 

With his newfound approach to craft, Dan created the Six Marks to Hit before you start to submit to agents and publishers, his tried and true method for submission success. 

The Six Marks to Hit

1. Is it age appropriate, child centered, and works best as a picture book?

2. Is there an immediate hook? 

3. Is it a complete story with a beginning, middle, and end?

4. Is there an emotional arc?

5. Does it have an added layer of meaning?

6. Does it bring something fresh that stands out in the crowded picture book marketplace?

STORY TIME!

There is nothing better than sitting back and being read to. Dan read both of these wonderful titles and walked us through each of the Six Marks.

In Ghost Cat, though there are very few words, there is a beautiful emotional arc that has powerful added layers of meaning. 

It speaks to the youngest reader of picture books but even as an adult, this story resonates with you as well as serves the readers who may be experiencing loss.

Different from Ghost Cat, this is more oriented to an older crowd of picture book readers.

In Watercress, the emotions connect so well, where Andrea finds a great hook early in the book, taking a moment in time and telling that specific story. 

She gives it a beginning, middle, and end, weaving the emotional arc through it all, establishing the main character's internal journey and how she connects to the bigger picture within her family. 

I got teary-eyed listening to it, and I've read it many times. That is a sure sign that it hits the marks!

So grab your favorite book or even your personal project and run through the Six Marks!

Dan Richards
Author

About
Dan Richards is a graduate of the University of Washington Writing for Children Program and best known for his humorous picture books and middle grade novels. Recently, NUBBY was selected for the 2024 Dolly Parton Imagination Library and ONCE UPON A GOAT received honors as a Junior Library Guild Selection, Indie Next Selection, and Washington Children's Choice Award finalist. Nearly 700,000 copies of his books are in print worldwide. He'll be presenting his picture book class SIX MARKS TO HIT BEFORE YOU SUBMIT at the 2024 Summer SCBWI Conference. Dan is also a picture book coach who loves working with new clients. He lives in Bothell, WA with his wife and mischievous doodle Arthur. www.danrichardsbooks.com

Breakout Session: Capturing Your Life: Memoir in Picture Books with Andrea Wang

 

screenshot from the zoom of the breakout session with author Andrea Wang

Andrea Wang is an acclaimed author of children’s books. Her picture book Watercress received the Caldecott Medal, a Newbery Honor, the Asian/Pacific American Award for Literature, a New England Book Award, and a Boston Globe-Horn Book Honor, among other accolades. Her other books, Summer at Squee, Luli and the Language of Tea, The Many Meanings of Meilan, Magic Ramen, and The Nian Monster, have also received awards and starred reviews. Her work explores culture, creative thinking, and identity. Andrea holds an M.S. in Environmental Science and an M.F.A. in Creative Writing for Young People. She lives in Colorado with her family.

Andrea talks about subject, and speaks of Watercress being a "braided memoir" where her memories in first person and her mother's memories in third person are both included.

Next we look at plot - how do you choose the events, and the order they occur, and how they relate to each other? It's not just an account of what happens, but also reveals the cause and effect.

Commenting that "memories can definitely be temperamental," Andrea poses this question to us:

What is your own sticky, significant memory? 

Andrea shares the typical picture book plot arc, breaking down "My Lost Freedom" by George Takei, Illustrated by Michelle Lee.

But what happens when your experience you want to write about doesn't fit a traditional plot arc? It's alright. 

Often, picture book memoirs have an atypical plot arc:

Introduction
Introduce the Event
Experience of the Events
Wisdom from an Elder
Moment of Realization/Acceptance
Ending

Often picture book memoirs are less about the external actions (not so much the hero's journey) and more about the internal growth - "the character arc becomes the plot arc."

Andrea walks us through how Watercress follows this plot arc, and shares additional examples of picture book that have this same kind of plot arc: A Different Pond, We Wait for the Sun, I Talk Like a River, Amah Faraway, From the Tops of the Trees, and The Most Beautiful Thing.

Andrea also covers structure, theme, and challenges us to consider: 

what connects you (and the story about your life you want to tell) to the reader?

There are writing exercises/prompts, insights into Andrea's process, and then a thoughtful and inspiring Q&A.

It's an excellent session!

Breakout Session: Curate Your Portfolio with Aliza R. Hoover

Aliza R. Hoover is an agent at the CAT Agency, representing illustrators and author-illustrators in children's books. She began her Publishing career at Candlewick Press, where she spearheaded & coordinated illustrator searches and negotiated illustrator contracts. With a degree in Classics and a background in visual art, she is passionate about the magical place where words and images collide.

Aliza grew up homeschooled and barefoot in the woods, and has lived in Finland and Scotland before returning to her home state of Massachusetts where she lives with her familiar (a cat) and her partner (a human). Outside of books, Aliza is a multimedia photographer, tarot enthusiast, and amateur circus performer.

Aliza says a lot of what she has learned about portfolio curation comes from her experience working at Candlewick Press.

There's no one way to curate a portfolio, says Aliza.

Aliza says she was a book match-maker at Candlewick. Here are some of the books she worked on at Candlewick:

Example of how Aliza found an illustrator for Build A House:

Aliza was looking for an illustrator for a book that came to her in a song.

She looked for a digital illustrator because it would speed up the process, an artist who had a connection with Juneteenth, with poetic sensibilities since it is so lyrical.

Aliza reached out to art directors and designers on the team to see who they've worked with in the past, and also reached out to other agents at the agency. Christy Ewers responded quickly with a great suggestion:

Aliza says video content is a great way to attract publisher attention. Here's a video that Monica created that she recommends we watch:

Just a few of portfolio curation suggestions from Aliza (though she emphasizes there is no ONE right way to put together a portfolio):

- Interior scenes.

- Inter-generational scenes.

- Fun infographics could set yourself up for nonfiction.

- Think about the kind of work you want to get and include that type of work in your portfolio.

- In your bio, include any info that reflects a niche interest or background that might help you get specific type of work (e.g. biologist, etc.)

- Make a list of things you like to draw.

- Include mock covers that include a couple of items from your 100 Things list. Choose an age range and a genre, for specificity.

- Aim for consistency across each style, especially in characters.

- Be aware that some editors and art directors have strong negative feelings about dot eyes, cartoon/Disney-type eyes, and closed eyes.

- Remember that characters are actors, not models. Have them interacting.

- Don't draw what you think people want. Make the art that tells YOUR story.

Breakout Session: Technique and Style with Rashin Kheiryeh

Rashin Kheiriyeh is an internationally recognized, award-winning illustrator/author, animator and painter. She's illustrated almost 100 children’s books in countries such as United State, Canada, France, Italy, Japan, Germany, Switzerland, Emirates, Ukraine, Turkey, Spain, South Korea, China, Brazil, India and in her home country of Iran, Rashin is also known as the character artist of the most popular Iranian animated TV series there, Shekarestan (Sugarland).

Rashin shares a quick tour of her 3rd floor Washington D.C. art studio with us, she loves all the bright light she gets, so helpful for painting. 

She walks us through her illustration career path: First making art at home as a child, then focusing on it in school before hustling for children's illustration jobs by approaching local magazines and entering bigger and bigger illustration competitions. Those actions lead to her garnering the attention of international book publishers, and almost 100 books later, Rashin shares a live painting demo with session attendees.

Rashin in her Washington D.C. studio

Characters from Shekarestan TV series, Iran's most popular animated show

Rashin shared her process for starting a book's illustrations. Once she receives the finished manuscript, she reads it and then sits with it for a while which lets her dream about it and try to get connected to it. Early on is the best time for an illustrator to ask the author any questions they might have: What she or he was feeling about the characters, the environment, etc. For Rashin, the sketching part is the most important fundamental part of the picture book making process: Deciding the look of the character, the compositions, the placement of the text and the the the entire layout of the interior. For Rashin this can take 5-6 months and a lot of back and forth before everything is approved, but then it's time for the most exciting part of the job for her—painting the final illustrations.

Rashin's latest book with Beach Lane Books

As Rashin paints for us she talks about how she decides what kind of medium, technique, materials, and color palettes she wants to use for final art—big questions that every illustrator has to grapple with at the start of every new book.

Rashin's live painting demo during her breakout session

Breakout Session: Make it a System: How to Handle Business, Manage Your Time, and Organize Everything as a Kidlit Author with Emma Otheguy

Make it a System: How to Handle Business, Manage Your Time, and Organize Everything as a Kidlit Author

Emma Otheguy is an award-winning author of several books for children, including the I Can Read series Reina Ramos, the picture books A Sled for Gabo and Martina Has Too Many Tías, the bilingual picture book Martí’s Song for Freedom, and the middle-grade novels Sofía Acosta Makes a Scene and Silver Meadows Summer. She is the author of the Carmen Sandiego novel Secrets of the Silver Lion and co-author, with Adam Gidwitz, of The Unicorn Rescue Society: The Madre de Aguas of Cuba.

Emma is going to take us through the business of writing. How we go beyond just the writing to making this a career. There is a great deal of business (and busyness) that goes beyond the writing.

Emma signed her first contract in 2015. It was published in 2017. She made writing her full time job starting in 2019. 

Emma has been guided by these principles:

1. There is nothing about being creative that makes you inherently less organized, business-savvy, or capable. 

2.  Everything you do has a cost. How do you decide what to work on and when?

3 Publishing is repetitive. Creating a system that can grow with you and that can be repurposed with each book. 

Emma suggests getting really purposeful. Consider why you write. Understanding your "why" will help you decide which projects to focus on. 

A books she uses and recommends for time management is GETTING THINGS DONE: The Art of Stress Free Productivity by David Allen. 

Check out Emma's many titles, and visit her website: emmaotheguy.com 

Editors and Agents Panel: Saba Sulaiman

 

from top left: Laurent Linn (moderator), Josh Adams, Tiffany Liao, Saba Sulaiman, and Sonali Fry

Saba Sulaiman is a Senior Agent at Talcott Notch Literary Services, a boutique agency located in Milford, CT. She holds a BA in Economics and Middle Eastern Studies from Wellesley College and an MA from the University of Chicago, where she studied modern Persian literature. Being an immigrant who is constantly negotiating her own identity and sense of belonging in a place she now calls “home,” she is committed to championing books by writers from marginalized communities with compelling stories to tell; stories that demonstrate the true range of perspectives that exist in this world, and address urgent and often underexplored issues in both fiction and non-fiction with veracity and heart.

In Saba's introduction, she shares that her list right now is heavily picture book, and she's looking for more novels (she represents picture books all the way through YA, fiction and nonfiction.) Saba is drawn to character-driven narratives, unique and high stakes, morally gray characters, some humor (sharply observed humor), subtext, messiness of being human, timely and timeless.

Saba likes stories that "de-center me from my perspective" and "writers who can write in a way that can make ordinary things... feel fascinating."

And a warning about writing to a trend: "I can tell when a story's gimmick outshines its emotion."

Tries to "develop unique working relationships with each of my clients... they all have different circumstances in which they thrive creatively." Saba prefers working with clients that write across categories. Looking to work with authors, and careers.

What a great discussion!

Editors and Agents Panel: The Outlook in Children's Publishing: Josh Adams

 

This esteemed panel included agent Josh Adams, editor Sonali Fry, editor Tiff Liao, agent Saba Sulaiman, and art director Laurent Linn.

Here's some of what agent extraordinaire Josh Adams had to say: 

Where do you work, and what you’re looking for?

—Adams Literary, Celebrating their twentieth anniversary

—Publishes middle-grade, YA, and adult novels.

—Loves stories that are timeless and timely.

—Looking for the next award-winner and bestseller.

—Open to submissions being submitted by folks attending this conference. Looking forward to what writers are dreaming up!

How can writers reach you?

Visit the website: https://www.adamsliterary.com/, then go to the submissions page. At this time,  Adams Literary is closed to submissions, however, you're in luck! They are open to summer conference attendees—whoo-hoo! Simply query Adam with a full manuscript; introduce yourself, and what you’re working on/writing about. Only submit one manuscript at a time.

Keep in mind there is no time limit for submitting, so don’t rush. Submit now, a week from now, or a year from now.  Be sure to somehow reference the SCBWI Summer 24 conference in your query, and you’ll scoot to the front of the list!

(Writers only, not looking for illustrators at this time)

Maneuvering an ever-changing industry at a time of change and challenge

Adams referenced the song SAME AS IT EVER WAS by the Talking Heads. Editors have always moved around. They can go from house to house, editing to agenting, writer to agent. Authors and artists should be on the lookout for reliable and established agents. 

Challenge

Things are not always what they seem; it’s not that bad out there, folks! A lot of hopeful things happening in publishing at this time. Keep your heads up.

Trends

Adams is not phased by trends. He looks for writing that he loves and will speak to others. Trends matter more to editors than agents. Steer away from trends. Once you jump on the trend bandwagon, the next trend is trending. Write what you love, that’s what will be marketable.

On craft: How do you approach guiding a writer?

Not an editorial agent. Focuses on a higher, more strategic level. Adams Literary looks for people who are delivering highly polished manuscripts, and who are at a place where they are ready to go! Views his job as a facilitator, never wanting to get in the way of the author-editor relationship.

Wrap-up

Draws inspiration from is his wife, Tracey! She always says that things work out the way they're meant to work out. Everyone will have success. Everyone will have rejections. Use each situation to learn and grow.

Advice from his father: Learn as much about your craft as you can, and strive to be the best.