SCBWI TEAM BLOG Pre-Conference Interview: Editors & Agents on Interacting With Them

 

SCBWI's Annual Winter Conference in New York is just few days away! I fly to York today to attend Digital Book World previous to the SCBWI event. Look for my tweets with the #DBW hashtag. And, starting Friday, follow the conference live via SCBWI TEAM BLOG's post on The Official SCBWI Conference Blog and on twitter via #NY11SCBWI. 

 

Since I've finished over-packing, I have time to bring you one last pre-conference interview roundup with a group of editors and agents.

 

Today's topic: INTERACTING

Editors KRISTA MARINO (Delacorte), FRANCESCO SEDITA (Penguin), and KATE SULLIVAN (Little, Brown); and agents KERRY SPARKS (Levine/Greenberg) and MARY KOLE (Andrea Brown) are participating in the Writers' Intensive that kicks off the weekend of conferencing.

I asked this group to offer some advice on interacting with them in a conference setting. We've all heard stories about manuscripts being thrust under bathroom stalls and other inappropriate behavior. Below, our publishing professionals talk about what makes a good impression--including being yourself, not being too aggressive, and being memorable (in a good way). I also asked them why they attend conferences.

What's your advice on interacting with editors and agents during a conference?

KRISTA MARINO: Conferences can be overwhelming for everyone, even editors. At this conference we’re here prepared to critique not acquire. Cornering an editor and pitching your book idea will only make them less eager to work with you. They can’t lug home manuscripts and they can’t really have a spur-of-the-moment conversation about your work with you.

FRANCESCO SEDITA: When you go on "Wheel of Fortune," you are super-psyched to meet Pat and Vanna. You want to make the most of your letter choices. But Pat and Vanna have nothing to do with whether or not there's an "L" in the puzzle. Think of the editors like Pat and Ms. White. Yes, they may love your project, they may help you with it, they may even want to publish it someday but that doesn't mean you're going to say "L" when that's what their publishing puzzle requires. You spin the wheel and you hope for the best...I'll take a D, Pat. (P.S. My friends and I are obsessed with the BEFORE AND AFTER puzzles. We text them to one another all the time. Please stop me if you see me and give me a few good ones. Tina Turner Movie Classics. White House Music All Night Long. Jimmy Cagney and Lacey. Facts of Life Cereal.)

KATE SULLIVAN: Be memorable. But of course, be memorable for a good thing. You want an editor, if they ever see your stuff down the line, to say, “Oh, that’s the woman who had everyone cracking up at her honesty” or “I remember this guy. He gave the most thoughtful and constructive comments.” Obviously, this can backfire if we remember you for forgetting your please and thank yous, dressing in a costume made of foam, or sending increasingly large giftbaskets every time you ask for a status update on your submission.

KERRY SPARKS: Be your natural self--we are just people like everyone else! And remember that we really want your work to be great and we need writers in order to do our jobs. So it’s not an Us against Them sort of situation. Don’t bombard us with your pitch, but rather kindly ask is we are open to receiving submissions.

MARY KOLE: Be relaxed and try to smile when you're approaching an agent or just seeing one in the elevator. Don't come and aggressively start pitching. Read the situation. If people are hanging out and chatting, go with the flow of the situation and make normal conversation with an agent or editor. If the moment feels right, you can pitch (keep it really brief, though), or you can just make a strong connection and offer to send the agent a writing sample and query later. Not every agent encounter at a conference has to be a pitch...it's often enough to have a great conversation and then remind the agent later that you met them!

>>> For a little more on the topic, check out this helpful post from Dystel & Goderich VP/Agent Michael Bourret, who offered some advice after attending an SCBWI regional conference. 

What do you get out of attending conferences? 

KRISTA: At this particular conference I not only get to see new work, but I get to actually meet the author and see how he/she accepts criticism. Editorial direction and criticism is such an big part of the publishing process and it’s invaluable to an editor to actually get to participate in it in person. Aggressive, abrasive behavior will turn me away from even the most promising manuscript.

FRANCESCO: Laughs. A good time. And a chance to like go to a high school reunion sorta, without all those pesky gym class memories. And, really, a chance to bat my eyelashes at Lin. Love that lady. Steve's pretty cute, too.

KATE: Reconnecting with the beginning of the process, more than anything: It gives me perspective. I’ve also made great friends, and often learned something from those I’m there to teach.

KERRY: Hopefully, I get some new talented clients with great projects! And I also get to see editors and meet new editors which is a big part of my job.

MARY:  I love interacting with writers, hearing ideas, and getting a chance to give a talk or address a crowd on a panel. I'm a teacher at heart, so I really do enjoy being helpful, whether it's with feedback on a pitch or answering a question during Q&A. Conferences are also great places to interact with SCBWI RA's and volunteers, authors, other agents, and editors. Not only do we meet writers, but we can network and have lots of fun with the faculty! Some of my best friendships, with writers and other kidlit professionals, have been forged at conferences!

SCBWI TEAM BLOG Pre-Conference Interview: Advice on Critiques From Editors & Agents

SCBWI's Annual Winter Conference in New York is just eleven days away! If you're attending, you may be planning your outfits and your evening activities in the city (which you certainly should), but you should also be thinking about how to make the most of the event. So I checked in with a few of the editors and agents participating in the conference to ask for some advice to pass on to you.

Today's topic: CRITIQUES

Editors Krista Marino (Delacorte), Franceso Sedita (Penguin) and Jennifer Rees (Scholastic) and agents Kerry Sparks (Levine/Greenberg) and Kary Kole (Andrea Brown) are participating in the Writers' Intensive that kicks off the weekend of conferencing. At this day-long event, writers have the opportunity to get feedback on a manuscript from a several editors and agents, and writers offer feedback to one another.  

Intensives have limited space for writers and this year's Writers' Intensive (as usual) sold out super fast. But even if you aren't attending it, you probably have been or will be in a critique situation, whether at a conference with an editor or agent, one-on-one with a critique partner, or in a critique group setting. Here are some things to keep in mind offered by our group of industry insiders.

What's your best advice for writers regarding making the most of a manuscript critique?

KRISTA MARINO: I think that sometimes writers use critique time to “defend” their work or pitch their idea instead of to hear what people took away when they read the piece. Writers need to remember that they won’t be standing next to a reader as their book is being read to defend a decision. And we don’t need you to tell us the market or how your work has a readership. It’s our job to know these things. Always keep in mind that editors and agents want to work with writers who are open to suggestions, not writers who think their work is already done. Act appropriately.

FRANCESCO SEDITA: Do it because you love it. Go in with an open mind and just take it all in. Don't worry about what is said; it's all for you to take in and digest. It's very hard to hear criticism when the pressure is high. It's hard to keep the "Wait, I didn't win the Oscar face?" on when some bonehead is telling you that your project isn't right for whatever reason. Breathe.

JENNIFER REES: I encourage writers to really listen to what everyone is saying--whether you agree with it or not. For a moment, set aside what you think you know about your story and listen to what others tell you. And take lots of notes! Then you can go home, sort through everything with an open mind, and choose what you want to listen to and what is best to dismiss.

KERRY SPARKS: I think coming prepared to hear criticism is key and being open to really hear what people are saying. But also being strong enough in your work to knowwhat you can and can’t change.

MARY KOLE: Try not to be overwhelmed or respond emotionally. If you're in a critique situation, take the feedback that's being offered to you and make sure to ask specific questions or for clarification. Critiques often feel like they fly by...don't pass up a chance to really nail down your personal feedback with the person who read your sample. You should also ask for ideas on next steps: What should you do next? How can you grow and evolve from this point forward?


What's your best advice for writers regarding offering criticism of other writers' work?

KRISTA: Always remember to treat people the way you would like to be treated. If you have criticism, offer a compliment as well. And make your criticism constructive. “That’s horrible” or “I hate horses” isn’t helpful to anyone.

FRANCESCO: Don't speak because everyone else has. Um, that's sort of my advice in life. But it's really important here because then you just say something dumb and dumb sometimes leads to inadvertent mean and mean leads to someone crying and crying just brings everyone down, people.   Nobody needs that. Speak from your heart--as a reader, a writer, and a person who is just as crazy about and committed to their craft as the person you're addressing.

JENNIFER: My advice is to speak up! Some writers clam up because there is an editor sitting there and they don’t want to look foolish, but if you can be generous enough to share your insights into another writer’s work with the whole group, then chances are that they’ll do the same for you when your time arrives!

 

KERRY: Offer criticism by first finding a way to compliment the work. There is almost always at least a few good aspects to any work, so starting off with that and then leading into what might not quite work will soften the blow. Also, really offering a solid suggestion of an action step the writer can take to improve it is really helpful.

MARY: It is crucial to learn how to critique the work of others. That keen editorial eye that you develop when you're critiquing will, one day, filter down to how you look at your own work. When you're critiquing, avoid emotional and unhelpful reactions to material, like "I didn't like it" or "that sucked." If you have something like this on the tip of your tongue, try and think why you may be having an issue with the piece. It's much more helpful for a fellow writer to hear something like, "The pacing of this scene is slow, so I found myself skimming. Maybe there's too much description going on between dialogue exchanges," or whatever. Also, you can throw out ideas and suggestions, but don't take the wheel and prescribe what a writer should do. Just give them feedback. Addressing it is their job.

You'll hear from this generous group of editors and agents again soon. In the meantime, you can still register for the Annual Winter Conference. Click here for information.

And remember, check out the Official SCBWI Conference Blog for live coverage of the event by SCBWI TEAM BLOG.