Do Editors Get Better with Age?

At our monthly SCBWI meeting on Monday, I learned that Emma Ledbetter, assistant editor as Atheneum, is going to be one of the advisors at this year’s Falling Leaves master class in Lake George – and that made me smile. Three-and-a-half years ago, Emma was my mentor at the Rutgers One-on-One Conference. It was her first Rutgers -- and mine. And it made me wonder whether editors, like authors, get better with age.

Now, before anyone sees this as negative or an attack on Emma’s abilities, let me say that I have no complaints about her. I implemented one of her suggestions in my picture book, and she suggested I send it to her boss (mentioning her in my query letter), since, as an assistant, she didn’t yet have acquisition authority. But that doesn’t answer my basic question: Do editors get better with age?

It’s a truism that authors get better with age. While a few authors’ best-known works were their first books (Elie Wiesel, J.D. Salinger) that doesn’t mean it was their best work. And scores of author got better after they had a few books under their belts (Mark Twain, Stephen King, Charles Dickens, George Orwell, etc., etc.) So, what this really tells us is that writers get better with practice. The closer they get to their 10,000 hours, they better they get. But practice takes time, and time brings experience and age. Experience makes one a better writer because it gives you something to say and something to draw upon – but experience, without practice, gives you something to say without the skill to say it.

The same is true of editors. After all that education and English degrees and hundreds of books under their belt, experience makes them better editors because a good editor doesn’t just fix commas and semicolons -- she develops and massages the author’s style until the message gets out. And that is something a veteran editor does better than an inexperienced assistant. (And this is to say nothing of the relationship between author and editor, which would probably be a great topic for a future post!).

Of course, that’s true of any job, whether it’s master mechanic, carpenter, accountant brain surgeon. Time on the job makes you better -- and I’m not making some academic argument here. I was once in Emma’s shoes (and yeah, that's as uncomfortable as it sounds). That is, I got my first editing job nineteen years ago, and I’d sure like to think I’m a whole lot better now than I was then. Today, I’m the Executive Editor at AlbanyEditing. There is no way I could have handled that two decades ago.

Come to think of it, I'm sure I couldn't have handled Emma’s job at a big publisher like Atheneum then either.

Emma Ledbetter has a great reputation in the world of kidlit, and Nancy Castaldo, the Eastern NY SCBWI regional advisor, sang her praises. Since she was good three years ago, I can only imagine that she’s amazing now. And I hope to see that in person at Falling Leaves!

P.S. I'm still funding my next book through Indiegogo. Any amount you can contribute, is greatly appreciated. And the best part is, you get a copy of the book! Thanks for your donation!

Reflections on a Summer Spent Writing

There's an old saying in the publishing world: don't submit in August. That's because the New York industry shuts down -- editors and agents go on vacation, catch up on the slush pile or head out to Los Angeles for a few days of sun and fun at the SCBWI Summer Conference.

The saying began when editors responded more quickly to manuscripts, even unsolicited manuscripts. I'm not sure it makes much difference today when no matter what time of year you submit you're looking at a six-month wait, but the old saying stands: don't submit in August!

That doesn't mean as a writer, particularly a writer trying to break into the business, that you should take the month off. Or any part of the summer. Or Labor Day weekend. After all, isn't writing your getaway?

How I Spent My Summer Writing

1. Stayed in Touch with Two Literary Agents. Nothing signed, of course, but one shows great promise, having requested a serious business plan from me that the other did not. We'll see. So I include writing a marketing plan among my summer writing accomplishments (oh, the business side of writing!)
2. Wrote Two Drafts of an Early Chapter Book.  A sequel to an earlier picture book that has been getting some attention. Following the Nick Bruel Bad Kitty model here. Workshopping and writing the third draft now.
3. Outlined a Middle-Grade Novel. Began this at the suggestion of an editor. It was my summer goal to start this book September 1. I did. Finished one chapter. Um, I guess that means 10 to go (a Fall goal!)
4. Attended a Writers Conference. Went to the Eastern NY SCBWI Mid-Hudson Conference in June and was accepted at their November Falling Leaves Workshop, as well as the Rutgers One on One in October. Very excited about both.
5. Submitted a Picture Book Rewrite to an Editor Who Requested It. Even submitted it in August. Guess I just didn't follow that adage.
6. Outlined Two Picture Books. One is a sequel to the requested picture book. Editor wanted to know if I could see it as a series. Of course! Well, I can now...

Maybe that should be another writer's adage: See everything as a series.

Hope everyone else kept busy writing these days, whether putting together a manuscript or attending to business (including conferences). Let me know what you accomplished this summer, and I hope it includes the word contract.

Just probably not with an August signing date...

*Next Up: Reflections on a Summer Spent Reading

 

Determination: Moving From Writer to Author

A writer is one who writes. An author is one who is published.

 

That’s a pretty common and accepted distinction. Plenty of people write, far fewer are published. For some people, making that leap is as easy as a stroll across the back nine, for others it requires building a whole new course. Regardless of the route, crossing the chasm requires two things:

 

1. Finishing the work. This one’s mandatory.
2. Submitting your work. When it's ready. Someone might stumble upon it, but they still have to read it. And like it. And be willing to put up money. 

But there’s one other quality: Determination. Drive. Yes, to do the above two, but also to study, research, know your craft, your genre. Participate. Be involved.

 

In short, to be immersed.

 

I’ve been thinking about that a lot lately, right after realizing that I’ve probably spent my entire first advance going to conferences and book events. And I also realizing it’s worth it. I have to be there professionally and personally.

 

But here’s where it gets muddled. Writers Conferences are a given. Writers go to get better, but mostly they go to gain access to editors and agents. Smart move. But why don’t they ever seem to be at the book events: 1. Doing the same and 2. Supporting authors. Soaking up the ambience. Learning.

 

In short, immersing themselves.

 

I belong to two writers groups (Eastern NY SCBWI and the Glens Falls Writers Group) and several defunct groups. Total membership for all the groups combined? More than 100. And yet I saw one writer – and the same writer at that – at all the book festivals and signings I’ve been to lately (see the Empire State Book Festival and the Hudson Children’s Book Festival entries).

 

I find myself freely talking to authors, watching them work, seeing who's selling books, how they’re selling them, what presentations move and which drag. But beyond that – far beyond that – I simply have to be there. I’m going this weekend to see Jane Yolen* and Mark Teague at Open Door Books in Schenectady . Why? Because I have to. I can’t explain it. Just like I had to see Hemingway’s house when I was in Key West . Some things you have to do.

 

Being around books is mine. I wish more writers looking to make the leap to author felt the same way. Maybe more of them would be published if they were Driven. Determined. Immersed.

 

And no, I’m not published yet. But I feel like I’m getting ever closer (see the Pocono SCBWI entry). But until then – and I’m sure after then, too – I’ll enjoy the next festival as much as the next conference – not to network, but to be surrounded by writers and readers who share my passion: books.

 

“Writers are not paid for their words. They are paid for their perseverance.”

*Jane Yolen says writing is a matter of 

"butt in chair." Don't make the mistake of using

book festivals to get out of writing. If anything,

write twice as much. Keep writing until you're

behind one of those tables selling your book.

Who knows? I might be there to buy it from you.

What's the last book festival you went to? Who did you go to see? What did you buy?

Hard Work at the Hudson Children's Book Festival

Once again, some amazing authors and illustrators showed up in tiny Hudson, NY for the Hudson Children's Book Festvial. Just south of Albany, the event draws plenty of talented authors from upstate, downstate, and across the state, but also  from across the country. Among the bestselling children's authors in attendance were Nick Bruel (Bad Kitty), Da Chen (Colors of the Mountain), Caldecott winner Emily Arnold McCully, Fran Manushkin (Katie Woo, and The Tushy Book), Lee Harper (Woolbur), and Susanna Leonard Hill (Punxsutawney Phyllis).

Capital District SCBWI was also well represented, with kidlit writers Nancy Castaldo, Kyra Teis, Kathy Ceceri, Eric Luper (the inspiration behind the festival), Rose Kent, Liza Frenette and Erica Villnave all setting up shop, conducting workshops and more.

Which is where the hard work comes in. Not just from the official workshops, but from working the room as an aspiring author. I had a chance to connect with children's writers who've given me great adivice in the past and those who gladly gave me some this year. It’s too long a list to name every author, but I will name those who were very helpful (and give you a little of what they said).

Advice From Award-Winning Children’s Authors

Bad Kitty Meets the Baby
available June 7, 2011



1.   Nick Bruel. The Bad Kitty author was good to me last and even better this year. I'm glad my son counts him among his favorite middle grade writers. Last year, Nick suggested I get an agent for a book idea, and that led me to approach agent extraordinairre Marcia Wernick. This year, Nick gave me advice on signing contracts, what to look for when it comes to advances, mutlibook deals, serials, etc. In short, don't let publishers link the advance for one book to another book. Make sure each contract is separate.

I also attended Nick's workshop on creating picture books. Great to watch him work a room full of fans. Real control over the room. The presentation was interactive and funny. His style is slower-paced than mine, so to watch him was educational, to say the least.

I was also with Nick for a unique moment: when he first laid eyes on the Bad Kitty mascot. The costumed character wasn't supposed to be ready until Book Espo America in a few weeks, but it was ready early. His first words? “They did a great job with the tail.” And they did. Funny what you notice first.

2.   Eric Luper. At the Empire State Book Festival Eric (Jeremy Bender and the Cupcake Cadets) answered questions on my agent situation; this time we talked about his publisher, Balzer + Bray. His suggestion? Whatever middle grade manuscript I eventually send B+B should grab them, the sort of thing they can't live without. He says the feedback I'm getting from them now is great and encouraging, but the next project will have to be big. He's right, of course, which may lead me to scrap one of the two middle grade projects I'm working on. Oh, well, se la vie. Onward and upward.

3.   Fran Manushkin, whose mg Katie Woo is a long and well-received series (24 books in 3 years!) gave me similar advice. Sitting next to Eric (authors were arranged alphabetically. Fitting, I guess), she said she was once told by an editor, after a rejection, that her next book had to be “perfect.” Perfect! Now that's pressure. I guess it was, because Fran was signed. That said, she also gave me advice on being a bit more aggressive with a particular editor. Not impolite, of course, just more aggressive. Get a response from her as soon as I can. Publishing may have its own schedule (about as slow as Amtrak being pulled by a mule), but she's probably right here. The editor is question has worked with Fran a great deal over the years.

4.  Rose Kent. The author of Kimchi & Calamari and

Rocky Road 

told me to shoot for the Rutgers One on One this year. Eric told me the same thing a few weeks ago, but Rose gave me advice on writing the cover letter: let them know why you're the right candidate for mentoring. How serious you are, how much this can help. Rutgers is a big event, an important event, and Rose is right – I believe it can help me, but they need to know it, too. As Rose said, “Make your letter as good as your work.” One more thing that has to be perfect!

I can't wait for next year's impressive array of authors and illustrators. And while next year is likely too soon to have a book on the table, I hope Nick Bruel is right (once again). Briggs is close to Bruel. Perhaps at a future event we will have adjoining tables. If someone doesn't buy my book, I'll gladly send her to Nick's table. He's influenced my writing and career choices, and given more of his time than he needs to. Thanks, Nick!

(And thanks to everyone who gave of their valuable time!)

After a Week Back from Pocono SCBWI

I’ve been back from Pocono SCBWI for a week, with little time to blog. More on why in a moment.

The weather in the Poconos was fit for football, even if we were talking baseball. And writing. Lots and lots of writing. Which is good. Pocono is a well-run and impressive workshop for children’s book writers. Located a little less than an hour from where I grew up, ten minutes from a place where I’ve performed, and 20 minutes from where my parents took their honeymoon, Shawnee on Delaware, PA, feels like home to me. That helps. Always good to feel at home.

The 2011 faculty was impressive, with two of my favorite editors in attendance: Dianne Hess (Scholastic) and Ruta Rimas (Balzer + Bray). Agents Jennifer Rofé (Andrea Brown) and John Rudolph (Dystel), plus editors Robert Agis (Sterling ) and Liesa Abrams (Aladdin), joined them. In between speeches and presentations, I had a lengthy conversation with Eastern PA Resident Adviser Francesca Amedolia on writing, conferences, and her writing theories (which are both entertaining and accurate!). I also had a great time talking with writers like Laura Weller, Kevin Sheridan and Wendy Latty, all of whom impressed me with a wide variety of talent (YA, non-fiction, and art). I also ran into fellow Eastern NY SCBWI members Karen Orloff and Ruth Roberts (we get everywhere!).

Pocono also does a great job at diversion, with repeated parties, auctions, and other events to network. More importantly, this year's auction proceeds were split with the Japanese chapter of SCBWI to help with earthquake and tsunami relief efforts.

Pocono SCBWI Highlights (for me):

1. I attended Dianne Hess' presentation on what she's looking for at Scholastic. OK, so she didn't specifically say my book, but that's what I heard. Actually, Dianne did say she'd get to Spaghettisburg and The Bossy Witch (both of which she requested earlier this year) soon. I also found out Dianne's a vegetarian. I share this nonwriting tidbit because I always like meeting fellow vegetarians and promoting the cause.
2. I attended two sessions with Jennifer Rofé, back to back. The one on book marketing was the most helpful for me (I will write up some of what I learned in a future post. No, really. I promise). The presentations had an informal feel to them, and she has great energy. Really dynamic, that way. Her 5 years as a school teacher showed. Her session on Editing With an Agent was a bit less helpful to me, but only because I'm in the middle of doing that now. That said, it was great to get another perspective on it.
3. Sid Fleischman Humor Award Winner Donna Gephart (How to Survive Middle School) gave an interactive workshop on writing quirky and humorous characters. Largely aimed at YA and middle-grade authors, I thought it wouldn't help me much. I mean, I did stand-up for 20 years and can write a joke, and I don't write YA or MG. Yeah, I thought that right up until...
4. I met with Ruta Rimas Saturday night. She paid my writing a great many compliments, but for the moment is passing on Leaping Lemmings (at least until I can get an agent to submit it for me). I won't go into great detail, but at least the story is still on the table (thankfully!). Ruta then wondered if I ever considered middle grade. No, no I haven't Well, not until the drive home. Four hours is a long time to kill in a car, so I began crafting a middle grade story. Title, main character, beginning and ending. Working on the rest now. And one of the big reasons I haven't blogged. Only so much time, and stories take precedence. Particularly if there's an opening for it.

What I like most about Pocono is that it is workshop heavy; a chance for writers to learn, or at least sharpen, their craft. I may go back next year. We'll see. In the meantime, I'm considering their November event in Gettysburg (a town I love, by the way. Hey, I have Spaghettisburg ready to go!).

And I'm ready to go, too. I'll leave you with these positive words from Ruta.

Ruta: “Children's publishing is a small community.”

Me: “I know. And I want to get in.”

Ruta. “You will. You definitely will.”

I hope she's right, whether that be with my first love – picture books – or perhaps a new love, middle grade. There's no timeline, I guess, just a goal line. I'm still inside the one, inching ever closer. I just don't want to fumble...

Highlights of the Empire State Book Festival

The 2nd annual Empire State Book Festival escaped bad weather but not poor attendance. At least it appeared that way; I suppose we'll have to wait for official numbers.

Which is too bad. There were plenty of great authors in attendance, including Ann Martin (of The Baby-Sitters Club), who gave the opening remarks, and Rosanne Cash, who gave the keynote address. In between there was plenty to do, for book buyers, lit lovers, and aspiring authors.

Empire State Book Festival Highlights

My own personal list:

1. The Illustrator's Panel. Artists discussed their approach to picture books in the Picture This presentation. Featuring Julia Gorton, Daniel Kirk and Steven Petruccio (and a host of technical problems), I found this the most informative of all the panels I attended. Julia Gorton is probably the most experimental of the three, and Steven Petruccio's rich, detailed work impressed me greatly. I've long been a fan of Daniel Kirk's Library Mouse books. I found his approach to his work similar to mine, even if his art is far better. But then that's why I attended this panel.
2. Words Come First. A panel featuring two writers (Susanna Hill and Amy Axelrod) and one writer-illustrator (Iza Trapani, who I saw last year), on the idea that story comes first. And while there are some exceptions to this (Mo Willems created the drawing of Pigeon before he ever wrote a word), I generally agree with the premise here. The writer writes and the illustrator gives it added life. Examples of artistic disagreements and wonderful working relationships abounded. Spoke briefly with Susanna Hill afterword, because I like both Punxsutawney Phyllis and Can't Sleep Without Sheep. Looking forward to getting her new book April Fool, Phyllis.
3. Rosanne Cash. Her speech was heartfelt but also full of a seasoned performer's tricks (audience participation, a brief break into song, etc. -- plenty of ways to keep people engaged). Best of all, she didn't use a PowerPoint presentation. Authors always seem to rely on visual gimmickry rather than words to hold their audience. Long been a pet peeve of mine, and I often wonder, should my writing career gets to the point where I'm doing presentations, if I'd rely on such technology. Have audiences come to rely on it, too? Can the power of words alone hold them? Is there a fresh way to do this? Or like Rosanne, would I rely on the tricks of a seasoned performer? Great to watch her work.
4. SCBWI Members. Ran into a few Eastern New York SCBWI members, some presenting, some buying, all supporting each other. Picked up a copy of Liza Frenette's Dead End, and spoke briefly with Coleen Praratore (hopefully you'll soon see her The Wedding Planner's Daughter as a TV movie). I also greatly enjoyed talking with young adult writer Eric Luper and getting his thoughts on my agent situation, the business, etc. I'm forging relations with some of the same people with whom he regularly works. Eric graciously answered my questions, and I guarantee I will be picking up a copy of his newest book, Jeremy Bender and the Cupcake Cadets when it comes out in May. It will be a summer reading project for Johnny K.

While I still believe the Empire State Book Festival is a worthwhile cause, it was not without its problems. Authors only receive one hour to sign books, a move perhaps limited by space, but one that seemed to frustrate some of them. They would have gladly enjoyed staying throughout the day to meet readers and fans, and still take time off to do their presentations. This is the way most book festivals operate, so rather odd that this one does not. Also, some authors are scheduled to sign books after the keynote address. A keynote speech generally means THE END, so walking down the hallway afterward was depressing. The booksellers and vendors had all packed up, making the Egg feel deserted. A long line waited to see Rosanne Cash, but the other authors were largely ignored. Some earlier authors had signings schedule right after their presentations (which makes sense), but others did not. There was no feeling of immediacy, of striking while the iron is hot.

All in all, I like this festival. The talent is amazing, the vendors varied, non-profits are encouraged to attend (had a wonderful time chatting with The Children's Literacy Connection), and it's great for downtown Albany, but a few kinks need to be worked out. Hopefully come season three.

I'll be there.

THE END