I got a referral to Joan from two author friends, so that's all I wrote that was "personal". Joan was relatively new at the time, so she didn't have a long track record to refer to. I think the agent does want to know that you chose them for a particular reason and that they're not just "agent #42" on your list. So it is good to mention other clients, recent deals, or something that shows you're targeting them and not just blasting out your manuscript to everyone. You're being selective. You can refer to online interviews, perhaps, where they say they're seeking "high-concept humor" or "sweet rhyming books". I recommend getting a subscription to "Publisher's Marketplace"--it's $20 per month but you'll see every announced picture book deal and get a sense of who reps what. Show the agent you're informed, not just kissy-kissy, LOL.

Before I had an agent, I would share manuscripts with a critique group who would help me to deem if they were "ready". However, my first group wasn't very experienced, so they really didn't know when something was indeed ready. I had many manuscripts "approved" by them, but now I look back and know those stories needed a lot more work. (They were all rejected.) So it's important to find a critique group with serious writers, those on the same level as you are--and those more experienced as well.

Now that I have an agent, she lets me know when she thinks something is ready vs. when it needs more work. I trust her radar. Although she's an "editorial" agent who helps me to polish my work, she doesn't like to see first drafts. So I still use critique partners, all of whom are also published authors, so they have pretty good radar, too.

The best way to get better radar is to attend as many SCBWI events as you can, read craft books, read picture books and soak in the knowledge. You will get better with every story, and you'll learn for yourself when something is working vs. when it's failing. Also network to find other writers with whom to share work.

Also put manuscripts aside for a while if they aren't working. I recently went back to a project from last year and absolutely cringed at how terrible it was! I had done so many revisions trying to get it right that it veered dangerously off course, getting further and further away from my original intention. Now that I have some distance, I was able to see its problems and I've begun rewriting, starting all over again with a similar premise, just slightly altered.

I will say that my most successful manuscripts have been the ones that I've written more quickly with less revision. Sometimes I just get it right--right away. The ones I revise over and over don't seem to work as well as the ones for which I know the direction on day one of writing. That's why I think the "marinating" is so important to my process. If the idea doesn't flick a switch right away, I know I need to wait before writing.

Thank you for doing this!

I get this question a lot from newer writers, and what I've learned over the years is that we're most excited by our own ideas, not someone else's. I've read many clever stories but since they were not my creation, I don't have the passion for them in the way the author does. So I have never wanted to swipe a story idea, and I think that's true for everyone who's creative. It's the people who are not born writers, not born creative folks that you have to worry about.

For that reason, I advise writers never to post any story ideas or in-progress work on their blog or website. Anyone in the world can see it and anyone in the world can steal it. (Editors and agents are not searching websites to locate talent. Enough projects land right in their lap, so there's no reason to post work you intend to sell on your blog. Some publishers might even consider it already published if it's online, even on a personal site.) 

But critique partners you've found thru a local writing organization or SCBWI are usually ambitious, creative people already invested in their own projects, just like you are. They are not going to want to steal anything from you.

Editors and agents are professionals and will not steal your ideas, either. Just be sure you're not submitting to someone who's listed on "Editors & Preditors" (sic) or someone for whom you can find no professional information. There's a wealth of knowledge online about who's legitimate and who's not.

Finally, even if someone does steal your idea--which frankly I've never heard of happening--the difference is in the execution. Your idea will spill upon the paper with a lot more passion than the person who swiped it. At least that's what I think!

Between PB and MG you have chapter books, which are typically geared toward kids around 2nd grade or so. There's not a wide audience for chapter books because it's for so specific an age range (like 7-9), so there's fewer of them, and they tend to be written in series, around 5,000 words on average. There is a great new chapter book series from Laurie Keller, author of the ARNIE THE DOUGHNUT picture book. Arnie is now starring in his own chapter books, and they're highly illustrated, so they remind me of really long picture books. 

Go to your library and ask to see some chapter book series. They are usually character-driven, meaning there is a compelling main character with unique personality traits to follow thru the books. Like "Cam Jensen" is about a girl who has a photographic memory and solves mysteries (her nickname is "Cam" for "camera".) Sudipta Bardhan-Quallen is coming out with a series called "The Spectacles of Destiny" about a girl named Destiny who gets magic glasses that see into the future. There's also the wildly popular "Junie B. Jones" series, and my daughter was hooked on the "Rainbow Fairies" series--but those are a bit different because they are published under the name "Daisy Meadows" but Daisy is actually a stable of work-for-hire authors.

There are ways to submit to agents who are only open through referral, other than asking authors you don't know to refer you. I will say, please don't do this. I receive many emails a month from people whose work with which I'm not familiar, asking me to refer them. I cannot do this, as I wouldn't have the time for my own work! Instead, attend SCBWI events or join a critique group. Network and meet people every chance you get--both in person and online. It's a small world. Turns out I received a referral to my agent through TWO friends who knew her. Authors will not refer you unless they're familiar with your work and confident you would be a good match. I have referred many people to agents because I've seen their work (multiple samples) and think an agent I know would be interested. We all do it naturally, but not when confronted by a complete stranger.

Finally, I will say you don't need credits to your name to get an agent. I had none when I got my agent. The story's the thing. Have a strong manuscript and everything else does not matter. If they don't like the story, they're not going to sign you, no matter how many credits you have. And if they love the story, the credits will be nice, but they won't matter either. They may check them out to see if they like your style, but they won't necessarily cinch the deal. You can get the deal without them.

I recommend having 3-5 manuscripts ready to go before approaching an agent. If they like your initial submission (one manuscript), they will ask to see more. So you'd better have more! It can be rare to get signed on one picture book alone. The agent wants to know they feel strongly about your body of work.

Good luck!

I have received very useful feedback from class instructors and at conference critiques, though to be honest a lot of that feedback was positive too. The conference I attended did its critiques as roundtables, and I wonder if agents/editors are as honest in that kind of setting as they might be in a one-on-one critique. One agent seemed to love the story I shared yet has completely ignored my submission (and two monthly followup emails). Sigh. I digress.

Thank you for the suggestions and best wishes on your next project!

But if the agent expressed interest and hasn't responded yet, this could be telling you a few things. First, it's summer. The agent might be on vacation. Or, the agent might be very busy. But maybe the being busy is a sign they're overextended. Hard to tell. Again, it *is* summer and publishing is a traditionally "slow" business. It's not unheard of to wait months to hear back about an agent submission. I think a monthly follow-up is reasonable, although I might be inclined to now wait until September, given the vacation season.

In any case, I wish you all the best!

If no one in your group is attending regular children's books events, nor reading craft books, nor has anything published, you can pretty much be assured you're not getting the best critique possible. Join SCBWI.org and you can find partners on their online forum as well through your local chapter. Many chapters have a "critique coordinator" who helps writers find open groups. You might find another writing organization nearby with a children's book group. You might post on Verla Kay's "Blue Boards" forum to find an online critique group (and perhaps even a local one). Be sure you join a group for PB writers, because MG and YA writers don't necessarily know the proper format, structure and "rules" for PBs.

Good luck!

Then I realized that even if I did have these credits, they really wouldn't matter. If I submitted a PB to an agent or an editor and they didn't want it, the magazine credits would never change their mind. And if they did want my manuscript, sure, the credits are nice to have, they show you're a dedicated professional, but they're not necessary. If you submit a compelling PB, you will be offered a contract even if you have no other credits. Everyone has to start somewhere! (Just make sure you can be found online. Editors sometimes check out blogs and personal sites when they're interested in your manuscript.)

So I found that magazine writing, for me, was a waste of time and it diverted my attention from my desired goal of having a published picture book. Of course, I'm not discouraging magazine writing in general--it's just not something that I wanted to do, and I found it wouldn't help with reaching my goal, other than perhaps getting in some writing practice. 

Remember, you don't need a lengthy bio to get a contract. All I had on my bio at the time I was offered my first contract was that I was a member of SCBWI and another local writing group. The end. Bottom line: the story's the thing. If you've got a good manuscript, that's all you need.

I have written three picture book manuscripts. I wanted to do PBs because I am an illustrator and I wanted to illustrate my own PBs. Now I am rethinking my decision. The stories may be better as chapters in a chapter book. They all have the same characters and variations on a theme.

My question: Is it easier to sell a CB vs a PB? I have a great critique group, I have not yet asked them if my stories would work as chapters. I wouldn't get to do all the fun illustrations, but I'm busy enough illustrating for other right now.

Chris

Any legitimate publisher who wants your book doesn't provide "limited offers". And if it's the vanity press I'm thinking of, they're laying off most of their US staff and moving editing to Thailand or some other foreign country. Do you really want ESL folks editing your book? Even their native English speakers don't do a good job.

I'm sorry I'm unable to crit your work at this time, but I would really recommend a local critique group of like-minded writers who work in the same genre. I'm not an expert on non-fiction anyway!

Question: For picture books ages 4-8, do you think the use of heavy dialogue is a turn off for getting published? Most picture books tend to be told in "story" with a few lines of dialogue but, generally not much for two reasons I can think of 1) who wants to watch two characters talking and 2) might not be great outlet for illustrations... That said, the Charlie and Lola series by Lauren Child are dialogue heavy but work and are really fun. If it's a strong story does it matter? What are your thoughts? Thanks!

My opinion on this is that a strong story trumps all. My next book, I THOUGHT THIS WAS A BEAR BOOK, is told ONLY in dialogue. It's like a mini comic-book, with speech bubbles. There was plenty of opportunity for fun illustrations, as the story is about an alien from another book who crash-lands into the story of Goldilocks and the Three Bears. He has to find his way back to his own tale before his planet is destroyed.

Besides CHARLIE AND LOLA, take a look at PERFECTLY ARUGULA. That's another picture book heavy on dialogue, with speech bubbles and thought bubbles. ELEPHANT AND PIGGIE early readers are also told in dialogue.

You're right in that the dialogue has to move the story along. There can't be any meaningless banter between the characters. Each speech has to drive the story forward. And as long as you've got a compelling premise that's well written, then that's all that matters.

You will hear not to have too much dialogue in picture books, but that's a rule that can be broken, obviously, if you tell the story well. Good luck!

Happy Holidays and Thank you!

Kindest Regards

Nicola

I always tell new children's writers to get involved with SCBWI.org. Seek out your local chapter, attend workshops and networking events. Read crafts books as well as books in your desired genre.

Check out the many blog posts on my site taralazar.com and here's Joshs's 12-step guide to writing picture books: http://www.joshfunkbooks.com/#!resources-for-writers/co7m

Good luck!

Tara