We know children’s writers, and one thing they generally have in common is a lot of questions.  So we brought in Writers House agent Steven Malk to tackle a few of those for us and boy did he do an awesome job.  Not that we’re surprised.  Steven is one of the best.  Here are a good number of your questions, now with answers!

Karen Collum asks:

We always hear the picture book market is a tough one to crack, especially if you’re not an author/illustrator. What advice would you give for authors wanting to break into the picture book market?

Hi Karen,

I know that some people are feeling very down on the picture book market at the moment, and, while it’s true that publishers are being more selective, I can tell you first-hand that they are still buying picture books and there’s room in the market for great new picture book writers.  I do think that the bar has been raised on all of us – writers, illustrators, agents, and publishers – and it’s more important than ever to put only your very best work out there.  Remember that hardcover picture books are usually $16.00 or $17.00, and that’s a lot of money, particularly if a parent thinks that their child might only read the book once or twice.  So you need to make sure that your manuscript really has staying power and will lend itself to multiple readings.  I would also advise you to stay on top of some of the picture books that have been popular lately.  Not because you want to tailor your writing to fit in with them, because I believe that you ultimately need to write what you feel compelled to write, but I do think that knowing what’s on the market is an important part of the larger picture and can only help you as you get ready to market your work.

Ishta Mercurio-Wentworth asks:

What is your usual approach when it comes to negotiating contracts – do you try to get the author as big a deal as possible right off the bat, or do you take more of a slow-build approach starting with what might be thought of as smaller deals, but building up as an author’s career develops?

Hi Ishta,

Every negotiation is different and there’s always a lot of very important context that informs each decision, so this question is tough to address in a general way.  I try to take every factor into account when approaching a negotiation and I look at the deal from everyone’s point of view.  I’m interested in building careers and I always want my clients to have long-term success, and I also want the publisher to feel positively about the deal.  Again, the main thing to realize is that no two deals are the same, so I approach each one differently and try to do the very best I can for my clients.

HeatherM asks:

What do you like, or not like, to see in a writer’s platform/online presence?

Hi Heather,

Certainly, it can be a bonus if an author has a big presence online, and I do think it’s important for writers and illustrators to have a professional looking site that’s clear, easy to navigate and gets their personality across in some way, but, ultimately, I’m most interested in a writer’s work, so their online platform isn’t really going to sway my decision one way or the other.

Julie Musil asks:

What is your opinion of YA books for guys?  Is there a strong enough market for guy readers, or is it mostly teen girls that read YA books with a male protagonist?  I read “Thirteen Reasons Why,” which I loved.  But it had dual viewpoints, one of them being a teen girl.

Hi Julie,

I’m definitely a fan of YA books for guys, and I represent quite a few authors who write in this genre, including Matt de la Pena, Adam Rex, Frank Portman, A.M. Jenkins, Ben Esch, David Yoo, and Sean Beaudoin, among others.  I like to think their books appeal to girls, as well, but they’re very much trying to draw in male readers.  Statistics do show that more teen girls read than guys, which makes it more important than ever to make sure that young guys are being given books that will keep their interest in reading up (this is the mission of my client Jon Scieszka’s literacy initiative Guys Read).  I think you’re right that teen girls are more likely to read a book with a male protagonist than vice versa, but I do think there have been successful YA books geared to guys that have worked.

Jason Flum asks:

I’ve had my query revised and revised and revised to the point that I’m finally getting feedback that says “Looks great!” or “Make this small change and you’re good to go.”  My question now is, how do I get my query noticed?

Hi Jason,

Honestly, the best thing you can do is to make your query concise, professional, and compelling.  You want to show that you have a command over your work, that you understand where it fits into the market, and that you can distill what it’s about in your letter.  I also think it’s important to state exactly why you’ve chosen to query the agent to whom you’re directing the letter.  You’d be surprised how many people send out form letters when they query, so the more you can tailor it for a specific agent, the better.  I know that some people like to try gimmicks, but I personally think a good query doesn’t require any bells and whistles.

Sarah asks:

It seems everyone these days is talking about what a tough market it is, not only in trying to find an agent but also trying to land a publisher. So how, as a writer, do we try to increase our marketability especially as trends today may not be the same trends come a year or two from now when our book could potentially come out?

Hi Sarah,

I know this might be very general advice, but, honestly, the best thing you can do is just to focus on your work and make it the best it can be.  I’ve said many times in interviews and speeches that I think writing to trends is a bad idea.  As you point out, there’s a good chance that when your book comes out, the trend will have moved on.  Beyond that, I just truly believe that the best books don’t come from hopping on a trend, but rather come from a more pure place.  The goal should always be to write a great manuscript that will succeed regardless of time, place, or trends, and staying focused on that goal is the best thing you can do.

Nichole Giles asks:

In the past, trends have come and gone kind of like the tide, here, then gone, then back again. With the market changing so drastically in recent times, what trends do you predict will be “back again” in coming years? And in that same vein, in your opinion, what qualities would you say a book needs in order to surpass current trends and stand out on its own merit?

Hi Nichole,

As I mentioned above, I try to stay away from trends, for the most part, but I do think we’re starting to see a resurgence of middle grade, and I think that will continue.  I think the best books possess a timeless quality; usually an exceedingly strong voice, well-drawn, compelling characters, and great writing.  If you think of the classics, whether it’s with a book like WHERE THE WILD THINGS ARE in the picture book realm, CHARLOTTE’S WEB in the middle-grade market, or SPEAK in the young adult arena, they all meet those requirements and would stand out in any time or place.

Carol Lawrence & Stacy Toten ask:

Do you personally read every query that comes to you or do you have an assistant that helps with this?

Hi Carol & Stacy,

I do personally read every query that comes to me, although my assistant reads them, as well, and often responds on my behalf.

Shellie Neumeier asks:

You mention your love for a strong voice and a story that stands the test of time. Can you share examples from works you represent that carry that trait?

Hi Shellie,

This is absolutely true: there’s nothing that appeals to me more than a great voice. I like to think that every book I represent has a strong voice, but I’ll list a few examples of books I’ve represented that I think fit this description:

CLEMENTINE by Sara Pennypacker, illustrated by Marla Frazee

COUNTDOWN by Deborah Wiles

WICKED GIRLS by Stephanie Hemphill

WHIP IT by Shauna Cross

THE SECRET ORDER OF THE GUMM STREET GIRLS by Elise Primavera

THE BRIXTON BROTHERS: The Case of the Case of Mistaken Identity by Mac Barnett

FAT VAMPIRE by Adam Rex

A NORTHERN LIGHT by Jennifer Donnelly

WHEN GOD WENT TO BEAUTY SCHOOL by Cynthia Rylant

WE WERE HERE by Matt de la Pena

THE PROPHECY OF THE SISTERS by Michelle Zink

WHAT MY MOTHER DOESN’T KNOW by Sonya Sones

Linda Wilt asks:

I have read online lately that writing to a niche is a good thing. Does this apply to YA, as well, or is that genre geared more generally to the age group rather than the specific content of the novel?

Hi Linda,

I agree that this might not apply as strongly to YA.  However, it’s always a nice thing if there are some distinct markets that a publisher can identify and connect to your book.

Paul Greci asks:

How important is a YA/MG fiction writer’s online presence when you are pitching/submitting their manuscript to publishing houses? Do acquisition decisions get made based on what a writer is already doing online or is it mainly about the story? In your opinion, is the typical year to year and a half between book deal and publication ample time to develop that presence?

Hi Paul,

A strong online presence can only help, but, with very few exceptions, it’s not a major factor when a publisher acquires a manuscript in the fiction market.  Publishers are interested in the quality of the work first and foremost, and, while a big online presence can be the icing on the cake, it’s not a necessity by any means.   I do think that the time between acquisition and publication is more than enough time to get a good site up and start building awareness online.

Peter Marinacci asks:

I’ve read that you often work with your clients to improve their work before you send it out. In PB manuscripts, what are some of the things that you find need the most work to make them salable?

Hi Peter,

I definitely believe in trying to get a manuscript as polished as possible before it’s sent to publishers.  Every story is different, but, in general, I do often find that picture book manuscripts need to be cut down a bit (remember than anything over 1,000 words is unusual), and that more attention needs to be paid to the rhythm and the ability of the book to be read aloud.

Amy Brown asks:

You have said, “I can’t stress enough how important it is to find the right agent for you as opposed to just any agent.”  What are the most important factors for determining if an agent is the right one for you?

Hi Amy,

The truth is that different authors and illustrators are going to want different things from an agent, and every agent is a bit different.  Before you start your agent search, it’s really important to spend some time thinking about exactly what you want from an agent.  Do you want an agent who gets heavily involved in editing work before he or she sends it to publishers or would you prefer that your agent not focus on editing?  What style of communication do you prefer from an agent?  Do you want someone who is just focused on the children’s/middle-grade/young adult markets or does that not matter to you?  Do you want someone ultra-aggressive or more laid back?  These are just some of the questions you should go through when you’re trying to figure out what type of agent is the best fit for you, but, at the end of the day, only you can truly know what sort of agent is best for you.

Sheri asks:

What do you think will happen with the picture book market over the next few years?

Hi Sheri,

I’ve always loved picture books and I think they’re one of the most amazing art forms out there, as they allow authors and illustrators to tell a story in a completely unique way.  I truly believe that picture books will always endure.  As I mentioned above, I do think the bar has been raised on all of us, and I do see publishers being more and more selective about the picture books they buy, but they’ll always continue to be published and I really believe that there will always be a place for wonderful, timeless picture books.

Wildbike asks:

I write PBs.  Would you want to see more than one idea in the same query?  Or is it different with different agents?

Hi Wildbike,

Different agents may have differing policies on this question, so you should be sure to check their submission requirements to find out if they specify their preference regarding this question.  Personally, I don’t mind if an author refers to more than one book in a query but I’d limit it to two or three.  The danger in mentioning more books than that is that it can make you look a bit scattered or unfocused to the agent.  The other way to approach this is to focus on just one book, but mention at the bottom of your query that you also have a couple of other ideas that you’d be happy to elaborate on, if the agent would like.

Joseph Miller asks:

What’s your advice for writers who write a mixture of PBs, MG, and YA in regards to btaining representation? Should they find one agent to represent all of their work or is it okay to seek out multiple agents who are specialized (one that focuses on PBs, another that focused on MG/YA) as long as you work it out with the agents beforehand?

Hi Joseph,

I think this probably depends on the situation and the writer, but I’m not sure that having multiple agents working in essentially the same market is ideal.  Remember that even if one is focused on picture books and another is focused on middle grade, there’s a very good chance that they’ll be dealing with the same editors and publishers, and there’s danger of overlap and communication issues.  I also think this could be confusing to a publisher.  I will say that I don’t think it’s a problem to have a different agent for adult work, because that’s an entirely different set of people and there wouldn’t be any overlap, but I do think it’s important to have an agent who has a broad and comprehensive view of your career, and I think that having multiple agents within the children’s/middle-grade/young adult world could make this more challenging.

Leona Broberg asks:

Do you feel it is necessary for a writer to establish a web presence before looking for representation? And would that make any difference in how an agent might respond to an aspiring author?

Hi Leona,

I don’t think it’s essential for a writer to have a web presence before looking for an agent.  I can’t speak for other agents on this matter, but I’ve never taken on (or not taken on) a client based on their web presence (or lack thereof).  It’s about the work for me.  As I mentioned above, a strong web presence is a nice bonus, but it’s not a game changer for me.

Margaret Fieland asks:

Steve, what are your favorite classic children’s books? Favorite recently published books? What made them stand out for you?

Hi Margaret,

I recently did a workshop with my client, Mac Barnett, at the SCBWI national conference in Los Angeles.  We talked about lessons you can learn from classic picture books and gave out a list of 25 of our favorite books, so I’ve been thinking about this a lot.  I won’t list them all, but here are some of my very favorite classic books (please note that I’m not including any books by my clients!).  I’m including a range of genres, as well.

THE STORY OF FERDINAND by Munro Leaf, illustrated by Robert Lawson

THE CARROT SEED by Ruth Krauss, illustrated by Crockett Johnson

GOOD NIGHT GORILLA by Peggy Rathmann

THE SNOWMAN by Raymond Briggs

NATE THE GREAT by Marjorie Weinman Sharmat, illustrated by Marc Simont

CHARLOTTE’S WEB by E.B White

THE GREAT BRAIN by John Fitzgerald

MATILDA by Roald Dahl

THE WESTING GAME by Ellen Raskin

In terms of recent books, there have been so many that I’ve loved that it’s hard to go through them all, but here are a few that I really loved from the last couple of years:

THE ARRIVAL by Shaun Tan

WAVE by Suzy Lee

THE BOOK THIEF by Markus Zusak

THE INVENTION OF HUGO CABRET by Brian Selznick

It’s hard to go through what stood out to me about all of them, but I think all of these titles have something timeless and utterly distinct about them.

Hannah C. Howard asks:

How much does a “fresh plot” play into agent/editor selection of a MS?  What if your story isn’t a new one, but the manner of telling (ie, voice/protagonist) is fresh?  Must the plot itself be utterly unseen or full of new twists to have any chance of selling?

Hi Hannah,

Many people joke that there are really no truly new or fresh stories, as most stories have been told before in one manner or another.  I wouldn’t push yourself too hard in this regard.  As you say, what’s far more important is that the way the story is told is fresh and new. I actually think that editors love nothing more than seeing a classic, well-loved plot with a brand new twist.

The WriteOnCon Teams says:

Wow, Steve, amazing answers.  Thank you so much for taking the time to address some of the attendees’ questions.  You rock!

Thanks so much for having me!

Steven Malk is the third generation of his family to be involved in children’s books, as both his mother and grandmother owned children’s bookstores. He opened a West Coast office for Writers House in 1998, and represents a wide range of authors and illustrators, including Jon Scieszka, Lane Smith, Marla Frazee, Kadir Nelson, Sara Pennypacker, Jennifer Donnelly, Brett Helquist, Sonya Sones, Adam Rex, Deborah Wiles, and Cynthia Rylant, among others.