Western Pennsylvania SCBWI Conference, 2016

 

 

This cute little reading robot was host to a couple hundred SCBWI members from Pennsylvania, and three from Ohio. Two of my critique partners and I drove almost five hours to be a part of this conference in Pittsburg on the second weekend of November. It was a beautiful weekend, crisp, sunny, and full of hope.

 

The faculty for the weekend included Heather Alexander (former agent from Pippin Properties and now freelance editor), Mary Colgan (senior editor at Boyds Mills Press), Brett Duquette (senior editor at Sterling Publishing), Karen Grenick (founding agent at Red Fox Literary), Jasmin Rubero (editor at Dial, Random House), Jennifer Soloway (agent at Andrea Brown Literary Agency), Jennifer Ung (editor at Simon Pulse), and Rebecca Weston (former editor at Delecort Press and now freelance editor).

As always, SCBWI conferences are chock full of information and opportunities to meet new people. With eight faculty members and only four workshop sessions, I had to choose my sessions strategically. This weekend I chose to learn more about queries, leaving room for the illustrations, reasons for rejections, and acquisitions. But the best thing I did, was submit a story for a critique. Not only, did I receive a thorough and thoughtful critique, I also received an encouraging invitation to submit.

And surprise, surprise… I was chosen as one of the six most promising authors in attendance! Each agent and editor who critiqued work chose one person to receive this honor. It is indeed both humbling and exhilarating !

As a critique group we are quite pleased with our efforts. At the end of the day, we each had something to celebrate!

 

 

Franklin IN Conference: Tricks and Treats of the Trade

October brought gorgeous leaf color on a beautiful college campus. The Franklin Writing Conference was a one day intimate gathering for authors and illustrators. About fifty SCBWI participants joined a four panel faculty for a day of learning and camaraderie.

Pictured from left to right. Jennifer Zivoin, illustrator of multiple picture books and early readers including Big Red and the Little Bitty Wolf (Jeanie Franz Randsom); Andrea Hall, editor at Albert Whitman; Shannon Baunach Anderson, author of several children’s books including Penelope Perfect and Coasting Casey;  Tina Purcell Schwartz, founding agent of The Purcell Agency.

First of all, I was super excited to meet my agent Tina Schwartz in person! Although we have communicated through email, text messages, and Face Time, it was great to have dinner with her and chat informally.

Secondly, I made a connection with Andrea Hall who is reviewing one of my stories for publication. Fingers crossed!

Thirdly, I met up with Facebook connections Kathryn Powers and Teresa Robeson. Both lovely ladies and talented illustrators.

And last, but not least, I spent quality time with one of my critique partners, Emmie Warner. We carpooled, shared a room, and supported each other through our second conference together. Thanks Emmie!

My Top 10 Tricks and Treats of the Trade:

(in no particular order)

Be prepared to meet agents and editors with your best work. Have it polished and shined to a sparkle. And lead with your strongest work.

Research submission guidelines and follow then to the letter. Do not make the mistake of losing your masterpiece in the rejection box because you failed to follow directions.

Do your own market research before submitting. Know where your work fits on the shelf. What are some similar titles? How does yours stand out?

Take revisions seriously. If your agent or editor asks for revisions, consider what isn’t working and how to improve it. Don’t rush your revisions, it’s not intended to be a quick fix.

Use market guides such as The Book Markets for Children’s Writers, Writer’s Market Guide, and Children’s Writers and Illustrators to find agents and editors who are the best fit for your work.

Don’t take rejections personally. There are many reasons why an agent or editor may pass on your work which may be more due to their own needs and wants rather than your talent.

Your characters need to visually carry your story (picture books). Let your characters distinguish themselves.

Focus on creating visual movement between scenes.

Work with peers to polish your work. Be open to constructive criticism. It’s easier to swallow a ‘no, that doesn’t work’ from your writing partners than it is to get a ‘no, that doesn’t work’ from an agent or editor.

If something isn’t working, keep trying.    Revise.    Resubmit.   Repeat.

On Critiques – Bitter or Better?

You’ve got a story you really love.  Someone else thinks it needs more work.  What do you do?

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