By Katrina Moore

Hello, Writers!

While most of my writing posts are craft-based, this one is going to address the other side of the coin that makes a writer successful...being a reader. Are you being a responsible reader? Are you respecting the reader you're writing for?

From the moment children are born, they are amazing humans. They take in the world, make sense of it, and act accordingly. From the moment they are born.

Therefore, as the writers for children, the readers of books to children, the buyers of books for children, the grown ups raising and shaping today's children (who will become tomorrow's grown ups), we hold a grave responsibility---whether we want to, or not. Every book we choose, read, buy, and hand to a child teaches them something more about the world (even the funny and absurd ones).

We should be choosing books that children will love, yes. It's okay (and great!) to share the ones we loved growing up, too. We want them to become readers, so picking books that will engage them is essential! 

However, we also need to consciously and considerately think about the books we choose.

For example, the first novel I read aloud to my second grade class this year was by one of my favorite authors of all time, Roald Dahl. We read JAMES AND THE GIANT PEACH. But...that book was written in 1961. There is language that is not appropriate, that just wasn't "deemed" inappropriate in 1961. When I read these phrases and words, I make sure to pause, and explain that to the students. "This is not okay to say. It's never okay to say, but sixty years ago, they didn't think about it like that. It's great that we've learned since then and can read this now and know that it's not okay." Sometimes, it's a small conversation that we have, and sometimes, it's just something important to note, and then keep reading.

So what questions should be we asking? Here are some that I think about when selecting stories to share:

What might a child take away from this book? What perspective have I shown? Whose story have I shared? Whose story is missing from this narrative? Am I sharing books that reflect this child's experiences? Am I sharing a range of voices, experiences, and perspectives? As we know, it's important for there to be enough literature to both reflect all children's experiences, and provide windows into experiences they are unfamiliar to.

​Am I respecting the child's intelligence--their ability to absorb and comprehend complex information?

Am I giving them access to literature that will build empathy?

Am I allowing them to ask questions?

Or, am I guarding them because I don't know the answers?

Remember, from the moment children are born, they are amazing humans. They take in the world, make sense of it, and act accordingly. I am not suggesting exposing children to content or writing that is not age-appropriate. But I do believe that *how* you have a conversation about a tough topic is important. It's okay to not have the answers. In fact, it helps children understand that we are still learning, too. And empowers them. I've been surprised and impressed by the deep conversations I've had with first graders, second graders, and my own kindergartener and preschooler.

​When I read NOT QUITE SNOW WHITE, written by Ashley Franklin and illustrated by Ebony Glenn, to my second grade class in the beginning of the year, I did not present it as an alternate Snow White book. The little information I gave before reading was, "this is a book I love. I'm excited to read it to you and hear what you think," which is how I present most books that I read to children. Afterwards, a second grader raises their hand and says,

"the words the other kids said are mean. That's not nice. I'm glad Tameika got to be Snow White because anyone should be able to be Snow White."

A six year old said that. And it lead to a wonderfully deep conversation about race, confidence, and treating each other with respect.

When I read Kevin Maillard and Juana Martinez-Neal's FRY BREAD​, to my kindergarten daughter and preschool son, they poured over each gorgeous illustration. My kindergartener pointed out that "their family members look all different, like in our family." When we read the lyrical and powerful words about how fry bread was made from the few ingredients given to the people after they were forced to move, my daughter wanted to know more. So we read the beautiful back matter. She asked tough questions. My preschooler said, "That's not fair. That's not nice." And I said, he was right. We talked about how it's important we remember that it happened, so that we do better now. It was a tough conversation, but I'm thankful for that beautiful book for opening us up to the conversation in a way that was accessible to my young children.

What I've previously posted about HONEYSMOKE:
"This is a tender and heartwarming book about a girl discovering her own color. She draws inspiration from mom and dad to come up with a color that’s all her own. I love the message presented here of finding your own color to express yourself. Readers, young and old, will be inspired to find their own color after reading this book. The illustrations are beautifully rendered---vibrant yet soft, bold yet gentle. As the parent of bi-racial children, I’m so glad this book is in the world and on our bookshelf. It’s one we’ll enjoy together, again and again!"

What I've previously posted about HANDS UP:
"HANDS UP is full of warmth and energy. It spins a phrase that has a negative connotation into one that is empowering and joyful. This book is a powerful celebration of the different ways we put our hands up---in happiness, in helping, in hope. Highly recommend!"

What I've previously posted about THE OLDEST STUDENT:
"THE OLDEST STUDENT is the incredibly inspiring and true story of Mary Walker. She learned to read at age 116! This book is beautifully written, capturing the perseverance, independence, and grit of the nation’s oldest student. Breathtaking illustrations. My second graders loved this—it sparked rich conversations and ignited  excellent questions. This book belongs on every bookshelf!"

Here's another great list: 31 Books To Support Conversations On Race, Racism, and Resistance, here: (there is some overlap and I haven't personally read all of these books, but I plan to!)
 https://blog.usejournal.com/31-childrens-books-to-support-conversations-on-race-racism-and-resistance-9dbabc28360e

One of my favorite independent bookstores, Red Balloon Bookshop, St. Paul, MN, curated an amazing list of books, too. Check it out & purchase books here:
https://www.redballoonbookshop.com/black-lives-matter?fbclid=IwAR0O5V6AVkRo4I7ua0A5-7ZG2My6CYkZ0ea6JPCrGqnT_XEpq6tPieQgVfs

Literacy Activist and Librarian Edi Campbell shares a phenomenal list of books for children on this matter, too:
https://crazyquiltedi.blog/2020/06/03/books-for-black-children/

You may also want to check out this list of own-voice books, organized by age group, by PenguinRandomHouse:
​https://storage.googleapis.com/classroom-portal-production/uploads/2020/06/5ff1a5e0-k12-black-creators-booklist.pdf

HarperCollins Children's also shared a great thread of books by Black creators from the youngest reader through middle grade:
https://twitter.com/HarperChildrens/status/1268225844134232069?s=20

By Katrina Moore

​It's the end of the year (and the end of a decade). For me, this is a time of reflection. It's actually something I do at the end/beginning of each month, and then, again, at the end of the year as a whole.

Throughout the year, I have ongoing lists in my journal. I title a page for each, and then add to it throughout the year.

This year, my page titles included:
-New Writing:
-Submission Ready:
-Revised: 
-Major Highlights:

Of course, there's the rest of my journal for musings, learnings, sketches, early drafts, revision notes, outlines, etc.

After reviewing each of my lists at the end of the year, and going through my journals, I make a new list for the new year: GOALS. (I'll come back to goals in a later post!)

I was proud to fill (and overflow) each of these pages this year. In fact, my major highlights page was bursting this year.

Whew! What a year it's been! I've filled four notebooks, sold books in a new genre, and began writing in another genre!

While the major milestones are definitely worth celebrating, it's also worthwhile (and important) to celebrate each moment that brings you to that milestone. Every moment that pushes you forward, and up, and along on your journey.

It's been a year of new beginnings, branching out, and what's been most challenging, but also most important to my overall health and well-being, a year of balancing. As a mother to two young children and two high-energy dogs, a teacher, and a wife, I'm most proud that I've been able to balance it all and find the time to nurture my passion---my writing. I've grown in craft and curiosity. And I'm excited for what's to come in the new year (I'll write up a goals post to share in the New Year).

For now, I'm wrapping up the year by spending New Year's Eve with my family. We're playing, partying, and not planning much of anything else!

What are you most proud of this year?

How are you wrapping up 2019?

Check out my Featured Author Post on the 12x12 Blog! I share more about my writing journey and how to take your career into your own hands:

By Katrina Moore

So here's a letter to you about why I wrote this book, what I hope it will do, and who I think it's for (Spoiler alert--it's for you.) ​

​Hugs and Love,
Katrina Moore

Ready to pre-order?! Available here
https://www.harpercollins.com/9780062849540/one-hug/
and here
https://www.amazon.com/One-Hug-Katrina-Moore/dp/0062849549
and wherever books are sold!

Want to know more about the book? Click here:
https://www.katrinamoorebooks.com/one-hug.html​

By Katrina Moore

​One of the most common struggles for writers, myself included, is creating an ending that delivers a WOW factor. A good ending leaves a feeling of resolve. 

But delivering a wow ending . . . what’s the secret?

​Picture book author Dev Petty said it best when she tweeted this:

(She also says lots of other wise things and gives great writing tips if you follow her on twitter, FYI.)

I couldn’t agree more. The best endings leave me thinking about a book looong after I’ve closed the covers. In a previous post, CRAFTING STAND OUT PICTURE BOOKS: A REVISION CHECKLIST, I challenge picture book creators to ask themselves:

DOES THE STORY FEEL RESOLVED?
-Was it logical but surprising?
-Are we satisfied?

In this blog, I’ll expand on these questions by studying picture books that deliver a W.O.W. ending. I have a method for studying picture books from the lens of a creator, but for this blog, I'm going to zoom in on the endings. 

How do they make us wonder?  

How do they outdo our expectations? 

How do they wrap us in all the feels?

Of course, I'm never one to ruin a good surprise. So I won't actually be sharing the endings. No spoiler alerts here! But I will share a glimpse leading up to the ending and follow up with my reaction as a reader.

Wonder:
​How do you end a book by creating a beginning? How can you ingnite, within the reader, a curiosity to explore more? A sense of wonder?
​
If you haven't experienced BLUE, from Laura Vaccaro Seeger, you need to!
​
I use the word experience purposefully because this book is a true work of art. As with all her books, the illustrations are stunning. You want to touch each page, each cut out, and you pore over each artistic detail time and time again. I rarely read one of her books with my mouth shut because I am full of wonder the entire time. How did she do this? How will she create a spread as magical as the last one? What will be on the next page? This book is a companion to the award winning GREEN, and it is wonderful!

​Especially the ending.

You are invited into this special relationship between a boy and his dog as they grow up together. In the end, your heart will break. But it will also heal. And you are left with an overwhelming feeling of hope. And wonder. What will be his next chapter?

Outdoing Our (the reader's) Expectations: 

You've crafted the perfect resolution. It's sweet. It's silly. It's meant to be.
It's . . . totally expected. 

Ugh. 

How can you surprise the reader? How can you deliver a twist that's logical, yet totally unexpected? How can you outdo yourself?

I previously tweeted this list of picture books that surprised me in the best ways. They made me giggle. Or gasp. Or guffaw!

Another book that outdid my expectations at the end was Dan Santat's AFTER THE FALL. This book tells the story of what happens after Humpty Dumpty falls off the wall and how he finds the courage to climb back up again.  The story resolves beautifully, and then the very end is so unexpected, yet logical, that it's mind-blowing. Of course this is how it should end! How has no one thought of this before? How can *I* do something like this?!

​Wrap Us In All The Feels

It is a very special thing when you connect to a book. When this connection happens, that's what brings me back to a book time and time, again.  I've not only read the book, I felt it. I related to the struggle. I cheered for the main character. I was part of the journey. And when that journey comes to a resolution that's heartwarming, deserving, and wraps me in strong feelings---that's a wow ending. When this happens, I literally will hug the book, knowing it's just made it's place onto my bookshelf and into my heart.

This book ends with the happily ever after that, we, as very invested readers, *needed* to happen, but then the very last spread wraps us in a feeling that's warm. And wonderful. And WOW. Smile-lingering, heartwarming, wow.

Now, it's your turn!
​Check out the ending of your work in progress. Does it check the list?

Will make us wonder?  

Will it outdo our expectations? 

Will it wrap us in all the feels?

​Your W.O.W. ending is waiting for you, wishing, willing you to write it. 

 Will you? ✨

Happy Writing!
-Katrina

Katrina Moore writes and teaches in New Jersey. Earning her M.A. in elementary education, she has been a teacher for almost a decade in Maryland, Massachusetts, and New York.  Her mission is to create books that children will hug for ages.  Her debut picture book, ONE HUG, illustrated by the talented Julia Woolf, is a lyrical celebration of the different ways that hugs bring people together, forthcoming from HarperCollins/Katherine Tegen Books in 2019. The book follows an Asian-American boy as he and his family prepare to welcome their immigrant relatives. Her second picture book,GRANDPA GRUMPS, illustrated by the amazing Xindi Yan, is a humorous and heartfelt story featuring a little girl, Daisy, and how she connects with her Chinese grandfather across cultures and generations, forthcoming from Little Bee Books in 2020. When she is not teaching elementary kids or writing, she is cooking without a recipe, painting outside the lines, or  snuggling up with her two kids, husband, pomapoo pup, and of course, a cozy book. Connect with her on twitter @kmoorebooks or at www.katrinamoorebooks.com.

• What is your typical submission process for a project?  What’s a project you’ve submitted that deviated from this process?

​
Holly: If there’s one thing I can tell you unequivocally, it’s that there is no typical submission process! Just like life, the journey of a submission is full of surprises, both good and not so good. These days I only accept exclusive queries, and I take my time considering them, usually four weeks.  I like to know how an author sees themselves, where they want to go, why they have to write, whether or not they’re capable of putting their best energy into their stories, maybe time and time again.  I’d say the best surprise in the query process is when a story comes into my query inbox in perfect condition, and I read it really fast and can call the author up the same day and offer representation immediately. That’s a real joy and hardly ever happens . . . more often I’m excited because I’m moved, or I hear something in the voice, or I just cannot put the manuscript down (even if it’s a big old mess)!

From there, once the story is ready, if it’s a debut, I like to do a select multiple submission to editors I know and trust, or sometimes to new editors I’ve met who show the promise of the future. We often know in a week or two if there is interest, but sometimes it can be longer. Once we know there is an offer coming, we’ll let the other editors know that, and ideally have the author speak with or meet everybody who’s interested in publishing the work. Financials are next and ultimately, we weigh the financials and passion for the project together in order to make a decision.

Sometimes a publisher will offer pre-emptively, and those cases are hard. It’s tempting to take a pre-empt, but at the same time you’re ruling out all the other possibilities, so you have to feel really sure. Never take a pre-empt because you’re scared no one else will offer.

That said, I have seen major deviations from this scenario. One time, an editor was in my office and I showed her half of a picture-book dummy from a client. I’d been trying unsuccessfully to get him to finish it for over a year, so that I could submit it broadly. The editor made a pre-empt right there in my office and we accepted it, not only because the financials were strong, but also because then he would be forced to finish due to a contractual deadline!

Natascha: Once a project is ready to go out, I usually research editors. I always ask my clients who their dream editor or imprints would be because this is an exciting part. Once I have the list and pitch together, I send it out, and then keep track on a spreadsheet. Clients usually get the spreadsheet as soon as it goes out.

I honestly can’t think of a project that wasn’t handled in this way.

Joan: Every project is a little bit different, but typically I submit client projects to editors in batches. This gives us a chance to review the responses we receive and, if the project doesn’t sell immediately, there may be some valuable information in those passes which can help to guide a revision before continuing the submission process. That said, every single project unfolds a little bit differently—it’s an art, not a science!

Jennifer: First, I work editorially with my client to revise and polish the project for submission, so we can put our very best foot forward. (Note: This step usually takes more time and drafts than either my client or I first expected.)

In the meantime, I compile a list of editors whom I think will enjoy the project, and I write a cover letter and pitch for the project (Note: I write multiple drafts and get feedback from colleagues to get it right before I submit to editors.)

Then we submit to editors. My hope is always to receive multiple offers, but that’s not always the case. Agents receive many rejections, too! Every time I get a rejection, I see it as an opportunity to learn more about the market and what works or doesn’t. If I am lucky enough to get feedback, I then have the opportunity to strategize next steps with my client. For example, I might need to rethink my submission list. Or maybe the project would benefit from a round of revision. Or maybe the project needs some key changes to better position it for the market. And in some cases, maybe we need to wait and try selling a different project first.

After we regroup and strategize next steps, I try again. In some cases, I’ve sold projects right away, and for other projects, it took me several attempts to find the right editor.

At this point in my career, I have yet to deviate from that process. So far, it’s worked well for me.

​

• We often hear from agents or editors that you sometimes didn’t know that you needed/wanted a project until you saw it.  Can you give us an example of this?

Holly: I took on a debut YA author a few years ago, which I hardly ever do. Her book was around the theme of suicide, but unlike anything I’d read about suicide. When I read it, even though it needed a ton of work, I knew that the world needed this book badly. Not only that, but it was one of the most beautiful teenage love stories I have ever read. I know that this book will prevent many, many suicides at every age, and I can’t wait to submit it to publishers in the next few weeks.

Natascha: Picture books are where this most often happens. I recently signed an author for a quirky picture book that I could never had dreamed I would want. Sometimes we know exactly what we are looking for and sometimes we get hit with projects that are weirdly perfect. 

Joan: That is just about always the case! When it comes to books and manuscripts, it’s not what  you do, it’s how you do it.—You can have the coolest, most original concept in the world, but if you haven’t also crafted a fresh, layered, smartly written and well-rounded story, it won’t be enough. Submissions are also very subjective! What makes one agent or editor wild may leave another unmoved—so do your research, keep polishing, and keep submitting. 

Jennifer: My favorite picture books tend to be funny books with bright, light-hearted illustrations that also add humor to the story, and I am not usually drawn to sweet picture books. But when I received a picture book dummy about grief, I fell in love with the project. The story followed how a young girl processed the death of a loved one in a way I had never seen before, and the illustrations, painterly and whimsical, also conveyed emotion. I wept as I read the story and immediately contacted the author/illustrator to offer representation.

However, as much as I love that project, I would say I still love and prefer funny picture books. If your story can make me laugh out loud after multiple reads out loud (if I like a project, I read it multiple times aloud before contacting the author), I will offer representation.

​

• Many agents say that a pass on a submission means “not yet,” or “not this one,” but not, “not ever.”  Can you speak to this (a book that you’ve sold that you initially passed on, a client who you now represent but passed on their initial project, a client’s project that took a surprising turn for the better, etc)?

​
Holly: I can’t answer this question exactly, but I can tell you about an artist I offered representation to over a decade ago, who didn’t choose me. He seemed like somebody who shared the Pippin sensibility, and who wanted to take risks and do the work necessary, but he went with a Hollywood agency, who doesn’t specialize in books, because they painted a bright future for him in animation and film and took him around town in limousines . . . he forgot for a bit that books were his first love.

Then a year or two ago, he wrote to me and said he wanted to see me. I still loved his work and was curious about what he wanted to talk about. He told me he wanted to sign up with Pippin, if we would have him, that he had made some changes in his life and was ready to dig in to the most important project of his life, one that would take many years to finish, and he wanted our company along the way, since we have strong editorial instincts and he needed support with this daring new work. I took one look at the project and I knew that I had to welcome him back . . . we sold it at auction several months later, and he’s about one-third done with it at this time. I also have a hunch that it is going to make an extraordinary Hollywood film, but the book comes first. So, I guess the lesson is to always keep an open mind, and always be willing to take another look if the person comes back for the right reasons.


Natascha: I find that there are a lot of similar themes in picture books so sometimes we get familiar feeling projects. I am looking for the fresh take on that. One of my current clients initially sent me a new to school book that just felt like a million takes on the subject, so I naturally passed. The next manuscript she sent showed a much stronger writer and a much fresher story so I moved forward. Bad books happen to good writers, so never give up. 

Joan: Typically, if an agent wants to see more work from you, they will say so. I do this fairly often, when an author’s voice or writing style feels promising, but I don’t connect with the particular work I am reading. I have signed more than one client in this way; and have been signed that way myself: My agent, Erin Murphy, passed on my own work the first time she read it. The next time we connected, she signed me as a client. And the following year, I also began working with her as an agent ☺

Jennifer: When I say, “no means not yet,” I mean it sincerely. I believe in the power of revision! 

Two years ago, I met a MG writer at a conference and gave her a critique of her opening pages. I loved her pitch and the sample I read, but she didn’t have a complete manuscript. We stayed in touch, and a year later, she queried me. The story was terrific, but the draft still needed work. I sent her notes and asked her to please consider revising the draft to send to me again. When she did, her story was amazing. I laughed and cried as I read the draft, and I immediately offered representation, as did several more agents. Fortunately, she said yes to me.

So, yes, if I offer a revise and resubmit, that means I see potential in the project but feel the draft needs more work. That step is a test for both the author and me: I want to see if the author can revise, and if my feedback inspires the author to produce a better draft. And the author will get a sense of my editorial style and if I would be a good fit for them. Win, win, right?

Unfortunately, a lot of writers will rush a revision and send it back to me right away. When they do, it is such a huge disappointment. I was really hoping they’d take their time and send me something I could represent. 

Please don’t whip out a quickie edit and squander the opportunity. I used to tell writers I didn’t want to hear from them for at least a month, but I’ve realized even a month is not enough time to do a deep, comprehensive edit—especially if an author is a newer, less experienced writer. Take your time. Don’t worry if it feels like you’re taking forever. I want your next draft to be amazing, and I will wait for you!

​

• Is there something that all your clients have in common?  Or what is(are) something(s) you look for in a potential client?

​
Holly: Yes. The desire to give the world your best work, along with: Talent, Integrity, Trust, and a really good sense of humor.

Natascha: I would say all of my clients have a willingness to work (most authors do), but we really approach this as a team endeavor. One person’s success paves the way for the rest. Having that mindset, and approaching writing in that way, shows that you understand that while this may be your book and you chance, the impression you make reflects on the team. 

Joan: I wouldn’t say there’s any one commonality, but I do think that the strongest authors who really end up going the distance are the ones who have a real serious commitment to craft. They are always growing, learning, practicing, writing something new, polishing something old. They are constantly growing and evolving as an artist. They are immersed in the world of publishing, they make connections, they are professional and approachable and smart about what they do. If you see this as a career, as a genuine profession, it matters—and it shows!

Jennifer: I’m looking for the following qualities:

• To fall in love with a project (and writing and/or art) so much that I know I can read it multiple times and still feel the same connection and passion for the story.
• To feel like I have a vision and can help the author and/or illustrator elevate the work, as well as pitch the project to the right editors.
• To find a strong working connection with the client. Do we communicate well? Do we have similar goals? Do we agree on how to achieve those goals? ​

If I sound like a good fit, please consider querying me. I am actively seeking clients.

​
This can also lead to illustrations that amplify the drama and escalate the tension (and humor),


​​​
​
like in CHARLOTTE AND THE ROCK by Stephen Martin Illustrated by Samantha Cotterill:

By Katrina Moore
​

A writer’s journey is full of waves. Some knock you down. Some push. Some pull. Others wash over you with warmth and glimmer with hope.  And on this journey, landing the right literary agent can provide both a powerful wind to to push you in the right direction and an anchor to keep you grounded.  So how do you get there?

Shall we set sail?

There is a sea of excellent and in-depth resources to surf through online.  So instead of restating what’s already out there, I’ve fished through and organized links with boat loads of information.
  
But first . . .

Are you really ready?

Do you have at least three to four “ready manuscripts?”  Ready as in, ready for agents’ eyes and ready for editors’ eyes?

Why is this important? Honestly, your first manuscript might not sell.  Your second manuscript might not sell, either.  Your agent has to know they can get behind your body of work.  And the wider range you can show them early on will ensure that they will be able to be a champion for your career, and not just this one book.

If you’re not sure if you’re ready or not, check out these articles:

http://www.kidlit411.com/2014/01/kidlit411-submission-how-to.html

https://www.thebalance.com/how-to-get-a-literary-agent-six-steps-to-getting-an-agent-2799875

Yippee!  You’re still aboard!  

Let’s journey on . . .

How do you research agents?

Research is so important.  You want an agent who can be your champion.  Who will sail with you through the ups and downs, keep you afloat when you feel you’re sinking, who is so passionate about your work that they’ll practically jump off the boat running to shore to share your work with editors.  And yet, finding the right agent is such a personal thing.  Not only should they check the list of qualities you’re looking for in an agent, but there are also so many intangibles that you can’t know until you at least talk to the agent on the phone.  Just like with dating, sometimes a person can check all the boxes and yet, they end up being all wrong for you! (More on how to gauge this in “What Should You Ask Before Accepting Representation?” below)

Here’s advice that Senior Agent Jen Rofė recently tweeted on researching agents:

So back to that list. . .

Have you made a list of the qualities you’re looking for in an agent?  

Doing this will help to narrow your search down.  Once you make your list, here are a few different ways you can go about researching agents:

• Look up books that you like in the genre(s) that you write, or books that you feel are in the same vein as yours.  Who is the author (or illustrator if you are one)? Find out who their literary agent is.  Often, this can be found on the author’s website, either under their “bio” or most likely “contact me.”  If it’s not listed, try googling it.

​

• Go to websites/blogs that interview agents and scroll through their list to find agents that maybe you haven’t heard of or considered and see if they match the your “checklist”.  One of my favorite sites for this is Literary Rambles: ​

           http://www.literaryrambles.com/2009/03/introducingagent-spotlight.html​
​

• Check out manuscriptwishlist.com and put themes, topics, genres that are related to your manuscripts in the search and see what comes up.  You can also search by agent. Of course, this is a great way to see which agents are looking for projects that may match what you have, but still do your research on the agent to see if they’d be a good fit for you.  If the agent has twitter, you can also put in their handle (@whatevertheirhandleis) and #mswl to see if they’ve tweeted any manuscript wish lists.

​

• Oh, and while you’re on twitter, swim over to Debbie Ridpath Ohi’s page and check out her awesome lists of agents who represent children’s books creators:

           https://twitter.com/inkyelbows/lists/agents-kidlitya-new-list/members

• If you are a member of the Society of Children’s Books Writers and Illustrators, check out SCBWI's THE BOOK, which has a list of agents in it.

​

• Look up literary agencies that you’ve heard good things about.  Not just the big ones, but others, too. However, reputation is definitely important.  Are they reputable? Do they represent the genres you write in? Do their books look like ones yours could be shelf-buddies with?
  • Once you’ve done this, look up the agent profiles on the agency websites.  Look at ALL the agents (that represent your genre(s)) so you make sure that you’re choosing the one that may be the best fit.  If there are links to interviews elsewhere, check those out, too. Once you’ve decided on an agent(s), you can also google them, look up interviews, their social media, etc. (PSA...most likely before an agent signs you, they will do this for you, too!)

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This article provides a wealth of information including whether you might need an agent or not, how to research agents, how to tell if an agent is “real”, how to write a synopsis, etc:

http://www.sfwa.org/real/

And here are some more great links to check out:

https://blog.nathanbransford.com/2017/06/how-to-research-literary-agent

https://subitclub.com/2018/02/06/finding-and-researching-agents-step-by-step/

http://www.underdown.org/cig_3e_ch17.htm

http://www.underdown.org/mf-agent-or-not.htm

Ready to take the plunge and Query?

What to put in your query letter:

http://jetreidliterary.blogspot.com/2004/07/query-letter-checklist.html

I would add that you should tell the agent why you are querying them (succinctly) in your query. If an agent knows that you specifically took time to think of them because of xyz, they may be more excited to consider your submission.

And when rejections start rolling in, because most likely, some (or a lot, a lot, a lot) will, don’t get salty (I know, nearly impossible). But, it really is about being a good fit for each other, otherwise the agent won’t be able to best serve you. So if they’re not passionate about your work, they really shouldn’t be your agent.
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Here’s what agent Molly O’Neill recently tweeted regarding agents not "saying yes":

QUERY LETTERS THAT WORKED! There are real examples of query letters that landed agents and book deals here, plus an analysis of why they’re so great:
https://subitclub.com/category/query-letters-that-worked-2/

What should you ask an agent before accepting representation?
http://kidlit.com/2012/02/15/10-questions-to-ask-when-offered-representation/

How do you know if it’s the right agent for you?
https://blog.nathanbransford.com/2014/04/8-ways-to-know-if-you-have-good-literary-agent

https://subitclub.com/2016/12/06/finding-a-g-r-e-a-t-agent-match-with-hannah-holt/

http://petejknapp.com/post/128679459588/hi-pete-can-you-recommend-some-questions-to-ask
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"Is It Normal?" A great twitter thread by Amy Tintera on what to expect from an agent:
https://twitter.com/amytintera/status/1022496088400584704?s=21

Best Practices from Agents and What an Agent is Supposed to do Podcast from senior agents Jennifer Laughran and Kelly Sonnack:
http://www.jenniferlaughran.com/literaticast/23-schmagents-get-a-schmackdown-with-guest-agent-kelly-sonnack

And finally . . .

How do you prepare for this long and arduous journey?

The 3 Ps! I originally shared the below advice on my “How I Got My Agent” post on Julie Hedlund's Blog:

Patience – It’s about the journey. It’s a long, long (rollercoaster of emotions) journey. But have patience and faith that you will find that great match. It’s worth waiting (and researching).

Perseverance – There’s so much you cannot control in this process. I kept my mind off the waiting by focusing on the only thing I could control: my writing. I continued to hone my craft so that every time my work was viewed, it was my best.

Positive Thinking – Eye on the prize! (The prize being that you continue to grow into a better and better writer. There are so many different paths to take. What is perfect for someone else will not be perfect for you. But you will get where you want. Keep going!

And if you’re worried that you’ll fall off the boat,

​that you’ll be unable to find your way to land . . .

Bon voyage!✨
-Katrina
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**P.S. If you have links, questions, or advice to add, please do so in the comments!**

Katrina Moore writes and teaches in New Jersey, outside Philadelphia.  Earning her M.A. in elementary education, she has been a teacher for almost a decade in Maryland, Massachusetts, and New York.  Her mission is to create books that children will hug for ages.  Her debut picture book, ONE HUG, illustrated by the talented Julia Woolf, is a lyrical celebration of the different ways that hugs bring people together, forthcoming from HarperCollins/Katherine Tegen Books in 2019. The book follows an Asian-American boy as he and his family prepare to welcome their immigrant relatives. When she is not teaching elementary kids or writing, she is cooking without a recipe, painting outside the lines, or  snuggling up with her two kids, husband, pomapoo pup, and of course, a cozy book.  Connect with her on twitter @kmoorebooks or at www.katrinamoorebooks.com.
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By Katrina Moore

If you want to write picture books, you have to read picture books.  Hundreds. Thousands. Hundreds of thousands of picture books. As debut author Cate Berry eloquently says on the Cynsations Blog: “Picture books are like learning a new language. There is a rhythm, a vibe, and implicit rules are attached to the form. Taking a class or reading a craft book is great, but reading a heap of picture books is even better.”

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​But if you’re a writer, it’s not enough to read picture books.  You must study picture books.  What’s working? What’s Fresh? Why do you love it?

Here’s how I studied two recently released picture books in 3 parts: