It’s that time of year again, when I’m busier than usual helping with the KidLit GN pitch event. Click the info graphic below for details and to get access to KidLit GN’s website where more rules and information resides:
Yes, it’s been a while. Yes, I’ve been busy. We’re winding down the move-in part after another overseas move. A much more difficult transition in the days of Covid. However, I’ve also been hopping with other good things too, like helping to organize the event pictured above. We’ve got less than a week away and I’m beyond excited to participate.
So, if you’ve got a graphic novel ready to submit, plan on joining this event. And check out the event info on the website at: https://kidlitgn.blogspot.com
If you’re interested in creating graphic novels for middle grade and younger, join the group at: https://www.facebook.com/groups/KidLitGN
And to be notified of other pitch events, join the Twitter page at: https://twitter.com/KidLitGN
Ken is not only a talented artist and writer, but he’s also incredibly giving of his time and expertise to his fellow kidlit creators, and serves as the regional illustrator coordinator for his SCBWI chapter. I’m honored Ken took time out to share his experience with graphic novel creation and to give us a sneak peek at his upcoming collaboration with author Teresa Bateman. Double bonus, one lucky reader will receive a signed copy of Petro and the Flea King!
Thank you, Ken!
You self-published your wordless graphic novel Petro and the Flea King, which my family owns and LOVES. Why did you choose that route? And what were the challenges of a wordless graphic novel?
When I started my publishing journey, I did it because of my love for storytelling and illustrating.
I realized early on that the traditional publishing route is a long journey and that there is a high possibility that many of my ideas will not make it to the bookshelves. So I told myself that I would have a plan B which is self-publishing. It just so happened that Createspace/Amazon offered such a service that fit Petro and the Flea King perfectly.
I knew that a wordless graphic novel would be a challenge to sell, but at that point it didn’t matter. The train had left the station, and it was a book that I wanted to create.
One of the technical challenges was a personal test to see if I could complete a book with 100+ pages of illustrations and to see how long it would take. And being that it was a wordless, I had to create more illustrations to show small emotions and reactions that could be easily conveyed by speech or word bubble.
I showed the book to graphic novel publishers, and even traditional publishers, and while they loved the illustrations and ideas, they also had to look at the market dynamics to see if it was something they could sell. And this is probably the biggest challenge.
You also funded your The Tall Tales of Talbot Toluca series through Kickstarter, so you’ve already got this amazing entrepreneurial spirit. What pushed you into traditional publishing finally? Continue reading
Graphic novels are a big deal in the publishing world right now, and I’ve been anxious to find out more about them. Fortunately, there’s some really great graphic novelists out there, Jason Platt being one of them. His debut graphic novel Middle School Misadventures hit the shelves in April of this year. My family purchased our copy and it’s already been read multiple times. In my budding graphic novel nerdiness, I was especially impressed with how well he positioned his dialogue tags–no easy task. It’s with great pleasure, that I present Jason’s excellent insights on graphic novels with hopes of more GN news to come.
Thank you, Jason!
What got you started writing and illustrating graphic novels?
It’s funny, because I never really saw myself doing graphic novels. I had been doing my webcomic “Mister and Me” for a number of years, and even though that is close to a graphic novel, its structure is handled differently. In a traditional comic strip, you have four panels to tell part of a story and where it usually ends with some sort of punchline. But with a graphic novel you have time to really tell all of the story, and develop the characters more. It’s really nice.
Originally, I had started to write what is now called “Middle School Misadventures” as a book that is similar to, let’s say, Big Nate or Diary of a Wimpy Kid kind of style. Where it was written with prose and then a spot illustration mixed throughout the whole thing. When my agent approached editors with it, we got some positive responses, however, one editor suggested making it into a full graphic novel and asked if I was interested in changing its format. Immediately I said yes, of course. It would flow really well with how I tell stories anyway. But I also knew that the job would be that much harder to complete. There is a lot more construction and organizing that’s involved. But once I got started, I knew it was the right direction to go.
So it wasn’t necessarily something that I was aiming for, but it was a storytelling device that I was able to fall into easily.
What is it that appeals to you about graphic novels?
Very similar to the first question. I think what’s really nice about the graphic novel format is being able to harness any character development and show that in a visual form. And also not have the limitations of a traditional comic strip panel sizes. In other words, it’s so nice to be able to dedicate a whole page for one moment and use that to express the impact that the story may have. And usually, it helps with the excitement or the punchline of a funny moment that is happening.
Who are some of your inspirations? Continue reading
Elizabeth Bennett is an agent at Jill Corcoran Literary Agency. She represents fiction and non-fiction children’s books and has experience in nearly every facet of the publishing industry. She also represents graphic novels. She is currently closed to submissions, but has kindly agreed to accept submissions from readers of this post for a limited time. [Submissions are now closed.]
Thank you, Elizabeth!
You’ve worn several hats in the publishing world, editorial, marketing, product development, author, and now agent. How have all these roles informed your work as an agent?
Ah yes, at this point in my career I feel a bit like the man in Caps for Sale, balancing a tall stack of hats on my head. Each of the hats I’ve worn has made me that much more capable as an agent. As an author, I know what if feels like to feel passionate about your work and determined to find the right home for it. As an editor, I know how to negotiate the acquisition process with compassion for both the publishing house and the writer. I’ve been in the industry long enough to know that while trends and technology change, there is always a path for true quality and innovative thought to find a way to the market.
You dealt with franchise development at HMH, and wrote books for the DocMcStuffins, Hello Kitty, and Clifford franchises, among others. Are you primarily focused on representing books that have series potential?
No, I’m open to stand-alone titles as well as books with series potential. My years at Scholastic and HMH have given me a good sense of the market for series, and I have a sweet spot for a book that that can pull a reluctant reader over the hump and leave him/her looking for the next title in the series. But I’m also interested in good stand-alone manuscripts.
When you read a manuscript from a potential client, what are you looking for? Continue reading
You’ve probably seen Mark Swan’s name a dozen times, but didn’t know it. As an animator for over 30 years, he’s worked for Walt Disney Studios, Universal Pictures, Warner Bros. and MGM, among others. Some of his credits include An American Tail, Land Before Time I, II, III, IV, Space Jam, A Goofy Movie, All Dogs Go To Heaven, Rock-A-Doodle, Thumbelina, A Troll In Central Park, Cats Don’t Dance, The Princess and the Pea, and for t.v., Thundarr the Barbarian, The Incredible Hulk, and The Smurfs. His work has taken him from L.A. to Dublin to Budapest and Barcelona. And the most amazing part of all of this is that he’s my big brother. I grew up watching his artwork on Saturday morning cartoons looking for the secret pictures he’d drawn for me to find. I’m thrilled to interview him about his career and his upcoming Kickstarter campaign for a comic book series all his own.
You’ve worked in animation for a long time. As such, you are quite familiar with storyboarding. Can you talk about the role storyboarding plays in creating an animated movie?
For people unfamiliar with storyboards I’ll often define it as making the comic book version of the movie. You’re drawing out the story shot by shot. It’s a lot like being the director because the storyboard artist reads the scripts and starts breaking things down into different shots and you’re making decisions like, should this be a long shot, medium shot or a close up, a pan shot, a dolly shot. You’re concerned about the composition, the acting and the transitions from shot to shot. You have various story points that you have to keep in mind, and in storyboarding, the artists think up much of the visual humor, and visual interest.
When you get a script, how do you go about creating the pictures to go along with it?
As I read a script, I get images in my mind and I’ll make a little thumbnail sketch or write a little note in the margins. I’d probably read through it a few different times and then start sketching things out. After getting the first sketches done then you have to review and edit things. In the old days we used to pin up sketches on a cork board so you could move things around, add new drawings or pull some down. You are looking for the flow of the story, the entertainment value and checking to see if you hit all the important story points for that scene.
Natascha is a former editor turned agent for Tobias Literary Agency. I first interviewed Natascha just over a year ago when she was getting started in her new career. With a year-plus behind her, I’ve been dying for an update. Luckily, she agreed to a second interview.
Thank you, Natascha!
You recently hit your year-mark as an agent. What has been the biggest surprise for you from the agenting side of the industry?
There have been two really big surprises. The first is the amazing talent I have found, and the connections I have made. I had some idea when going in, but it is just amazing how far I have come. The second was how much grit it takes to be on this side of the desk. Agents take those punches alongside their clients, and we do it for everyone. Being an agent teaches you about yourself.
I imagine you’ve built up a solid client list by now. Are you still seeking clients?
Always seeking new clients, but out of necessity, I am getting pickier. When I first started, I had loads of time to pour into a client. Now, I have to weigh that against the time for 24 other talented people. It’s not just one book per author, it’s multiple books per author.
What would you say is the split between the categories you represent? How many are PB writers, MG, illustrators, etc.? Continue reading
Adria Goetz is an agent at Martin Literary Management. Adria is seeking board books, picture books, graphic novels, MG, YA, and Christian themed works. She earned her B.A. in English, with an emphasis in creative writing, from the University of Washington.
Thank you, Adria!
Your education was in publishing and writing, and you even worked at a library for a while, did that influence your decision to become a literary agent? How did that all come about?
In high school and part of college I thought I wanted to be an editor, but as I learned more and more about the publishing industry and the publishing process, I quickly changed my mind. I first learned that there are very few opportunities for editor jobs in Seattle, and I’ve never had a desire to leave the Pacific Northwest. The PNW is the land of coffee and Sasquatches, and rich true crime history. AKA my personal heaven. During college, I applied to every publishing internship I heard about because I wanted to observe the publishing beast from every angle. When I started my internship with Martin Literary Management, I knew I’d found the right avenue for me. Agents get to work from home. Agents get to edit stories. And agents get to make dreams come true. The internship was only supposed to last for a few quarters, but it ended up lasting for two years because it was such a good fit. I wanted to start agenting right after graduation, but I wasn’t sure how I was going to make it work financially. It takes so long as a new agent to get things going to the point where you’re making a livable salary. And I needed a job! I was a fresh college graduate with my wedding around the corner, and I needed something that would pay the bills. So I got a job in the Communications department of Pierce County Library. After working for the library for a while, I thought maybe a job as a children’s librarian would be a more practical job for me, so I applied for library school, and got in! It was right when I opened my acceptance letter that I knew it wasn’t the right decision for me, and I realized if I didn’t at least try my hand at agenting, I’d regret it. So I attended a publishing program at Columbia University in New York, then when I returned, I knocked back on Martin Literary’s door and asked them if they’d be willing to train me as an agent. And they said yes! So my husband and I decided that we needed to make a few financial sacrifices in order to make a career as an agent happen. We moved out of our condo and moved into a used camper on some family property. We cut out as many fixed expenses and splurge purchases as we could. And then I began my career as a literary agent. Living in a camper might seem like an extreme lifestyle change just to break into a tough industry, but the first few years of agenting are a lot like the first few years of starting a business—you typically don’t make much of a profit off of the time you invest in your projects. We also realized that we were young and poor, and had expensive dreams—traveling and adoption and buying a home being the biggest ones. After a year of living in the camper, we saved up enough to buy our first home—a Victorian home which I am still hoping is secretly haunted. I now have my own little office, or as I call it: my “writing studio.” It is a much more spacious place to work!
You’re accepting picture book submissions. What are you specifically looking for in a picture book? Continue reading