Show, Don’t Tell with Author Karla Valenti

May 25, 2020June 1, 2020 ~ Johnell DeWitt ~ 14 Comments

K headshot As one of my critique partners, Karla has been a huge part of my writing journey. I can say with experience that she gives excellent and thorough advice. And luckily, she’s agreed to share some of that here, along with the chance to win her new picture book, Marie Curie and the Power of Persistence, a story about science and perseverance that’s definitely needed right now. See the details below on how to enter. In the meantime, enjoy Karla’s sage advice on how to show not tell.

Thank you, Karla!

Thanks for talking about this hard-to-pin-down topic of how to show not tell. With that, I’m going to turn the rest of this interview over to you to explain how to do this.

Johnell – thank you for inviting me on to your site and giving me a chance to launch my Show Don’t Tell blog series. I also appreciate the chance to share a little bit of information about my upcoming debut picture book “Marie Curie and the Power of Persistence.”

What is Show Don’t Tell?

I’ve been doing PB critiques for many years and have read hundreds of manuscripts. Time and again, the two things that come up most often in my feedback is the importance of structure and showing vs telling. Structure is fairly easy to understand, but showing is a lot more elusive and difficult to explain. I always find it easier to simply point out instances of showing (or telling) in my client’s work, and to analyze why those scenes worked (or not). Eventually, my clients begin to internalize these moments and acquire their own instinct for when they were showing vs telling.

I’ve wanted to do something similar using books that have been published and are accessible to any reader. My hope is that by understanding (and assimilating) these tips, it will become more instinctive in our own work.

I thought I’d start with my book since I know it pretty well. Also, when I wrote it, I was very deliberate about finding ways to show what I wanted to convey so it’s easier for me to point out those instances.

I do want to say, this is simply my opinion and readers are welcome to disagree. I do not claim to be an expert on this. However, to the extent this sheds some light on this very elusive but important storytelling rule, I hope it helps. Continue reading →

Voice: “Your picture book sounds too old.”

May 11, 2020May 18, 2020 ~ Johnell DeWitt ~ 8 Comments

In writing, you will hear about “voice,” but you won’t often get a clear answer as to what that means. That’s because it’s one name for many different things. It’s like saying “smurf” in the old Smurf cartoons—it means a different thing depending on how you use it.

I could address “voice” in a dozen different ways. I could talk about how each author is encouraged to find their own “voice”–how you can tell a poem by Emily Dickinson apart from Langston Hughes, for example. In singing, it’s the equivalent of knowing when Pavarotti is singing as opposed to Stevie Nicks. Each singer has a unique, recognizable style—you know their voice when you hear it.

I could also talk about your character’s voice, how we should be able to see as much of your character from what words they choose to use, what details they talk about (and what details they don’t). Does your villain speak in short phrases or long flowery ones? Does your main character repeat a specific word or phrase? Is your cowboy supposed to sound like Benedict Cumberbatch? This type of “voice” is a whole post all itself.

Continue reading →

Interview with Author-Illustrator Jason Platt

May 24, 2019June 3, 2019 ~ Johnell DeWitt ~ 5 Comments

Jason Platt

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.

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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 →

Interview with Agent Natascha Morris Part 2

April 17, 2018April 27, 2021 ~ Johnell DeWitt ~ 6 Comments

NMorris320x400IMG_20161127_103045-240x300 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 →

Interview with Agent Adria Goetz

March 10, 2018March 11, 2018 ~ Johnell DeWitt ~ 12 Comments

27024121_10155402205773230_1021693440946990922_o 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 →

Interview with Author Leah Henderson

June 15, 2017June 15, 2017 ~ Johnell DeWitt ~ 7 Comments

I first met Leah in our regional writing group nearly five years ago. Now her debut middle grade novel is hitting shelves with glowing reviews. Leah’s story One Shadow on the Wall follows the life of Mor, a young Senegalese boy who makes a promise to his father to keep the family together. After his father dies, Mor faces pressure from his aunt who wants to split him and his sisters apart and from a local gang that wants him on their side. Leah found the inspiration for Mor’s story while visiting Senegal and seeing a young boy sitting on a beach wall–she wondered what his day would be like and the idea for a story bloomed. Thank you, Leah and good luck with your amazing new book!

What would you say you’ve learned the most from writing One Shadow on the Wall?

There have been so many lessons along the way to writing this book but the biggest is probably—cherish glimpses of possibilities. That is how this book started . . . because of a glimpse at a boy on a beach wall in Senegal.

But here are ten other takeaways thus far:

Be patient with my writing and myself. When and if things are meant to happen, they will.
(This takeaway goes along with the first.) Don’t rush . . . nothing ever turns out how it should when I rush.
Be kind to my writing and myself. It is okay if it isn’t perfect on the first, eighth or ninth try. Keep trying.
Welcome the mistakes, because they often lead to some unbelievable possibilities.
Treasure true friendships and writing time. They are both rare gifts.
Do not try and walk someone else’s path. Your journey is yours for a reason.
Write for the kid you used to be.
Write for the kid you wish you were.
Write for the kid you hope to see.
Lastly, and probably the most important for the long haul and for our spiritual wellbeing: Celebrate and appreciate the small successes even more than the great ones.

And as a last, last note: Don’t forget to smile, laugh, and have fun along the way … otherwise what is it all for?

Was there something that stood out to you about writing middle grade? What about writing from a background that wasn’t your own–a young boy from Senegal?

I really had to research it all. When I began writing this book, I was new to the genre so I had to really figure out what was at the heart of a middle grade novel. Then I had to find and listen to Mor’s voice, and his hopes and dreams. I also had to learn about Senegal, and the values and mindsets of many of her people.

I pretty much stumbled into this project not knowing ANYTHING at all.

Everything was new—writing in the voice of a boy—a Senegalese boy. Writing about a village, a Senegalese village. Writing about an experience so different from my own where assumptions, and preconceived ideas swirled in the air and needed to be tamed. I knew the harm in them ruling the story and tried my best to write from a place of understanding by doing research and asking questions of those who live this experience and by people who have come to call Senegal home. I truly wanted to create characters (and hope that I have) that young readers can identify with, and that no matter how far apart their lives might be from my characters that they might be able to see a piece of themselves in my work. My hope is that I have captured even a fraction of the heart, hospitality, and beauty that is so much a part of Senegal.

Thank you, Leah, for sharing such valuable insights.

Thanks for the interview, Johnell, I enjoyed thinking about your questions. Happy writing & reading everyone!

For more information on Leah and her book, please visit her site at: http://www.leahhendersonbooks.com

Other posts about Leah and One Shadow on the Wall:

http://www.leahhendersonbooks.com/my-news/

http://www.simonandschuster.com/authors/Leah-Henderson/552303528

http://blogs.slj.com/afuse8production/2016/11/01/cover-reveal-one-shadow-on-the-wall-by-leah-henderson/#_

Interview with Agent Natascha Morris

March 15, 2017April 27, 2021 ~ Johnell DeWitt ~ 18 Comments

NMorris320x400IMG_20161127_103045-240x300 Natascha is a new agent at Bookends Literary (she’s now at The Tobias Literary Agency) and a former editorial assistant for Simon & Schuster. She is open to submissions for picture books, middle grade, and young adult across multiple genres: contemporary, mysteries, thrillers, fantasy, historical fiction, and narrative non-fiction. She is looking for authors, illustrators, and author-illustrators.

Thank you, Natascha, for your insightful answers.

What was your favorite role during your days as an editorial assistant at Simon & Schuster?

There were two things I loved about working at Simon & Schuster: reading the submissions to find that standout project, and working with the design team to come up with great covers. As an agent, I can still find that diamond in the rough, but I will miss coming up with cover concepts.

Were there any manuscripts you helped acquire that you’re particularly proud of?

Kit Frick’s See All the Stars (Summer 2018) is one I’m particularly proud of. Read it on submission and fell in love with it. I also had the opportunity to offer editorial notes. Kit is an amazingly talented writer who changed the whole manuscript with a few smart line changes. I’d love to find an author like her.

Could you walk us through the acquisitions process—what stars had to align in order for S&S to select a manuscript for publication?

Every book is different and sometimes, editors don’t follow the process. But in general, once an editor has a project they want to pursue, they take it to the editorial meeting. If the other editors agree (and sometimes they don’t), the editor takes it to acquisitions. I worked at two literary imprints, so quality of writing was a big factor. After that it came down to a host of factors: editorial taste, vision for the project, and market saturation. Publishing is subjective, and sometimes timing plays a part of that.

If you could name one skill you honed as an editorial assistant that has helped you transition to agenting, what would it be?

Mmmm, tough question to answer. Different aspects of being an editorial assistant helped. The number one factor that helped is probably my ability to read a manuscript and see its potential. As an editor, you have to have a vision for a project to edit it, and it’s my firm belief that an agent should also have a vision. If I don’t have a vision for your manuscript, I can’t be the best agent for you. And you deserve the best agent and the agent who gets it.
Continue reading →

Interview with Literary Agent Rubin Pfeffer

July 13, 2016September 9, 2016 ~ Johnell DeWitt ~ 35 Comments

I’m thrilled to inaugurate my new site with an interview from literary agent Rubin Pfeffer of Rubin Pfeffer Content, LLC. I met Rubin in a one-on-one critique session at a writing conference in Boston last year and was sad when the time ended. As you’ll see from his responses, he knows the publishing industry inside and out and has much to offer writers and illustrators. Thank you, Rubin!

You’ve had a pretty amazing career in publishing, including art director at Harcourt Brace Jovanovich, vice president and publisher at Simon and Schuster and an independent agent at East West Literary. Then you started your agency in 2014, Rubin Pfeffer Content. Did the transition to agent change the way you work with authors?

Yes, definitely. You become much more aware of the authors as individuals, of their sensitivities, vulnerabilities, and their livelihoods. You’re on the side of the author. That’s not to say you’re not when you’re inside a publishing corporation, but as an agent, you’re much more concerned about the author’s business and dreams. When I was a publisher, I wasn’t sensitive enough to what delays and silence mean to authors. I regret, actually, having taken too long to sign contracts now that I see what it’s like to wait for them.