When you first received the manuscript for BUSY-EYED DAY, what did you love about it?

I was drawn to the simplicity of Anne Marie’s text that is so beautifully crafted to make for a really fun read-aloud experience. There is such a lovely, joyful rhythm to the words.

What changes did you request from Anne Marie before you started the submission process?

I didn’t request any changes to the text. This was a text that Anne Marie had written when we first began working together. I sent it out to some places, but the thing that both she and I loved about it, i.e. the simplicity and joy of the text, were thought to be too slim at the time. So the manuscript was shelved for a good long while because trying to address that concern would change so much that it would become a different story.

Do tell your thought process regarding which editor you would send it to. Why were you pleased that Andrea Welch wanted to acquire it?

The funny thing is the idea of pairing Anne Marie and her editor, Andrea Welch came before the idea of sharing this particular text.  Andrea had considered a number of Anne Marie’s manuscripts over the years, and she always made clear that she was a fan of Anne Marie’s style even though the right fit hadn’t been found. I had a good idea of what Andrea might respond to at the time we submitted BUSY-EYED DAY. I was on the phone with Anne Marie describing what I thought that was, and it was Anne Marie, not me, who said, “OK, what do you think about BUSY-EYED DAY?”  I immediately thought, “Of course!” so I sent it to Andrea straight away. Andrea got back to me that same day, and she said “I love this!”.

When you first saw the ARC of BUSY-EYED DAY, what did you love about it?

I love that the cover captures the wonderment that is at the heart of the story. I also love the warmth of the family that comes through so clearly in Frann Preston-Gannon’s illustrations. 

What do you hope children will take away from this book?

To use their eyes to notice the small things that we encounter in our day-to-day lives, things that are ordinary and extraordinary all at once.

​Linda Pratt and friend and colleague, Marcia Wernick, established the Wernick & Pratt Agency in 2011. The agency represents authors and illustrators of children’s books with a focus on attending to their long-term careers and goals. Our clients range from award-winners and bestsellers to new and emerging talents. Among Linda’s clients are Richard Peck, Kathryn Erskine, Aaron Becker, Steve Light, Lita Judge, Anne Marie Pace, and LeUyen Pham, among others.  Linda is a member of SCBWI and AAR, and  has also served on the Rutgers Council for Children’s Literature, which plans the annual Rutgers One-on-One Mentoring Conference for five years.  www.wernickpratt.com

 BUSY-EYED DAY is a rhyming and richly illustrated picture book that celebrates the act of being observant and enjoying the magnificence found in the everyday world, perfect for the youngest of readers. It is written by Anne Marie Pace, illustrated by Frann Preston-Gannon, and published by Simon & Schuster, with a release date of April 10. 2018. 
Order your copy of BUSY-EYED DAY from an indie near you.  ​

When you first read Cyndi’s THIS LITTLE PIGGY manuscript featuring Snowflake, what did you love?

I have a cat named Piggy, so I was predisposed to love a book originally called “The Ultimate Pig Care Handbook.” Cyndi’s sense of humor, which comes across in her text and art and also in the little details, totally won my heart: the little muddy pig footprints, the extremely skeptical pig expressions, the increasingly dirty children…all so fun!

Did you work together to improve the manuscript before submitting it to editors? 

This project started out as a picture book, and most of my original notes were regarding structure and pacing. In the first version, my note to her was that half of the text is about giving the pig a bath. I asked her is the book about pig care, or about bathing a pig? Cyndi then decided to make the whole book about finding a pig and keeping it clean, but then the joke seemed to sag about halfway through. Cyndi played around with it again. She reverted back to the general pig care theme and we had a great dummy that went on submission!

When thinking about who to submit LITTLE PIGGY to, why did you think of Karen Nagel, and what was Karen’s reaction when she received the draft?

I thought Karen would appreciate Cyndi’s fun sense of humor, and I admired the scope of her work at Aladdin. What a delightful surprise when Karen called to say she loved it… and asked if Cyndi would be interested in expanding it into an early-reader graphic novel for Pix? It’s rare to have an editor buy a project when such a large edit is on the horizon, but Cyndi had proven herself with KUNG POW CHICKEN and Karen had the vision for it! Once Cyndi said she was excited to move forward, we were thrilled to accept Karen’s offer!

What do you love about the end product of Cyndi's book, THIS LITTLE PIGGY: AN OWNER’S MANUAL?

I love how Cyndi developed the kids as characters, made a fun, twisty narrative around convincing their mom to accept a pig as a pet, and how the expansion from a picture book gave us more time with Snowflake’s adorable footprints and skeptical expressions! It’s such a fun book, full of cute, hilarious illustrations and awesome situational humor, and I think readers will really love it!

On what future projects are you looking forward to working together with Cyndi?

I would love to see more chapters books featuring Snowflake, especially if readers love her as much as I do!

Personalize it or get to the story's point?
I don't mind a line or two of personalization, but I definitely want to get right into the story quickly. I know what I'm looking for. I want to hear about the character and their conflict--that's what's going to make me decide whether to keep reading or not.

How to personalize?
I definitely love getting a line or two about the author in their bio--even if it's just something personal and not related to writing accomplishments. And I'm a big fan of comp titles. I love to read, and when a writer and I have favorite books in common that makes me think we could be a good match.

Perfectly personal
I love the books and authors I represent and I never get tired of hearing someone else say so too, especially if they mention loving a book that's similar to theirs. If an author is querying a YA Historical for instance and they mention that they loved A Death-Struck Year, that is a good sign I might like this project too.

Too personal, people!
Someone told me once that they lived only a few streets away from my apartment which was creepy. It's never a good sign when someone tells me that they really like my picture on our website or that my smile "looks chipper." A certain amount of professionalism should start the agent-author relationship in a query. 

 Suzie Townsend  has been part of the team at New Leaf Literary & Media since its inception in 2012. Suzie represents all brands of children’s and adult fiction. On the children’s side, she particularly loves YA and MG, those with strong characters and voice-driven stories that break out of the typical tropes of their genres. She’s always looking for unique voices in stories. Suzie can be found online HERE and Tweeting @sztownsend81.

Personalize it or get to the story's point?
I prefer the straightforward approach, unless the writer actually knows me. For instance, if they met me at a conference, interacted with me on Twitter, etc., I want to know that.

How to personalize?
This may be a good example for personalization to lead into a query:

Hi Uwe,
 
I was inspired at the conference to pick up your client's book, SONG OF SUMMER. I’m on vacation right now, and just wanted to let you know I just finished it. It was wonderful. I couldn’t put it down, and have the sunburn to prove it. It really swept me away!

So yeah, if a writer says they read something one of my client's wrote and honestly loved it, that is something I'd enjoy hearing.

Too personal, people!
If someone does not know me and tells me things about myself that they would only know if they extensively googled me beyond a professional level, then I might feel that the writer kind of stalked me, which may creep me out. It all depends though. It is one of those "I get that weird feeling when I read it" kind of thing.

Personalize it or get to the story's point?
I definitely like for writers to personalize their queries to me. It shows me that they're not just randomly picking names of agents out of a hat to query, but that they've chosen me for some specific reason. And I love knowing what that reason is!

How to personalize?
I'd love to know why a writer is querying me. Is it because of something I said on my blog/Twitter/Tumblr, or in person at a conference? A client's book they read and loved? Tell me why you want ME to read your book, not just any agent.

Perfectly-personal example, please.
Keep it simple, like:

​I loved ANNA AND THE FRENCH KISS by Stephanie Perkins, and I hope you enjoy my boarding school story, X. Or I follow Maureen Johnson on Twitter, and I hope my novel about people in jars will likewise entertain you.

With a precautionary pause
Be wary of just randomly naming clients from my list and blindly praising them. If you're a client's critique partner, great, please say so. But be warned, if you say, "I love your client's [unpublished] book, and I hope you like this just as much!" I immediately doubt that you've actually done any research on me or my list.

Too personal, people!
Comments about pictures I post publicly of my kids maybe fine, but you saying you followed me into Target the other day--that is a little scary.

​Personalize it or get to the story's point?
Personally, I think the query letter should be concise, easy-to-read, and yes, personalized. I actually focus way more on the first and third paragraphs (Note, there should only be three paragraphs), the introduction (which should be personalized to connect to me) and the bio (which tells me about you). Most writers have a hard time doing synopses of their books so I give them the benefit of the doubt.

How to personalize?
At the very least mention this interview. (Smile.) Make sure you spell names correctly. Otherwise, it is good advice to find agents by looking in the acknowledgements in books you like or that compare to the one you are writing and contact that agent, referencing the book (which is personalizing it).  

Personal & true. 
If a writer drops mention of a book I've represented, I'd like to know they've legitimately read it. That said, be sure if you reference a client's book as "great" it's already been published. Otherwise, I can see through the comparison. If I'm honest, even then I'll give the querier a break, as it still means they did some research. But if a writer says my client Kate Beaton recommended them, I'll find out very quickly if it's untrue, and I'll toss the pages without reading. 

Personal pictures?
There is NO need for you to send pictures of yourself. 

What do you love about Dave Mottram's illustrative style, especially the way he illustrates machinery? 

Dave Mottram combines both excellent draftsmanship with a strong ability to create anthropomorphic vehicles. He also uses very intentional, warm palettes that are very appealing to readers.

Do tell, how did the art director/book designer from Running Press come to contact you about Dave illustrating RACE CAR DREAMS? 

In this case, the AD had seen Dave’s work and realizing he’d be a good fit for this text, sent it directly to him. He then forwarded me the text, and I talked with Dave about the project and then negotiated the contract for him with Running Press.

Even though RACE CAR DREAMS was Dave's first picture-book, why were you confident he could do it?

That’s a good question, as I had not seen any full scenes of his work, so it was a step of faith of sorts, but I really could sense that he was capable of it, and once he started to deliver sketches and artwork, it was absolutely apparent that he’s fully capable of creating scenes and carrying a character through a range of emotions and various scenes and perspectives. He’s really quite gifted.

What do you think of the finished, published project, RACE CAR DREAMS?

I love how the little race car has such personality and energy and evokes such a range of emotion. I am absolutely thrilled with the overall quality of the artwork and the storytelling that Dave achieved.

Now that Dave has illustrated RACE CAR DREAMS, what's next on the boiler?

Actually, Dave had created an adorable tug boat piece of art for his portfolio, and that image caught the eye of an editor at Simon & Schuster who had a little tug text that he has just illustrated. And, given the amazing collaboration Running Press had with Dave, he was just sent  another “vehicle” book he is about to sign up, so watch out for it!

Anne Moore Armstrong joined the Bright Literary Agency in 2014 from a publishing background of over twenty years as a children's book designer at Little Brown and Candlewick Press where she gave art direction to countless illustrators as she designed picture books, young fiction and YA novels. Now as a Bright USA agent, Anne develops the careers of outstanding children's illustrators and supports publishing clients with a wide array of artistic styles. Best known books she's been instrumental in getting published are Jon Klassen's NY Times Best Illustrated Book, HOUSE HELP UP BY TREES (published by Candlewick Press) and THE BEAR AND THE PIANO, written and illustrated by the recent Waterstone Picture Book Award winner, David Litchfield, whom she represents. Anne can be found online Tweeting @childbookart.

What drew you to Sharon Chriscoe's manuscript, RACE CAR DREAMS?

The first thing I noticed was that I couldn’t WAIT to read it out loud to my office. Multiple times. While exclaiming “Oh my gosh this is so cute” on each reading. It is! It’s so darn cute! I LOVE the idea of this animate car having a bath (car wash), book (all about speed! Cheetahs!), and dreams, just like we do. Cars are just plain fun. Sharon got the meter and rhyme beautifully, which is incredibly difficult (and amazingly rare in my inbox). I couldn’t stop thinking about it, talking about it—that’s how I know I really love something. 

What do you love about working with Sharon as a client?

Sharon, first of all, is a big ball of sunshine. Every time I hear her voice (which is a lot! I do plenty of work over the phone), I just feel great. She is so pleasant, upbeat, hardworking, and creative. I love that I can chat with her about ideas and she’ll not only be open to them, she’ll take them and run with them. 

Why did you decide to send the manuscript to Running Press editor, Marlo Scrimizzi?

I met Marlo in Philadelphia when I was there to visit my aunt, who lives nearby. Over an incredibly cool lunch (there was kale involved, but in a great way!) I grew to really appreciate Marlo’s vision for picture books, her warmth and intelligence. She’d encouraged me to send anything I was excited about, and Sharon’s work definitely applied! 

What did you think when you found out Dave Mottram would be the book's illustrator, and how do you feel about the final art?

I was so excited! We saw all these gorgeous sketches on his site, and I just knew he’d make Race Car into a car with real life and expression, which was my top priority. That said, he exceeded all of my expectations. I LOVE the way the wrench is almost like a teddy bear for Race Car, and how the moon smiles down on them. It’s beautiful. It’s the kind of book I’d think about framing for wall art. I just love the idea of looking at it all the time. 

Tell us about BULLDOZER DREAMS, the companion book for RACE CAR DREAMS to be published by Running Press in 2017, and its editor, Julie Matysik.

I was sad, of course, to hear Marlo was leaving Running Press Kids soon after RACE CAR DREAMS had gone to press—though she is, I’m sure, doing wonderful things in her new role. (She’s just that kind of person; she’ll be brilliant wherever she is.) That said, when I heard it was Julie taking over, I actually sent an email with (direct quote) I’M SO GLAD IT’S YOU. I may have actually used all caps. I’d corresponded with her in the past and always appreciated her intelligence and enthusiasm.

I believe it was Julie who came up with the idea for BULLDOZER DREAMS. We loved the image of a bulldozer making a playground (what’s more fun than a playground?) and getting tired having a long day making all of this fun happen. 

Choose the section (or sections) you want to read. Type, or cut-and-paste, into a clean document. Edit out any spoilers, or things that don't make sense out of context. Make the font BIG and very readable. Give each paragraph its own page. Now print out, and put each page into a clear plastic sleeve in a binder.  

Having the sections in a very readable, large format will make it easier for you to lie the binder down on the table or podium, so you don't have to fumble around with the book or block the audience by putting it in front of your eyes. The fact that each paragraph has its own page means you are forced to slow down.

Now practice reading to your friends, or even your pets. Remember, don't go too fast, don't mumble, and don't forget to breathe.                                    

I try to meet some people in the crowd before speaking--nothing too formal, just standing around as people take their seats and saying hello. That gives me friendly faces to return to as I speak. It connects me to the group, and makes me feel like I'm in a conversation, rather than delivering a pre-recorded speech.  

Keep it short and make sure you do it justice: use a confident, dramatic, full voice. Ask the audience to provide all the sound effects in the book and to act out the parts of the story that can be done while sitting.

I was lucky enough to be coached in my reading by my sister who is a professor of theater at a New Jersey university. The one thing she told me that really stuck with me was how many ways there are to emphasize a word--louder is only one, and often not the best way!  Sometimes it's a pause, or a drop in volume; sometimes it's best to use a change in tone.  

When I get to the climax of the story, I pause, drop my volume and speak more slowly. I can see the audience literally hold their breaths and lean in, and I know that I have them!

I always make sure to use my books as a jumping off point for interactions with my audience. This varies depending on the age and abilities of the students: preschoolers and kindergartners are wiggly, so I try to make good use of their desire to move and participate by having them act out variations on what we see in the book. For example...when we find a clock in a bubble, we dip imaginary bubble wands, blow big bubbles and pop them together. Older kids participate in different ways. They like to offer their opinions and can be quite passionate about them.  

I would say to pick a scene with lots of action, early in the book, and try to find a way for the audience to engage with you in making the scene come alive. I pick a scene in which the students can participate, and they do---together we chant a jody call back and forth, which culminates in the students telling me to "Drop down, granny, and give me ten!"  I'm not a granny (yet!) but I do drop down and give them ten good push-ups. It never fails to get them cheering.
​ 
See if you can use a cordless headset rather than a hand-held mike--it makes holding a book and reading expressively so much easier.  

I've learned over the years to approach a reading as more of a story-telling opportunity, a performance. I want to inform and entertain my audience. First I start by getting a little personal. I talk a little about how I got the idea for the book and about my research. Then I move into what I learned in that research, and I try to share the wonder and excitement I felt at certain discoveries with my audience. From there I go into sharing the basic story line, setting the stage for the passage I've selected to read aloud.
​
I​ try to keep things spontaneous--like I'm sharing the story for the first time. That helps keep me excited.

Start the reading off with some questions to pique your audience's interest…It excites them to talk about a subject they know and are interested in, and it helps them focus on the upcoming story as well.
 
Ask fun, trivia-type questions relevant to your book before the reading. Include as much unusual, outlandish, or downright-gross information about your subject to really capture kids' attention.
 
For picture books, memorize as much of the text as you can so that you can keep eye contact with your audience. I know it's tough to memorize, but so is trying to read upside down with a class full of kids staring at you!

If your book has multiple characters, try to give each one a unique voice. High, squeaky voices are always good for a laugh!

Don't forget to put the big bang at the end so everyone knows when to applaud. I know it sounds weird, but sometimes kids won't applaud until they hear the words, "The End." Don't be afraid to use them, even if they're not written in your text.
 
Have fun! If you're scared or nervous, your audience will feel a bit nervous as well. If you're at ease and having fun, they'll pick up on your energy and raise it even higher!

Do lots of different but short activities and make everything as interactive as possible. In a typical storytelling, I do a drawing for them first on a flip chart--a great attention-grabber for even the littlies! As it evolves, I ask for suggestions for all the details. Then I read a story with lots of voices and joining in for the noises or actions (plus sometimes I wear a hat or use a puppet). Afterward we sing a song or do a dance, or something silly, depending on the book. Then I draw a bit more, but this time as a guessing game.

I let them draw so they don’t get wriggly. I finish with another story to bring it back together and to calm it down. I can get any children over 5 years-old to sit and listen for an hour and a half, if we fit that format. Works every time!

How did Phil Bildner's manuscript find its way to you?

Phil first reached out to me in late 2010, on referral from my client Chris Barton, and we signed together in early 2011. What was then called THE TRASHCAN WIZARD was one of the manuscripts he sent when he queried me. 

​What did you love about the manuscript--the writing, the main character, the narrative, the voice, the setting?

I loved the setting and learning about the real person the story focuses on, but in those days, the writing was quite different and the text quite long (about 1500 words), and it included a lot of stuff at the beginning about Cornelius as a child before we got to the part where he was the Trashcan Wizard. One of the things Phil and I worked on together early on was pushing his nonfiction, in general, to reflect more of his exuberant, dramatic personal voice, and to read more like story and less like reporting. The nonfiction market was changing in this direction at the time, and we’re seeing the full fruit of that in the dynamic nonfiction picture books hitting shelves now, for sure!

Phil and I focused on other projects for a stretch, and then in early 2012, he wrote to me that while visiting with the author-illustrator LeUyen Pham, they’d talked about this manuscript (which she’d seen in early draft), and she suggested taking it in a direction inspired by SONG AND DANCE MAN by Karen Ackerman (illustrated by Stephen Gammell). “The lightbulb went on,” Phil said. With that “fresh lens,” as he put it, he focused, revised, and gave it more rhythm and dance, and sent me a version that was closer to 600 words. When I read it, I knew he’d had a huge breakthrough. The writing just sparkled, and that’s my favorite part about this book now, that great tall-tale voice, the way the story sings.

​Why did you choose to submit this manuscript to Melissa Manlove at Chronicle Books and why were you pleased she acquired it? 

As Phil and I began working together, I reached out to many editors he knew from previous books and from publishing networking, in addition to introducing him to new ones. This submission was a little of both: He knew Ginee Seo, who had moved to Chronicle, and I sent it to her. Ginee suggested Melissa would be a perfect match for it, and it happened at the same time I was in the process of beginning to correspond and chat with Melissa, just getting to know her and her list and sending submissions her way. I sold Melissa Deborah Underwood’s INTERSTELLAR CINDERELLA about a month before she took Phil’s manuscript to an acquisitions meeting, and soon I was seeing the brilliance that is Melissa Manlove up close as she worked with both of these clients and their texts. She really is incredibly talented at what she does, and Chronicle has done an amazing job of marketing the book as well.

How pleased were you with the selection of John Parra as the book's illustrator?

I literally could not have been more pleased. I knew his work was going to be terrifically fun and folky, and reflect the spirit of the text I loved so much. It totally surpassed those expectations. (Yet another thing Melissa Manlove and the Chronicle team are brilliant with: Matching text and illustrators!)

Why would you like to see this book in the hands and hearts of countless children?

Oh, so many reasons! I think in the U.S., we tend to ignore or belittle the people who work mostly behind the scenes, when the truth is that we depend on those people for our safety and comfort. I love that we’re focusing on a garbage man here--a regular guy, doing his very best. I love that we get a glimpse of the person behind the role, and that he chose to make every day a celebration--something else that all of us could learn from. I love that he looks like a giant, with stars and rays behind him, on the cover of the book, shining as an example to all. I love that the story was born out of Phil’s volunteer efforts in the wake of Hurricane Katrina, out of the personal connections he made there, out of Cornelius’s own resilience, and out of the good things that emerged after great tragedy. (I’m a huge believer in fostering resilience in children, and I think examples of others being resilient can be powerful.)

​And as Phil has shared, I love that there are classroom connections to be made here, giving the book even more life--both in studying Katrina and in examining this book as an example of a tall tale, showing kids how to see stories in the everyday things around them. I hope it inspires many of them to value writing and story and perhaps grow up to be writers themselves…or at least live their lives in a way that notices the tiny moments that make up the flow of the years.

Erin Murphy founded her eponymous agency in Flagstaff in 1999. The focus at EMLA is not just on shepherding books to publication, but on building careers—and creating a sense of community, as well. Before becoming a literary agent, Erin was editor-in-chief at a Flagstaff (Arizona) publishing company that produced children’s books as well as adult lifestyle and art titles with a regional focus.