Category Writing

Dec 5 2013

The Road to Publishing: Juana Martinez-Neal on Landing an Agent

By Lila Q. Weaver

Since Juana Martinez-Neal is an illustrator, writers might be tempted to skip her how-I-landed-an-agent story. Don’t! Anyone seeking professional success will find value here. In the following interview, she shares her journey to the 2012 Showcase Portfolio Grand Prize at the SCBWI Los Angeles conference, a coup that led to agent representation and many great opportunities. No matter your craft, Juana’s approach serves as a model of careful study and preparation, which on top of her brilliant art skills, gave her the winning edge. In today’s competitive world of publishing, that’s a lesson we can all put to good use.

Latin@s in Kid Lit: Were you a published illustrator before winning the portfolio award at the SCBWI conference? If so, how did you get jobs?

Juana: Before the Portfolio Grand Prize, I was published by smaller publishers, the educational market, and advertising companies. My jobs would come from paid, online portfolios, such as childrensillustrators.com. I would also email samples to art directors that accepted email submissions. I never got around to sending postcards to a mailing list. That was a mistake! I would also attend SCBWI regional and national conferences. Whenever these conferences offered portfolio shows, I entered mine and paid for critiques. Critiques are a great way to put your work in front of editors and art directors.

Latin@s in Kid Lit: How did you prepare for the SCBWI portfolio show? The competition must have been fierce!

Juana: Illustration, much like writing and every other profession, requires everyday practice. If you rush to get twelve new pieces ready a month or two before a portfolio show, chances are, your pieces will be decent. But decent doesn’t win a show. You must work everyday, year round.

The selection process is simple and repeats every year that I attend the SCBWI LA Conference. A month-and-a-half beforehand, I select fifteen to eighteen favorite pieces from everything I’ve done within the last twelve months. After printing them at 8.5” x 11”, I meet with my illustrator friends, who help me choose eight to twelve of the strongest ones. On my blog, I have a series of posts about portfolios, including how to put together a children’s illustrator portfolio, a comparison of my 2011 and 2012 portfolios, and a how-to on mounting artwork. 

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Most of the time, we recognize outstanding work before we produce outstanding work. Ira Glass said it beautifully here:

“What nobody tells people who are beginners — and I really wish someone had told this to me . . . is that all of us who do creative work, we get into itbecause we have good taste. But there is this gap. For the first couple years you make stuff, and it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase. They quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know it’s normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.” –  Ira Glass on Storytelling: http://www.youtube.com/watch?v=BI23U7U2aUY

When we put this into practice, there comes a time when our work starts matching our expectations. Our hand starts painting what our brain has envisioned. At that point, we may be ready. I didn’t know I was ready to win when I did. I knew my portfolio was decent, and I knew that eventually I would win—but not that year. I thought: I will win in 2014. I gave myself two more years.

In 2012, I was pregnant and putting my portfolio out because the following year I would have a baby to take care of and would have to miss the conference. There is an action of letting go that generates energy. That energy makes things happen and surprises us in the most wonderful ways.

Latin@s in Kid Lit: After you won the portfolio award, did agents approach you at the conference or through e-mails and phone calls? Tell us a little bit about that.Image 3

Juana: Agents can approach you all different ways if they are interested. In my case, I met Stefanie Von Borstel, of Full Circle Literary, at the Portfolio Showcase. She had been one of the judges and enjoyed looking at my work. We talked during the conference a few times and stayed in touch. Three months later, we signed a contract.

I think it’s important to meet the agents you are interested in. Listen to yourself during that first call or meeting. You need to feel comfortable and communicate easily with her/him. You will be working with that person for what you hope is the rest of your career. We are all so eager to get representation that sometimes we may let warning signs slide. Please don’t. Listen to them. You don’t want to waste time.

Latin@s in Kid Lit: Your experience shows how helpful conference attendance can be for connecting with agents.

Juana: If there are agents presenting at breakout sessions, go listen to them. You’ll get a great sense of who they are and how they work. You will be able to tell if you could work together. Personality counts. I’ve seen some rather quiet, introverted friends with agents that are their complete opposites. Their relationships work wonderfully. They complement each other.

Latin@s in Kid Lit: What difference has it made to your work to have an agent representing you?

Juana: Having Stefanie as my agent has improved my work. Her comments come from someone who knows this industry so well. She helps me find direction when I’m feeling a bit confused. An agent will help you polish your manuscripts and dummies and get them ready for editors and art directors. I also love the fact that they will take care of the contracts. There is so much I am not aware of when it comes to legal matters.

Latin@s in Kid Lit: What are some other tips for illustrators on getting the attention of art directors and agents?

  • Create work consistently, continuously.
  • Stay busy. If you have no paid projects, give yourself assignments regularly. Set some deadlines for yourself.
  • Keep your portfolio updated. Post new work regularly, but post only your BEST work.
  • Mail postcards consistently, every three to four months. Be critical when selecting names. A mailing list of 80 can be very effective. Send postcards to anyone you would love to work with.
  • Look into agents’ clients and books. Follow them on Twitter. See if your work is a good match. Keep in mind that if they have someone with a style too similar to yours, chances are, you won’t be picked. Why have two artists that do almost the same work?

******

Image 2Juana Martinez-Neal was born in Lima, Peru, to an artistic family. At 16, she was already laying the groundwork for a career in children’s illustration. She now lives in the United States. Her work has been featured in Babybug, Ladybug and Iguana magazines, and recently made the cover of the SCBWI Bulletin. See more of Juana’s glorious gallery at her website, where you can also take advantage of detailed tutorials on portfolio selection and assembly and read fascinating illustrator interviews.

Dec 2 2013

The Road to Publishing: Chantel Acevedo on Landing An Agent

By Chantel Acevedo

Can we all agree that the road to publishing holds its share of intimidating turns? In our last post, Zoraida took on querying, a key lead-in for this week’s revealing and instructive accounts on seeking out and landing agents. We’ll first hear from writer Chantel Acevedo. In Thursday’s follow-up, illustrator Juana Martinez-Neal outlines a different approach. Don’t miss it! 

If you don’t know Chantel, your must-read stack is about to grow by a few inches. You could start with her lyrical debut, Love and Ghost Letters (St. Martin’s Griffin), winner of the 2006 International Latino Book Award, or you could hurry straight to her only novel for young adults, Song of the Red Cloak (CreateSpace Independent Publishing), a dazzling thriller set in the violent world of ancient Sparta. Starring a slave boy and an epic cast of characters, its otherworldly moves will unnerve and thrill you. 

Tamer by comparison, but nonetheless exciting, here is Chantel’s almost-epic quest for an agent.  —Lila & Latin@s in Kid Lit

Song of the Red Cloak   Love and Ghost Letters

Oh, how I love “How I Got My Agent” stories. Some of the most interesting ones read like love stories, replete with missed opportunities, feelings of kismet, and a big, romantic moment in the guise of a contract.

Perhaps I’ve gone too far with that analogy. Even so, finding and landing an agent can feel very much like a courtship, and there can sometimes be lots of angst and anxiety. Even the most successful of agent hunts can feel a little like this. Let me tell you about mine.

I began shopping my novel manuscript in May, just a few weeks before my family and I left for a summer-long trip to the UK. I would be teaching a study-abroad class in London, and thought, for some crazy reason, that my first time in Europe would serve as a distraction and curative for agent-hunting-angst. This strategy totally failed, by the way. Big Ben, trips to Stonehenge, seeing the actual Queen in a parade—none of these things helped me to forget that my manuscript was out there, being judged, just one book in a flood of books, all resting in email inboxes across New York City.

Initially, I’d sent the book out to one agent. It was a recommendation from a very well known author, a mentor and friend I greatly admired. Her agent, a real publishing legend, requested an exclusive read, which I granted. This included signing an exclusive read contract that tied the book down for six weeks. Eight weeks later, after I’d chewed my hands off during the wait, she wrote to say that she wanted revisions before signing me, but would not reveal those revision suggestions unless I also agreed not to send the book out to anyone else. If you think I felt a bit like a hostage at that point, you wouldn’t be far off.

Under other circumstances, with a different book, I might have agreed to this. But the book, I felt, was really polished. It’s my fourth novel, and I had a sense that the book, if not 100% ready for submission, was very nearly there. Legendary agent told me she suspected we wouldn’t speak again, that other agents would want to sign on to the project. I thought, “From your lips to God’s ear, lady,” I thanked her, held my breath, and submitted the book to seven other agents I had been stalking on Google, AgentQuery.com, and Publishers Weekly.

How did I choose those seven? Two were recommendations from other authors. The rest represented authors I admired, and whose books I felt had some kind of kinship with mine. I looked for agents who represented diverse writers, who dug literary historical fiction, and who represented more than one genre.

One agent wrote back within 24 hours of receiving the query to say she’d like to see the full manuscript. Another, incredibly, wrote back within TWO hours to ask for the full. Another asked for the full about two weeks after receiving the query letter. One other turned me down with a form letter. Of the three who first requested the full, one wrote back within three weeks to say she’d like to chat on the phone. This, of course, is the holy grail of all messages, and when we spoke at last, she was complimentary, enthusiastic, and had a plan in mind.

I told her I had to alert the other five agents still in the running to her offer, and give them a chance to respond. This agent seemed a little put off by that, but I chalked it up to her enthusiasm for the project. To be honest, it’s hard to get past that first agent you speak to. It’s like the dam bursts after all those months of waiting, and you just want to say, yes, yes, YES! But, I held my breath again, asked for a week to make my decision. Then, I emailed all the agents who had the manuscript, and everyone else I had queried and not heard from.

Of the two who had already asked for the manuscript, one bowed out, saying it sounded like I’d found a good match. Another asked for a week to read, and three days later passed. That left the three who had not responded to the query. I was so very surprised and happy when all three asked for the full manuscript and for more time to read.  The next day, I got a message from Stéphanie Abou at Foundry Media, saying that she was loving the book and that we would chat after the weekend.

I spoke with Stéphanie for over an hour that Monday, in a pretty unconventional setting. I was back from my trip abroad, and visiting my family in Miami. I had taken my daughters on a water park playdate. While they splashed, Stéphanie and I talked about the novel, about her approach to submission and the author-agent relationship. We talked about my publication experience, and some thoughts on revision for the current project. And she told me about her daughters, and her fabulous background (she studied at the Sorbonne! In Comparative Literature! Be still my heart!), and her interest in diverse authors. She was funny, a straight-talker, smart, and upbeat. All the while, I was scribbling like mad in my notebook and slapping mosquitoes away from my legs. Oh, and I was dripping wet.

I told Stéphanie I’d think about it a couple of days, and we said goodbye. I talked it over with friends and family. I would tell them about Stéphanie and the other offering agent, and the other two potential agents that I had not heard from. They listened patiently as I prattled on, then, one by one, they all told me, “You’re going with Stéphanie because you look all love-struck when you talk about her.”  Was I that transparent?

So, I emailed the other agents, the ones still reading. They both asked for more time, even though the week was up. I thanked them for their interest, and indicated I was ready to make a decision. Others might have granted the time, but I didn’t want to string them along, either. My gut was telling me I’d made a good match. 

The hard part, of course, was emailing the other offering agent, the first one to step up, and tell her thanks, but no thanks. She never wrote back, and I hope whatever thoughts she had about me weren’t too terrible.

Then, came the fun part. Telling Stéphanie I thought we’d make a good team. There was much celebration on either end of the line. There would be some revisions to come, and then the anxiety of going on submission, of course. But above all of that is the feeling that I made the right choice, and that my book has the best champion it can have in the lovely, talented and supportive, Stéphanie Abou.

Image 4Chantel is an Associate Professor of English at Auburn University, where she founded a writing conference, leads a writing program for teens, edits the Southern Humanities Review and somehow finds time to create new fiction.  Her upcoming novel from Carolina Wren Press, A Falling Star, is already an award winner. Learn more on Chantel’s website.

Nov 25 2013

The Road to Publishing: The Big Q–How to Write a Query Letter

For this series of posts, we are writing about the road to publishing. You should start with our overview and then read this post about working with beta readers and critique groups. Today, Zoraida tackles the query letter.

By Zoraida Córdova

So you wrote a book.

First of all, congratulations. Writing a book, whether it’s fiction or non fiction, 1k words or 100k, it is no easy feat. Once you’ve revised and gone through the critique process, you’re ready to put yourself out there.

What do I need?

I’m glad you asked. First, you need a query letter. I know, you’ve already written all the words, now you’ve got to write a couple more!

Where do I start?

Round up the agents that you want to work with. Always make sure that they represent the kind of book you are shopping. If an agent says they only rep Adult Romance and Women’s Fiction, then you probably shouldn’t send them your Middle Grade Action Adventure told from the POV of a young boy.

Some good places to start are:

Agent Query

Writers Beware (I’ve been reading this site since high school and learned a lot)

Publisher’s Marketplace (Warning: keep to the agents. Don’t get discouraged if you see deals that are similar to your work.)

Writer’s Digest

Basically, do your research.

Great, so let’s write the letter.

The Vicious Deep (The Vicious Deep #1)Keep it simple, professional, but still be yourself. Let’s work with my novel, The Vicious Deep.

I’ve seen query letters start one of two ways: with something flattering about why you are querying the agent and your MS title or with your novel hook.

I like to start with the novel hook because if you’re querying the agent, then it’s a given that you a) like them b) like the work they represent c) did your research.

Dear Ms. Rosado, (From my agent, Adrienne Rosado, herself: “I’ve had authors congratulate me on placing a title for an author I don’t represent and who have started their letters to me with ‘Dear Mr. Rosado.’ A little research goes a long way.”)

Tristan Hart is a playboy, a lifeguard, and after a freak storm on his home shore of Coney Island, a merman. (A hook. No pun intended)

He discovers that his grandfather, the sea king, is getting on in years and has set up a championship for the throne. Along with four eligible mermen, Tristan must piece together the three parts of the trident and return to court in a fortnight. The trident pieces could be anywhere in the world, and armed with his good looks and a family dagger, Tristan doesn’t know where to start. With the help of two court guards, Brooklyn’s supernatural alliance, and his reluctant girlfriend, Layla, Tristan is on his way to retrieving the first piece of the trident. But the champions aren’t the only ones fighting for the throne. The Silver Mermaid, ancient and powerful, has broken from her prison. She’s got an army of vicious merrows at her disposal, and she’s got her sights on Tristan Hart. (Summaries are the hardest because how do you whittle your 100k words into a tiny paragraph? Start with your Character, Challenge, Goal, Obstacle. I know there are plenty of subplots in your novel, but try to stick to the major one for now.)

THE VICIOUS DEEP, a YA urban fantasy complete at 100k words, is the first in a trilogy. It will appeal to fans of Charles De Lint, Holly Black, and Buffy the Vampire Slayer. I believe my work would be a good fit for you because of your interest in fresh YA fantasy. (Make sure your manuscript is complete. Don’t lie about this. I know you want to get your book into agents’ hands, like, yesterday. But you’d do your work a disservice if an agent asks for the full manuscript and you only have half of it.  Also, include something personal about the agent you are querying. You might have heard them speak at a conference. You read their bio on the agency website, etc.)

I studied English Literature and Latino Studies at Hunter College. In 2004 and 2005, I attended the National Book Foundation Writing Camp. My short work has been published in the anthology GROWING UP GIRL. (Credentials, if any. You don’t have to have an MFA in Children’s Literature to write a novel. It’s great if you do, but don’t be discouraged if you don’t. I certainly don’t, and I still managed to get my books published.)

I look forward to hearing from you.

Best,

Zoraida Cordova

What now?

After you’ve spell checked and read your query over, it’s time to send it out. Always double check the submission guidelines. All agencies will have this page. This is an example from my agency.

Former agent Nathan Bransford says that you should always include a five page sample of your work.

I believe this is will also save time in the back and forth process with the agent. Now that they have a tiny sample of your work, they can know if they want to see more.

For further questions, comment here, email us at latinosinkidlit@gmail.com, or message us on Facebook or Twitter. Don’t be shy!

Good luck!

Nov 18 2013

The Road to Publishing: Receiving Feedback from Beta Readers & Critique Groups

For this series of posts, we are writing about the road to publishing. You should start with our overview. Today, Stephanie discusses beta readers and critique groups.

By Stephanie Guerra

How important are beta readers and critique groups to the writing process? Take a look at any acknowledgments page for a quick answer: very. Beta readers provide much-needed perspective for authors who’ve seen the same pages often enough to recite them from memory. They contribute feedback that ranges from formative to collaborative to editorial to cosmetic. Some of the feedback is valuable; some isn’t. Sometimes it’s hard to tell the difference.

I’d like to share a list of tips for the most effective ways to work with beta readers and critique groups. This list is focused on productively receiving feedback; I’ll post another later on giving effective feedback.

Over the past decade, I’ve done an MFA in creative writing, I’ve had critique partners, I’ve participated in writing groups, I’ve worked with teachers who run student writing groups, and I’ve taken four books through the editorial process. Please take what’s useful from my thoughts; leave the rest. That’s the first rule for this list and any other advice you’re offered as a writer!

Seek criticism. Seems obvious, right? But many writers secretly want cheer leading rather than tough feedback—and many beta readers and critique groups are (understandably) hesitant to offer truly honest criticism. Writers tend to be sensitive and beta readers are often friends or colleagues with investment in the relationship. My strategy is to insist verbally and then repeat in an email that I want the toughest criticism my beta reader can offer, and that I see it as a major gift. If the critique still comes back too glowing, I’ll ask further questions, specifically targeting areas I know need work.

Don’t argue or explain. Resist the temptation to justify your work. When a beta reader offers criticism, take it as the gift that it is, take notes (if appropriate), and listen carefully. If the feedback raises further questions, feel free to ask them. But don’t tell the beta reader why they’re wrong or what they missed.

Choose your critique partners and beta readers carefully. Not everyone is skilled at offering useful feedback. It’s best when your partners are professional writers as good as or better than you, industry professionals, or literature/writing professors. Of course, that’s in an ideal world. Many people who are simply avid readers can give great feedback, especially when guided by questions from the author.

Try out different writing group formats. There are many ways of running critique groups. One popular method involves members reading aloud from their work while the group follows along on hard copies, making notes. After the reading, there’s a group discussion. I find this method frustrating in general but sometimes useful for moral support and fine-tuning. I’m a novelist and I need big-picture feedback on full manuscript drafts. However, this format works well for people who want to take a picture book, short piece of writing, or single scene to the next level.

Image from Creative Commons

Another format involves emailing work ahead of time to members, who then read it and prepare feedback (usually in writing) to be discussed at the meeting. I like this option better than the first; I think digestion time is conducive to stronger feedback.

However, after ten years of experimenting, I’ve decided writing groups eat up too much of my time without enough to show for it. I now focus exclusively on manuscript trades (or other trades) with trusted writer friends and beta readers.

Offer trades. Don’t lose sight of the fact that when you ask for feedback, you’re asking for a significant amount of work from someone. No matter how graciously your reader refuses, insist on a trade of some sort. If he or she is a novelist, offer a critique—even if it’s a future critique. If your reader is in another line of work, offer something. And don’t take no for an answer. Free babysitting, a gift card, a gift basket… something to show you recognize and appreciate his or her time and effort.

Don’t ask for another read too quickly on the heels of the first. (e.g. “I made some changes. Now could you read it again and tell me what you think?”) First of all, the changes you made probably aren’t as significant as you think they are. Second, it can be torture to reread anything but a cherished classic, let alone someone else’s work-in-progress. If at all possible, seek a different reader for the new draft.

Guide the feedback. Don’t be afraid to state exactly what you’re hoping to get out of a critique. “I’m ready to submit this and all I want is fine tuning and line editing.” Or “I’m struggling with the narrative arc, and need you to tell me where it feels slow.” Or “Can you read for Joanna’s character, paying attention to when you start to distrust her and when you know for sure she’s mentally ill?” Be specific and offer a written list of questions or areas of concern.

patienceBe patient. You handed off the manuscript yesterday, you’re doing the math, and if your book was really interesting, he’d have started last night and finished by now! So where’s his email? A joke, but not that far off from how some of us feel when handing off our newborn. Remember that the urgency is yours and yours alone. The manuscript is just another thing on your beta reader’s giant to-do pile. So cut him or her some slack. Don’t pester. I’d say two months is a fair wait before a nudge. (Although I’d skip nudging altogether if possible.

Notice trends. If you hear the same feedback from several readers, it’s definitely something to work on.

Know your readers and their talents. People have different kinds and levels of skill in offering feedback. Some are great at big-picture feedback. Some can nail plot problems and suggest fixes. Others have a feel for characters or language. And a few gems can do everything. Know your beta readers’ strengths and ask for critiques correspondingly. For instance, don’t give your copy editor friend a first draft. Do ask your character-savvy reader to take a look at an early draft to give a thumbs up or down to your cast.

I thought I’d stop with ten, but this one has to be said. Enjoy the process, take the criticism, and realize that none of this is a huge deal in the grand scheme. We’re just lucky to be writing!

Nov 11 2013

The Road to Publishing

 

Where do you find yourself along the road to publishing?

Check all that apply:

__Shopping for a vehicle

__Mapping a route

__Calling for roadside service

road signs

Image from Creative Commons

__Arriving at your destination

Let’s say this is your first publishing quest. How nice if you could enjoy the ride and worry less about breakdowns and wrong turns. We know how you feel. Over the coming weeks, our posts will provide tips for the rewarding, but arduous journey toward seeing your book in print.

To get things rolling, please enjoy a few insights from our experiences:

What made you realize THIS was the book you wanted to share with the world?

Zoraida: I had been working on some contemporary stories about a young Ecuadorian girl (we were very similar), but it just wasn’t going anywhere. Then one day after wanting to read a mermaid fantasy with action and cute boys, I decided to start writing the story myself. It is true what “they” say: you have to write the story you want to read.

Stephanie: I’ll apply this question to my upcoming series, Betting Blind and its sequel, Out of Aces, which will be pubbing in 2015. Both books were inspired by my youth in Las Vegas. I lived on my own at sixteen in a colorful, funny, sleazy, interesting city. It gave me a lot to write about.

Cindy: I am a visual person, so I “saw” the opening scene in my head long before I knew how the entire story would unfold. I was in the middle of a master’s program and had no real plans to be a novelist although writing a book was always in the back of my mind. I tried mentally to set aside this “daydream,” but it wouldn’t leave me alone. One night, although dead tired, I was compelled to write out the scene. After that, I had to keep going. The basics of the story–teens, teaching, depression, Emily Dickinson–are all familiar to me.

What’s on your recommended-reading list for all things publishing?

Ashley: Many things helped me on the journey to professionalization, but none was more crucial than agent and editor Noah Lukeman’s excellent little e-book, How to Write a Great Query Letter. Lukeman’s advice cuts straight to the heart, and once I revised my query letter (about 7 times!) according to his advice, I started getting requests for partial and complete manuscripts.

Zoraida: When I was in high school, Bird by Bird, by Anne Lamott was my writing bible. I haven’t read it in years, but I always think about it when I’m working on a novel. I recommend it to anyone who asks.

Stephanie: For more soul-feeding, encouraging material, especially for those who also teach writing, I recommend Wallace Stegner’s On Teaching and Writing Fiction. He writes with candor and clarity about the rejections, the wait time, and all the other thorns in the path to publication, but ultimately his message is really encouraging.

Lila: Mary Kole’s Writing Irresistible KidLit is a solid resource. The bulk is about craft, but you’ll also find advice on querying and approaching agents. I also tune into reliable blogs and newsletters. You can’t go wrong with the Society of Children’s Book Writers and Illustrators.  

Cindy: I searched online for most of my information. The places I found most helpful were: SCBWI, YALitChat, YA Highway, and Query Tracker. SCBWI and YALitChat introduced me to critique groups, regional and national conferences, and other people like me chasing the dream. YA Highway is a popular site with loads of information about the process provided by writers. Query Tracker is a free–FREE!–online database of agents and editors. This is what I used to find agents to query and to keep track of my process– when a query was sent, what was the response, etc. It was a great resource and led me to my wonderful agent, Laura Langlie.

On our Facebook page, Samantha Villarreal asked: “Is it best to have an agent? Are the major publishing companies actively searching for Latino children’s lit or is it better to try smaller companies that focus on Latino lit?”

Ashley: I would say yes to the agent question. Whether you aspire to ultimately publish with a larger publisher or with a smaller press like Cinco Puntos or Arte Público, an agent can help you manage the decision-making and handle the business side of things. Later, we’ll be sharing more on how we connected with our agents and publishers.

Lila: I can vouch for the fact that it’s possible to break in without an agent.  My book was published through an academic press. Within six months of its release, the exposure that the book brought me led to contact with an agent.

Cindy: To seek an agent or not, to aim for big or small publishers, or to self-publish are all personal decisions based on your strengths and needs. From the start, I knew I wanted an agent and would pursue traditional publishing. I had no experience or connections in the publishing world, and I had little confidence in my abilities to produce and promote my own novel as a self-publisher. For these reasons, I decided I would do the writing and rely on an experienced agent and editor to guide me through the rest of the process.

Have agents and editors preserved your artistic vision?

Zoraida: My agent, Adrienne Rosado, is very encouraging. Even though I’m sure she gets an ulcer every time I say, “I have an idea…” My editor at Sourcebooks Fire, Aubrey Poole, is great at looking at my fantasy world and asking the questions I don’t ask. And she pushes my hero in the right direction. We’re working on the last book in the trilogy and I’m excited for the final product.

Stephanie: My editor has been completely supportive of my artistic vision. She’s never asked me to make changes I disagreed with, and she has always left the final decision in my court. We’ve worked on three books–soon to be four–together, and I love the smooth partnership we’ve developed.

Cindy: As a first time writer, I can say the search for an agent and editor is like literary e-harmony. You put yourself out there and wait until you find the perfect match for you and your project. Both my agent and editor loved my story, which is why they both said, “yes.” That’s what you want and need–an agent and editor who fully support your choice of subject matter and your writing style. They need to love it because they will be wedded to it–and you–for a long time during the publishing process.

Suppose your efforts to capture an agent’s interest haven’t gone anywhere: what then?

Cindy: Analyze what may not be “right.” Is the writing as good as it can be? Is the query the best you could do? Are you aware of what the agents and editors are looking for when you are querying? Then I would say go to a conference, have a one-on-one, join a critique group…do something you’re not already doing.

Image from Creative Commons

Image from Creative Commons

So now we’re off on a roll. Join us in the coming weeks as we bring you more advice from agents, editors, and other authors traveling the road to publishing. AND, we would love to hear from you! What has your journey taught you?

Nov 4 2013

Author Meg Medina Talks About Writing Villains

 

By Lila Quintero Weaver

Meg Medina knows how to connect. When she writes, her words crackle with strong storytelling and believable characters. When she stands at a microphone, her Cuban-American-inflected vitality will reduce you to tears—of laughter. You can imagine how much her young readers love her. So do we! And we’re delighted to present an interview with Meg about her latest book.

First, here’s an introduction to her earlier work. She’s the author of a picture book, Tía Isa Wants a Car, winner of the 2012 Ezra Jack Keats New Writers Award; a middle-grade novel, Milagros: Girl from Away; and a previous novel for young adults, The Girl Who Could Silence the Wind.

Tia Isa Wants a Car      Milagros: Girl from Away      The Girl Who Could Silence the Wind

Meg’s most recent contribution to YA bookshelves is the Kirkus starred Yaqui Delgado Wants to Kick Your Ass (Candlewick, 2013), a gripping story set in Queens, NY, where sophomore Piddy Sanchez lands after a crosstown move. Readers come to know Piddy at her best and worst, as she grapples with a new high school environment. Let’s just say that everything gets dicier when she enters a bully’s lair.

What can we learn from Meg’s gift for storytelling? For one thing, she writes with a keen eye toward characterization. Her eponymous villain, Yaqui Delgado, is a craft lesson on legs. Happily, Meg has agreed to unpack a bit of her villain-making magic for us.

Latin@s in Kid Lit: Meg, thank you for talking to us about craft. Your novel Yaqui Delgado Wants to Kick Your Ass puts the protagonist in a terrible bind. Before we discuss Yaqui, can you give us a better sense of who Piddy is and how she lands in this fix?

Meg: Unfortunately, Piddy is at a new school. Essentially, she’s the little gazelle that got separated from the herd. Never good. Up until that point, she’s an ordinary girl. She’s bright, engaged in school, but like lots of us at 16, she’s struggling with her mother and is starting to question the choices her parents have made. The fact that she gets targeted is purely random. A horrible fact of bullying is that it has very little to do with the victim. Kids can get bullied for virtually any reason…for being smart or for being slow; for being unattractive or for being too attractive; for being poor or for having too much money. The reason for the attack usually resides in what makes the bully nervous or insecure. Kids can easily forget that. It’s easy to internalize the message that they are in some way a loser.

Latin@s in Kid Lit: You give readers a wicked combination of physical and cyber-bullying. How did you become interested in girl bullies? Can you share tips about using hot-button issues in fiction?

Meg: To be honest, I don’t think about hot button issues to write about. They change too quickly! In this case, I had been invited to write a short story for an anthology about Latinas as a turning point in their lives. As I thought about turning points in my own life, I decided to base the story on a bullying incident I lived through long ago, mostly because it made such a lasting negative impact on how I saw myself and how I moved through the world. The anthology project died, but my editor at Candlewick asked me to turn the story into a novel. I layered in new characters and dimensions that hadn’t been part of the story, and I added in the details that are part of bullying today, such as YouTube and social media.

Yaqui Delgado Wants to Kick Your Ass

Latin@s in Kid Lit: Yaqui fits a certain type of inner-city bad girl that many of us know only from the movies, but by the end of the story, she’s achieved a dimensional status that satisfies and amazes. What was your process like for keeping Yaqui from collapsing into stereotype?

Meg: I really just concentrated on writing the truth about my own bully long ago. My feelings were a strange mix of hatred, dread, and admiration for all her power. The fact is, no one is all good or bad, and the gloriously bad character is often charismatic or fearless in a way that’s really interesting. Also, no one behaves so violently or poorly without a reason. We don’t have to excuse a character’s awful behavior, but it helps to understand it. I dabbed all of those things on Yaqui as a character to make her compelling, and to make her a worthy foe.

Latin@s in Kid Lit: Through much of the story, Yaqui remains aloof and doesn’t enter Piddy’s space until the right moment. Your portrayal of her evokes a wolf silhouetted against the moon. Chilling. Please share more about enhancing dread through this technique.

Meg: Well, dread is actually the perfect word. I worked on dread inside Piddy as character and inside the reader. For the reader, watching Yaqui circle closer is like watching the fin cut through the surface of the water behind a swimmer at the beach. Oh no! Something horrible is coming, but you can’t stop it. In this case, it’s not an ocean, but a school and neighborhood, places where we think we ought to be safe. In terms of building dread inside of Piddy, I tried to recreate the feelings we might have when we’re in a room or social situation with someone we really dislike. Think of how that goes: You avoid eye contact. You try your best to think of something else, to look calm, to avoid the spot where that person is standing. But all you can think of is that person and the awkwardness of being nearby. Their presence becomes oppressive.

Latin@s in Kid Lit: There’s a powerful scene where Piddy begins to adopt Yaqui’s look. She pulls her hair back into a severe bun and plucks her brows to a thin line. She puts on dark lipstick and steps back to admire her handiwork as “expressionless and strangely vicious.” It’s a horrifying turn of events. Can you talk about pushing your protagonist this close to the edge of villainy?

Meg: Pain can lead us to some terrible places. In Piddy’s case, she tries on the Yaqui costume, so to speak, as a way to explore and protect herself. If you’re scary and vicious, who will bother you? I took her to that edge because as a writer you always make sure the stakes are very high for your character. I was after a problem that threatened her very sense of who she was, a problem so tangled that an easy answer was hard for her – and for the reader – to solve.

Latin@s in Kid Lit: Piddy’s best friend, Mitzi, has moved, too. She’s blossoming in the paradise of the suburbs and is mostly unavailable to Piddy. She reminds us of what Piddy’s life used to be. What else does sweet Mitzi contribute? What do apprentice writers need to know about using secondary characters for the benefit of the story’s arc?

Meg: Yes, Mitzi definitely shows us the “old” Piddy. She wasn’t in my first draft except in that sentence that refers to Piddy’s friend moving away. But as I worked on the manuscript, I built up scenes to show the old Piddy and also to keep a path open for the way back. I also liked how she worked as yet another version of a normal Latina girl: brainy, scientific, sports-impaired, middle class.

Photo credit: Petite Shards Productions

Photo credit: Petite Shards Productions

Latin@s in Kid Lit: Meg, mil gracias! We celebrate your achievements in Latin@ kid lit and look forward to your next book!

To learn more about Meg’s work, the latest on her author appearances and much more of interest to readers and writers, please visit and follow her blog.