Bios and Nonfiction

I realize that the agent reading the bio of a query wants to see relatedness between the writer and the subject about which they write, so with that in mind - can revealing help or hinder in any way what a prospective agent thinks when weighing the merits of the writer against his/her work? I know it may help if I want to write some legal thriller novels, but I am only interested in the YA and children genres.

If you're writing nonfiction, then yes, we really do want some reason to think that the nonfiction is not full of mistakes copied from Wikipedia, or "facts" revealed to you on a piece of toast by Jesus.

If you're writing fiction, there doesn't need to be any related experience with your subject.

If there is-- if you're writing a legal thriller for teenagers and you have legal experience, or have actually been to juvie yourself, that's just gravy.

If there isn't, just try not to say something weird, like about your advanced degree in grandmotherhood / cookie-baking or how you're writing about teddybears because you have the ability to hear their thoughts.

Without Fear of Punishment... or Publication

Do editors worry when children’s book authors post political trash talk on the internet?
I’ve seen some pretty offensive comments on Facebook and other forums; as a result I’ve passed on purchasing several titles over the last couple of years. I don’t believe in banning books, but I just can’t bring myself to personally contribute to authors I find offensive.

Well, editors are busy people and may or may not find the time to look into what a potential (or currently signed up) author is getting up to on the internet. So perhaps not-- ignorance is bliss.

But I would hope that if any of my authors held political views that they knew would offend major segments of the public (if aired publicly), they would take that under advisement. I don't mean to say that they should necessarily say nothing about their views-- I'm a big believer in free speech, and I doubt that any one of us doesn't hold some belief that would set someone else's hair on fire.

Sane people know that however true and irrefutable their beliefs are, there's no point in bringing them up just anyplace, and in front of any audience. Respectful, reasoned discussions of current topics are a wonderful thing, but there's no point in them if the audience in front of you just isn't listening. And if it's not a respectful, reasoned discussion, but rather an angry, emotional screed, most people will respond by not listening and getting angry about it. Sane people know this.

Crazy people don't know this.
I don't want to work with crazy people. Nobody does.

I don't want anyone to be quiet when they feel it would be untrue to themselves. But I also want my authors to remember that they are ambassadors for their books, just as their publishing house is.

If they aren't interested in being ambassadors for their books, then they shouldn't be surprised if their publishing house loses interest in that, as well.

You Promoted Your Book and I Don't Bitterly Regret Coming! Win/Win.

The trend to over-share might be in part because for authors there can be quite a bit of fear-driven pressure [from peers and self] to be doing what the most visible authors are doing. And as many commenters have pointed out, some very visible authors fall into the category of internet over-share in terms of anything goes personal information. Some put out a lot of information very naturally, and some really very entertainingly - but others I suspect may be acting somewhat out of character in order to try to meet a perceived expectation [besides maintaining blog posting volume]. These can be our most prominent examples.

Actually, all of the examples I've witnessed were in person, at publisher-organized events. AND several of the worst offenders were very established writers who could easily have refused to do events. I think some people just have no damn filter.

In terms of the dangers of speaking over-share, when people ask authors to speak they often don't have any kind of request for a particular topic or theme, and we are just expected to do 'our talk'. I've seen authors talk about all sorts of things, more and less successfully. So besides what not to say [which IS helpful!!], what would you give as advice for an author wondering what exactly to really focus on when asked to give a general talk?

Well, the reason authors usually aren't given a topic or theme is because nobody else but you knows what you can speak entertainingly about. You could speak about eggplants and how they were clearly never meant for consumption. You could speak about your first meaningful experience of the power of storytelling (as long as you aren't breaking any of the rules). You could speak about publishing's pitfalls or writing's ecstasies or vice versa. You could even speak about your book, if you really want to.

The trick is just to find something that you want to talk about and other people want to hear. Still, if all you can manage is to avoid speaking about something your audience finds uncomfortable, disgusting, inappropriate, weepingly dull, or nightmare-inducing, I say: that's a job well done.

Way Too Much Information

I've just gotten back from another horribly awkward author event.

I should start by saying that most of the times I've heard authors give talks, it's been fine-- sometimes even legitimately entertaining (or in Shannon Hale's case, peeing-your-pants hilarious).

But as should not be a surprise, I've attended a lot of author presentations over the years, and sometimes it's hard not to leave them wondering just what is wrong with certain people.

Over-sharing seems to be a trait slightly more common among authors than other groups, and if you want to be a really good, professional author who never makes his/her editor want to crawl into a hole in the ground for letting you out in public, please, be aware of the danger.

Today, a list of questions to ask yourself before you say things in front of an audience:

1. Is it something you might reasonably share with a therapist?

Then it is not appropriate for the public. The public is not your therapist. Remember that.

2. Is it something you found out or experienced while wearing a hospital gown?

There's a reason for doctor confidentiality. That's right, it's for OUR benefit, not yours.

3. Is it something that might nauseate people who have just taken a bite of something squishy?

If it's not fit for dinner-table conversation, it's not fit for public speaking. Yes, even if there's no eating going on. Please try to remember that many of the people you speak to will have very strong imaginations. Don't make us regret that.

4. Does it concern parts of your body that are, in all public situations, covered by clothes?

EW, EW, EW, EW, EW. See above re: imagination.

5. Is it something that could be reason for your arrest if a policeman were present?

You are making us ACCOMPLICES, you CRAZY DIPSHIT.

6. Does it concern something you only ever (or only should ever) do in the bathroom?

MOTHER OF GOD, why do I have to point this out?!

This public service announcement has been brought to you by People for the Ethical Treatment of Audiences. If I never have to hear about another author's bitter family baggage, inappropriate hair issues, gory surgery details, unusual lingerie choices, or interstate crimes, I will be a happy, happy person.

What Not to Wear or Mention in a Query Letter

I have written a YA book that I'm about to pitch to agents. Here's my dilemma. I have enjoyed a very small degree of celebrity as a participant on the TLC's very popular WHAT NOT TO WEAR, and my episode has been a popular, often-aired one for almost two years. (It has tended to be aired on significant Fridays like Easter, the Presidential election night, and New Years).

It doesn't matter; no one knows your name well enough to recognize it on a book.

I have been hemming and hawing about whether to include this factoid in my query letter to agents.

No. Tell the agent you sign with after you sign. She'll be amused by this bit of trivia.

I figure that the thought may cross agents minds that teenage and adult women who watch WNTW (there are a lot of them, and this is basically the demographic of my target audience) may be slightly biased towards buying my book, should it be published. I've read a lot of blog posts discussing the importance of self-promotion and having an established fan base in a market in which authors are expected to bear this burden to a great extent.

I don't know which episode you're referring to, but I can't think of an episode of that show that hinged on the promotability of the victim. Kind of the opposite, you know? Most of them are about how much help the victims need?
You may indeed be a very promotable person, but I don't think this brush with fame is much of a stepping stone. (Of course the agents who read this blog are welcome to express differing opinions, if there are any.)

All media time helps, right? Should I keep this biographical detail out of my query? Let it be stated that this book has nothing to do with makeovers, fashion, or anything of the sort. Thanks! I'd be laughing now, if I were you. :)

Good luck with your search!

Characters on the Web, and Other Preemptive Publicity Attacks

So, I follow quite a few authors (and wannabe authors) on Twitter. One of them just Tweeted a link to her new web site, which is from the POV of her main character (of an unpublished book for which she is unagented). The site is professionally done and looks great, but I'm wondering how smart it is to have (and promote) a site for something that a. readers can't even buy yet, b. readers may never be able to buy, and c. potential agents might see.

This is not a bad thing. If she's writing a blog from the POV of her main character and gets a good-sized readership, that may help quite a bit in getting a book deal. Even if it's just a website and there is no proven readership, having a good-looking site promoting a book is a Good Sign to editors and agents-- it shows this is someone who is decent at promoting herself and is proactive about it. We like those qualities.

My WIP incorporates blog entries as part of the storyline, and so obviously I've been toying with the idea of registering the domain name and posting teaser blogs that tie into my WIP. I've always held off, though, because I wasn't sure how agents/publishers would react to that. What are your thoughts on this? Should people with finished manuscripts yet no agents or contracts be registering domains and creating online personas to reflect their characters?

As long as you're sticking to teasers (ie, you're not posting a major part of your book online for free), there should be no problem. (And, you know, some people do post all of their book online and get away with it.) It's never too early to make a good impression on the editor or agent who googles you.

Your Identity, for the Internet

I am getting ready to query a middle-grade novel, so I thought I should have something up for a website. What sorts of things should an unpubbed writer include on her site, if she should mention a website at all in her query letter?

Not your WIPs. Those are a secret, because they're special, right?

Your website, in the very lucky event that an editor decides to look you up, should tell the editor more about who you are as a person-- your other pursuits, anything that makes you particularly well suited to write for kids, your sense of humor, that sort of thing. Your website is a chance to make the editor think, "I like this person. She seems pleasant and fun, and not needy, neurotic, or crazy. I might enjoy working with her."

Careful with the clip art. A sampling of uncohesive art styles can make your website look messy. Good visuals to include might be the covers of published books you're reading and enjoying-- and make them recent pubs, ok? We like to see that authors are keeping up with the industry.

Once you're published, put each of your own books up with their reviews, the price and publisher. Link to IndieBound as well as Amazon and B&N. Point local readers to your local bookstore. Talk about the events you do with kids.

Fact vs Fiction, Men vs Women, and Brian Lies vs the World

How does an editor go about editing a nonfiction book? (e.g., does she read up on the topic, etc.?)

I'll send nonfiction out to be proofread and fact-checked, and possibly to a specialist for verification. Certainly if I acquired a book about a nonfiction topic, I'm interested in that topic--but I don't have the time to do the reading that would make me an expert. And anyone who is an expert in something knows that sometimes it's the people who have only done some reading that make the worst mistakes.

Why do men get more Caldecotts?

That's an interesting question. And by "interesting", I mean "something I am trying very, very hard not to jump to conclusions about".
If you want to look at the list yourselves, it's here. The score rests at 51 to 24, which in other arenas might be called a landslide. I honestly wish I knew why men have won 68% of the time, and if anyone has an explanation that doesn't involve name-calling, I would be so grateful.

Can you ever publish with more than one imprint at one house? (say, a picture book at Schwartz & Wade, a novel with Random House?)

Yes, of course.

What marketing efforts have made a difference to anyone? (website? school visits? signings?)

Who can read this question and not think of Brian Lies? I know it's disheartening, but in self-promotion it does seem that more is more. But off the cuff, my recommendations would be: DO: put up an attractive, easy-to-use, and informational website. It gets easier every year, and you can do it from home, so you really don't have an excuse. DON'T: enough with the cheesy bookmarks, ok?

What are your early Newbery, Caldecott, Printz picks? Who's got buzz?

I'm sure you realize how unpredictable the awards are. But if I have to name some names:
The Underneath
River of Words
The Disreputable History of Frankie Landau-Banks
The Trouble Begins at 8
We Are the Ship
...there are other front-runners, too. Sign yourself up for a mock if you're very interested.

How will the economy affect children's publishing? What's the climate like?

Nervous. Children's books are a bright spot for many publishers, though, and historically books fare better in economic downturns than more expensive entertainment (like movie tickets). So while we're all keeping a weather eye on the economy, we aren't building bonfires and discussing the end of publishing as we know it (I mean, not more than we normally do).

Book Buyer Blogs: Voodoo Curses and Refreshments

Beyond the book itself, the rep's thoughts, and sales history (if any), what influences your buy? How much does a marketing plan, for example, sway your other instincts?

Remember, for frontlist we are buying six months or so in advance, so the only thing I really have to go on is the catalogue copy and rep. If it is a book that the pub has dedicated a large marketing budget to, that will be part of the rep's pitch. He might say something like "we're tremendously excited about this one, it is our lead title, we've had great reads from booksellers, so-and-so and so-and-so blurbed it" in which case, I'll probably get a stack. Or, "this might look dumb, but trust me, it is gonna be everywhere," and then I'll probably get a couple.

Post-publication, you are guaranteed brought in if you have a glowing review in the New York Times, my city paper's book section, NPR or Oprah. Also, post-publication, if a staff member reads it and is handselling it, I'll keep a stack. And if you are a local author and mensch, same.

For an author with a history, what (if anything) helps to overcome a lower sales history?

It is better to be a brand-new author with nothing but fresh-faced innocence, a big grin and a shiny new book, than to be a ho-hum writer with a few books that have lousy-to-meh sales histories. A new book has nowhere to go but up, and optimism from the pub can be high. It is much tougher to get excited about something that feels shopworn.

In my opinion, the only thing that will overcome a history of meh sales is a breakout book – either get a big promo push from somewhere, you gain a fan with an NPR show, you get a movie deal, you write a different kind of book, or you just somehow catch the zeitgeist. It certainly happens, all the time, but it is tough to predict what book will be the breakout, or why. Perhaps the why/how of a breakout is a question for the editorial side -- though I suspect that if anyone knew the answer to that, they'd be too busy counting their gold coins to read and respond to blogs.

What is involved in the decision to place a certain title cover-side-out instead of just shelving it (showing only the spine)?

Sort of in this order: Newness, Quantity, Space, Cover Hotness, and Personal Preference. We tend to try and face out everything that we have more than three copies of. This is hardly a science – sometimes we just need to fill some space. While it is a fact that all books sell better on a shelf with lots of face-outs, sometimes and in some sections, there is just no room.

What is the average time that a title remains that way?

Until we need more room on the shelf, or something cuter and newer comes along, or we sell down too far. One book does not a faceout make. [EA clarifies: a single copy of a title rarely gets placed face-out because it sits too far back on the shelf and is shadowed. And, understandably, booksellers want to promote most prominently the books that are taking up the most space (or money) in the store.]

What is the busiest time of year for books to be bought/sold?

Christmukkah is the busiest time from the retail end, of course. October is usually the busiest time for the events people. May is pretty crazy for buyers. Summer is dead for everyone, in my experience, though the store does pretty well with paperbacks and required summer reading.

How are author signings arranged at stores? Does it have to be through the agent/publisher or is it bad if the author tries to manage that him/herself?

The "big six" publishers – Random House, Penguin, Harper, Simon, Hachette, Macmillan – and to a lesser extent, HMH, Scholastic and Candlewick on the kid's side -- typically set up author tours through their in-house publicists and our events coordinator. If you are an author with one of these publishers, please please speak to your publicist and get the OK from them before you approach any bookstore. It is profoundly annoying for all when an author and publicist are working at cross-purposes to one another. This is a quick way to end up with no event, and booksellers and publicists with grudges against you.

If you are local, or with a smaller pub, you should still ask the publicist, but you will probably end up setting it up yourself. (Advice about that is too long to go into here, and in any case can be found all over the net.)

Not exactly up your alley but is it bad to bring treats/food for either the employees or potential customers at a books signing?

I like to have treats at events, but every bookstore probably has different ideas about that. I would ask the events person, make sure they allow food, and that way they'll be prepped and have a table ready for you.

Remember, make it NEAT food, nothing that will get ground into the carpet, and light/clear beverages (white wine, sparkling water) only. As far as yummy treats for the staff – always appreciated, in my experience. We make minimum wage and are hungry!

What happens when someone (not me) calls up and special-orders a book (not mine) that's not on the shelf and then doesn't pick it up? Does that book (again, not mine) end up just being shelved? Or does it go back to (not my) publisher?

Someone places the order, someone else receives the order, someone calls you and finds a place to put your order on the hold shelf. There it stays for a week or two, while we spend staff time calling you and reminding you. If you don't pick it up or refuse it, it goes in a box under my desk. When I have time, I look through that box and decide what stays. 95% of the time, these books get sent back to the publisher.

If this is a short-discount or non-returnable title, you also get a voodoo curse put on you.

If you'd like to know a couple of GOOD ways to get your book into the store -- with no voodoo curses -- I can tell you...

Waiting for a Bookseller to Read Your Book?

Here's the delay.

Don't Spam Editors

The following is not a query; it is not a submission. And whatever the author thinks, it is not a marketing plan.
It is an email I received at my editorialanonymous account. And that makes it fair game for the blog. Let's dissect and discuss.

Email subject:
New children's book: Astro Socks - THE educational tool of the year‏
From: Leigh Le Creux
To: Editorial Anonymous

Don't make this claim if you have nothing to back it up. "Educational tool of the year"? According to what authority?

Begin message:
The Inspirational Book of the Year for Kids : Astro Socks

Wait, now it's the educational tool of the year and the inspirational book of the year? My bullshit meter is going crazy.
I know most of you wouldn't do this. But there is a wider lesson. It's easy for authors (who have spent years thinking about a book) to feel it has enormous range in terms of audience and use. Anyone working on marketing, however, has to focus on the audience and use that regular people (who have spent less than a minute thinking about the book) can be convinced of. Trying to convince people that you've got a book that does everything makes you sound like a snake-oil peddler.

Oviedo, FL, Feb 15, 2008 - If J.K. Rowling and Dave Pilkey combined their efforts, they may have come close to creating a book similar to Astro Socks. It is the educational tool of the year for parents and teachers, and kids love it.

Oh, where to start? Again with a the educational tool of the year thing. Can you tell I'm extremely skeptical? You've done nothing to make me believe you might be telling the truth. And setting your creation up as on par with J. K. Rowling and Dav Pilkey (congrats on spelling his name wrong, btw), just heightens the disbelief. Do. Not. Compare. Yourself. to Bestselling. Authors. It says you have very unrealistic expectations for your book and/or have only read the bestselling children's books, and so you essentially know nothing about the market.
I'd also like to point out that the title of your book is not one that is likely to elicit any consumer response other than: "What?"

"From the beginning of Astro Socks, my students and I were pulling for the main character, Chris. The author has an exceptional ability for using description to help the reader connect on an emotional level with her characters. My students were inspired by this child inventor, and were excited to create imaginative illustrations based on visualizations they had while reading the story. The number of classroom activities that could spiral from this book with my students are endless, thanks to the incredible creativity with which the story was written." Trisha Munroe, BEd, MEd

I see a fair number of authors in slush who have included testimonials from teachers and parents. Guess what? Teachers and parents know something about children, but they are entirely unreliable in terms of knowing what's well written and what will actually sell. Editors do not care what your friends and neighbors think.

This short fiction novel concentrates on a young boy who turns his dreams of becoming an inventor into a reality. Like all children, he has a vivid imagination. As he uses his imagination and visualizes, his ideas begin to take shape. The more excited he becomes, the faster his ideas begin to take shape. The main character encounters various hurdles along his adventure, but he discovers that anything is possible when you have faith, determination, and the love of your family. The illustrations throughout Astro Socks are an amazing testimonial to the book as they are a result of in-classroom projects. Students also reviewed the fiction.

Editors also see a consistent percentage of submissions that are illustrated by children. Because children are so precious and imaginative, right? The thing they're not, though, is artists. And books illustrated by children do not sell, because they're ugly. Parents think they're ugly. Teachers think they're ugly. And here's the news flash—children think they're ugly. Children wish they could draw better than they can. (And one day, if their creativity isn't squashed, they may learn to. In the meantime, however, their work is not fit for publication.)

"What I think is great is that a ten year old, a normal ten year old, all of a sudden turns into an inventor.NuPont doesn't care if he is ten or not! They accept him right away!" "Amanda", Grade Five Student

If there's anyone who knows more about children but less about what's well written and what will sell than parents and teachers, it's children. Editors really, really don't care what the few children you know think.

Educators must have this book on their reading lists, and in their classrooms. Parents and all book lovers enjoy reading it and learning at the same time.

"Educators must"? According to whom? You, the person selling the book? What a scam.
"All book lovers"? Are you telling me you've spoken to all book lovers to ascertain that they enjoy reading the book? WTF.

Connecting creativity and the imagination are in every line of this work. "Astro Socks inspires and connects the dots for successful kids, like the movie, The Secret, is known to do for adults", says Le Creux. "Faith, determination, and imagination are qualities all of us need to cultivate - especially in our children".

You're quoting yourself?! You have no shame!

About the book:
Astro Socks by Leigh Le Creux
ISBN: 978-0595463756
Publisher: iUniverse
Date of publish: Jan 2008
Pages: 90
S.R.P.:
$9.95

Dear readers, comments?

I'm OK, You're OK, Venting Is OK

We're just using this forum to vent about a problem that is old news, yet still always a worry for all writers.

The publicists I've worked with have seemed great to me... but I hear you that that's not always the case.
As long as we all understand that harassing your publicist isn't going to influence her support of your book in any positive way, I would like to hear more, specifically, about what you feel is not getting done. Obviously I cannot change the industry, but if we can find some common ground, maybe there is some progress to be made.

The more comments the better, so pile it on!

My Book Is Out. How Can I Still Screw This Up?

You navigated all the work and worry and frustration of getting published; you avoided all the pitfalls and hurdles, the traps, mistakes, and numbskull moves, and you can't imagine how. You have a book in your hands and on the spine there's a real publisher's name!

But you're a self-defeatist, and dammit, you wanted to fail! So, you ask yourself, surely there's still some way I can f*** this up?

Yes, indeed there is. You already know how positively maddening it is to your publisher to receive several phone calls from you in a single month. So of course you'll be sure to call them with many questions, and phrase the questions so as to imply that your publicity person isn't doing her job well. Done and done.

But harassing publicity people fresh from sorority life until they cry may or may not torpedo your book. How can you really undermine things? Well, it may seem obvious, but your book will be selling in bookstores... unless you can prevent it!

While you may be tempted to simply try to hide copies of your book behind the shelves or scatter them in the toddler play area to let nature take its course, the really efficient tactic is to make the booksellers themselves hate your book.

This is much easier than you think. First you should come on all nice and eager-newbie-like and get the person in charge to take a copy of your book to review it. Booksellers are such patsies, they'll fall for this over and over again. They know they have far too many important running-the-bookstore tasks to realistically get your book read, but they'll promise they will anyway. Suckers.

Now's the fun part. Start calling that person every week or so asking if they've read the book yet. That's all. It's really that simple! Whereas waiting a couple of months before reminding them would inspire guilt and feelings of indebtedness, calling them almost immediately (and relentlessly thereafter) will take the bookseller directly to feelings of indignation, followed quickly by mounting irritation, disbelief, and actual rancor.

Cross that bookstore off your list. If they even stock the book, they'll do the hiding of it for you. Choose a good, connected bookseller, and you might be able to cross several bookstores off your list—and better yet, the bookseller will complain about you to your publicity and marketing departments!

When your publisher realizes you're making yourself unpleasant to everyone (not just to your publisher), they'll definitely write you off. No more promotion, actually irate booksellers, and really no chance of being published at that publisher again!

When you can't even find copies of your book on remainder tables because your publisher has sold them off as high-fiber livestock feed, you'll know you're a truly successful failure! Congratulations!

Short Answers

I'm addressing my backlog (mea culpa!).

When a house defines themselves as being "communal," how many in the group need to like it before an acquisition is made? What if three editors love it and two hate it, or vice versa? Do they flip a coin, duke it out, or is there a "head editor" who gets the final vote? Thanks!

No idea. Which publisher is this?

One of the discussions in my critique group this morning dealt with listing magazine publication credits in a book query letter. I’ve read in certain blogs that you need to put in enough information for the editor/agent to be able to verify that these are real credits. Another member of the group felt that was unprofessional and that listing the magazine names was sufficient. How much information would you like to see in a query? If the magazine is well known, is the name enough?

I'd like to know the magazine, the name of the piece, and the year. That should enable me to check on it if I'm so inclined, but is not so much information that you'll bore me.

How do editors really feel about the Rutgers One-On-One Conference? Does it carry more weight than other conferences, since the attendees are accepted based on the strength of their writing samples?

I love this idea. I was at a conference recently and was subjected to the most awful drivel from a particular writer... so this promises less pain. But I don't know what you mean by "carry more weight". There are different reasons to attend conferences. Scenic locales, for instance. The whole "I might find something to acquire" rationale, while it's what we tell our bosses, is kind of low on the list. Realistically, while it would be great, it's not that likely.

I've got a question for your blog, one that has perplexed me for quite a while. I've been sitting on a chapter book series for 6-9 year old girls since 2003. It was snatched up by a children's acquisitions editor at a Christian writer's conference. Other editors I met there also asked me to email them the manuscripts. Within a year, I had a contract for 4 books and an advance from the first publishing house. I was excited...until a year later when my contract was canceled because the publishing house was restructured after my editor left. The letter assured me that the decision came down to the bottom line, not quality of my work. I've since sent my proposal to dozens of agents. I keep getting the same answer -- "great proposal" or "great manuscript" but "publishing houses aren't taking risks" or "I've decided to stop representing children's fiction" etc. I've been scouring the websites of publishers and agents and keep finding the dreaded words "we do not accept children's books" or "picture books only." It seems that YA fiction is welcome in many places, and so I'm wondering if I should go back to the drawing board with an older protagonist. Have you noticed this same trend of chapter books becoming less popular? Or would you know if it's only in the Christian publishing world that this is happening?

I don't know anything about Christian publishing. Obviously there are trade publishers who are still publishing for this age group. I'd suggest going to your local bookstore and asking what's cool and brand new in that age bracket. Also, don't try to write YA just because it's selling. Write YA because you remember being a teenager and really want to say something to teenagers.

If an editor loves a manuscript enough to bring it to an editorial meeting to share with colleagues, what is the usual protocol? Do most of these manuscripts move on to the acquisitions phase?

Depends on the house. At some houses, an editorial meeting is a place for decisions, and at some it's just a place for feedback. I'd say over half of the projects brought to the acquisitions meeting get acquired. Feedback is what we look for when we're not quite sure about a manuscript, so the stuff we ask for feedback about often has a higher mortality rate.

What do you think are the three most valuable things an author should do on their own for promotion?

Create a webpage. Talk your book up to independent booksellers who might nominate it for Booksense (but be very sensitive to the number of other authors who are also asking those booksellers for their time). Practise giving presentations, so that if your marketing department calls you up about an event, you're ready.

As an editor is there something you are expecting your author to do in terms of promotion that would be unprofessional of me to neglect?

Give our marketing department as much information as they ask you for. Help them whenever you can, and then leave them alone to do their jobs.

I've written a story that I've also illustrated, but I'm self-aware enough to realise that, while I'm very fond of the illustrations, a professional might think me naive for even considering suggesting them officially. How then (if it all) should I mention them in a query to a potential agent? Should I introduce the story as one that I've illustrated and add that I'd be happy to have somebody else illustrate them? Not mention the illustrations at all and, if an interest is shown in the manuscript, bring the illustrations up later? Or tell them very humbly that I've illustrated the story and ask them to specify whether they want the manuscript alone or the accompanying pictures as well?

Each of these plans is acceptable.

Self Promotion and Scorpions

Dear EA, Children's writers are always urging each other to new heights of self-promotion--visiting schools, putting up a website, arranging bookstore signings, speaking at conferences, paying for bookmarks/postcards/stickers etc. etc. I've even heard the advice that first-time authors should spend their whole advance on self-promotion. Writers who don't want to do all this are seen as lazy or totally out of touch with reality. What's your opinion? How important is author self-promotion? And if a writer wants to spend some time on other things (say, writing, or possibly even having a life), which types of self-promotion are actually effective and which a waste of time and money?

In my experience, authors have to do a really fantastic job of self-promoting in order to make a real difference. But how many people are going to match the Bats at the Beach team?

I'm not an expert on this, though. I do know that your publisher will be so very happy with you if you are ready and willing to do the events that they suggest. That means:

a. Being really professional--on time, organized, with all your materials ready to go and no reliance on the venue to figure out projectors, power point, etc.

b. Being really time-conscious, especially in schools. They have a schedule to keep, so you do too.

c. Being really prepared and really entertaining. Don't know what sort of presentation is going to appeal to the age group you'll see? Figure it out!

d. Being really friendly and good-natured. Events almost never go just as planned. I once saw Peggy Rathman do a signing for which five people showed up. Did she get upset? Depressed? Snotty? Not for a second. That woman is graciousness personified. And you could see the relief and gratitude on the bookseller's faces.

e. Support your booksellers. Try not to suggest to schools that you can get them a better discount from your publisher while you're standing in front of the bookseller supplying the books. Or suggest that people patronize Amazon.com. Remember who got the snowball rolling for Harry Potter and Eragon and piles of other books: the people standing on sales floors, hand-selling. Try to make any pitch made within hearing of a bookseller helpful and appealing to them (even if the pitch is for an audience of kindergarteners). If you do it well, then when you're long gone, there will be people in that bookstore picking up your book and talking to customers about it.

When it comes right down to it, it's your writing career. Some people do manage to make a difference with their self-promotion, and others not so much. Part of this is personality, and part of it is wanting to be there. If you would really prefer to be at home in your bathrobe or even in a pit of radioactive scorpions rather than talking to children, don't let people you don't work for tell you you're falling down on the job.