BEST OF: Agenting Tips of the Day, Part 2

NOTE: While we work on some exciting Inkpot renovations, 

we'll be featuring some favorite past posts here on this space.

[ originally published in February 2016 ]

Today MFAC alum and agent extraordinaire Jodell Sadler* is set to share insights and secrets about the world of agents. This time she will answer your submitted questions from the last month, and a few extra ones submitted by the Inkpot.

Q: If an agency doesn’t post a timeframe for their response times, what is an appropriate length of time after you haven’t heard from one agent at a specific agency to query another agent at the same house? Of course, I know that you NEVER query two agents at the same house at the same time, but the “rule” for successive queries is pretty murky.

My best advice is to email and ask. I often get queried with unrealistic timelines. For example, a writer might write that I have one week as an exclusive prior to a conference and in reality, if I am in contract negotiations or working on a timeline for another writer, I may not read submissions that week. Plus, there are critiques to complete prior to conferences so time fills with that as well. Most important: follow posted guidelines.

What we know is that agents know the preferences of their colleagues and if your manuscript might be more suited to another agent in that house, they will likely share it. 

I would also encourage you to continue to write, stay focused on craft, seek nonfiction projects to fill time gaps, and really stay focused on what you passionately want to share in print. These ideas rise up and garner attention. What I see is that often times manuscripts are shared too soon, and may not have the emotional depth needed to carry readers to the end. 

What we know is that the direction of your novel and main character’s views and world view need to happen immediately and of don’t happen in a first draft. These types of edits really happen on your forth, fifth or twenty-first draft. 

It’s really important for you to explore your work and be tough on yourself in regard to characterization, setting, plot points and the emotional journey as well as the pacing of you manuscript. That final edit will include a look at musicality and language and how well you are alerting your reader as you move through your plot. You should be sure to set your work aside and then pull it back out to review and think about the visual story. Are you showing and making active scene shifts dramatic and clear?

Q: I don't have a very active social media life. Is it necessary to have a platform in order to attract an agent? If so, what are some tips that I can use to start building up an online presence?

It’s more imperative for an illustrator to maintain a platform, but we live in a world of social technology and every writer will need to embark on that journey at some point. It’s nice to set yourself up as a writer for author visits so when the time comes, you preparedness meets opportunity. I Google every submission I enjoy and try to see what their online presence includes.

As far as illustrators, so often I receive a PDF of a few images and that is not enough to represent someone from. Agents will be looking for movement and energy and fluidity of your work. How well do you show off your visual storytelling? Is there a reason for the many things that are pictured in a particular scene? 

Q: Are agents more interested in an author who has a series of books? Is there still a place for stand-alone fiction?

An agent is interested in great writing and a marketable manuscript. I am sure this will vary from agent and agency. We all have focuses and are as unique and diverse as writers. Agents are not cookie-cutter and are as unique as you are as a writer. Some writers plot stories out; others string their work from scene to scene but both end up with a quality piece of writing. Some writers outline; others do not. But it’s all a process and there’s not a right way or a wrong way—everyone’s process is different. In this same way, some might look for series because they’ve successfully placed a few and enjoy working with them. Others might look for that one book that’s fresh, literary, or commercial. I have represented series projects as well as stand-alones and do not have a preference as long as I am passionate about the project.

Q: How much time do you spend looking at each query? I know for most agents it's not much - so how long DO we really have to hook an agent before they move on to the next person?

When I read: “I know for most agents it’s not much,” I do not believe this to be true. Agents seriously consider quality submissions that follow guidelines, present a great cover letter, especially when you share a bio that shows your commitment to children’s literature and writing. For me, I’d have your MFA placed after your name in the subject line. You’ve earned it and it shows your commitment. Think about your submission as a package that shows your professionalism. I’ve had some crazy submissions in my short time agenting and here are some things to remember:

• Take into consideration how your email reads, how you sign off, and your Google image if you share one. 
• Be sure to address the agent by full name and give reasons for contacting that particular agent/agency.
• Include your contact information on your cover letter as well as the manuscript if you have been asked to submit a Word doc. 
• Be sure your focus is on your manuscript itself as it really is all about the writing. 

The submission bin is a funny thing and I’ve missed some great writers and illustrators and there have been times when I would have loved to have read something that interests me but have been too busy with other things to do so. It’s just vital for you to stay working and producing and remaining positive about your work and career as a children’s literature professional.

If you are lucky enough to be asked to submit a full manuscript or a revision based on feedback, do not make hasty revisions and resubmit in a few minutes. Give it time to digest and really let the suggestions soak in. This marks your opportunity to make your piece the best it can be.

Q: What does a typical day in the life of an agent look like?

I can’t speak for all agents. I only know how I work, and the focus it takes me to place a piece of writing. A typical day includes tending to the manuscript and writer I happen to be working with, requests, and contracts and responding to editors, and then also fitting in time to review work on new submissions while also tending to in-bound submissions and reading new projects. 

Q: What inspired you to create KidLit College? 

I wanted to share craft learning when it comes to writing. I’ve learned so much from other writers and industry professionals and it made sense to me to help writers improve craft and make connections. I’m a huge advocate for craft and learning it and webinars and classes and critiques help coach a writer towards a great product deliverable and that’s the mission of KidLit College.

Q: What should writers and illustrators look for in attending conferences: online or in person? 

Register for a critique, follow up, and submit your work. Really delve into craft. Attend webinars and lectures and apply it. Stay involved and get involved with a quality critique group. If you have the opportunity to submit, to an editor or agent, please present your best work. Write that strong cover letter and present a short pitch for your project. When you submit, it really is about getting to know you are and your work.

Please comment with your questions below as our next posting will include feedback from other agents as well.

Happy Writing, Everyone!

*Jodell Sadler is an Editorial Agent at Jill Corcoran Literary Agency and founder/contributor at KidLit College. She also teaches and presents on "pacing a story strong" nationwide.

BEST OF: Agenting Tips of the Day from Jodell Sadler (Part 1)

NOTE: While we work on some exciting Inkpot renovations, 

we'll be featuring some favorite past posts here on this space.

MFAC alum and agent extraordinaire Jodell Sadler* has generously offered to answer a few questions about the ever mysterious world of agents - and how to find one. Read on to find out her agent tips of the day!

What are agents looking for from a craft point of view?

Agents look for great writing and great story, pure and simple. It has to be both. When a unique idea comes along, it stands out. When a unique voice pops up in the inbox, it stands up and announces itself. When I open a submission and sense a writer has studied his/her craft and places me in story within the first lines, pages and chapter, I forget I am reading a story, and its the magic I look for. It makes me want to acquire yesterday and work with that writer.

The next concern is if a writer can carry story over the muddy middle. I look for a well-paced manuscript: active verbs, honed sentences with diction that pauses me at emotional hot points and enhances my focus in a masterful way—just really great sentences. I ask myself a few questions: do the words match the action of scenes? Do I sense emotional depth, original character, and worldview and does the piece have both layers and legs?

More than anything, I crave fresh, original, creative, interactive, and genuinely engaging stuff. What’s the personality and voice used in your cover letter? Are you presenting to an agent your personality and passion? Are you using comedic timing and pause well and asking they pay attention to the underpinnings of your words? I love that quote from William Zinsser, “You are the product that you sell” or the notion the late Ray Bradbury speaks to: writers learn the rules and how to break them well up until that day that the process of writing becomes “all in an of their fingers”—and they no longer think about it. If you have earned your MFA, you are well on your way. So, write. Write from that passionate place where story comes.

What are some writing clichés to avoid?

Princess and holiday books cause allergic reactions for me. I see them too often in my submissions bin. I prefer commercial, literary—that surprising, new material that makes me want to snatch it up. Material that presents that wow-factor and leaves me thinking: “I with I had thought of that!” moment is perfect.

When I first started out as an agent, I felt I could help any writer who was committed to his/her career, held an MFA, but that has since changed. It’s all about collaboration and a project I can genuinely connect to and believe in. As an agent, especially an editorial one, we spend time with the manuscripts, reading them and rereading. So, I am careful to take on projects and writers or writer-illustrators I feel connected to. I look for that writing professional who partners with an agent to further a career.

I’ve come to enjoy finding clients at events and workshops because I learn more about how they work, how they edit, and who they are. What I know is that when I take on a client who dedicated to improving craft and has a great manuscript in hand, that’s perfect. You should be savvy about what is out and current in the marketplace—enough to know when a manuscript feels like it is written from a mentor text or includes lines so similar to established text that it feels cliché.


Do I need to have a full draft of my novel?

Yes. You should have a full draft of your novel to submit. We are looking for that next great book. It’s nice to have other manuscripts in the works as well, ideally ready, but one great book is what we look for. I personally enjoy working with writers who work in more than one category, a writer who enjoys nonfiction as well as fiction, or is a writer and also an illustrator, or a picture book writer who also writes YA.

How much revision should I do before I submit?

Your novel should be through a number of revisions, for it is usually in the 8th or 56th that we reach that depth needed to skyrocket our manuscript toward success. I was working on a manuscript the other day, or just looking for where I was at in my own revisions, and I found a draft marked 222. I laughed. I remember how I felt at the time I saved it like that. Some stories come to us and the muse opens up and others find there way through the labyrinth of our souls, but they find their way. Our job is to nurture it onto the page. And with pluck and a little luck and butt-in-chair (BIC), we, ever onward, reach our goals. It’s what writers do. What you need to know is that with MFA in hand, you are on that journey, so enjoy it, celebrate it, and cherish the small successes as you move forward.


What are some tips about writing a cover letter?

My biggest tips are two-fold: keep it short and be yourself. We get so many submissions, so those that share their personality in the cover page stand out. I enjoy it when the cover letter matches the tone of the manuscript.

One of my favorite submissions was from an author-illustrator who mentioned his work in a three parts; he works as an art director, cut his teeth at DC comics, and cries at most Tom Hank movies. This is a breathing person who feels real and friendly. He’s been fabulous to work with and we are currently contracting his fourth book, a two-book deal with more in the works.  Another great submission came from a writer who shared her cover letter in her main character’s point of view and voice. It was really engaging. And so was the work that followed.

I’ve been on enough editor-agent panels now to know that when I suggest to keep these short, it’s the best advice I can give you. A lot of us feel this way. When I see a long, long cover letter, I get hives and think “I’ll read that one later” and may not. It’s professional to by concise and clear. Short means it fits on my computer screen without scrolling down. Keep it simple, direct, and memorable.

What matters most about your submission? Your manuscript. For your cover letter, spend the most time honing that pitch for your manuscript. Write that in a way that makes me crave your read and you will be in great shape. I often read this pitch and move right to reading the manuscript. Really. When my in bin fills fast and furious like a wild thing, it’s a must. Some twenty to one hundred submissions a day is normal life as an agent and really why we are sometimes slow responding. If I write an article, at times that number can reach 500-600 in a month.

When I’ve been the submission agent following an online event, I’ve received this number from just one group—all picture books. When I attend conferences, critiques get added to this reading. When I want to send out clients’ manuscript, important reading and editing gets added to this reading. So do realize that when we are slow to respond, we are diligently and constantly working to catch up.

So my other piece of advice is to take the time to read and adhere to the specific guidelines for each agent you send your work to. When I receive submissions written to the agent they sent to just prior to me (Happens a lot just prior to events I am scheduled to attend—I think writers send to the agents that will be there and simply forget to change the name) or to “Dear agent” (really? Didn’t bother to look my name up) or Mr. Sadler (did I really have a sex change overnight? Hmm), I know this writer has not taken the time to consider me as a professional or present him/herself as a professional.

Will my agent work on revising something with me?

Agents are the new editors in many ways. We look for work that is so ready to send that it already sings. It’s nice when we only have a few things to consider like setting or depth of characterization, or chapter breaks and shifts, or subplots or threads that need more attention. In the case of picture books, a lot of time can be spent on crafting fresh and thinking about what will elevate a piece in the marketplace.

I’ve recently launched KIDLIT COLLEGE (kidlitcollege.org), which hosts great webinar events with editors and agents, who also do critiques. In a recent event, Allison Moore talked about Big Story Ideas and shared how to position your work to complete in the marketplace and stand out. This past weekend, Ann Whitford Paul joined Jill Corcoran to talk about picture book craft. Ann talked about the ABCs of writing picture books, which was fabulous and gave detailed list of what to do, and literary agent extraordinaire, Jill Corcoran joined her to talk about what agents look for.

Find these kind of opportunities to get your work critiqued and reviewed by editor and agents. From our first webinar alone three manuscripts out of 20-ish where requested by the critiquing editor, so it’s a great move.

I often say that while we don’t write to the market, per se, we do need our work to fit into a market category. It’s a different ballgame to craft a story than to craft a story that will sell. I know a book is one I can take on when I can instantly think of three editors I can share it with.

Agents work on revisions, but an editorial agent definitely does, and this is all a process. I now use Google hangouts to work with clients because it saves a lot of back and forth emailing. We read and mark up and then chat about the piece and what needs to happen to make it ready to send out.

What catches an agent's eye and makes them want to read more?

Voice. Original idea. Different. Captivating. And Firsts. The first line, paragraph, pages and chapters of your novel need to be the best you’re capable of. We need character, setting, plot hints and voice all at once. How important is this? Huge. In the first week of my MG/YA pacing course, I talk about the importance of firsts. I also recently did a Writer’s Digest Webinar with Leslie Shumate, assistant editor at Little Brown Books for Young readers, and she will also be talking about first pages and we have Leslie joining us at KidLit College in October: “Making First Impressions”—and she definitely knows what she is talking about.

I believe in one simple truth: A writer who hones his/her craft will earn the book deal. There are no short cuts. A manuscript has to be top quality. This was the whole reason I started KIDLIT COLLEGE, and asked presenters to talk about craft. Ariel Richardson, assistant editor at Chronicle, will be talking about “What Makes Nonfiction Great” in September, and Yolanda Scott, executive director at Charlesbridge, will talk about “The Whole Book Approach to writing picture books in November. We also have an author-agent team talking about The author-agent relationship in a few short weeks, titled, “I’ve Got Your Back,” which pretty much sums up a great team approach to agenting.


If you could give one tip to new authors, what would it be?

Write the best manuscript, that manuscript only you can write, and write it strong in your voice and style and trust in the journey—it’s a good one.


Thanks Jodell for all the great advice!


*Jodell Sadler is an Editorial Agent at Jill Corcoran Literary Agency and founder/contributor at KidLit College. She also teaches and presents on "pacing a story strong" nationwide.

Agenting Tips of the Month - February 2016

Today MFAC alum and agent extraordinaire Jodell Sadler* is set to share insights and secrets about the world of agents. This time she will answer your submitted questions from the last month, and a few extra ones submitted by the Inkpot.


Q: If an agency doesn’t post a timeframe for their response times, what is an appropriate length of time after you haven’t heard from one agent at a specific agency to query another agent at the same house? Of course, I know that you NEVER query two agents at the same house at the same time, but the “rule” for successive queries is pretty murky.

My best advice is to email and ask. I often get queried with unrealistic timelines. For example, a writer might write that I have one week as an exclusive prior to a conference and in reality, if I am in contract negotiations or working on a timeline for another writer, I may not read submissions that week. Plus, there are critiques to complete prior to conferences so time fills with that as well. Most important: follow posted guidelines.

What we know is that agents know the preferences of their colleagues and if your manuscript might be more suited to another agent in that house, they will likely share it. 

I would also encourage you to continue to write, stay focused on craft, seek nonfiction projects to fill time gaps, and really stay focused on what you passionately want to share in print. These ideas rise up and garner attention. What I see is that often times manuscripts are shared too soon, and may not have the emotional depth needed to carry readers to the end. 

What we know is that the direction of your novel and main character’s views and world view need to happen immediately and of don’t happen in a first draft. These types of edits really happen on your forth, fifth or twenty-first draft. 

It’s really important for you to explore your work and be tough on yourself in regard to characterization, setting, plot points and the emotional journey as well as the pacing of you manuscript. That final edit will include a look at musicality and language and how well you are alerting your reader as you move through your plot. You should be sure to set your work aside and then pull it back out to review and think about the visual story. Are you showing and making active scene shifts dramatic and clear?

Q: I don't have a very active social media life. Is it necessary to have a platform in order to attract an agent? If so, what are some tips that I can use to start building up an online presence?

It’s more imperative for an illustrator to maintain a platform, but we live in a world of social technology and every writer will need to embark on that journey at some point. It’s nice to set yourself up as a writer for author visits so when the time comes, you preparedness meets opportunity. I Google every submission I enjoy and try to see what their online presence includes.

As far as illustrators, so often I receive a PDF of a few images and that is not enough to represent someone from. Agents will be looking for movement and energy and fluidity of your work. How well do you show off your visual storytelling? Is there a reason for the many things that are pictured in a particular scene? 

Q: Are agents more interested in an author who has a series of books? Is there still a place for stand-alone fiction?

An agent is interested in great writing and a marketable manuscript. I am sure this will vary from agent and agency. We all have focuses and are as unique and diverse as writers. Agents are not cookie-cutter and are as unique as you are as a writer. Some writers plot stories out; others string their work from scene to scene but both end up with a quality piece of writing. Some writers outline; others do not. But it’s all a process and there’s not a right way or a wrong way—everyone’s process is different. In this same way, some might look for series because they’ve successfully placed a few and enjoy working with them. Others might look for that one book that’s fresh, literary, or commercial. I have represented series projects as well as stand-alones and do not have a preference as long as I am passionate about the project.

Q: How much time do you spend looking at each query? I know for most agents it's not much - so how long DO we really have to hook an agent before they move on to the next person?

When I read: “I know for most agents it’s not much,” I do not believe this to be true. Agents seriously consider quality submissions that follow guidelines, present a great cover letter, especially when you share a bio that shows your commitment to children’s literature and writing. For me, I’d have your MFA placed after your name in the subject line. You’ve earned it and it shows your commitment. Think about your submission as a package that shows your professionalism. I’ve had some crazy submissions in my short time agenting and here are some things to remember:

• Take into consideration how your email reads, how you sign off, and your Google image if you share one. 
• Be sure to address the agent by full name and give reasons for contacting that particular agent/agency.
• Include your contact information on your cover letter as well as the manuscript if you have been asked to submit a Word doc. 
• Be sure your focus is on your manuscript itself as it really is all about the writing. 

The submission bin is a funny thing and I’ve missed some great writers and illustrators and there have been times when I would have loved to have read something that interests me but have been too busy with other things to do so. It’s just vital for you to stay working and producing and remaining positive about your work and career as a children’s literature professional.

If you are lucky enough to be asked to submit a full manuscript or a revision based on feedback, do not make hasty revisions and resubmit in a few minutes. Give it time to digest and really let the suggestions soak in. This marks your opportunity to make your piece the best it can be.

Q: What does a typical day in the life of an agent look like?

I can’t speak for all agents. I only know how I work, and the focus it takes me to place a piece of writing. A typical day includes tending to the manuscript and writer I happen to be working with, requests, and contracts and responding to editors, and then also fitting in time to review work on new submissions while also tending to in-bound submissions and reading new projects. 

Q: What inspired you to create KidLit College? 

I wanted to share craft learning when it comes to writing. I’ve learned so much from other writers and industry professionals and it made sense to me to help writers improve craft and make connections. I’m a huge advocate for craft and learning it and webinars and classes and critiques help coach a writer towards a great product deliverable and that’s the mission of KidLit College.

Here’s an overview of upcoming events.

Q: What should writers and illustrators look for in attending conferences: online or in person? 

Register for a critique, follow up, and submit your work. Really delve into craft. Attend webinars and lectures and apply it. Stay involved and get involved with a quality critique group. If you have the opportunity to submit, to an editor or agent, please present your best work. Write that strong cover letter and present a short pitch for your project. When you submit, it really is about getting to know you are and your work.

Please comment with your questions below as our next posting will include feedback from other agents as well.

Happy Writing, Everyone!

*Jodell Sadler is an Editorial Agent at Jill Corcoran Literary Agency and founder/contributor at KidLit College. She also teaches and presents on "pacing a story strong" nationwide.You can join KidLit College on facebook, register for their newsletter, or follow Jodell on Twitter @kidlitcollege.

Agenting Tips of the Month - October 2015

Get ready Inkpot readers, this week we're treated to a fantastic true-life agenting adventure.  MFAC alum and agent extraordinaire Jodell Sadler* has once again offered to share some insight into her field. This time she wanted to talk about a recent book deal she has with new author-illustrator Phil Gosier. Read on to find out why his inquiry was her fastest response to date.

I wanted to share with my Hamline family, a recent two-book deal for Phil Gosier’s debut author-illustrator picture books: Snow Beast Comes to Play and an untitled to Emily Feinberg, Macmillan. But the story goes deeper than that. Phil’s work, when submitted, was actually picked up for a MG illustration project, The Friday Barnes series, with Connie Hsu, Macmillan/Roaring Brook, and his picture books were forwarded to Emily. Both are going strong and he has more books in the works. I know his submission to me was my quickest response to date and I’d like to share why.

JO: Here’s my story of just that kind of journey.

Late last week, the PW featured Sadler Children’s Literary’s double-book deal for Phil Gosier, debut author-illustrator, who earned his illustrator wings at DC Comics:

I feel really honored to represent Phil’s talent. His submission marked my fasted pull from my submission bin ever. We’ve seen tough challenges, but today, I really must say, I feel his feet are firmly planted in a wonderful journey as an author-illustrator. It took time, a mutual respect for the mission, and honoring the goals he saw for his end product, but it was worth every moment.  

In my last post, I mentioned how I pulled Phil’s letter and emailed him right away. I still wonder how I held back from calling, but it makes me smile when I think about that moment —my I’m-so-lucky moment. I often talk about the one line in his cover letter, which he placed under an “A bit more about me” header. It read, “I tend to cry at most Tom Hanks movies.” And BOOM. That made me feel he was genuine and real and relatable right away. 

I’ve often called his email the “unreliable narrator” approach to submissions because, if I recall, he wrote something about it needing to be in better shape and still needing work and not willing to send it back out until he fleshed it out even more. All things I respect a great deal. And what I’ve seen is that this is rather true about how he works and this has helped him find success this past year.

I read his letter and opened his attached PDF file. And WOW! Snow Beast as a concept hooked me, and then I saw his HELLO! art, and his wonderful street scape with Snow Beast playing peek-a-boo behind buildings, I knew his talent would shine and this book would sell. 

While I know Phil mentioned in his letter that he happened upon my website and thought “why not?" there’s not a day I don’t wonder how he got there. Still, I do thank my lucky stars.  So, I asked: Phil, What lead you to me?

PHIL: There’s a quote that I attribute to Scott McCloud, but it’s probably not his originally... “The only people who succeed in cartooning are the ones who are too stupid to know it’s impossible.” When you have two young kids that doesn’t seem as pessimistic as it may sound... it seems like good, practical advice on how to conduct your career. Well, as you know I have a college friend who had succeeded wildly in kid’s literature. I remember the exact moment when I decided to give this industry a try. I was down seeing the national Christmas tree with my family...maybe 6 years ago. We had stopped into union station to grab dinner before heading over to the tree and we stopped into a Barnes and Noble. I was rounding the bend into the kids section and I saw a stack of bright red books on the floor, right at the end-cap. I recognized the drawing on the cover immediately...it was unmistakably Jeff's work. He and I were cartoonists together at the UMCP student newspaper, the Diamondback, and I know his stuff on sight. I knew right then that Jeff had not only managed to get published, but also that he was a success. In this small bookstore the staff will stack top sellers at the end-caps because they move off the shelves so quickly. I know this because I used to work at this very same bookstore back in college. Anyhow, when you come to know that something is possible...well, it becomes difficult to keep from thinking about it. So, I was off and running...

I had been working on Snow Beast for years, just chipping away at it. Initially the story was about two kids who go looking for an abominable snowman and are surprised to actually find one. I drew on it in off hours for a long time. The story evolved to the more heartfelt version we now know. Once that happened the drawings seemed to make much more sense and I seemed to like everything better. Maybe it was that boost in confidence, maybe it was because I had been working on it for years, and maybe I was just looking for something to do on my lunch hour.

I found you through a Google search and I remember the language on your site being very approachable and friendly so I decided to see how someone actually in the industry would look on what had essentially been my hobby. Also, most other representatives looked as though they were trying to hold the submissions community at arms length...like they didn’t want to be bothered. Also, Also, I had previously sent illustration samples over to Shannon Associates (illustrator reps) and they didn't pick me up. I sent them a bunch of disney-esque illustration work...some Tony the Tiger samples, stuff like that. Looking back on that experience, they seemed to like me, but I didn't have all that much to show so things didn't move forward. That’s sort of how I thought our interaction would go. "Yeah, sure, it’s charming...but I need to see more." Whatever the case, I didn't really expect to hear back from you.

JO: Like editors, agents look for that next great author or author-illustrator. They are looking for the whole package, that great story and great person to work with. Phil represents both those things. He’s all about getting the work done, staying on deadline, and keeping humor in our conversations.

It took us a while to find a perfect home for his work, and it was riddled with a few rejections (as we expect), but it also came with some awesome, awesome moments worth celebrating along the way.

Our first rejection was after editorial circles at a great house. It was an editor I had long admired by her books and client list. I wanted to work with her and knew Phil was of her caliber. But, ultimately, after a round a few editorial meetings, the project was turned down because it was too similar to a book they already championed (that also went on to win accolades).

Spin forward a few months… After sending it out again, I learned this editor shifted to a new house. And I wondered: Could it be that what might not be right for one house, might be just right for another? So, I followed my gut (something I encourage writers to do) and reached out again.

Her response came with an email and a phone call meeting, followed by the news that they would like to consider Phil for a middle grade project and move his picture books forward with another editor. Yes, a two-editor split. It was a moment—an amazing moment—and I thank my lucky stars. 

Phil went on to illustrate The Friday Barnes Series at Macmillan with Connie Hsu while working on Snow Beast with Emily Feinberg.  Two great titles filled with these characters will be released soon, and news of more in this series is in the works:

For me, this was a rare moment.  Looking back, do you remember that initial rejection from a different house and the few rejections that followed? How did you feel and what did you think when I told you I was going to follow up with the same editor now that she had shifted houses? And, of course, I asked Phil about this experience:  How did it feel that day I called you to tell you that Connie wanted you for a middle grade art project and was also sending your picture books to another editor? 

PHIL:   Fast forward a bunch of months. I remember our phone conversations where you were pitching the Beast. It seemed like there was a lot of negative response except for one editor, who really liked it. I remember you saying, “I think she GETS it.” There’s probably a lesson in there somewhere...not every house is going to be predisposed towards something you feel has merit. That doesn’t mean it doesn’t have merit...just that it may not fit the house or the editor whose looking at it.

Also, let’s face it...Writers, illustrators and editors are all in the same boat. We’re all trying to tell stories to kids. We have the burden of trying to get noticed and they have the burden of trying to bring a vision into its proper form. We spend late nights banging our heads against the creative while juggling our uncertainty. They spend late nights banging their heads against the same creative, while juggling the money and their own uncertainty. Anyway, we're all in this together.

This publisher’s initial interest sent me over the moon. I was disappointed when they didn't pick it up, but it was immensely satisfying that there was interest from such a big and reputable house. Interlude: I read the Artists Market books with regularity. Most entries from publishers read something like “We're approached with 2000 submissions a year and we publish 4." So, having that interest, for me, was like summiting Everest.

JO: What is great is that during all of this, Phil worked above and beyond, maintained steadfast faith, and kept coming up with interesting stories and ways to make his mark in the industry.

And while, I’d love to ask him: How do you feel about this year and what you’ve been able to accomplish? Do you feel optimistic about your future in the industry?

I know the answer is mutual. We are looking forward to a recent submission moving forward and another offer moving into contract. It’s a great day when you know that there’s room for your books on a shelf at a house (and editors) of your dreams. Knowing you can make this happen with a lot of hard work, a little determination, and the belief that together you can make things happen. This, for me, defines the ideal, author-agent relationship.

Phil continues to make me laugh, produces the highest quality material, and there’s not a day that goes by that I do not thank my lucky stars. It’s been a rewarding partnership that makes me completely thrilled to be an agent for KidLit.

Thanks Jodell for all the great advice! 

We're trying to make this a regular monthly post, so if you have a question we can ask just write a comment below and we'll get it answered next time.

*Jodell Sadler is the founding agent and owner of KidLit College. She also teaches and presents on "pacing a story strong" nationwide.

Agenting Tips of the Day

MFAC alum and agent extraordinaire Jodell Sadler* (Sadler Children’s Literary) has generously offered to answer a few questions about the ever mysterious world of agents - and how to find one. Read on to find out her agent tips of the day!

What are agents looking for from a craft point of view?

Agents look for great writing and great story, pure and simple. It has to be both. When a unique idea comes along, it stands out. When a unique voice pops up in the inbox, it stands up and announces itself. When I open a submission and sense a writer has studied his/her craft and places me in story within the first lines, pages and chapter, I forget I am reading a story, and its the magic I look for. It makes me want to acquire yesterday and work with that writer.

The next concern is if a writer can carry story over the muddy middle. I look for a well-paced manuscript: active verbs, honed sentences with diction that pauses me at emotional hot points and enhances my focus in a masterful way—just really great sentences. I ask myself a few questions: do the words match the action of scenes? Do I sense emotional depth, original character, and worldview and does the piece have both layers and legs?

More than anything, I crave fresh, original, creative, interactive, and genuinely engaging stuff. What’s the personality and voice used in your cover letter? Are you presenting to an agent your personality and passion? Are you using comedic timing and pause well and asking they pay attention to the underpinnings of your words? I love that quote from William Zinsser, “You are the product that you sell” or the notion the late Ray Bradbury speaks to: writers learn the rules and how to break them well up until that day that the process of writing becomes “all in an of their fingers”—and they no longer think about it. If you have earned your MFA, you are well on your way. So, write. Write from that passionate place where story comes.

What are some writing clichés to avoid?

Princess and holiday books cause allergic reactions for me. I see them too often in my submissions bin. I prefer commercial, literary—that surprising, new material that makes me want to snatch it up. Material that presents that wow-factor and leaves me thinking: “I with I had thought of that!” moment is perfect.

When I first started out as an agent, I felt I could help any writer who was committed to his/her career, held an MFA, but that has since changed. It’s all about collaboration and a project I can genuinely connect to and believe in. As an agent, especially an editorial one, we spend time with the manuscripts, reading them and rereading. So, I am careful to take on projects and writers or writer-illustrators I feel connected to. I look for that writing professional who partners with an agent to further a career.

I’ve come to enjoy finding clients at events and workshops because I learn more about how they work, how they edit, and who they are. What I know is that when I take on a client who dedicated to improving craft and has a great manuscript in hand, that’s perfect. You should be savvy about what is out and current in the marketplace—enough to know when a manuscript feels like it is written from a mentor text or includes lines so similar to established text that it feels cliché.


Do I need to have a full draft of my novel?

Yes. You should have a full draft of your novel to submit. We are looking for that next great book. It’s nice to have other manuscripts in the works as well, ideally ready, but one great book is what we look for. I personally enjoy working with writers who work in more than one category, a writer who enjoys nonfiction as well as fiction, or is a writer and also an illustrator, or a picture book writer who also writes YA.

How much revision should I do before I submit?

Your novel should be through a number of revisions, for it is usually in the 8th or 56th that we reach that depth needed to skyrocket our manuscript toward success. I was working on a manuscript the other day, or just looking for where I was at in my own revisions, and I found a draft marked 222. I laughed. I remember how I felt at the time I saved it like that. Some stories come to us and the muse opens up and others find there way through the labyrinth of our souls, but they find their way. Our job is to nurture it onto the page. And with pluck and a little luck and butt-in-chair (BIC), we, ever onward, reach our goals. It’s what writers do. What you need to know is that with MFA in hand, you are on that journey, so enjoy it, celebrate it, and cherish the small successes as you move forward.


What are some tips about writing a cover letter?

My biggest tips are two-fold: keep it short and be yourself. We get so many submissions, so those that share their personality in the cover page stand out. I enjoy it when the cover letter matches the tone of the manuscript.

One of my favorite submissions was from an author-illustrator who mentioned his work in a three parts; he works as an art director, cut his teeth at DC comics, and cries at most Tom Hank movies. This is a breathing person who feels real and friendly. He’s been fabulous to work with and we are currently contracting his fourth book, a two-book deal with more in the works.  Another great submission came from a writer who shared her cover letter in her main character’s point of view and voice. It was really engaging. And so was the work that followed.

I’ve been on enough editor-agent panels now to know that when I suggest to keep these short, it’s the best advice I can give you. A lot of us feel this way. When I see a long, long cover letter, I get hives and think “I’ll read that one later” and may not. It’s professional to by concise and clear. Short means it fits on my computer screen without scrolling down. Keep it simple, direct, and memorable.

What matters most about your submission? Your manuscript. For your cover letter, spend the most time honing that pitch for your manuscript. Write that in a way that makes me crave your read and you will be in great shape. I often read this pitch and move right to reading the manuscript. Really. When my in bin fills fast and furious like a wild thing, it’s a must. Some twenty to one hundred submissions a day is normal life as an agent and really why we are sometimes slow responding. If I write an article, at times that number can reach 500-600 in a month.

When I’ve been the submission agent following an online event, I’ve received this number from just one group—all picture books. When I attend conferences, critiques get added to this reading. When I want to send out clients’ manuscript, important reading and editing gets added to this reading. So do realize that when we are slow to respond, we are diligently and constantly working to catch up.

So my other piece of advice is to take the time to read and adhere to the specific guidelines for each agent you send your work to. When I receive submissions written to the agent they sent to just prior to me (Happens a lot just prior to events I am scheduled to attend—I think writers send to the agents that will be there and simply forget to change the name) or to “Dear agent” (really? Didn’t bother to look my name up) or Mr. Sadler (did I really have a sex change overnight? Hmm), I know this writer has not taken the time to consider me as a professional or present him/herself as a professional.

Will my agent work on revising something with me?

Agents are the new editors in many ways. We look for work that is so ready to send that it already sings. It’s nice when we only have a few things to consider like setting or depth of characterization, or chapter breaks and shifts, or subplots or threads that need more attention. In the case of picture books, a lot of time can be spent on crafting fresh and thinking about what will elevate a piece in the marketplace.

I’ve recently launched KIDLIT COLLEGE, which hosts great webinar events with editors and agents, who also do critiques. In a recent event, Allison Moore talked about Big Story Ideas and shared how to position your work to complete in the marketplace and stand out. This past weekend, Ann Whitford Paul joined Jill Corcoran to talk about picture book craft. Ann talked about the ABCs of writing picture books, which was fabulous and gave detailed list of what to do, and literary agent extraordinaire, Jill Corcoran joined her to talk about what agents look for.

Find these kind of opportunities to get your work critiqued and reviewed by editor and agents. From our first webinar alone three manuscripts out of 20-ish where requested by the critiquing editor, so it’s a great move.

I often say that while we don’t write to the market, per se, we do need our work to fit into a market category. It’s a different ballgame to craft a story than to craft a story that will sell. I know a book is one I can take on when I can instantly think of three editors I can share it with.

Agents work on revisions, but an editorial agent definitely does, and this is all a process. I now use Google hangouts to work with clients because it saves a lot of back and forth emailing. We read and mark up and then chat about the piece and what needs to happen to make it ready to send out.

What catches an agent's eye and makes them want to read more?

Voice. Original idea. Different. Captivating. And Firsts. The first line, paragraph, pages and chapters of your novel need to be the best you’re capable of. We need character, setting, plot hints and voice all at once. How important is this? Huge. In the first week of my MG/YA pacing course, I talk about the importance of firsts. I also recently did a Writer’s Digest Webinar with Leslie Shumate, assistant editor at Little Brown Books for Young readers, and she will also be talking about first pages and we have Leslie joining us at KidLit College in October: “Making First Impressions”—and she definitely knows what she is talking about.

I believe in one simple truth: A writer who hones his/her craft will earn the book deal. There are no short cuts. A manuscript has to be top quality. This was the whole reason I started KIDLIT COLLEGE, and asked presenters to talk about craft. Ariel Richardson, assistant editor at Chronicle, will be talking about “What Makes Nonfiction Great” in September, and Yolanda Scott, executive director at Charlesbridge, will talk about “The Whole Book Approach to writing picture books in November. We also have an author-agent team talking about The author-agent relationship in a few short weeks, titled, “I’ve Got Your Back,” which pretty much sums up a great team approach to agenting.


If you could give one tip to new authors, what would it be?

Write the best manuscript, that manuscript only you can write, and write it strong in your voice and style and trust in the journey—it’s a good one.



Thanks Jodell for all the great advice!

We'll try to make this a regular monthly post, so if you have a question we can ask just write a comment below and we'll get it answered next time.

*Jodell Sadler is the founding agent and owner of Sadler Children’s Literary and KidLit College. She also teaches and presents on "pacing a story strong" nationwide.