Alumni Voices with Melinda Cordell: The Buddy System - Promotion at its Best

My nonfiction book, Courageous Women of the Civil War: Soldiers, Spies, Medics, and More, came out on August 1. It’s only been a few days since the book’s official release date, but it seems like much longer. 

Long before the book came out, I did something smart: on my Facebook account, I started friending folks from way back in my life. People I went to school with. My parents’ friends. Folks from around town. Writer friends. Hamline buddies (of course). I friended my fourth-grade teacher, my speech therapist from clear back in kindergarten, folks from Nodaway, shirttail relatives, college buddies, professors, the list goes on. Of course it’s nice to have all my old friends and relatives in one place, but I also knew that home folks would be interested in seeing what I did, since they knew me back when I was small and walking around with my nose in a book.

The nice thing was how good it felt to reestablish contact after lo these many years. And when I talked about my book on there, folks actually got excited. This didn’t usually happen in my life, so it felt pretty good.

A few months before my book’s release date, I hit a rough patch due to outside factors. I stopped caring about writing and was profoundly unmotivated to change this. My little family kept me going, and I love those guys for it, but I was low. I’d been a writer all my life, and now this other stuff was going on, and I was worried that I was going to be stuck without writing for the rest of my life. I needed help, but it seemed like wherever I turned for help a door would quietly shut in my face.  

But then, after I got my box of books, some of my buddies (from FB, naturally) wanted to buy a book from me. So I sold one. Then I sold another. Friends – and I just said that in my preacher’s voice – friends, that’s when the light shone upon me. I handed somebody my book. They handed me a $20 bill. After all these years of hard work, I was getting a tangible reward. Instant gratification. And that’s when I got hungry. When I got hungry, I pulled out of my funk. I got so motivated so fast it made my head spin.

So anytime anyone on FB said they wanted to buy my book, I told them that if they buy it from me, I’ll take it to them and sign it right there. Old friends are taking me up on that. The neat thing is, not only do I sell a book, but I get to talk to an old friend I haven’t seen for a while. That’s definitely worth the price of admission.

Other friends are helping out in other ways. Some give me leads about places to sell my book, or they’ll share posts about my book with folks they know. Some friends have invited me to come out and give presentations. You never know who will have a lead for you – so invite ‘em all!

And I’m getting more ideas just from hanging out with these guys. I used to say that I had no interest in self-publishing. Then, after an author’s showcase at the library where I hung out with a bunch of self-published writers with tons of books on their tables, I got hungry again. “Dude!” I thought. “I have so many old manuscripts that agents have passed on – I’m going to self-publish them too!” So now I’ll have more books to sell with my Civil War book. I’m still sending stuff out to agents – but Mama’s tired of waiting over here. She’s going to make her own damn books!

You know, this whole experience has been a kick in the pants – a very welcome one, because I had no idea that promotion could be such a nice thing. My friends’ support has been invaluable, and actually has been one of my favorite parts of this whole journey. I wouldn’t have it any other way.

*Melinda Cordell earned her Master’s in Writing for Children from Hamline University. Her first book, Courageous Women of the Civil War, has been published by Chicago Review Press and is (at this particular millisecond) a #1 New Release in Teen & Young Adult Military History.  Melinda's fiction and articles have appeared in Cricket, Highlights, and The Horn Book, as well as Organic Gardening, Birds and Blooms, and Grit. Visit her author's website at http://www.melindacordell.com/ to learn more or just say hi!

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.

What Publishing Will Do For You

This week author and MFAC alum Rebecca Grabill* shares some sage advice on what publishing your first book will do for you - and what it won't.

In Bird by Bird Anne Lamott describes publishing as the golden eagle on your credit card that only seems to soar, and she writes, "Almost every single thing you hope publication will do for you is a fantasy."


I agree. If anyone thinks that a magical first contract will ... pay off their mortgage, repair their marriage, get their kids to obey, fill them with endless joy, make writing easy, well, it won't. I don't feel much different today than I did six months ago. My house is still messy, my kids still draw all over themselves with Sharpie during nap, writing is still hard. Really, really hard.

In some ways writing is harder. My agent expects things from me. Like books. Good books! Finished books! I give myself arbitrary and unyielding deadlines because the pressure is on, baby. I question every word I put to the page because, ach, I only studied picture books one semester, how can I be a picture book author? I have the unshakable and very rational fear that the editors who bought my books were just playin' and any day now will notify me that they changed their minds and could they have the advance money back please. Security? Confidence? My pen scribbling off one blissfully perfect story after another? Nope, publishing did none of that.

But these first contracts did do something. Something surprising. A few weeks ago I took the kids to our local megachain bookstore for Dr. Who Fan Night. I escaped with the babies to the children's section, and I expected to feel my usual mix of hopelessness and futility. There are Sooooo many books published out of the sooooooooooo many I know editors receive. How would one of my silly goofy scary weird stories ever make it past the Publishing Powers and onto the shelves? Hello, meet Eeyore.

But as I paged through new releases I realized ... there's a chance my own book could be on the Halloween Table in some upcoming seasonal display. My own book, showcased alongside Max and Ruby and Curious George!

I realized I love the bookstore. I wanted to stay forever, to read every title, stroke every spine, inhale the fresh glue, lay my cheek against the silky smooth pages, lick the--uh never mind. I hadn't enjoyed a visit to a bookstore, truly enjoyed it unfettered by the whispering "you'll never be good enough" specters in, well, since I got in my head that I wanted to be a writer. I was free. I visited three more times that week alone.

I've noticed a few more changes as well. For example, when I see friends asking for advice on writing query letters I thank All That is Good that I no longer have to write them, and when I'm faced with the option: sweep up or write? I'm far more likely to let the ants take care of the crumbs.

I'd never compare publishing to something as dismal as the fake eagle on fake money that makes you feel good for a second but leaves you in debt. But then again, I don't expect a book contract to fix all my problems and make me happy (maybe ten contracts). I haven't though of an appropriate analogy yet, but perhaps by the end of the process, I will.


Thanks for the great advice Rebecca, we wish you luck on the next 10 contracts!  On Thursday we'll have a special letter from Polly McCann on the importance of having a writers group.

*Rebecca Grabill is author of the picture books Halloween Goodnight (Atheneum 2017) and Violet and the Woof (Katherine Tegen Books, HarperCollins 2018).  She has an MFA in Writing for Children and Young Adults from Hamline University (2011). If you want to learn more you can visit her author website or read her blog.

Faculty Voices: Seasons of the Writing Life

Even though it’s still hot here in Spokane during the afternoons, as Jackie Briggs-Martin said in her post two weeks ago, it feels like back to school time in my writing life. Towards the end of August I took two weeks away from my writing to celebrate our daughter’s wedding (amazing) and oh, my … it has been tough to get going again. But after last week’s days of fits and starts this Monday morning the old routine kicked in more steadily and I am grateful.

By the way, check out this link to a review of Jackie's wonderful new book: http://blogs.slj.com/afuse8production/2013/08/28/review-of-the-day-farmer-will-allen-and-the-growing-table-by-jacqueline-briggs-martin/ 

For current students in our MFAC program, it is back to school time. First packets are coming due and a new beginning with a faculty advisor. Our graduates say that’s what they miss most - the regular contact with a mentor, the deadlines to write no matter how they feel on a given day or about the work at hand.

             Yet as much as September still feels like back to school after years of classroom teaching and raising two children, my writing life doesn’t always follow the seasons of the calendar year. I might be starting a new book project in May, revising in September, brimming with revision ideas for an old project in cold January before our residency. Sometimes I wish the writing life were like school, nine months a year with classes/writing project complete after the final exam. But books can take years to write (and revise, revise, revise) and if they get published, we need to work to keep them alive in the world of readers.

Before a book is accepted for publication, decisions need to be made along the way about when to share the work-in-progress, whom to get feedback from, when to submit to a contest or award, agent or editor. We faculty at Hamline talk often about the importance of revision, of making a manuscript so strong that it calls to be read and considered. But I have to admit that sometimes I have submitted work before it is ready for that scrutiny because I just needed to know - something. The narrative arc of producing a publishable manuscript can be long, making us anxious during this process. Is my manuscript any good? Will it find a home with a publisher? Will it have value to young readers?

            Publishing has changed in the 25 years I have been in the field. It’s tougher to get books accepted now – more commercial books are being published, less “school/library” books, my forte. I can whine. You can whine. But adjust we must. We must be rigorous in revision and single-minded in finding readers along the way who can help us bring our writing to the next level and the next. Those of us at the Hamline MFAC program have a built in community that share a common language of response and knowledge about children’s literature. I also have a writing group here in Spokane and longtime writing friends I stay in touch with around the country. Keep your writing growing– winter, spring, summer or fall – by finding strong writing supporters for all the seasons of your writing life.

Questions from "Ask the Inkpot"

Hello Bloggers! Here are two questions for you that were submitted to "Ask the Inkpot."

1.
Dear Inkpotters:

I've finished my novel! I've put six years, and lots of blood, sweat, tears, heart, soul (and everything else) into it. It's revised now, and sitting on the desk of someone I hope will send me a nice letter soon.
Now what? It's been so long since I began a project, I don't remember how to start. I have a few ideas, but I can't seem to get going. Any advice for getting on to the Next Big Thing?

Signed, Too Much Freecell

2.
Dear Inkpot Blog,
If an agent or editor asks to see a synopsis of a manuscript (and not the whole thing), but that manuscript is a picture book....how long should the synopsis be, how should it be structured, and what should it include?
Signed, Unpublished

Significance of YA Lit

I was interviewed recently for a local paper. This was one of the questions and my answer. It’s a question with different answers so feel free to chime in. I’d love to know what you think.

Q: What is significant about young adult fiction? How has it changed and where is this industry heading?

A:
Young adulthood is a time of life that exists unto itself. It is full of “firsts.” It is a place of limbo between childhood and adulthood that can be awkward and confusing and incredibly enlightening. The literature speaks to that.

Young Adult literature has grown tremendously in popularity since I started in the field in the early 90's. Then, it was a lesser-known field and had small to moderate sales, though quality writing was evident. It was kind of a hidden and marginalized field, giving those in it a certain bond. But things shift and publishing is cyclical. Now the YA field is booming and it has “cool” factor--much due to Harry Potter and Twilight, both so immensely popular that it put the field on the map in a big way. These books were (and still are) being read, selling, and making money. This is both good and bad. Good, because more people are aware of the legitimacy and excellence of books for children and therefore more writers are emerging and publishing. Bad, because like everything that becomes popular it can attract quality of all levels and tends to follow the immediate trend. The trend now is vampires and the super natural, so that overshadows those who want to read and write more contemporary or historical fiction. The heightened popularity of one or two "big bang" books can sometimes take the focus away from the smaller, riskier books. However, the need for all types of young adult literature is not going away. More adults are reading in this field because there are so many good books available.

As far as the future of the industry, you'd get a more knowledgeable answer from someone directly in publishing—publishers are thinking very hard about all that. Publishing will likely continue to shift to a variety of multi-media forms, but we will always need good storytellers. The form in which it reaches an audience doesn’t matter. Writers who continue to create thought-provoking, entertaining, and enlightening stories for children and young adults do.

Endings

This year--with all its blather and bomp--is ending. The year that Sarah Palin published a book, that we might have gotten health care for the country, that J.K. Rowlings didn't publish a book, that the earth got a little warmer, the year in which we're trying to figure out if we like reading books on a small electronic box.

I'm going down to Stockholm, WI, where I have an old farmhouse on the edge of town under the bluffs. I'm going to walk in the deep snow, maybe out on the ice of Lake Pepin, see how the eagles are coming with their ginormous nest (big enough to fit a bear), and watch the fire crinkle away in front of me for a few hours. Then I will close the house down for the season. It's a relief and a sadness to shut off the water, turn the heat way down, and lock the door.

But endings are like that. I'm approaching the ending of a book and, surprisingly, I'm finding myself slowing down. I've enjoyed writing this book, and I'm nervous I can't quite pull off the ending I've envisioned for it, and so I'm lingering in this world for a while longer.

Endings are like that. You close the door and walk away. You write the final word and turn off the computer. You drink a glass of champagne and salute all that was and all that is to come, knowing we will all continue to read books, whatever form they come in, and we will all move through our endings with sadness and relief.

Happy New Year!