Query.Sign.Submit. with Shallee McArthur

 

Shallee McArthur writes young adult science fiction and fantasy. Her YA sci fi novel, THE UNHAPPENING OF GENESIS LEE, debuts from Sky Pony Press Nov. 18, 2014. She is represented by Hannah Bowman of Liza Dawson Associates.

 

 

Connect with Shallee . . .

Website
Facebook
Twitter
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Goodreads

 

 

Now for Shallee’s insight on querying, signing with an agent, and going on submission.

QUERY

What are some important things for querying writers to consider when researching agents?

I think it’s important to remember that agents are more than numbers. How often they sell, how much they sell books for, how many big names they rep—all of these things are fairly easily learned. And they can definitely factor into your decision on who to query (or eventually, who to accept). But your relationship with an agent is not based solely on numbers. If they sell great, but your communication styles don’t mesh, or your vision for your career doesn’t fit with their strategies, they’re not the agent for you. An agent doesn’t have to be your best friend, but they should be someone you work well with!

Did you ever have a Revise & Resubmit? What should a writer consider when deciding whether or not to take one on?

I actually got an R&R after I got an offer of representation! I got an offer, emailed other agents who had the story, and got two more offers. Then I got an R&R from a lovely agent. She had certain ideas for story revisions, but she told me that if I already had an offer from an agent who was a fit for me, that I should go ahead with that. An R&R can be a wonderful opportunity—after all, it’s likely you’ll do revision with any agent, even if you sign. It can be a good way to see if you and an agent are an editorial fit. If the suggestions an agent gives on an R&R fit with your vision of your story, give it a shot! If it’s totally out in left field and it doesn’t fit your vision of the story, you’re never required to say yes!

Had you queried other books before the one that got you your agent?

Yup! I’d queried one previous novel. It got a few requests over about 8 months, but then just more rejections. I re-read it at one point and decided to stop and shelve it. I still loved it, but it was no longer my best work. In addition, I didn’t know exactly how to make it better. I was already working on my new book (which was GENESIS LEE), so I lovingly shelved the previous book in favor of the new one.

SIGN

What was the week surrounding your offer(s) of representation like for you?

It was crazy and exciting! I’d just started querying and had my first offer in barely over a week, so I was scrambling to email the other agents I’d queried (and even ones I hadn’t queried yet!) to see if they were still interested. I had two other offers that week, and two more phone calls with great agents. On one of the calls, I was out for lunch at the time. It was busy and loud in the restaurant, so I went outside to talk to her—and of course, there was loud construction going on! It was thrilling to have the offers, and also nerve-wracking. I’m glad it was only a week. J

How did you know your agent was the right one for you?

Funnily enough, I’d actually worked with my agent, Hannah Bowman, before she repped me. In fact, she wasn’t an agent at the time—she critted a previous book for me while she was interning at an agency. Her crit was spot on! When she became an agent, I knew I wanted to query her right off. And then she actually requested a full before I even started querying, after seeing me tweet a pitch for the book. I already knew our editorial styles meshed, and when we talked, I knew she really GOT me as a writer. She knew what I was trying to do with a story, and how to make it better. We also got along well, and she already had a good track record as a new agent, and she worked at an agency with a great reputation. With all that plus my gut feeling, I knew she was the best agent for me!

At what point do you share new story ideas with your agent?

It kind of depends on the book. Sometimes, I’ll ask her to brainstorm an idea in its early stages with me (she’s great at that). She’s asked for ideas of what I’m working on and to see early chapters, too—that’s been good to determine if a story is a good one to pursue. And of course, I send her a full draft when it’s ready. “Ready” means a different thing than before I had an agent—it’s not nearly as perfect as when I was querying, because my agent is now part of my editorial process to make the book as good as possible before submission to editors.

SUBMIT

What is a typical first round like once a writer goes on submission?

My agent sent out my book to several editors—she told me which ones, and sent me the cover letter/pitch she sent to them as well. When we got responses from editors, she would sometimes forward the responses on to me, but only if they had particular praise or good editorial feedback. Otherwise, she’d just let me know if they passed or wanted to take it to the editorial committee. From there, it was either a pass from the editorial committee, or it would go to the acquisitions committee. This process can take a looooong time. Waiting while on sub can be even worse than waiting while querying!

Is there anything you learned while being on submission that you didn’t know before?

That while on sub, you no longer get “rejections.” They’re referred to instead as “passes.” This can actually be psychologically beneficial—it’s better to hear that an editor passed, instead of rejected you! ;)

Did you know there was interest in the book before you got an offer or was it a surprise?

Hannah had emailed me to let me know an editor was interested and was taking it to the next step. This had happened a few times, but this one sounded a bit more promising, so I was feeling hopeful but trying not to be too hopeful.

And then my phone rang, and I saw my agent’s name on it, and I started freaking out before I even picked it up to hear we had an offer!

Thanks, Shallee!

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Teen Speak - Shipping

By Kate Bucklein

Welcome back to the world of fandoms. Shipping is an incredibly common term, one I use here and there. In fact, I recently used it after an episode of REIGN. (I have since withdrawn my ship, though, because no.)

Shipping is basically an easier way to say “I really want these two/three/+ characters to be in a relationship.” RelationSHIP = SHIP, or SHIPPING.

There are many ways to use this term, though. Some are:

· “I will go down with this ship.” = I believe in this ship so much it had better happen or I can’t even.

· “I totally ship them!” = I want these two characters to kiss and get married and have four babies and a house.

· “My ship has sunk.” = I no longer want these two characters to be together OR It is impossible for these two characters to be together any longer.

In some cases, I actually really like shipping. In other cases, I really don’t. Some fandoms become completely divided over ships, especially if they don’t work out or if the characters end up with someone completely different. All in all, shipping can get aggressive, and should definitely be approached carefully. You may go down with that ship.

About the Author :

Kate Bucklein is a clumsy, nineteen-year-old writer of YA epic fantasy living in Northern Arizona, where they really do get snow and the occasional tumbleweed. She's a college sophomore working toward getting her degree in Global Affairs with an emphasis on Intelligence Analysis.

Connect with Kate: Twitter ~ Blog

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Eight Query Do’s and Don’ts

By Renée Ahdieh

1. DO: Personalize your query. Take the time to look up the agent's name and gender. A "Dear Sir or Madame" will not get you far. Nor will a generic "To Whom It May Concern" or an email blast to fifty agents on a preferred list. That being said, I wouldn't write "Sup, Barbara" atop my query, either. Well, my agent might laugh. Right before she deletes it.

2. DON'T: Begin your query with a question. I know the temptation is there. After all, so many movie theater trailers do it. In fact, the ubiquitous-ness of the rhetorical question in all things pitchy makes it an itch that just begs to be scratched. I mean, why wouldn't you want to read something this awesome, har-dee-har? DON'T DO IT. I've seen the rhetorical question work exactly one time. And that person got EIGHT offers of representation. The moral of the story is this: don't count your agents before they offer. Stay away from questions of all kinds. Especially rhetorical ones.

3. DO: Stick to naming one character. Maybe a villain, if you're feeling lucky. If your plot has two points of view, then name both. Once you start naming the main character's grandma Mae, best friend Aesop, and pet hamster Cheeko, you're in Character Soup territory. Trust me. The agent's lost. And his/her finger is hovering over "Delete."

4. DON'T: Go over a page. Really, I don't think your query should be longer than three hundred words. And that includes the ditty about yourself. I know, I know . . . your fantasy world is complex. But the truth is, we don't need to know why the planet is in turmoil from a nearby star in constant flux. We just need to know who the main character is and why we should care about her/him for 60,000+ words.

5. DO: Show us how you write. I know this isn't always what you might hear elsewhere, but I do think it's important to show your voice in a query. That doesn't mean you should write as your character, but be voicey. Showing and not telling is of tantamount importance here. And the best way to do that is by being voicey. Bonus points for making an agent laugh. Seriously.

6. DON'T: Lie. This seems like a given, but it's amazing how many times I've heard this to be an issue. Agents ALWAYS google potential clients. If you say you've been published in something or that you've sold a gajillion things as a self-published author, please know how easy it is to check this. Don't lie in your query. It won't help you. Maybe an agent might give five seconds more to your pages than they would have given without the lie, but if your writing doesn't stand up, it won't make a bit of difference.

7. DO: Offer comparative titles. This is a great way for an agent to get an immediate appreciation for how your book stands up against the market. It also shows an agent your understanding of the industry.

8. DON'T: Compare your book to blockbusters. For the love of all that's holy, don't say you've written the next TWILIGHT or HUNGER GAMES or HARRY POTTER. Please. It's also unlikely you've written the next LORD OF THE RINGS. Just don't do it. And, no matter how many badass sigils and fire-breathing winged things you have in your near-Welsh-like world, you're not GRRM. Just don't. Mmkay? Be original. Show that you've read beyond the grocery store checkout line.

About the Author :

Renee Ahdieh is a writer of Young Adult books. Her novel THE WRATH AND THE DAWN, a reimagining of The Arabian Nights, will be published by Penguin/Putnam in 2015.
Connect with Renee . . .
Website ~ Twitter ~ Goodreads

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Query.Sign.Submit. with Patricia Nelson

Patricia represents adult and young adult fiction, and is actively looking to build her list. Agency policy is to respond to all queries. If you haven’t heard from her within four weeks of sending a query, your email might have gotten caught by the spam filter - please resend!

To connect with and learn more about Patricia . . .

Marsal Lyon Literary Agency
Twitter

Now for Patricia’s insight on querying, signing with an agent, and going on submission!

QUERY

What advice would you give to querying writers?

Definitely make sure that your query is polished, but I do think that it’s possible for a writer to focus too much attention on the query letter. Remember that a query is necessary to catch an agent’s attention, but it is not the end product in and of itself – the book is. I think sometimes writers make the mistake of endlessly revising their query and first 10 pages at the expense of polishing the full manuscript, perhaps because it (understandably) seems like a more manageable project to tackle. Don’t let revising your query letter bring the rest of your writing to a halt – you can write the most perfect query, but the book itself still needs to live up to that promise.

Do you always read a query all the way through? If not, what would make you stop reading?

In general, I make it a point to read a query all the way through. However, there are certain kinds of stories that I’m not looking for right now – for example, it’s unlikely that I would be drawn to represent a YA novel about vampires at this particular moment, given the current market – and other storylines that I know that I’m just not the right agent for in general – e.g. plots that center on sexual violence tend not to be for me. (I would have missed out on GIRL WITH THE DRAGON TATTOO for sure!) Usually I can tell if a query is pitching one of these “not right for me at this time” stories fairly early on. I also might stop reading a query before the end if the writing itself is extremely clunky: poorly constructed sentences, multiple misused words, etc.

Do you ever offer a Revise & Resubmit? When would you do so?

Yes, I have replied with a Revise & Resubmit in instances where I loved both the hook and the writing, but felt that something wasn’t quite clicking with the story – usually these are cases where the plot or pacing isn’t quite tight enough yet. When I do offer an R&R, I’ll usually send substantial notes for the author to work from… and I am always really hoping that the revisions will pan out and that when the next draft turns up in my inbox I’ll fall in love! That doesn’t always happen, but if I respond with an R&R, it means that I genuinely believe that the book could get to a point where I would want to offer representation.

SIGN

What is it like waiting to hear back from a writer you’ve offered representation?

Waiting is always nerve wracking! If I’ve offered representation, it means that I’ve really connected to a book, and I want the chance to be a part of that writer’s journey to publication. Just imagine the butterflies that you feel when you’ve just sent off a query to your first choice agent – waiting to hear back after offering representation, the tables have turned, and I’m feeling that exact same feeling.

Do you sign a client as a career agent or on a book-by-book basis?

When I offer representation, my hope is always that we are beginning a relationship that will last for the duration of the author’s career. It typically makes sense for an author to start working on a new book while the first is out on submission (keeping busy can keep you from going crazy over what can be a long process!), so it’s likely that we would start discussing a next project before the book that I offered on has even sold.

Once a writer has signed with you, what’s the next step?

I’m a fairly editorial agent, so once I’ve signed an author the first thing I’ll do is carefully reread the manuscript, making comments in-text and then writing up an editorial letter suggesting revisions. Depending on how much work a novel needs to get in the absolute best shape possible, we might go back and forth on a couple rounds of revisions, or we might move on right away to prepping the submission.

SUBMIT

Do you forward editor feedback to writers?

This is up to the writers – some people like to see all correspondence from editors, and others would find this experience discouraging or even demoralizing. I’ll tend to explicitly ask what the author prefers before we even go out on submission.

At what point might you suggest making more revisions?

If the feedback from editors is all skewing in the same direction and it’s looking like we’ll need to go out on a second round, I’ll likely have a conversation with the author about whether the passes from editors collectively point to something that we feel could and should be shifted, or whether we just haven’t yet found the right home for the book.

Is it okay for a client to check in if there hasn’t been any news in a while?

It’s always okay to check in! I believe that if you don’t feel comfortable checking in with your agent (and confident that you’ll get a quick response), the relationship isn’t working as it should be.

Thanks, Patricia!

See other Query. Sign. Submit. interviews
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Posted October, 2014 – Always check for current info and guidelines.

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Five Powerful Tools for Writers

Whether you’re gearing up for NaNoWriMo (National Novel Writing Month) or just want some new writing tools to help things along, here are some great ones to try.

1. Scrivener – Well come on, you knew I’d say that first, right? If you’ve never used this amazing program, or have been putting off trying it out, now’s the time to dive in. Head over to our Getting Started with Scrivener post for a step-by-step guide. And if you want some tips and tricks to get even more out of the program, check out the Scrivener posts under Tools for Writers.

2. Save the Cat – Plotter, pantster, somewhere in between? The Save the Cat method by Blake Snyder is one everyone can use to structure a story and adjust as you go along. It’s written for screenwriters, but works for novels too. On our Graphic Organizers page, you’ll find a couple Save the Cat Beat Sheet templates as well as an Excel doc that will calculate which pages things should be happening on. If you’re not familiar with it, I’d recommend checking out the website and reading the first Save the Cat book.

3. Hiveword – Hiveword is a great tool for laying out the scenes in your story. You input notes on your scenes including characters, plotlines, and settings. You can then sort by any of the above, list scenes in order or filter by things like POV and plotline, and use the scene sorter to rearrange your scenes. And it’s all free at Hiveword.com.

4. Pinterest – Whether you just need a little inspiration or you want to build a board about your story, don’t forget about Pinterest as a writing tool. When you need a break, or you’re stuck on an element of your story, sometimes exploring the visual makes a big difference.

5. Pro Writing Aid – You probably won’t need this until you’re finished with your draft, but it’s a big help and a huge timesaver. You can copy and paste a chapter or two at a time onto their website at ProWritingAid to find things like overused words, repeated words and phrases, and grammar issues. The paid version (well worth it in my opinion) gives you a Word plug-in that lets you make changes right in your Word doc, saving even more time.

Now you’re armed with some top-notch tools to take your writing to the next level. Have fun!

   *Illustration by duchessa.

Research agents in Query.Sign.Submit. interviews
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About the Author :

Dee Romito is an elementary teacher, freelance educational writer, and children’s/young adult author represented by Uwe Stender. Her middle grade debut, SUMMER BUCKET LIST will be published by Aladdin/Simon & Schuster in 2015.

Connect with Dee: 

Website ~ Twitter ~ Facebook ~ Pinterest ~ Tumblr ~ Goodreads

Click here to subscribe to her newsletter.

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How to Add Depth to Your Protagonist

Guest post by Angela Ackerman

I love it when a great story idea grips me. Often, it starts with one small thing…a sound or a flash image. Sometimes I’ll get both, something utterly sensory that sends a thrill through me, like the ominous flutter of a plastic grocery bag caught in a tree branch on a windy day. Immediately I’ll start to “know” things. There’s water nearby. A dead body lays in the reeds, a teenage girl. A boy with find her, one who has lost the ability to speak. Snippets trickle in, clues of the story ahead, of what is to come. Excitement builds. I’m sure it’s a similar process for many of you.

There’s always the temptation to rush head first down the rabbit hole, to write that first scene, the one where the mute boy discovers the girl’s body. To leap in and describe it all—how the light dapples the water, the warmth of the sun, the paleness of flesh devoid of life. But the truth is, I’m not ready to write. I shouldn’t write. Because even if I know exactly how the scene will go, what the male hero will do, how he will drag the body onto the bank, hoping, praying the girl is still alive, I don’t know anything yet about who he really is.

The protagonist is the true heart of a story. The immediate events around him—discovering a dead body, pulling it from the river—will keep a reader glued to the page at the start, but the compulsion to read on will fade if something deeper isn’t introduced. What keeps people reading isn’t intense action scenes, but rather the emotional component of the hero’s connection to what is happening, and how it affect him on the inside.

Some assume that emotions are sort of standard…that this situation would make someone scared and that situation will bring them joy. But it really is so much more complex than that. Each person in real life is a complicated and unique being, shaped by their past, molded by what life had thrown their way and how they have coped with challenges, both good and bad. They have motivations for everything they do. People have fears, they have worries, and deeply embedded emotional wounds that mean certain events and situations act as triggers. These triggers may evoke much different emotional reactions (both type and intensity) than they would for someone else.

People have vastly complex personalities, including flaws which have emerged as a type of “emotional armor” as a result of their hurts and fears. And while they believe these negative traits keep them from being rejected, disappointed or hurt again, they actually hold them back from becoming someone stronger, more self assured and complete. Luckily, every person also has a positive side to their personality—morals and character strengths that see them past adversity, helping them achieve their goals, build better relationships and reinforce their individual identity.

The question becomes, if each of us is this complex…don’t we want to read about characters just as layered and meaningful? Of course the answer is yes, but this leads to one more question…to get to know our character in depth, where does a writer start?

You’ll notice this post is peppered with links…why not follow a few to gain a deeper insight about some of these important elements of character building? Then, when you have a deeper understanding of what shapes a character, try out some of the tools below.

BRAINSTORMING TOOLS TO REV YOUR HERO’S ENGINE

The Reverse Backstory Tool: a visual aid to help you see how your hero’s specific attributes, flaws, emotional wound (and lie the character believes about himself), and greatest needs all tie into revealing inner motivation to achieve the outer goal.

Protagonist Goal Checklist: a great Character Arc checklist that asks all the important questions regarding your hero’s pursuit of his goal.

Character Profile Questionnaire: not your average height, weight, hair color type questions...instead, dig deeper into who your character is by asking probing questions about his fears, morals, secrets, emotional wounds, special skills and interests.

A List of 638 Positive and Negative Character Traits: a great starting place to think about how to blend unusual traits to create a truly memorable and unique character.

Character Attribute Target Tool: visualize your hero’s best qualities as they fall into the 4 categories of Positive Traits: Moral-focused, Achievement-focused, Interactive-focused and Identity-Focused, building a well-rounded hero who is capable of winning the day.

Character Flaw Pyramid Tool: organize your hero’s flaws, from minor to fatal, and brainstorm how these flaws manifest through behaviors, especially when stress or fear enters the picture.

Michael Hauge’s 6 Stage Plot Structure for a Character’s Inner Journey: like a bit of structure with your Character Arc? Hit all the highlights for struggle and growth to create a satisfying internal journey.

These tools and links should help you dig deep into your protagonist and his backstory, helping you to better understand what makes him tick, what his demons are, and what emotional wounds from his past they must overcome to succeed.

Happy brainstorming!

Angela Ackerman is a writing coach and co-author of three bestselling resources, The Emotion Thesaurus: a Writer’s Guide to Character Expression, The Positive Trait Thesaurus: a Writer’s Guide to Character Attributes and The Negative Trait Thesaurus: a Writer’s Guide to Character Flaws. A proud indie author, her books are sourced by US universities and are used by novelists, screenwriters, editors and psychologists around the world. Angela can be found at the popular site, Writers Helping Writers, which specializes in building innovative tools for writers that cannot be found elsewhere.

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Query.Sign.Submit. with Roseanne Wells

Roseanne represents adult, young adult, and select middle grade fiction, as well as nonfiction. See her guidelines for more specific interests.

She responds to queries that she’s interested in. When an author queries, they will receive an email stating the time frame for requesting more material. It can vary, but she tries to keep it to 8 weeks or less. If you have not heard from her by then, it’s a pass.

To connect with and learn more about Roseanne . . .

The Jennifer De Chiara Literary Agency
Twitter

QUERY

How do you tackle your inbox? Do you go in order or jump around?

I go in the order that I receive them. If I see something that speaks to me, I will open it right away, but I try to read in submission order. I will occasionally scan them as a whole to look for junk mail and invites to LinkedIn or Twitter.

If the query sounds generic or familiar, I will usually skip down to the pages. But if the query is great, I get really excited to read more. Which is why reading the submission guidelines is so important! If those pages that I’m so excited about aren’t there, it’s an opportunity missed.

Is it okay for a writer to nudge concerning queries or partial/full requests?

I really appreciate a nudge with partials and fulls. I don’t request partials unless the material comes from a contest where partials are part of the guidelines. If I want to read beyond the pages with the query, I want to be able to read all the way through. I get frustrated when I want to read page 51, but it isn’t there! I won’t make it through every manuscript to the end, but I like having that option. Because I’m reading mostly fulls, and I try to give some feedback as to why I am passing, it takes a little more time.

I like knowing when you’ve received an offer of rep with queries, but it’s considered above and beyond in my book. I get irked when someone doesn’t tell me they have or accepted an offer when I have the full, but that doesn’t happen very often. With the amount of resources available, I find astute authors (such as your readers!) know the etiquette of submitting.

Do you ever offer a Revise & Resubmit? When would you do so?

I do offer Revise & Resubmits; I’ve gotten clients that way. I think it’s valuable to see your notes in action, and how well the author absorbed them and took them to heart. I mostly do R&Rs when the writing is really good, and the voice is there, but something isn’t quite working. I also do R&Rs when I want to see if our editorial styles will match. If I know it’s going to be an intensive edit from the start, I will look for the edits to be fruitful right away. If they aren’t, then it’s not a good match.

SIGN

Do you sign a client as a career agent or on a book-by-book basis?

I am looking for long-term, career authors. One of the most important questions when I offer is, “What are you working on right now? What is next?” I want to see that you have skill, stamina, and more than one story to tell.

What is the revision process like when you’re working with a client?

I call my editorial style problem-finding instead of problem-solving. I am the fresh eyes that the manuscript needs, and I will scout for the things that aren’t working, on a macro level (plot, character, pacing, overall appeal) and micro level (grammar, punctuation, word choice, etc). I will also suggest solutions to those problems, and the author and I will find the best solution together.

Do you want to see sample chapters as a client writes or do you prefer to wait until the manuscript is finished? Or is it up to the client?

I like to see manuscripts when they are finished. I also tell my clients that if they are having trouble with a section or chapter, send it and we can work it out together. I have clients who want the privacy to have a few drafts to themselves before showing me, a few clients who want to show me every single version, and some who want to work through some scenes and then show me. I try to adapt style to my client’s needs, so that we can get to the good stuff—the revision work!

SUBMIT

At what point might you suggest making more revisions?

When the author and I see a trend in the responses from editors, we start to consider making revisions. If several editors are naming the same reason for passing, they are giving us valuable information on where to start an edit to make the book stronger. If there’s no real consensus, then it’s more likely personal opinion or what works for that imprint/house.

What is the next step if an editor shows interest?

There are several steps between an editor’s interest and a deal. An editor will often ask for peer reads, so she can gauge how others feel about the project as well. Then s/he will get the book on the acquisition schedule, and then s/he presents the book to the acquisition meeting. This includes editing, marketing, publicity, and art departments, and sometimes production as well. They talk about the merits of the book, what markets/demographics it will appeal to, their profit and loss statements, how similar books have done for the imprint/house, how they will market it. If they think it will work, they present deal points. The agent and editor negotiate the deal points, and then the editor or contracts department sends the contract. The agent and editor/contracts person negotiates the contract, and then the deal is signed.

What do you suggest a writer does while out on submission?

Write! I think one of the best solutions for submission anxiety is to work on other projects. Not the sequel to the book or the companion novella, but a different project. If it’s the next book we want to sell, great; if not, let’s discuss why. It can be an opportunity to start that next project, or working on craft, write in another genre, or work on articles or blog posts supporting the client’s work. What matters is that it helps the author feel in control by being productive, during a process that is out of their hands.

How much contact do you have with a client when he/she is out on submission? Do you send weekly updates or update as responses come in?

I send updates to clients as they come in, and I encourage clients to stay in touch if they are feeling nervous (and then get back to writing your no-anxiety project). I appreciate a check-in from clients, and if I feel like we haven’t talked in a while, I will send a no-news-but-how-are-you email. I think communication, even if there’s no news and you just want to send cat videos and talk about True Blood or Veronica Mars, is important.

Thank you, Roseanne!

See other Query. Sign. Submit. interviews
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Posted October, 2014 – Always check for current info and guidelines.

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Teen Speak - Mad

Back to Buzzfeed posts, the word “mad.” 

Do not use this.

Rarely will a teenager use this in today’s day and age.

Maybe it happened in the 80s, but not today.

I’m sorry, Buzzfeed post, you are mistaken.*

But, to explain, the Buzzfeed post says “mad” can be used in a sentence such as: “Yo, Sarah is, like, mad chill. She’s one of the coolest chicks I know. I want to ask her to prom.” I’m sorry, but no one says “mad chill” anymore. No one even says “chill” anymore unless telling someone to “Chill out.”

And for that matter, Buzzfeed post, rarely is the term “coolest chick” used anymore, either. Do boys still call girls “chick”? Maybe in other parts of the country/world, but not where I live.

So don’t use any of these debunked words. You’ll be better off without them.

EXCEPTION: I will still occasionally hear someone say “I’ve got mad skills” or some such thing, but that’s a rare teenager.

* Please note: This is all in my experience. So maybe teenagers in Florida or Nebraska say this, but none of the teenagers I know do. After all, words and expressions can change everywhere in the country, but that’s a post for another day.

About the Author :

Kate Bucklein is a clumsy, nineteen-year-old writer of YA epic fantasy living in Northern Arizona, where they really do get snow and the occasional tumbleweed. She's a college sophomore working toward getting her degree in Global Affairs with an emphasis on Intelligence Analysis.

Connect with Kate:@KateBucklein

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Query.Sign.Submit. with Anna Roberto

Anna is an Associate Editor at Feiwel and Friends/Macmillan. She is interested in picture books, middle grade, and young adult fiction. Her nonfiction tastes are very selective. She loves realistic contemporary, suspense, sci-fi, and LGBTQ.

To connect with and learn more about Anna . . .

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Anna will be sharing her insight on the SUBMIT phase, from the editor side of things!

What do you love most about your job? Was it in your career plan or did it happen along the way?

Easy. Collaborating with authors! It’s amazing the kind of solutions and ideas you come up with when you have two minds working at it. Obviously, the author is the brain behind the entire operation, but I love to throw (mediocre) ideas at them to really spark their creativity—to make them see things from different angles that maybe they didn’t think of before.

I always knew there’d be a tremendous amount of back-and-forth with revisions, but I didn’t expect it to morph into this great building of ideas and brainstorming sessions. So wonderful!

What is the hardest part about being an editor?

I can only read so fast, so time is an editor’s enemy, for sure. But I think the absolute hardest thing for me is losing a project that I really wanted. As an editor, you’re the champion for this project. You pitch it, you put your heart and soul into screaming how great it is from the rooftops to the sales team and others. So to do all that work and have someone outbid you, it’s more upsetting than I ever expected.

Is there anything that would make a submission an automatic no?

Forced, inorganic voice. When I’m reading a YA and I can immediately tell it’s an adult trying to be a teen, I want to scream. Using slang (ugh, dated slang!) doesn’t make a voice teen. Teen voice is so much more than using funny or silly words. Honestly, it’s one of those skills you just can’t teach.

How do you tackle your inbox? Do you go in order or jump around?

Our IT department has said to me on more than one occasion that I have the most extensively organized inbox they’ve ever seen. Not that you could tell by the state of my desk… When an email thread is wrapped up and resolved, I file it into the designated folder of my archives. I have a folder for every department, every event, and every author. Everything ever.

For projects in limbo, they stay directly in my inbox with a color-coded labeling system. I tag rush reads with a purple tag as well as the red tag (but red tags are for anything urgent as well). Green tags are for freelancer projects, orange tags are for mailing projects, and blue tags are for intern projects. Then I always use the flag and reminder features to keep me on point with deadlines. These colored tags and reminders are also built into my calendar so I know when revisions are due back from authors as well as other time sensitive jobs!

Did I overdo it….? If only I was this organized in my personal life!

What is the revision process like when you’re working with an author?

After the contract is finalized and squared away, it’s time to make a book!

My usual process is to give the author a big welcome, welcome to the Feiwel and Friends family! Shortly after, I send an over-arching editorial letter with my main plot and character concerns. I point out pages and passages that need attention. I often make suggestions to help find solutions to areas causing concern, though, I never expect or demand that the writer do exactly what I say. After all, I’m not the writer. I offer suggestions just to kick off the brainstorming—to get the creative wheels a turnin’.

After the author takes the editorial letter, sits with it, and reworks the manuscript, they send it back to me. At that point I start to read through it again. If I see that most of my concerns were resolved, I start line editing. If it’s still not there, I do another round of edits. If it’s onto line edits, that’s just where I take a very close look at each line to make sure everything is smooth. For instance, if a character does something or says something that goes against the character as the author has shaped them—I call attention to it. This is also my chance to simply get excited and act like a total fan. I still have very visceral reactions to reading things, and I cannot breeze through a manuscript without saying how much I love something! After all, it’s why I bought the book in the first place! One time, I drew giant hearts all over a manuscript because it was simply the most romantic scene on earth. As an editor, I believe it’s just as important to point out those bits that made you fall in love with the story as well as those bits that need some TLC.

So once the editorial process is nearly to an end, I submit it to copyediting and start to have meetings with the designer to talk about cover concepts!

What would you love to find in your inbox?

The best and worst question! I’m a firm believer that sometimes you just don’t know what you want until it’s in front of you, but here’s what’s been on my mind lately…

Sweet picture books that aren’t too sappy. Quirky picture books that tell evergreen themes in new and exciting ways. I definitely am more humor-based with picture books.

I’d love a coming of age middle grade with a fresh plot and a charming voice. If Rebecca Stead and Judy Blume were to collide…

A YA that involves a boy and girl who were best friends since childhood but now find strain in their relationship as they navigate high school.

A YA or MG about sisters (no one has to die, either!). I find sibling, especially sister relationships, to be a treasure trove of material.

A YA suspense/thriller à la Lois Duncan. Or even a thrilling sci-fi.

An LGBTQ novel that isn’t about coming out—so much territory to explore here!

A YA or MG novel that involves a character who is out of their element. I love the idea of a family having to pick up and move to Alaska and find their feet as they learn to live off the grid.

I love voices that are organic and believable. I do tend to live in the realistic contemporary genre. Stories that have any combination of humor, heart, or quirkiness. Commercial or light literary styles are welcome!

Thank you, Anna!

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Posted October, 2014 – Always check for current info and guidelines.

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