As has become the norm for these events the agents present on the panel opened the evening by taking turns to give us a little idea of who they were, where they came from and what they were looking for.
First up was Bryony Woods. Bryony started her career in bookselling and libraries before undertaking an MA in publishing and then joining the Caroline Sheldon agency, where she is at present but not for much longer. Bryony was unable to give us much information, but she is about to join a new agency with another agent, whose name the new agency will bear - hence the secrecy. There should be an announcement soon but in the meantime watch this space. She is very excited about the prospect of looking for new authors and will be seeking, in particular, YA and older middle-grade books which are a bit strange or different (think Neil Gaiman, Roald Dahl and Meg Rossof). She likes books that are dark, have a strong sense of space and time. She's particularly keen on the Victorian era. She also likes adventure stories with action, humour and a strong bond of friendship.
Jodie Marsh of United Agents came next. Jodie started off as an assistant to Rosemary Canter, who was the first specialist children's agent. Rosemary died eighteen months ago and Jodie took over her list. Since then Jodie has been developing the illustrator side of the list but she does handle both writers and illustrators. She believes that picture books have become more important recently because the best picture book writers can produce 7, 8 even 9 texts a year whereas the best writers rarely produce more than one.United Artists are a large and newish agency (established in 2008) and have agents representing film and TV as well as other talent. This gives them an edge in handling 'transmedia' (a word Jodie clearly disliked) which she believes is becoming an increasingly large commmercial reality in children's books.
Jodie would like to find a bestseller! She likes classic children's books and is a bit sceptical of the YA market. She prefers the teen classification. She also warns against trends, remarking that the supposedly big publisher led dystopian genre is barely out-selling the readership-led dark romance genre which is now well past its peak.
The next agent to speak was Joanna Volpe of new Leaf Literary and Media. And for those of you who are unfamiliar with that agency, it might be because it's based in New York. Fear not though because they are still willing to accept submissions from British SCBWI-ers! Joanna has a small list and likes to look at projects from all angles. This means she likes to sign people for the long run. She represents every one frmo picture book writers to teen and likes dark fiction, dark comedy and all things quirky. She agreed with Jodie about reader trends and commented that this is why she is looking particularly for scifi.
And then it was the turn of Juliet Mushens of PFD. Juliet has been at PFD for two years and was at harper Collins for two years before that. PFD has been around since 1925 and is a full service agency covering foreign rights, talent, film and TV. Her list is broad. She has celebrity writers and YA. Her taste is broad too but all her children's books are from debut writers. She is particularly interested in epic fantasy and she also wants to find the British Judy Bloom but whichever it is it must be aimed at 12+.
Last up was Claire Wilson of RCW. Claire is building the children's list and likes quirky and odd books that are also page turners. She is looking for something arresting that will make her sit up. And she advise writers not to worry about trends but to write from the heart.
The next stage of the evening was the questions section:
Q1: Is there a gap in the market for books 7-9 year old with both boys and girls in the lead
A1: Joanna agreed, especially in the US, but commented that more girls read. Jodie added that girls will read books with boys in the lead.
Q2: Do you google people's names when they submit to you?
A2: Bryony looks to see what is out there but comments that a writer doesn't have to have a platform. Jodie has never done this. She just reads the book! Joanna does but also does not mind if a writer has no social media platform as she will work with writers to develop this as appropriate. She does check on Google though just to make sure they're not 'mad'. Juliet doesn't think it is helpful as she doesn't believe social media platforms translate to sales.
Q3: How importnat is it that a character can be franchised?
A3: Bryony doesn't think its essential but it's a nice to have. Jodie finds the idea interseting but horrifying and cites Penguin Books current efforts to find a new Peppa Pig which has them controlling all aspects of the character's development and all the rights. This can lead, for example, with a televisions company being able to change the book content. She thinks there will be more of this but believes it will be mainly important for the picture book market.
Q3a: If you found a character that you liked but it's not pitched right wuold you develop it?
A3a: Jodie will work on it if she sees potential. She advises that positioning is important in writing - you need to do your research and get the vocabulary and the style right. Joanna commented that every major publisher in the US has an Intellectual Property department. So a lot of packaging goes on. She's not looking for franchising per se but it's nice if it happens. Claire advised that most of the biggest brands in fiction were accidental. She's looking for great books that she loves not brands.
Q4: Is there a shift from YA to younger fiction?
A4: Bryony still gets mostly YA submissions, but publishers are looking for middle grade and particularly funny MG, but she advises not to worry about this and just write what's best for you. Jodie thinks the UK is best at middle grade and books that get to the hearts of children and the US at YA. Joanna and Juliet also get too much YA and want middle grade. Claire finds she mostly gets picture books. She thinks it's because people think they are easy, which they aren't.
Q5: How much editorial work do you put in?
A5: They were all prepared to edit a lot if necessary and for the right book but Joanna commented that this might mean she turns something down because she is already involved in a lot of editorial work with other clients. Bryony also added that you need to be comfortable that a prospective client will be prepared to take your advice, and Jodie mentioned that sometimes it might be better to use a literary consultancy as agents don't always have the time.
Q6: How can someone write something special but the book still be wrong?
A6: Joanna commented that sometimes the tone is wrong for the style of book but another genre would fit the tone. Claire noted that all the authors she's ever taken on have had books that didn't work. Jodie pointed out the importance of resilience and keeping going even if you've got an agent and a deal. She said that the most difficult thing to sell, she finds, are the third books. Most publishers give you two book deals and then you have to reinvent yourself to get the third. Bryony added that if an agent tells you to go away and write another book, that's a good sign.
Q7: Do you mention if you've had editorial input in a submission letter?
A7: The UK agents all thought you should but Joanna warned against it for the States as there are a lot of scam artists working there. Bryony also advised that it's not always a plus point. You might have ignored everything the editor said.
Q8: Would you be interested in polished first few chapter if the rest of the book wasn't written?
A8: This question was met with a resounding NO! and prompted the 'F-bomb' incident which so amused the audience when one of the agents cited a colleague advising 'Just finish the fucking book!'
Q9: Is there any interest in poetry for children?
A9: Jodie thought not. She said the market is small and dominated by big and famous names.
Q10: Can you give us one tip?
A10: Bryony - write from the heart.
Jodie - read
Joanna - write mostly about the book not yourself in your query letter
Juliet - keep trying
Claire - read.
And then the meeting broke up to give the brave amongst us a chance to pitch
and queue!
Many thanks to Bryony, Jodie, Joanna, Juliet and Claire for giving up their evening for us yesterday and to Liz de Jager for organising it all.
