III. NOVEL GENRES AND TRENDS

What kinds of youth novels are selling well? How are raw, edgy, issue-driven novels faring now? What about historical fiction?

Middle grade will always sell, especially contemporary novels... Teen novels will sell, even “edgy” stuff. But the voice has to be authentic, believable, and engaging. There is room for “fluff,” too, but it needs to feel fresh. I do feel a slight dip away from “edgy” in these p.c. times. Publishers, at least big commercial publishers, are a bit more cautious these days.

Historical fiction is a bit tricky. Writing about the 70s, 80s, and 90s raises the questions: Why isn’t the story written in current times, and why does the book have to be set in that decade? Often the immediate past isn’t really essential. However, if it really is a book about the “swinging 60s,” then it should stay in that era.

A book set in medieval or prehistoric times is different, of course. The question is, then, has this been done before? Historical fiction doesn’t usually go out of print—at least in paperback—so a new historical novel needs to contribute to the ever-building canon of children’s literature and not be redundant.

Common teen-novel plots include the quest or journey, adventure and survival,  coming of age, the underdog and bullied, romance, and mysteries—interwoven with themes of friendship and family. Are these elements are timeless? Any others?

As Tolkien says in his famous essay, “Tree and Leaf,” the cauldron of story is as old as time, accommodating each new generation’s stories. But the journey, the coming-of-age, the romance, the adventure, the mystery, the ghost story... these are timeless. And what the individual writer contributes is his or her voice, which is entirely unique and precious.

In Writing for Young Adults, Sherry Garland notes a paradox: “The more unique and controversial your story and characters, the more likely the book will be acclaimed. Yet... the more difficult it will be to find a publisher, given the risk of censorship and resistance by schools.” Which kinds of controversial books, if any, will you represent?

Writing to simply be “controversial” isn’t necessarily a good thing. It can turn into writing for the market instead of writing from within, which of course is the true art. That said, one of books I am most excited about is a novel I sold one year ago to St. Martin’s Press, called The Chosen One by Carol Lynch Williams. It is about a teenaged girl who runs away from a polygamist compound. However, this came from a deep place in the writer’s psyche and in fact was sold one day before the news story broke! It is a fabulous book and portends to be a huge bestseller. But it wasn’t written to be controversial per se.

Our workshop enrollee asks: “We’re taught that novelists must balance narrative, dialogue, characters’ thoughts, and action. Many recent, acclaimed children’s books are heavy on narrative. Examples: E.L. Konigsburg’s The View from Saturday and A. LaFaye’s Edith Shay. Also, Karen Cushman’s historical novels, The Midwife’s Apprentice and Catherine, Called Birdy (in diary form) are full of excellent period detail. I didn’t get a strong sense of the main character’s personality in these books, though I like them.” Many acclaimed books seem to break the rules. Is it okay to use narrative in a youth novel (tell instead of show)?

Narrative writing, if it is the voice of the protagonist, can be very persuasive. However, I still see [narrative] as the exception, not the rule. Action still comes first, generally, then dialogue, then description, in my mind. The question is, what serves my particular story? Never try to just be arty or to copy a famous or popular book.

How do you judge if a novel with a teen protagonist is best suited for the adult or YA market? Does a writer need to decide this before submitting to an agent (you)?

Good question. An agent can help decide. As an example, I pitched The Chosen One to key young-adult editors in the business, but it was an adult editor who really “got” the book and bought it. Many books these day can go either way. It can be a marketing decision. Sometimes a publisher may feel that adult books make more money. The lines are becoming blurred. But I do feel there is always a need for great young-adult books.

IV. PERSONALLY SPEAKING...

How has meeting writers at workshops or conferences affected you and/or your work?

I adore meeting writers and all creative people. Like editors, agents thrive on these kinds of meetings. And not just for commercial reasons. Creative people feed each other.

Advice for conference attendees about how to benefit from your critiques?

Be sure to take advantage of our time together and ask all your burning questions!

Besides researching the market, what tips do you offer unagented writers seeking representation?

It is important for writers to believe in themselves. For instance, if you truly believe you have written a good book, don’t just send it off and forget about it. Be professional about it. Follow up in a few weeks or a month. Then follow up again. Remember where you sent your book and make a list of where else it could go. Make a business out of your submission process, as though you were already a professional, published author.

How would you describe your author-agent relationships? Are you a “hands-on, editorial agent,” or more of a business-end agent? (Or both?)

I am of the editorial species, I would say. Someone described me as one of the great gentlemen of the business. I don’t know if this is true, but I am interested in the decorum and dignity of publishing and my wonderful clients. I like to protect the artist from the  sometimes difficult commerce aspect of the [publishing] business.

What do you like most about your job?

Probably the same as an editor [likes]: finding new talent and celebrating it. Oh, and calling clients and telling them I have an offer on the table for their book!
 
What would you like writers to know about you, the individual who scrutinizes (and sometimes rejects) their literary labors of love?

Publishers are not The Enemy. They are not out to take advantage of talented writers. They need writers as much as writers need publishers. If I can help bridge that gap, I am happy.

Also, don’t take in the frightening economic climate and publishing marketplace. Keep your eye on the joy of creating and the joy of sharing what you have created. A good book has a home! And the climate/marketplace is always changing.

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