 20 years of Master Class to Masterpiece |
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October 8-10, 2021 (Session 1 of 2)
FICTION WRITERS! We’re pleased to welcome Sarah Shumway and Allison “Alli” Hellegers to our virtual workshop’s first October session this year. Their lively, informative interview responses are a preview to the discussions we look forward to enjoying at the workshop. Thank you, faculty extraordinaire, for your generous contributions below—and yet to come! I. GENERAL TOPICS Why did you become an editor or agent; what do you enjoy most about the work? What’s your personal (and/or publisher’s or agency’s) philosophy or mission? AH: After spending much time working in translation/foreign rights, I was really eager to work directly with authors, and use my experience selling rights to help amplify their careers. I also felt a personal pull to connect more deeply on a creative level to projects I loved and felt passionate about, as a way to create change and dialogue around issues that I feel are important for children to understand today, as well as give them worlds to escape into that inspire imagination and a forever love of reading SS: My oft-told tale is that I read Judy Blume’s Just as Long as We’re Together in the fourth grade, and one of the adult characters had a job where they read all day. I’m sure it was more complex than that, but that’s what my ten-year-old brain fixated on—and I wanted to do that! Fast-forward many years to college courses in English and Education, summer jobs as a camp counselor, and holiday jobs in gift and book shops—and realizing how the books I read and loved as a child stayed with me—and I knew children’s books was where I wanted to be. My first job out of college was as an editorial assistant and I’ve been at it ever since. Now if only I had time to read all day. Approximately how many MG and YA novels do you sell/edit/publish per year? What percentage (or how many) are debut authors? AH: This really ranges from year-to-year, and I’ve only been with Stimola as an agent for two years, but I am averaging about 8-12 YA and MG novels a year. Of those, about half are debut. SS: Please check back soon. Name one MG and one YA novel that you’ve edited or sold.Which aspects of each appealed to you from the query and/or manuscript’s first lines? AH: “Science journalist Naila Moreira's The Monarchs of Winghaven, in which two young naturalists struggle to save a plot of land in their town, meanwhile recording their adventures and natural history observations in illustrated nature journals throughout.” This book, yet to be published, was one of the first middle-grade novels I signed up at Stimola, and it really spoke to me because it has timeless, beautiful writing and included the author’s own illustrations based on her own nature journals. It echoes classics like My Side of the Mountain and Hatchet, stories of nature, but from the heart of a curious and fearless girl. It also includes a friendship that has stayed with me for a long-time. I’m looking forward to readers being able to experience Naila’s beautiful and timeless story. “Poet Colby Cedar Smith's Call Me Athena: Girl from Detroit, a historical novel-in-verse about a tight-knit Greek family in Michigan in the 1930s and the struggles faced by one strong-willed young woman, whose ambitions and dreams were ahead of her time.” I find novels in verse to be a compelling format, and I was struck by Colby’s talent, how much raw emotion and storytelling could fit into her sparse, yet stunning, words. I also love multi-generational stories and books that look at themes and lessons that are still important today. Colby’s story is about independence, grief, feminism, and freedom, but it’s also a love story, and it's based on her grandmother. For me, it really is the whole package. SS: For MG, Ways to Make Sunshine (and other books in the Ryan Hart series) by Watson. It’s been an honor and pleasure in my career to work with Renée on many books over the years, but I have a special place in my heart for this one, which grew out of a conversation she and I had about the books we both loved as children, and some of those we had in common were the Ramona books by Beverly Cleary. Renée told me about how she grew up in the same neighborhoods as Ramona’s family… but how confused she was as a child that there weren’t any Black people in the books, even though she knew Black people lived in that world! And so we decided she should write the story of the children and families she wanted to see, and created another irrepresible and memorable character! For YA, The Leaving by Tara Altebrando. This was one of my first acquisitions at Bloomsbury, from an author I’d admired a long time. I fell hard for the proposal for this book—I only had fifty or so pages to read—but I needed to know what Tara was going to do with this incredible premise and the questions she (and her characters) were asking, like: how do you recognize the person you’re supposed to be if you don’t remember your past? How can you move forward in discovering that when you’re yoked with others’ expectations of you? And it’s one of those books that just keeps chugging along, finding its audience year after year. What’s the outlook on MG and YA novel trends—or are there trends? AH: When people ask me about trends, I like to quote my boss and mentor, Rosemary Stimola, who once said on a panel about trends that one should aim to be a trendsetter, not a trend follower. Trends come and go, but a good book with a unique voice and concept will persevere. SS: Sometimes it’s helpful to think about trends—recent successes and what they have in common—as a map/path to success for a manuscript/project. Why do people love them? What’s special about them? And I admit it does make it easier to pitch and position a new project if there’s something else out there that has found an audience to which we can compare—“perfect for readers who loved XYZ.” But putting out a call for [insert trend] has never been my approach. Besides, if we’re trying to match something we’re seeing on the shelves now, we’re probably two years behind that book already! I have to love a book for what it is, what questions it asks, what makes it special and not exactly like anything else. And I’m a big believer in the idea that you should write what only you can write, that your questions and your view of the world will be the path to having a point of view and something interesting to say, and the best thing you can write is something that resonates for you. What version of the world do you want to see? What questions do you think need asking? What vision are you bringing that will inspire? Even in fiction, these are things that show up in the best books.
II. SUBMISSIONS Queries, Craft and Critiques a) Queries Many agents and publishers are closed to unsolicited submissions. Do you consider unsolicited queries; i.e., those without a referral (not a workshop attendee, etc.)? What are your usual response times—to queries and requested manuscripts? AH: This really varies for me, as I’m also the foreign rights director and must close my submission quite frequently to submissions to get ready for book fairs. My response time also varies depending on urgency, but I do try to give everyone a response in 10 to 12 weeks on a full request. SS: Bloomsbury is not open to unsolicited submissions, but I will accept pitches from conference attendees. For this workshop, I will aim to respond within two months. Are query letters peripheral for you, or are they an important reflection on the author and manuscript? What makes a query irresistible to you—or not? AH: This also varies, but a well-crafted query letter (and one that can contain personality, humor, voice) is always a plus. Because time is so limited it has to be well-crafted and the plot has to be of interest and feel saleable to me, as well. SS: By the time a project gets to me, it usually comes with a solid pitch from an agent. How it’s pitched helps me think about how it might work on my list, not to mention in the market (and how to prioritize it in my reading queue). To me, the best pitches tell me about the WHO (character/s and author), WHAT (teaser of the plot and stakes), and WHY (motivations of the character and the “so what?” to the audience—why are we going to be swept along with this read and care about the story?). And as I mentioned, I want to know about the author, too—why they’re the author and partner for bringing this story to readers. How many pages do you usually read in a manuscript before deciding to continue reading, request a full, or reject the manuscript? AH: Every manuscript is different, so I don’t feel comfortable putting this down. I’ve put manuscripts down after five pages and after 200+ pages. Sometimes I love something but realize in the end that it’s not quite perfect for me. SS: I keep reading until I have a reason not to read anymore. That might be: I’m bored (the voice isn’t grabbing me), I can see through the holes (the world building isn’t solid, the plot doesn’t add up), or I’m not convinced the writer knows where they are going or how to get there (that could be a pacing/plotting thing or a “so what?” thing). I will forgive one or two of the “reasons” above if another element is super-strong, though—I’ll keep reading if I’m invested in the character and what they’re doing/asking/seeking if there are flaws with the plot or world. After all, it’s my job to help fix those things that aren’t working, but I need to be attached to something the writer is doing to be inspired to take on that work with them. b) Craft and Critiques Our workshop enrollees critique peers’ full novels. However, many writers are experienced only in critiquing partials. What helps you keep track of everything in a novel; what practical tips can you offer for whole-novel critiques? AH: When I critique, I usually include notes to myself that I sometimes take out of a manuscript (like—momentum is slow here, noting that I’m not sure about a character, or does this time period make sense?) and then I can go back to it later on if my questions have been satisfied/answered. I also start to write notes on a separate page when I see certain themes appearing, whether it’s dialogue that needs help or atmosphere that is lacking, etc. These then become the bones of an editorial letter. SS: My methods depend on the book, the author, the kind of storytelling, etc, but I usually create a book map as I’m reading—a chapter-by-chapter grid with quick bulleted list of scenes/pivotal moments/character development notes to keep track of the pacing and shape of the story. And I also keep a sheet where I write down overarching thoughts (problems, strengths, threads to pay attention to, themes to develop, moments I adore, what I want more of) as I go, and this is generally the start of my editorial letter—deciding what I think the major goals of a revision will be. What tip or exercise do you suggest for making scenes emotionally satisfying? Do you look for arcs? Conversely, what makes a scene fall flat? AH: Overall, and very generally, writers should try to balance a healthy amount of description and dialogue, and keep any unnecessary details out so that a reader feels that every line is purposeful. Too much dialogue or too much telling rather than showing really makes a scene fall flat for me, personally. I like a lot of emotional content and/or humor to hold my attention as a reader. SS: (Opted out.) Please define “own voices,” explaining why these stories are important and why the focus is shifting in this direction. Which factors do editors and agents generally consider when deciding whether a work is authentic and representative? AH: “Own voices” points to when a manuscript written by someone who has a similar experience as a character or characters in the book. The factors can vary, and I suspect are different for everyone, so this is a very personal and individual question that highly varies. For me, there is no formula or set of rules, but I am generally attracted to stories from diverse writers of all kinds. SS: I hope we’re moving away from talking about books as “own voices” for reasons that can be found here. As I discussed a bit above, however, I do care about who an author is and how they came to the story they are telling, how it resonates for them, where the truth lies in it, because I believe that will impact the quality and the resonance for the audience. I want to help publish books that reflect the diversity of our world, young people, contemporary and timely issues and questions. And I want authors to have asked themselves “is this a story I should be telling?” I want to amplify voices that need to be heard. Do you read the synopsis before or after reading a manuscript—or do you bypass the synopsis? (Why?) How and when might a synopsis prove useful to you? AH: I tend to read a synopsis if I’m on a reading deadline (such as an offer from another agent) to see if I like where the story is going and if I should continue. Otherwise, I try to only use them after I read to confirm that I didn’t miss any big plot points, and to see what the author wanted the reader to really get out of the manuscript. SS: A synopsis is useful to know where a story aims to go if I’m only reading a partial. I might turn to one in the middle of something if I’m unsure about a writer’s direction. What kinds of craft flaws do you commonly see in otherwise well-written manuscripts? In general, what self-editing tips do you suggest? AH: Sometimes I notice shift in narrator tone or the need to fill in and over-explain plot points. I would suggest reading aloud as a way to edit and fine-tune. SS: (Opted out.) How would you describe your working relationship with your authors? How often are you in touch; how ”hands-on” are you? AH: I like to be very hands-on with authors, working on edits and brainstorming, as well as sharing my submission strategy with them and being transparent about the whole process. Once a book is sold, I let the author and editor form a bond and work together, but I like to be copied in on correspondence to make sure the author is being taken care of properly. If an author needs my assistance or wants my input on anything, I’m happy to help and will continue to advocate for all my clients and help build their careers. SS: I like to have personal relationships with my authors, so I can be a close partner with them in their work. But our relationship is also professional—it’s a tricky balance sometimes! I am happy for authors to come to me with questions and concerns, with ideas, to talk through thinking, to collaborate with ideas. I hope we always listen to each other, and that my authors feel they can trust me to be working in their and their books’ best interest. I’m working in my employer, the publisher’s, interest, too, and I work very hard to balance that and be an advocate for the author, the audience, and the success of the book.
III. ON A PERSONAL NOTE… Please cite two of your favorite classic and/or contemporary children’s books, including at least one MG/YA novel. What makes each unforgettable? AH: Tuck Everlasting was one of my favorite books as a child, and I adore the timeless storytelling and Natalie Babbit’s flawless (and seemingly effortless) setup and execution. Wondering what the character of Winne will do, for example, really drives the story. SS: (Opted out.) How does meeting writers at workshops affect you, your perspective, your work? What do you enjoy about participating in writers’ events? Which aspects of this particular PCCWW event appeal to you? AH: I am looking forward to connecting with writers and getting inspired. I think hearing about a writer’s process can only help to strengthen my understanding and role as a literary agent. I’m really looking forward to working with the teens in particular, and I’m curious to hear thoughts from other professionals. SS: I haven’t participated in a writing conference in a long time—mostly for time and life reasons—but I remember the best ones are very hard work and also very energizing. It’s so good to talk with people who are thoughtful about storytelling and craft and reaching readers. I am curious about this workshop’s [open clinic format]—this is a new one for me and I hope I’ll learn even as I seek to contribute. What would you like writers to know about you, the individual who scrutinizes (and may reject) their literary labor of love? AH: When I connect with a book, so much has to do with timing, with that personal connection to a book, and with my own experience. When I pass, I’m not saying this shouldn’t be a book, I’m saying that we are not the right fit, and not right now. That is a very different thing. It can sometimes feel like I’m saying, “It’s not you, it’s me!” in my rejection letters, but I truly do believe that all stories and all writing are valuable and a huge accomplishment for each individual—so I try to be as encouraging and helpful as I can. (Postscript) Thanks so much for inviting me to this workshop! SS: I would ask and remind that editors (just like authors) need grace. We’re all juggling a lot. It’s important to remember that we will not see the thing sometimes, and that publishing is always subjective, just like a reader’s take on your book when it’s published! Writing is an art, publishing is a business, but the people who do the work on either side are indeed passionate and creative and, in most cases, trying to do the best work they possibly can. Thank you, Sarah and Alli, for your responses!
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Like our workshop, these faculty interviews focus on youth novels. To read all years’ faculty interviews, see our 
