A Chat With Kimberly Brower of the Rebecca Friedman Literary Agency

by Lisa Gail Green

Lisa here to welcome Kimberly Brower from the Rebecca Friedman Agency! But before our chat, please remember to take a look at our top ten entries in the Pitch Plus 5 contest and don’t forget to go to the sidebar to vote for your favorite from our original 50 so that the top can win a prize.

Kimberly fell in love with reading when she picked up her first Babysitter’s Club book at the age of seven and hasn’t been able to get her nose out of a book since. Reading has always been her passion, even while pursuing her business degree at California State University, Northridge and law degree at Loyola Law School, Los Angeles. By joining the Rebecca Friedman Literary Agency in 2014, she has been able to merge her legal background with her love of books. Although she loves all things romance, she is also searching for books that are different and will surprise her, with empathetic characters and compelling stories. Kimberly is interested in both commercial and literary fiction, with an emphasis in women’s fiction, contemporary romance, new adult and young adult, as well as certain areas of non-fiction, including business, diet and fitness.

What is it about a manuscript that excites you?

It’s the feelings the story evokes. I need to feel a connection to the characters and the story. I love finding a manuscript that I simply cannot put down.

What are some of your favorite authors/books and why do you love them?

I love so many that I think I need to do it in list form:

– The Harry Potter series by J.K. Rowling. I read these books when I was in my early 20s, but the world that she created was magical. I became so invested in the story and was so sad to see it end.

– The Mortal Instruments series by Cassandra Clare. Just like the Harry Potter series, I admire an author who creates an entire world in her imagination. What I liked about this series was that although it had romance, there was just so much more to it than that. To me this series was the whole package.

-The Breathing Series by Rebecca Donovan. Reason to Breathe was the first indie book I ever read and I was blown away by the depth and level of emotions the author was able to convey. This will always be one of my favorite series.

-Pushing the Limits by Katie McGarry. Although this book is classified as YA, I feel like it was written in a way where adults could relate to the characters and the storyline. I am also a sucker for teen romances, so the fact that this book was a romance and was written so well, I became an instant fan.

What are some things you love to see in a query?

I like seeing a concise summary of the book and the author’s bio. I can usually tell just by reading the summary if it is a book I would be interested in reading or an author I’d want to represent. I like queries that are written professionally, but show a bit of the author’s personality in it as well. I’m sure authors send a lot of queries out, but it is nice to see that they’ve done their research and know what I am interested in as well.

Are you an editorial agent?

Yes, I’m a very hands-on agent.

Coffee, tea, wine, chocolate, or any other vices?

Don’t judge me, but soda, chocolate and french fries. They are my weakness!

What advice do you have for writers getting ready to query you?

Just press SEND. Take a risk and believe in yourself.

What genres are you drawn to most?

Romance – I am a sucker for all things romance.

Which is more crucial: emotional connection or current marketability?

Hmm this is a tricky one. I absolutely need an emotional connection with the characters in order to get invested in a book. That emotional connection is what usually hooks me. And although marketability is extremely important, I think I will have to say that having an emotional connection is more crucial, for me at least.

Why did you become an agent?

I absolutely adore all things books. I love reading them and talking about them. So when I was given an opportunity to merge my legal background with my love for reading, it became a dream come true. I love the fact that I get to help authors achieve their dreams as well.

You can find Kimberly on Twitter (@KimberlyBrower) or Goodreads!

Lisa Gail Green

Lisa Gail Green lives with her husband the rocket scientist and their three junior mad scientists in Southern California. She writes books so she can have an excuse to live in the fantasy world in her head. She likes to share these with readers. She has a parrot but would most definitely get a werewolf for a pet if she weren't allergic.

Post © Lisa Gail Green and/or Adventures in YA Publishing. All rights reserved.

Posted: Sep 25, 2014

Category: Imported from AYAP

Tags: Literary Agents | What Agents Want

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The first slide is an animation of a science/magic room in a castle. A cartoon character of a mad-scientist looking man in in the foreground says: “Hello! Dr. Frankenstein here to say, Well Done on kid lit zombie week! I’m an expert at reviving the dead, and let me assure you, with a little spark, you can bring dead projects to life. Especially if you dig up parts from other dead things. I’ll even let you have a sneak peek at my laboratory’s store room to consider potential parts for your dead project. If you see something with a yellow glow, that means you should click it. Have fun!”

He points to the right side of the screen and a new scene slides in of a castle science/magic storage room. There are various cartoon Frankenstein body parts scattered around. Some of them have a yellow glow. If you click on them, the images below appear (I’ve added alt text to them, so I hope it works).

The Heart of your story is the main character. The protagonist is the beating core that truly brings your story to life. If your MC doesn't make kids (and their grown-ups) care within the first few pages, your story will flatline. </p>
<p>Your main character needs to be:<br />
• Relatable enough for kids to see themselves<br />
• Unique enough to stand out in the slush pile<br />
• Active enough to drive the story<br />
• Memorable enough to survive multiple readings at bedtime</p>
<p>Where do you find this amazing donor heart? It might be the very thing you loved so much about the manuscript you want to revive. It might be the younger sister from your shelved YA novel. Or maybe it’s the hilarious kid you blogged about meeting at a school visit. Find a character beating with potential and place it in the center of your story.<br />

The Brain of your story is the theme or central message. The theme is the big idea that controls everything else. Picture books are more than stories - they're tiny life lessons disguised with humor and heart.</p>
<p>But your theme needs to be:<br />
• Subtle enough not to trigger the dreaded "didactic" rejection<br />
• Clear enough for a four-year-old to grasp<br />
• Universal enough to speak to both kids and adults<br />
• Fresh enough to prevent agents and editors from responding with "Not another sharing/bedtime/first-day story!"</p>
<p>Check your other dead manuscripts to see if there is a recurring theme, something that really seems to be speaking to you. Find the bit of poetry you scribbled on the back of a receipt to see what theme inspired it. Reread the pep talk you texted your critique partner at 1am. Pick the theme that will drive your story, giving it purpose, direction, and deeper meaning.<br />

The Legs of your story is the plot. Not to be confused with a grave plot.🤪 The plot is what keeps everything upright and moving, as well as providing support for all the other elements. You have very few words to use in a picture book, so you need to do a lot with each plot point.</p>
<p>In general, your plot should:<br />
• Hook readers fast<br />
• Build tension that a child can follow<br />
• Create page turns that feel natural<br />
• Wrap up in a way that satisfies</p>
<p>You can borrow a plot twist (a leg) from one manuscript and the opening (the other leg) from a different manuscript. Consider if the subplot of the middle grade novel you trunked would work better as a picture book. Or maybe your Facebook post about a disastrous camping trip could become a story for kids. Just keep putting one foot in front of the other until you have your storyline.

The Arms of your story are the side characters.

The Torso of your story is the setting. Setting helps a story breathe and connects all the elements of the story. It isn't just where your story lives, it's what makes your story ALIVE. It's the difference between "this happened in a park" and "this happened in that park, the one with the twisty slide that burns your legs and the creaky swing that sounds like a baby crying.”</p>
<p>Your setting should:<br />
• Make your character's world feel real<br />
• Contain your story in a way that makes sense to young readers<br />
• Connect different scenes and moments organically<br />
• Give your illustrator enough room to add visual subplots</p>
<p>Half-finished manuscripts are a great place to dig up settings, since you worked out the place details before the plot petered out. Or maybe you had to cut a second fantastic location from your chapter book. You can also revisit the detailed caption from your Instagram carousel documenting your tour of that delish candy shop. Disinter a robust setting that can house all of your story's vital organs.

After you press the Click When Done circle button, the lights flash with the sound of electricity buzzing. Then the screen goes black and lightning zaps across the screen with the sound of thunder.

The screen then lights up to show the storage room, and all the Frankenstein pieces have been assembled into the whole monster. An upbeat song plays in the background. Then a speech bubble pops up with the words, “I’m alive! I’M ALIVE!” Then the screen goes to black.

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