Agent Interview: Shelby Sampsel of the Vicky Bijur Agency

by Lisa Gail Green

Hi, everyone! Lisa here. I hope your summer is going well – but I also hope you’re continuing to read and write. I have another great agent interview below. So let’s get to know Shelby:

Shelby Sampsel joined the Vicky Bijur Literary Agency after graduating from NYU. She comes to the agency with previous internship experience at Thomas Dunne Books, Simon and Schuster, Tor Books, Penguin Group, the Maria Carvainis Agency, and McIntosh and Otis. She is interested in Young Adult and New Adult Fiction as well as memoirs with a strong voice.

Welcome, Shelby!

Please tell us what it is about a manuscript that excites you.

I want to feel like I’m on the same team as the main characters. I want to feel like we are in this together. It doesn’t matter if the mission is getting the cute boy from Algebra II to notice the protagonist or conquering a kingdom filled with dragons and warlocks. If you can make me feel like I am standing beside that person and we are moving toward a common purpose, then you’ll have me.

Here’s a tricky one! Can you define “voice” for us?

Voice is all about what makes a character unique. Their background shapes who they are and the way they communicate their experiences. A 40 year old man from Tennessee has a different vocabulary than a 14 year old girl from London. If I can get a sense of your characters life, (age, hometown, job, etc) based solely on the way things are described than your manuscript has a strong voice.

Which is more crucial: emotional connection or current marketability?

Emotional Connection. Ideally, of course, a manuscript would have both but emotional connection comes first. If I don’t connect with your manuscript, I am not the right agent for it. An author needs an agent who is willing to champion their book. Without having an emotional connection to the story, it would be difficult for me to convince a publisher that an audience will connect. If I really believe in something, we can work on making it marketable together.

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: Jul 3, 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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