Do You Need a Social Media Platform? Agents Weigh in

by Lisa Gail Green

Hi! Lisa here and I recently asked our participating wonder-agents:

How important is an online platform when considering a new author?

And here are their answers:

Suzie Townsend from New Leaf Literary

I represent fiction so the most important thing to me is whether I love the book. I do, however, like to see that an author has some kind of online presence, whether it’s twitter, tumblr, a blog, etc. The platform doesn’t necessarily matter and neither do the number of followers, but I want to see that they’re actively involved with social media in some way.

Sara Megibow from the Nelson Agency

For me, seeing that a prospective client has a positive online platform before considering them for representation is important. If that prospective client has no online platform whatsoever (which is, frankly, rare in this day and age), this is not a deal-breaker. However, if I cyber-stalk someone and their Fabebook page or twitter account or blog is particularly negative toward publishing, then I will pass on asking for a full manuscript. “Why would anyone be negative online while hunting for an agent,” you ask? Frankly I don’t know, but I’ve seen it two or three times in the past year and moved straight along to the next submission.

The next logical answer is, “what do you mean by positive online platform?” and my answer is simple – an inexpensive or free website that has a short author bio, maybe a headshot, and a paragraph that talks about the book (or books). In addition, I find that many prospective clients have either a twitter account or a blog. Again, having no online presence isn’t a deal-breaker, but having a negative one is.”

Jordy Albert from the Booker Albert Literary Agency

I think an online platform is important because it allows reader to interact with authors, and find new readers. An online platform also gives us a glimpse at the author(s) personality.

Sarah LaPolla from Bradford Literary Agency

For non-fiction, “platform” is very important. But since I don’t represent non-fiction, I’ll speak only to what I consider for fiction authors. The story and the writing are what matter most. Sure, it’s great if the author mentions their 500K Twitter followers and connections to famous authors. Do I care if they can’t offer that? Absolutely not. Sometimes I don’t even care if they do offer that. I like asking about Twitter after I offer representation because I think Twitter can be a great tool for new authors. It’s not a necessity though, and certainly not a prerequisite. All it is is a nice bonus, and no one should really expect or demand a bonus. That’s why it’s considered something *extra.* Whether you have 3 followers or 3,000 followers, all that matters to me is if I loved your book and think you’d be great to work with. Big online platforms don’t really impress me if I don’t already connect with the writing. Nor do I think marketing should automatically be the job of the author. Enough publicity falls on the author these days as it is. That’s just the way of the industry now, particularly for debut authors who don’t get as much money toward publicity. That said, if a publisher or an agent relies on one person’s Twitter account or Facebook page as the primary marketing tool, that’s a problem. I wouldn’t trust an agent who doesn’t put the novel or the writer ahead of “presence.”

Thanks to all of the above agents for their input!

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: Apr 6, 2014

Category: Imported from AYAP

Tags: Literary Agents | Social Media

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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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