Love or Market: Which is More Important? Agents Reveal Their Thoughts

by Lisa Gail Green

Hi! Lisa here. It’s time for our May Agent Round Up.

The question this month is:

Given how often you have to read a manuscript that you take on, how important is marketability versus connection? Are you more likely to offer representation on a manuscript that you love in a genre that may not be selling well at the moment, or a well-written manuscript that you know editors are hungry for, but that you don’t necessarily connect with as strongly?

And here are some thoughtful answers from 3 awesome agents!

Suzie Townsend of New Leaf Literary and Media

The number one most important thing for me is to love the work and love the writing. Obviously, in a perfect world I’ll find something that I love and something that is very marketable, but I would much rather have a manuscript I love and that I’ll have to work hard to sell than one that’s trendy. I’d rather hold out for the best of both worlds.

Jordy Albert of The Booker Albert Literary Agency

I think marketability and connection are both incredibly important. However, I’d be more likely to offer representation on a manuscript that I love and connect with strongly. Even though that genre might not be selling well at the moment, doesn’t mean it won’t in a couple of years. Also, I’d be signing the author on the strength of his/her writing and storytelling ability, so I would definitely want to see more of their work, even if we aren’t able to sell the manuscript I signed them for right away.

Sarah Davies of Greenhouse Literary

This is a smart hypothetical question, yet somehow doesn’t quite reflect how things work with me! I never take on a manuscript with which I don’t connect strongly. My fallback position is always, “If I see something to love here, if I respond emotionally, then I believe there will be an editor who feels the same way.” I find it impossible to somehow project myself into the mind of an editor loving something that leaves me cold (even though of course that happens occasionally; we all watch deals in Marketplace!). That kind of second-guessing feels like very wobbly grounds for decision making. I don’t think I’ve ever been in the position of loving a manuscript and turning it down simply because of genre. If a genre is currently really over-crowded it tends to mean I’m seeing tons of submissions in that area, and I’m instinctively raising the bar very high and reacting negatively to anything that feels derivative. Like many things in life, it’s a question of balance. Ideally I’ll find something great within a genre to which editors are open. But at a deeper level I’m looking for that moment when my heart surges with engagement, with a desire to throw myself into the ring for this author and their story. I believe a lot in my gut instinct, and I have learned to listen to it and treat it with respect!

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: May 7, 2014

Category: Imported from AYAP

Tags: Literary Agents

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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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