Agent John Cusick of Greenhouse Literary Talks Picture Books

Not too long ago I featured John Cusick of Greenhouse Literary Agency on the Monster List of Picture Book Agents. He's an agent at Greenhouse Literary Agency representing Young Adult, Middle Grade, and of course, picture books. 

Unfortunately, finding picture book specific information when trying to make an informed decision whether or not your work might be right for an agent can be tough. While I was putting together John's post, I had picture book-centric questions that I wondered about. I asked John if he might answer them. Fortunately for us, John was happy to. 

So, my lucky people on the agent hunt, read on to find out what John is looking for when it comes to picture books, learn about his agenting style, and more. If he sounds like he might be a good match for you and your work, give him a try. John is a super nice person, and that's the best kind to work with!

Why do you choose to represent picture book authors?

I love picture books. They’re deceptively simple and deeply sophisticated. Part prose, part poetry, they distill story and character down to their essential elements. And they’re fun! My first week in publishing I saw an editor and an agent leave a party to gush over galleys for a new picture book they’d both worked on. They were so excited, like little kids. And I thought “yep, this is what I want to do.”

What do you look for in a client?

I’m looking for someone who loves to write and create, who is eager to work on many projects, and many different kinds of projects. An author with a single book-of-their-heart who will never write another story probably isn’t the best fit for me. I’m looking for career-clients interested in growing and developing over time.

How would you describe your agenting style?

I’m a very editorial agent. I like working creatively with my clients, from the idea stage to line-level tweaks. I’m also very communicative. I like chatting with my folks by phone, email, text, whatever. I also hope to pair authors with the perfect editor. When an editor and a client totally hit it off, creatively and personally, I know I’ve done my job. Finally, when I say I want career-clients, that’s another way of saying I like to manage and develop the trajectory of an author’s career, to help build their audience and hone their craft from book to book.

If you take on a client because of their mass market appeal picture books, would you also represent other things they wrote if they had merit?

Absolutely. If a client writes or illustrates in multiple mediums or markets, all the better! Some of my clients illustrate as well as maintaining careers in character design and commercial artwork. I have clients that write picture books as well as middle-grade and y.a. Versatility is never a bad thing.

What types of stories do you see a place for in today’s picture book market?

Stories with a universal theme told in a fresh way. A picture book with a clever concept will (usually) only go so far without a deeper conflict, some pain or tension that the reader can relate to and has experienced. At the same time, a familiar story, for example, “a child’s first day of school,” might be relatable, but will likely feel too generic to stand out in our competitive marketplace. It has to be both familiar yet fresh.

In general, how much revision do you do with clients to get their picture books submission ready?

It varies, but often a client and I will go through several revisions before I send a project to editors. Those revisions might include story level changes, the arrangement of spreads (if the client is an illustrator or author/illustrator) and line edits.

What are some of the elements you think a picture book needs to be successful?

I think stringent prose is essential. Picture book texts are so short— typically fewer than 800 words— that every syllable counts. Humor goes a long way as well. Not every picture book must be funny, but I’m personally drawn to clever and quirky styles, and I think many editors are as well. Finally, to me, picture books need tension— a conflict our protagonist solves for himself or herself (without Mom and Dad sweeping in to save the day).

What types of picture books are you not looking to represent?

I’m very picky about rhyming picture books, which I think are difficult to do well. When I see a rhyming text, my first question is, “What is the rhyme adding to the story?” Are the rhymes interesting? Is the meter engaging? If not, I may ask the author whether the story might be stronger if told in straight prose. I don’t represent spiritual or denominational projects. I’m all for a positive message, but story and character come first. I typically don’t represent what I call “lovey-dovey” picture books, where focus is how much or in what way a mother loves a child or vise-versa. There are some beautiful examples of these already on bookshelves, but these aren’t what I’m looking for, personally.

What do you like to see in a query letter? Do you have any submission pet peeves?

When I read a query, I’m looking for a brief description of your project: who is the main character, what is the conflict? I’m also looking for a bit about you, your background, and publishing history (if any).

A query is a brief, professional letter between you and a potential future business partner. So avoid gimmicks or whacky styles in the hopes of standing out. Never write your query in the voice of your protagonist. Let your creativity and originality shine through in your writing; let your query be simple and to-the-point.

Are there common mistakes you see in picture book submissions in particular?

Texts that are too long (over 800 words), poorly done rhyme and meter, overly-familiar stories without fresh twists (monsters under the bed, first day of school), and unprofessional illustrations are the most common reasons I reject picture books.

The Greenhouse Literary website says to allow up to 6 weeks for a response and if you haven’t got back by then, email the agent again. Do you send out many personal rejections? What does a form rejection letter mean to you?

I send out very few personal rejection letters. If I’d like to see a revision, I’ll ask for one specifically. However, I’m usually open to future projects. If you get a no the first time, please do query again. That’s a good way to develop a relationship with an agent. We like to see authors and illustrators developing with each new project. Sometimes the second or third try is the one that wins me over.

What picture book authors do you represent? Have any upcoming projects you can share with us?

I represent several authors, illustrators, and author illustrators, including Julie Bayless, and Lisa Marnell. Vin Vogel’s debut picture book THE THING ABOUT YETIS will be published by Dial early next year; Vin is also illustrating Brooklyn kiddie-rocker David Weinstone’s debut picture book, MUSIC CLASS TODAY, coming from Farrar, Straus, Giroux.

A huge THANK YOU to John for the wonderful interview! To learn more about John, be sure to check out his listing on the Monster List of Picture Book Agents. You'll find lots of great links for further research. 

How Diana Murray got Her Agent, plus an interview with Brianne Johnson of Writers House

Not too long ago I featured Brianne Johnson of Writers House on my Monster List of Picture Book Agents. That led me to talking to Diana Murray, a fabulous picture book author who is represented by Brianne. Today I am happy to have Diana here to share with us how she signed with her agent. (I can't help but love hearing about her kicking the cyber-street to the curb!) Diana and Brianne were also kind enough to do a little question and answer for us! First, here's Diana's post:

How I Got My Agent

At first, I wasn’t even sure I wanted an agent. For one thing, I had always heard that getting an agent for picture books if you weren’t a) already published, b) also writing novels, and/or c) also an illustrator, was pretty much impossible. On top of that, I wrote exclusively in rhyme. Seemed like a sure recipe for rejection, according to the word on the cyber-street. In addition, I’d read about many agented writers who seemed unhappy or frustrated. Why bother? I figured I might as well continue subbing to publishers on my own. But then...
December 22

I read about Brianne Johnson on Verla Kay’s blueboards and headed over to the Writers House website to investigate further. It was like reading a personal ad and thinking, “Hey! I like long walks on the beach too!” I immediately felt in my gut that it might be a good match. Also, I felt particularly excited about the prospect of working with a go-getter junior agent at a big house. Seemed like a great opportunity. I decided to sub immediately, even though it was just days away from Christmas.

January 17

After a few weeks, I was excited to see an email from Brianne in my inbox. I did a double-take to make sure I wasn’t imagining things. It was true! Brianne said she really liked my manuscript and was getting some reads from colleagues. In the meantime, she wanted to see if I had any other work. Luckily, I had written lots of other picture book manuscripts over the years. But how to choose? I based my decision mostly on the feedback I had received during various SCBWI events, and on reactions from my own critique group. I chose to send her five. One manuscript was similar to the first one she liked (it was character-driven, wacky, had plenty of conflict, and was in the range of 500-700 words). Three of the manuscripts were much shorter, younger, and simpler. And the last manuscript was a humorous poetry collection.

I reset my email program to check for new mail “every 1 minute”. And I waited...

Feb 6

Twenty days later, I received a response! But before opening it, I had to go make a sandwich. I couldn’t face this news on an empty stomach, especially since no matter the outcome, there would probably be some cabernet involved.

When I finally opened that email, I read that Brianne liked my writing and wanted to speak with me!

Feb 7

On the phone, Brianne immediately made me feel comfortable and we had a great conversation. That was another good sign that we could work well together. She was enthusiastic and complimentary, but didn’t promise me the moon. Brianne was clear that rhyming picture books were a tough sell in the current market, and I didn’t disagree. By that night, I was signing a contract with her. Within a few months, she sold one picture book to Roaring Brook Press and then another (in a two-book deal) to Katherine Tegen Books.

Take that, cyber-street!

And now I’ve changed my mind about agents. It’s true that they’re not an absolute necessity when you write picture books. But when you find the right agent for you, it can make all the difference in your career.

Here are a few answers from Brianne Johnson at Writers House:

What kinds of picture book manuscripts tend to catch your eye?

Funny ones! I love clever, character-driven, LOL-funny manuscripts that leave a lot of room for art, feature somewhat offbeat protagonists, and hold up to repeat readings. In that sense, Diana and I are a truly great match (that, and our shared love of long walks on the beach). When I first read her work I could really see them as picture books, and her sense of humor is amazing. Absolutely no one can read NED THE KNITTING PIRATE or GRIMELDA without literally laughing out loud… I’ve read them both about a million times and LOL every time. You’ll see!

What are some common mistakes you see in query letters for picture books?

Not including the manuscript pasted below the letter! You’d be surprised how many queries I get that leave off the MS itself and just include the pitch. To be honest, with picture book queries, I skim over the letter quickly—paying attention mostly to the intro (big points for a personalized letter) and the bio, particularly if there’s previous publishing experience listed—and skip down to let the manuscript speak for itself. If the manuscript is really great I’ll go back and read the letter more carefully.

Are there certain picture book topics you’re particularly tired of seeing in your submissions pile?

Personally, I’m probably not the best fit for super-oozy-sweet, I-love-you-my-baby-muffin kind of manuscripts. I mean, I’ll always take a look, but I tend to gravitate toward somewhat edgier, funnier stories. Who knows, though? My query scouting style is largely instinct-based and very subjective. Try me! If I love it, I love it.

For those who write both picture books and novels, what do you recommend they query with first?

Probably the novel, although it’s worth mentioning in the letter that you have a picture book text or two up your sleeve.

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Diana Murray is the author of forthcoming picture books, NED THE KNITTING PIRATE: A SALTY YARN (Roaring Brook Press/Macmillan, 2014) and GRIMELDA, THE VERY MESSY WITCH (Katherine Tegen Books/HarperCollins, 2014). Diana was awarded the 2010 SCBWI Barbara Karlin Grant and has many poems published and forthcoming in magazines including Spider, Highlights for Children, and Highlights High Five, as well as the And the Crowd Goes Wild! sports-themed poetry anthology. Diana lives in New York City with her husband, two children, and a goldfish named Pickle. You can find Diana on her website, www.dianamurray.com and on Twitter.

Agent Susan Hawk Talks Picture Books

When I did the Monster List of Picture Book Agents post featuring Susan Hawk of The Bent Agency, I had a hard time finding what she was looking for when it came to picture books. I was so curious, I decided to ask Susan if she'd answer some questions. She graciously agreed and today she's sharing some really great information about why she represents picture books, what she looks for in a manuscript, common submission mistakes, and even the current preferred word count.

Thank you so much, Susan, for coming to do a picture book centric interview with me! It's a tough, highly competitive market, especially when it comes to picture books. Why do you choose to represent picture book authors?

First, thank you Heather for inviting me to do this interview!  I’m so happy to be here on your great blog.

Now, on to picture books: There are a couple reasons I represent them, but the most significant is that I love them.  I’ve always been a passionate reader and have so many distinct memories of the picture books I read as a child – this is when I began to understand the pleasure of a good book.  As an adult I’ve grown to admire the way the limitations of the form inspire the most careful selection of words; and the way a successful picture book marries story and art to create a whole greater than its parts.

It’s an interesting time for picture books right now, and though it is indeed very tough, I’m happy to be a part of their future!


What elements do you think a picture book needs to be successful?

There are a number that have to be just right; it’s a complex dance between art and text – and a text that appreciates the art, by giving it room to tell the story too, is key.  As a parent, I come to appreciate more and more a text that will stand up to many, many, many…many re-readings.  I love a picture book that has a sweet, smart twist at the end.  The books that have true lasting power feature an identifiable, lovable, and real main character.


What types of stories strike your fancy?

I’m interested in funny stories, family stories, strong girl characters, stories with heart.  Really, I’m open to anything, as long as it grabs my attention and won’t let go.


What mistakes do you see in submissions in general, picture book submissions in particular?

Length – very often I receive submissions that are too long.  Right now, the sweet spot is 300-550 words long.
Message-driven – writers often want to convey a value with picture books, and unfortunately, I often see texts that live to serve the message, at the cost of a good story.
Rhyme – Rhyming picture book are very, very hard to pull off.  And they are limiting, because the writer is constrained to tell their story within a certain framework.  I frequently ask writers if their story truly needs to be told in rhyme.  If not, then don’t.
Originality – I’d love to see more truly original picture book concepts!  There are lots of well-worn story ideas out there, and I’d encourage writers to read, read, read to learn what has, and hasn’t been done before.


There is such a variety of picture books, are there certain types you prefer to (or not to) represent?

I am especially looking for a wonderful character, someone who is going to jump off the pages and into kids’ hearts.

I’d love to do some non-fiction picture books – biography, history, science – particularly when the story revolves around a particular person; in essence, is still a character-driven story.

I am not especially drawn to board books, rhyming texts, message driven or purely educational texts.


Who do you represent?

You can learn more about who I represent on my blog, Susan Says, but here’s an overview: I represent books for children exclusively, and that runs the gamut: picture book, chapter book, middle grade and young adult.  My clients run that gamut too – writing very early concept picture books; writing and illustrating a picture book about a sweet dog whose smart nose leads her places she never thought she’d go; to a chapter book series about a lovable oddball named Fishstick; to a middle grade fantasy that’s completely unlike anything I’ve read before; to a contemporary Southern middle grade mystery.  All these projects are in the works or on submission now – so stay posted!


You've started a great blog, Susan Says, and are on Twitter. Who do you hope to reach?

Thanks for mentioning that Heather!  It’s relatively new, so I appreciate the shout-out.  I’ve got a couple goals – the first is to give writers searching for an agent a clear sense of the kinds of projects I’m looking for and my approach to this business.  Writers are told again and again: do your research, make sure you’re querying agents that represent work like yours, and that seem as if they’d be a good fit for you.  So, I hope I’m giving people the information they need to make that determination.

As the blog goes forward, I hope that it will also be a place where my clients and other friends in the business will join me in a larger conversation about the amazing children’s book world we’re part of!

If after reading this you think Susan might be a good fit for you and your work, check out her Monster List of Picture Book Agents listing, go to her blog, and check out her twitter feed too!