This year 12 x 12 Little GOLDen Book members will be able to choose one of two agents to submit their manuscript to each month. Jennifer Mattson from Andrea Brown Literary will be accepting picture book submissions from 12 x 12 Gold members August 1-15. Samantha Bremekamp from Corvisiero Literary Agency will be accepting picture book submissions from 12×12 Gold members August 16-30. Jennifer’s profile appears first, followed by Samantha’s. Please read BOTH and then decide who would be the best fit for your work.

 Jennifer Mattson of Andrea Brown LiteraryJENNIFER MATTSON

Jennifer was a featured agent in 2013. You can find our extensive profile post on her here. More recent interviews and resources appear at the end of this profile update

I am so delighted to welcome Jennifer back as a 12 x 12 featured agent. She is so generous and enthusiastic and totally ready to find new talent! We are lucky to have her.

The most up-to-date interviews with Jennifer:


Because Samantha Bremekamp is a newer agent, she hasn’t done too many interviews across the Internet yet. HOWEVER, I was fortunate enough to meet Samantha in person at the NJ-SCBWI conference last month. From our conversation, I gleaned that Samantha is extremely knowledgeable about the children’s book market, is effervescent in her love of picture books, and is eager to read submissions from 12 x 12 members. All this AND she looks spectacular in the color turquoise. 😉 

Samantha Bremekamp of Corvisiero LiteraryA little bit about Samantha from the Corvisiero Literary Agency website:

“Samantha Bremekamp started her career in publishing in 2008, and quickly realized that she preferred working directly with authors from the other side of the industry. She runs critique groups and writing groups for fun, as she also loves to write and help others to fulfill their writing ambitions. She is fully aware of how hard of an industry it really is in this day and age.

Her favorite writing is children’s, middle grade, young adult, and new adult. There is something so pure about each building block of life these book groups represent. Although there may be a difference between a three year old and a 33 year old, maybe, Samantha finds that all of life’s challenges in these age groups really show the potential for amazing growth in a character.

Samantha’s background is in English literature, communications, and Spanish. She really thinks that if a writer is confident and believes in their work, their work will show that without having to showboat to prove it via a pitch.

Samantha loves reading Children’s, MG, YA, and NA fiction. She is open to any genre within those age groups, but prefers speculative fiction, mystery, and quirky romance.”

Articles featuring Samantha Bremekamp:

Full submission guidelines for Jennifer and Samantha are posted in the Membership Forum. Please note Little GOLDen Book Members may only submit to ONE of these agents. Please choose the agent who is the best fit for you and your manuscript.

Submissions will only be accepted for Jennifer Mattson from August 1st – August 15th at 6pm EST/3pm PST.

Submissions will only be accepted for Samantha Bremekamp from August 16th – August 30th at 6pm EST/3pm PST.

Good Luck!
Categories: 12 x 12, Agents, Queries · Tags: , , , , , , , , , ,


Jennifer Mattson of the Andrea Brown Literary Agency will be accepting picture book submissions from 12 x 12 members in August.

jennifermI’ve had the pleasure of meeting Jennifer twice, at two different Big Sur workshops – one in the Rockies and one in, well, Big Sur. Both times I was impressed with her warmth, intelligence and genuine desire to help writers. I know she puts these qualities to good use because she represents my friend Linda Ashman, and I continue to hear nothing but good things. See for yourself when you read about Jennifer’s recent deals below! I was so pleased when she agreed to be a 12 x 12 featured agent, and anyone who snags her will be in good hands! Thank you, Jennifer!

A little bit about Jennifer from the Andrea Brown website:

Jennifer came to Andrea Brown Literary Agency after nearly five years of reviewing children’s literature as part of the Books for Youth staff of Booklist magazine. That adds up to close readings of around 1,000 books, lending Jennifer a wide-angle view of the tastes of individual houses.

Prior to Booklist, Jennifer was an Associate Editor at Dutton Children’s Books, where she acquired and edited titles that included CHICO, by retired Supreme Court Justice Sandra Day O’Connor; and THE HEROIC ADVENTURES OF HERCULES AMSTERDAM, by Melissa Glenn Haber. (She also enjoyed an amusing turn on the other side of the desk as a coauthor of THE OFFICIAL EASY-BAKE COOKBOOK).

In the picture-book arena, Jennifer is interested in authors and author-illustrators who bring a distinctive, well-developed point of view to their work; at this time, she is not acquiring illustration-only clients. She loves picture books that are story time-ready stories (no one-joke tales or mood pieces) that resonate with universal childhood experiences and concerns; fables and folktales aren’t for her.

When I asked Jennifer what she is looking for in picture books these days, here is the response she sent me:

As for what’s interesting to me in PB manuscripts, I warm to idiosyncratic voices that don’t condescend (think William Steig and Russell Hoban); stories that are either hilarious, mind-expanding, or heart-melting (all three would be the holy grail); and clever premises that are well paced and pay off with a terrific ending. I tend to appreciate a narrative that’s a bit postmodern in its approach, expanding character or story with elements that break away from the body text. PB narrative nonfiction that’s not institutional in feel is okay.  Above all else, though, I look for concision, and a good understanding of the give-and-take between words and pictures that make for a seamless whole.

Recent picture book sales include three manuscripts by noted poet Linda Ashman: PEACE, BABY!, to be illustrated by Joanne Lew-Vriethoff (Chronicle); Linda Ashman’s nearly wordless, graphic novel influenced story, RAIN! (Houghton Mifflin/HMH); and a lyrical ode to the rhythms of the natural world, ALL WE KNOW (HarperCollins). Past sales include author-illustrator Gail Page’s HOW TO BE A GOOD CAT, the latest entry in her picture book series about Bobo the dog (Bloomsbury); and TEN ON THE SLED, a picture book written by Kim Norman (Sterling).

Full 12 x 12 submission guidelines and requirements for Jennifer will be posted in the Submission Station section of the 12 x 12 Membership Forum, accessible to Little GOLDen Book members by 6:00 p.m. EST/3:00 p.m. on August 31st. In the meantime, here are some links with more information about Jennifer.
Good Luck!
Jennifer’s Representative Deals
Paul Meisel announces representation by Jennifer Mattson – This post is short, but having a look around his blog might give you insight in to why Jennifer was interested in representing Paul and his work.
Categories: 12 x 12, Agents, Books, Children's Books, Picture Books, Publishing, Queries, SCBWI · Tags: , , , , , , , , , , , , ,


Thanks again to Linda Ashman and Jennifer Mattson for last week’s giveaway and How I Got My Agent interview.  Please mark your calendars for this Friday, October 14th when another Colorado author, Jean Reidy, will be here both as part of the How I Got My Agent series and her blog tour for the release of her newest picture book, LIGHT UP THE NIGHT.  Light Up the Night releases tomorrow, so you heard it here first.  Go out and order your copies!!

I also spent a day in Austin over the weekend, courtesy of the Austin SCBWI, learning as much as I possibly could about digital storytelling and publishing.  I’ll share some tidbits on the blog this week so keep an eye out.

Now, without further adieu, here are the winners of Linda Ashman’s amazing new books!  Drum roll…

NO DOGS ALLOWED! goes to Beth MacKinney!!!!

THE TWELVE DAYS OF CHRISTMAS IN COLORADO (which wasn’t on the original giveaway list, but Linda has it and this reader wanted it, which enabled us to draw more winners, so…) goes to Stacy Jensen!!!!

SAMANTHA ON A ROLL goes to BOTH Joanna Marple and Julie Musil (Turns out we have an extra copy, so we were able to give away two of these)!!!!!

Congratulations to the winners.  Please email me at jhedlund33 (at) with your mailing addresses and who you would like the books to be signed to and we’ll send them on their way.  Woo Hoo!

Categories: Agents, Authors, Children's Books, Giveaway, How I Got My Agent, Picture Books, Rhyming, SCBWI · Tags: , , , , , , , ,


I am so excited to present my first-ever author/agent duo for the How I Got My Agent Series.  Thanks to Jennifer Mattson for agreeing to go under the microscope participate alongside Linda. I decided on a She Said/She Said format, with their pictures as the indicator for their responses.  Of course I couldn’t resist sprinkling in a few of my own comments, which appear in italics.

Linda Ashman is the award-winning author of more than two-dozen picture books.  She has had three books released in the past three months, and you can enter to win one of them (details below).  Yesterday’s post includes my reviews of the books, and you can earn double points in the giveaway if you also comment and share that one.  Linda lives right here in the great state of Colorado with her husband Jack, son Jackson, and dog daughters Stella and Sammy.

Jennifer Mattson is an Associate Agent at Andrea Brown Literary Agency.  Before joining ABLA, Jennifer spent nearly five years  reviewing children’s literature as part of the Books for Youth staff of Booklist magazine. Prior to Booklist, Jennifer was an Associate Editor at Dutton Children’s Books. She represents authors across all children’s genres – picture books, MG and YA.  Jennifer is also the co-author of THE OFFICIAL EASY-BAKE COOKBOOK, which we happen to own! (although I hide it because truthfully, I dread the days my daughter asks me if we can “Easy Bake.” Same thing with Play-Doh actually, but enough about me…)

Let’s dig into the questions shall we?

Linda, when did you seek an agent for the first time, and how/why did you know it was time to look for one?

I signed on with my first agent around 1999, after selling seven manuscripts on my own.  Although I wasn’t actively looking at the time, a writer friend spoke highly of her new agent and suggested I talk to him.  Since I’d been “negotiating” my own contracts (as in, “Where do I sign?”), it made sense to work with someone more knowledgeable about contracts — and the business in general — than I was, and who had relationships with more editors and knew their particular tastes.

Jennifer, the first question this audience will have is: Are you currently accepting submissions from picture book authors and/or illustrators?  If so, what kind of manuscripts are you looking for?

Yes, of course.  I am accepting text-only picture book queries and queries from author-illustrators, but at this time I’m not looking to sign up illustrator-only clients.

It impresses me when an author knows how to develop a character and tell a complete, satisfying story with extreme concision, with 750 words as a target maximum, and under 500 words much preferred.  I’m not looking for issue-driven/teachable moment stories, stories with historical settings, fairy tales or fairy tale retellings, nor, as a rule, nonfiction picture books – though I’ve been known to take a shine to nonfiction that illuminates some truly surprising corner of history or science with strong kid appeal (I loved The Day Glo Brothers, for instance – wish I could have represented it!)  What excites me most, though, are humorous stories that turn on universal conflicts resolved in memorable character-specific ways.

Since poetry is Linda Ashman’s specialty, it’s clear that I’m open to rhyming manuscripts. Having said that, I now have a few clients who primarily write in verse, so for the time being I’ll be most active about adding writers-in-narrative to my roster.

Note, in a few months I will be taking a hiatus from reading queries for a while because I’m going on maternity leave (my e-mail autoresponse will be clear about when that goes into effect).

What an excellent reason for a query hiatus. Many congratulations!! One more voracious reader of children’s books is about to enter the world…

Linda, Jennifer was not your first agent. What have you learned from working with three different agents?

I’ve learned that it’s really important to get a sense of how an agent works.  When you send her a story, will she read it within a matter of days, or does she, for example, devote one week a month to reading clients’ work?  Does he have an overall submission strategy for your manuscript, or does he send it to one editor at a time and wait for a response?  Does she notify you right away when she hears back from an editor, and — if it’s a decline — discuss with you the next plan of action?  Is the agent a one-person shop, or part of a larger organization?  (Neither is necessarily better than the other, but I really appreciate the support Jennifer gets from her colleagues at Andrea Brown.)

In order to avoid annoyance on one side and frustration on the other, expectations are everything.  Be very clear about communications.  How often should you expect to hear from him — only when there’s news, or will he check in periodically?  Is she accessible by phone or email if you have questions?   Beyond that, make sure you like this person, and feel comfortable asking questions.  This could be — hopefully will be — a very long relationship.   You don’t need to be best friends, but respect and compatibility are important.  And, above all, make sure the agent is genuinely enthusiastic about you and your work.  This is a tough business, and it helps to feel you have a professional ally looking out for your interests.

Wow, that is such a great answer.  I so often think that in this competitive market, writers think any agent is better than no agent and forget that it’s a business relationship that should benefit both the agent and the author.  Thanks for giving us some great questions to ask!

How did you find Jennifer and then come to the conclusion that she was “the one?”

I met Jennifer when we both were on the faculty at the “Big Sur in the Rockies” writing retreat in Boulder in May 2010.  I really liked her, and was impressed with her thoughtfulness and intelligence.  I knew she’d worked with Meredith Mundy, my Sterling editor, so I asked Meredith about her.  I really trust and respect Meredith, so when she gave Jennifer a ringing endorsement, I decided to contact her to discuss working together.  I’m so glad I did — Jennifer has been a dream to work with.

I’ve met Jennifer at two different ABLA events, and she is so knowledgeable, but also so friendly and approachable.  Readers, query her if you think your stories are a good fit!

Likewise, Jennifer, what drew you to Linda’s work and made you want to sign her as a client?

I’ve known Linda’s work for a long time, because when I was an associate editor at Dutton Children’s Books in the late 1990s, she would regularly submit (and be published by) the head of our imprint.  The publisher would bring promising manuscripts to an editorial board meeting, so I recall seeing Linda’s work and being impressed by her professionalism and her gift for poetry.  Later, Linda went on to publish with a former colleague and friend of mine, Meredith Mundy at Sterling.  The degrees of separation kept getting a bit smaller over time – and finally Linda and I were faculty members at the same writers’ workshop, Big Sur in the Rockies in Boulder, CO, cosponsored by our agency and the Rocky Mountain Chapter of SCBWI.  In a way, meeting Linda felt like greeting an old friend, partly due to our professional connections, and partly because I had spent so much time reading my daughter her board book, BABIES ON THE GO!  I was thrilled when, several months later, I received a note from her asking if I’d like to discuss working together.  Honestly, it didn’t take much thinking!

BABIES ON THE GO is great! But you guys have probably already figured out that we’re big Linda Ashman fans in this household.  By the way, at that very same Big Sur in the Rockies meeting, I was fortunate to have Linda as one of my faculty members.  From that experience, I can tell you that her manuscript critiquing service is well worth the price.

Linda, the picture book market is tough right now, and it seems many agents don’t take PB clients only.  I know your situation is a bit different because you had already sold many books before signing with Jennifer, but what advice would you give to a pre-published PB writer seeking an agent today?

Sometimes, in our eagerness to get published, we send our work out there before it’s ready.  I certainly was guilty of this when I first started writing, and I cringe when I come across old manuscripts which should have landed in the recycling bin instead of on an editor’s desk.  So before even thinking about editors and agents, I’d advise writers to become students of the picture book.  Reading them to your kids or your students — or recalling old favorites from childhood — isn’t enough.  Study the really good ones, especially those published in the last five years or so.  Start with year-end “best of the year” lists from ALA, School Library Journal, Bankstreet, the children’s blogging community, etc.  Really look at what makes these books successful and appealing (or not; this is highly subjective, after all).  Pay attention to the voice, the pacing, the escalation of the drama, and how the story is resolved.  Then make a dummy of your own manuscript and see if your story fits the picture book structure, if you’ve cut out every extraneous word, if your voice is distinctive, your story dramatic and visually interesting, and your ending satisfying.

Once you’ve got several strong stories, and you’ve followed the manuscript formatting requirements (and a meticulous friend has checked for typos), then you can turn your attention to agents.  Here again, research is key.  If you can go to conferences and meet agents in person, that’s great.  But it’s not necessary.  Fortunately, you can find tons of information on the internet.  Study agency websites, and make a list of agents who appeal to you and seem open to your writing style and interests.  Then google them.  Many have been interviewed on blogs, and a few have blogs of their own.  The more information you have, the easier it will be to target your submission and write an informed and personal query letter.

I’m chuckling as I read this because Linda shared one of her early manuscripts with us at a rhyming workshop she gave. Don’t worry Linda – I won’t name it here! Suffice it to say it’s inspiring to see how much a writer can grow if they truly commit to studying the craft.  And now, for a shameless plug of one of my own posts: If you want more information on how to research agents and editors, go here.

Jennifer, Linda writes almost exclusively in rhyme, yet we hear agents and editors say (often) that they don’t want to see rhyming manuscripts.  What separates a saleable rhyming story from one that is not?

That’s a great question.  I think that there is a note of inevitability communicated by the best rhyming manuscript – in other words, one barely notices the rhyming, except to be delighted by it, and one can’t imagine another way of expressing the same idea.  It’s a combination of perfect rhythm / scansion and absolutely perfect end rhymes:  I’m never fond of slant rhymes.  (When I was a kid, I used to hate reading British poems that rhymed things like “again” and “rain”!)

Apart from technical perfection, to be saleable in the picture book market, editors need poetry to be more than just gorgeousness and musicality.  Linda and I have had the same comment on a number of manuscripts recently, and it’s not uncommon at all:  “This needs a stronger story arc!”  So, writers of verse face an exceptionally high bar.  Their manuscripts must be technically flawless but also must advance a storyline.  It is so rare for a writer to have mastered all of those elements simultaneously that I think many editors and agents have simply found it more efficient to put the kibosh on rhyme preemptively.  For whatever reason (perhaps the prominence of Dr. Seuss?), it seems that amateur writers gravitate to verse before trying their hand at anything else.

This might be some of the best advice I’ve seen on what makes a rhyming manuscript work – thanks!

Given how tight the picture book market is these days, what advice would you give to PB writers looking for agents on how to stand out?

An exquisitely professional query letter that references specific, comparable, recent titles on the market always catches my eye.  We receive tons of queries from people who clearly don’t read much in the contemporary picture-book marketplace, so it’s nice to include any sign that you’re engaged in the industry in an active, ongoing way (it’s also nice to mention membership in SCBWI and critique groups).

Other aspects of your submission will convey the professional level of your work, too.  It helps when a project reflects the typical length of a frontlist picture book (rather than the typical length of a published-long-ago classic, like Robert McCloskey’s wonderful but 2000-words-long TIME OF WONDER…).  I also look for writers who know how to creatively anticipate the contribution of an illustrator, e.g., by not overwriting description and, when appropriate, leaving certain key beats of story development to the visuals.

I always recommend that authors of picture books line up three or four projects that they feel are ready to share with an agent before first submitting.   Agents usually ask queriers to focus on one manuscript, but if an agent is interested in continuing a discussion, normally he or she will ask to see more of your work.  You’ll want to be ready for that.

Linda, dogs are frequent characters in your books, including your latest release, No Dogs Allowed!  Can you tell us one of your favorite real dog stories based on one of your own pets?

Sammy, our Lab mix, is very smart and has an impressive repertoire of tricks.  When appropriately bribed, she’ll fetch the paper, wake Jackson (our son), deliver canned goods from the kitchen cabinet, jump like a kangaroo, roll over, speak, whisper, dance, spin (once, twice, or three times, as directed) and more.  But she has a lot of attitude, and feels that this sort of performing is really beneath her.  And she has a way of showing her resentment.  After every meal, she goes on a raid and finds a sock — on someone’s dresser, in the laundry basket, in a closet — and runs off with it.  She never actually chews it.  She just likes to hold it hostage for a while (usually until we tell her how funny and cute she is, thereby rewarding her for her naughtiness).

Awww, too cute! I want to give her a hug just reading this. If I’d thought ahead I would have asked you for a picture of her.  🙂

Jennifer, please complete this sentence:  “If I could take just one book with me to a remote desert island, it would be….”

I hate to compromise the children’s-lit focus of this blog, but I’d probably choose something lush and long-lasting, like George Eliot’s MIDDLEMARCH or Thackeray’s VANITY FAIR.

Nope. I totally get that.  If you’re stuck on a desert island, you need something a bit broader in scope than a children’s book.  My own choice would be A PRAYER FOR OWEN MEANY, by John Irving.

Let’s all give it up for these two lovely ladies for this great post!  I hope you learned as much as I did.  Also, don’t forget that Linda Ashman is giving away a personalized, signed copy of both SAMANTHA ON A ROLL and NO DOGS ALLOWED for two lucky winners. You must be a follower of the blog to enter (new followers welcome!).  Here are the ways you can enter:

  • Leave a comment on this post and/or yesterday’s post.  Be sure to say which book you’d prefer if you win. – 1 point
  • Tweet this post (include link in your comment) – 1 point
  • Like this post on Facebook (include link) – 1 point
  • Blog about the contest (include link) – 2 points

THANKS AGAIN to both Linda and Jennifer. I had so much fun putting this post together, and I hope you did too!

Categories: Agents, Authors, Children's Books, Giveaway, How I Got My Agent, Picture Books, Poetry, Publishing, Queries, Rhyming, Writing · Tags: , , , , , , , , , ,


The Children’s Writing Workshop at Big Sur was focused primarily on small critique group sessions rather than large general sessions.  As a result, my notes are a smattering of tidbits heard and picked up throughout the weekend.  There are some golden nuggets in there, though, so I share them now with you.

Picture Books

  • “Picture books are the most difficult thing to write.”Andrea Brown.  I would love to tattoo this quote on my forehead so I’m prepared the next time someone asks me whether I’m going to start with picture books and then move into writing “real” books.
  • “I know you’ve all heard the market for picture books is tough, but picture books are our bread and butter, so please don’t stop writing picture books.” — Andrea Brown
  • “Picture books are an emotional medium.  They need to make us feel something.”Marla Frazee
  • Chronicle is a medium-size publisher, and picture books outnumber both MG and YA — Melissa Manlove
  • “Every word, every character in a picture book must count.” — Marla Frazee.  This came in response to one of my manuscripts where characters were introduced for one scene and never came back again.  Every character needs to move the story forward and be important to its outcome, especially when you have so little room to tell it.  If you are taking the time to introduce them, they must play a critical role.  Good examples are SOMEBODY LOVES YOU, MR. HATCH, BEAR SNORES ON, and STAND TALL, MOLLY LOU MELON
  • An agent deciding whether to represent a picture book author might ask to see 3-4 manuscripts because they want to make sure you have more than one book.  They are looking for career authors. — Jennifer Mattson.  Take away?  Once you start submitting, it’s good to have a couple of other polished pieces in your back pocket.
  • HOWEVER, do submit only one manuscript at a time – whichever one you feel is the strongest and best representation of your work.  — Mary Kole
  • Because PB manuscripts are sent with the query, the actual query letter is not as important.  Keep it short, simple and to the point.  Agents will read at least part of the manuscript even if the query isn’t great. — Mary Kole

Finding and Working with an Agent

Be deliberate in your selection process.  Do the research.  Submit to agents you feel would be a good fit for your work, and then ASK THEM QUESTIONS.

Good questions to ask:

  • How transparent is your submission process? Does the agent inform clients when and how many editors have received their manuscript? Do clients see the agents’ pitches?  Are clients consulted about whether to submit to multiple editors or on an exclusive basis?
  • What is your strategy for selling my book?
  • What is your editorial philosophy? How much revision will an agent ask for/expect before submitting your work to editors.  How hands-on is the process?
  • What is your communication philosophy/style? Does the agent prefer email or phone?  How soon can you expect answers to questions you may have?  Does the agent prefer regular communication at all times or only when you are out on submission?
  • What do you like about my book? Jennifer Laughran said she is amazed at how seldom that question gets asked.  It’s important, she said, because you might find out that an agent sees your book completely differently than you do.  That would be a good thing to know before signing a contract.
  • What are your favorite books?
  • Money questions. Including, what happens to your money if an agent moves to another agency, the agency closes, or God forbid, the agent dies?  Morbid, but it’s your money, so you need to know.
  • How are foreign, audio, digital, film and other rights handled?

Also, be prepared to demonstrate that you can accept editorial feedback.  Great revising is hugely important.  Mary Kole said she is looking for clients who “treat every BIC (Butt in Chair) session as a learning process.”  Even when it gets hard, don’t just stop working on a piece and move onto something else.  Take what you’ve learned or are learning and revise, revise, revise.

BUT, don’t be too quick to send revisions back to an agent who requests them.  They want to know that you’ve taken the time to consider and incorporate the feedback.  Make sure it’s your very best before sending it back.  As Laura Rennert said, “You will have ample time to impress later.”


Interestingly enough, especially for us bloggers, marketing was hardly a whisper at this conference.  I suppose it’s not surprising given its focus on the craft, but I left Big Sur finally believing that finding an agent really is, first and foremost, about the book.  Even when asked the direct question as to whether an online platform would make a difference between two potential clients, Kelly Sonnack replied, “The decision is always 100% based on the book.”

Which is not to say that willingness and ability to do marketing isn’t helpful.  It’s just not the deciding factor.  In fact, the agents warned that bad marketing is worse than no marketing at all.

  • Willingness = good
  • Ability = even better
  • Willy Nilly = worse than bad

A good agent will work with clients to accentuate their strengths with whatever the author feels comfortable doing marketing-wise.  It’s also a good idea to work closely with the publisher, since they are also marketing the book.  You want your own marketing efforts to be complementary to theirs – not duplicative or even worse, in conflict.

The usual comments of “do what you like to do and no more than that,” prevailed.  If you like Twitter or Facebook or both – great.  If you enjoy blogging, that’s great too.  But don’t put yourself out there on any of those platforms without a strong knowledge of how to use them effectively.  The worst thing you can do with social media is pop in once a month blasting everybody with sales pitches about your book and then disappear.  A “phantom presence,” where you’ve set up accounts but they lie dormant for months, can also leave people with a worse impression than no presence at all.

That’s all, folks!  Comments?  Questions?

Categories: Agents, Authors, Children's Books, Picture Books, Publishing, Social Media, Works in Progress, Writing · Tags: , , , , , , , , ,

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