January 22, 2019 Interview and Giveaway with Senior Vice President of Trident Media Group, Alyssa Eisner Henkin
I’m excited to welcome to the blog this week the Senior Vice President of Trident Media Group, Alyssa Eisner Henkin. Alyssa’s also offering a partial critique (open to cbs and mg) to one lucky winner (details follow the interview).
1) What’s a day in the life of literary agent Alyssa Eisner Henkin like?
The fun thing about being AEH is that every day is a little different than the one before. My job boils down to supporting my current clients, and that can mean anything from negotiating new deals and overseeing royalty checks being paid, to having a creative brainstorm session to attending a marketing book launch meeting. I also spend a lot of time interfacing with Trident’s foreign and film agents in the hopes of selling ancillary rights, as well as scouting for new talent in the ever-changing marketplace.
2) What’s something you as an agent face that’s especially difficult or frustrating that writers may not know?
My biggest frustration is the industry’s history of copying popular publishing trends rather than perpetually trying to break new ground. It takes a lot of courage to publish something that feels very different than its predecessors, but the payoff can be huge when stars align and an author fills a niche that hardly anyone saw coming.
3) What do you love most about working within children’s literature?
I love the evergreen nature of many children’s books. When a book is beloved and has great word of mouth buzz, it has the ability to endure through school libraries and state award lists, and summer reading programs for many years to come. Also, the books I work on both conjure up the love I had for books in my own youth, and at the same time give my own kids great stories to read and pass on to future generations!
4) When it comes to children’s literature, what audience and genre(s) would you consider your sweet spot?
Middle grade—both fiction and nonfiction—is my favorite genre. I love school stories, conversation-starting stories, and stories filled with humor and heart. I also love high-concept picture books like THE SCRAMBLED STATES OF AMERICA and the occasional YA novel, be it romantic, historical, activism-centered, or brimming with unique foreign settings or ethnic flavors.
5) What three things are at the top of your #MSWL?
A graphic novel like EL DEAFO that showcases a new-to-me-predicament; a YA novel or memoir in the vein of THE SEPTEMBERS OF SHIRAZ; a young middle grade series with a kid-powered entrepreneurial aspect that feels really fresh, like THE BABY-SITTERS CLUB 2.0
6) Are you open to pb text-only and, if so, what are you seeking in picture books?
Yes, I am open to that. I love school stories like Alexandra Penfold’s ALL ARE WELCOME and I’d never turn down an illustrated, inherently kid-friendly biography in the spirit of BALLOONS OVER BROADWAY.
7) Can you provide us with the titles of a few traditionally-published picture books that you love and are in the vein of picture books you’d like to rep?
The ones I mentioned in the previous question, but I also love rhyme when it’s done well, as in ROSIE REVERE ENGINEER and THE POUT POUT FISH series. I am not afraid of rhyme when it reads like those books. And I still love BEAR SNORES ON, perfect for all the hibernation units that many kindergarten classes do each year.
8) What are some of the most common flaws or mistakes you see in the picture book manuscripts you’re queried with?
They are too long, they lack dialogue, or the rhyming feels a bit off. Sometimes they feel complete and lovely, but since many picture book creators are author-illustrators, the texts by just authors have to be really strong language-wise to get the attention of an editor who is likely simultaneously reviewing many projects with art samples already in place.
9) I saw you’re open to rhyme. When it comes to rhyming texts, what are some common flaws or mistakes you see?
The word choice feels forced and doesn’t do the sentiment justice. The meter is just off. I don’t know much about poetry, but I can feel it if it doesn’t roll off the tongue well.
10) When reviewing an author/illustrator’s portfolio, what are you looking for in their illustrations? What are you drawn to?
I love a character that really begs a franchise. I remember the first time I was shown the art from LADYBUG GIRL and thought to myself, “Wow, this could be a brand.” And then years later, I bought the clothing at Target! I’m also such a sucker for beautifully-conjured settings and retro feels a la Sophie Blackall and Chris Van Dusen.
11) What are some recent middle grade titles that you’ve especially enjoyed or are in the same vein of stories you’d like to be queried with? YA?
I love the NATHAN HALE’S HAZARDOUS TALES graphic novel series. I loved WISHTREE and would love to see more books that pay homage to nature in that way. I adored WOLF HOLLOW and just couldn’t put it down. SAVVY AND THE LEMONADE WARS will always be favorites of mine as well.
12) Are you seeking or open to chapter books? And if so, what are you looking for?
Yes, I’d love to see more chapter books. We are huge MAGIC TREEHOUSE fans in my household and I love the spirit and adorable packaging of IVY AND BEAN. I’ve also seen my son devour DOG MAN and BAD GUYS and would love to see more illustrated works in this subgenre that walk the chapter book/graphic line, but at the same time feel very fresh.
13) In a query letter, do you have a preference regarding whether the author first dives into the pitch or a short personalization about why they specifically chose to query you?
I’m all about authenticity and transparency, so if the author really loved a project that I have worked on, I’d love to know. But if not, I’d rather the person just dive in!
14) What’s your average response time to a query? To a partial or full? Do you always respond?
I typically only respond when I’m interested in reading more, so if you don’t hear from me in two or three weeks it’s likely a no. I try to respond to longer requested work within a month.
15) Aside from a particular manuscript or even the work itself, what qualities in an author might fill you with excitement at the thought of working with them?
I like authors with a lot of energy and enthusiasm coupled with the ability to be patient. I also like working with authors who are not afraid to take time to perfect revisions.
16) About how many new clients do you take on a year?
Totally varies!
17) In your opinion what makes for a successful author-agent relationship?
Again, I go back to authenticity and transparency. So as long as everyone is having fun and learning and improving upon craft, and eventually selling projects together, we’re good. But the process can take months and sometimes years so patience, a thick skin, and sense of humor are key in this competitive industry.
18) What’s your communication like with clients?
I am on email pretty much all working hours till about 9 in the evening via my phone, and my clients and colleagues can attest that I am very fast in passing on information and answering questions. I love long calls and good meaty brainstorming sessions when called for. My clients know that when they don’t hear from me it’s because I don’t have any news to report.
19) What level of contact do you maintain with your authors during the acquisition process? Does it vary according to the author and their wants and needs?
It definitely varies. I absolutely try to communicate in the style that suits the client.
20) What’s your favorite part of the publishing process? Least favorite part?
My favorite part is getting offers and getting good news about how a book is hitting in the marketplace or library-acclaim world. My least favorite is all the waiting that goes on to get from point A to point B. You think I’d be used to it after 7 years as an editor and 12 as an agent, but patience is hard!
21) What are some of the [unique] ways in which you champion your authors?
My clients have told me that I don’t waste time convincing them to write what I want them to write for a fast sell. Rather, I encourage them to write what they want to write, but in a way that feels as in sync with the market as possible. I’m also very tenacious and, having worked on both the editing and agenting sides of the desk, I feel confident in my ability to advocate for different jackets, more robust marketing and out-of-the-box ideas to help copies to sell. With that said, when authors come to me seeking inspiration, I LOVE coming up with titles and ideas. This has helped birth some successful middle grade series over the years including THE WEDDING PLANNER’S DAUGHTER, THE MOTHER DAUGHTER BOOK CLUB and MY LIFE IN PINK & GREEN.
22) Are there any upcoming conferences or twitter events you’ll be participating in?
February is a big month for me. I’ll be participating in the Pitch Wars Agent Showcase from February 6-11, which is an online event in which writers will submit their manuscripts to me for review. I’ll have a time slot (final time to be determined) in an online live pitch session for WriteOn Con, which occurs between February 8-10. And finally, I’ll be a special guest speaker for Bethany Hegedus’s class on Social Justice, Kindness and Inclusion for the Writing Barn. I’ll call in for that online conference on February 21 at 8pm.
WILDCARD QUESTIONS:
If you could have any superpower, what would you have?
Eyes in the back of my head. I’m already fairly intuitive and reasonably good at predicting what will happen next.
What is the first thing you’d print with a 3-D printer if you had one?
Maybe some of the art from Virginia Lee Burton’s books MIKE MULLIGAN or KATY.
If you could find out the answer to any question in the world – big or small – what would it be and why?
Who among you shall query after this interview? I hope to hear from you!
Thanks for your time, Alyssa!
* Winner will be randomly drawn via Rafflecopter. Only one winner will be selected. Open to U.S. and International participants. Only chapter books and middle-grade manuscripts are eligble for this giveaway. The partial critique will be of 50 pages or so of a cb or mg manuscript.
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