Dear Critique Carousel: Questions from Last Year to Help You Navigate This Year

by Wendy BooydeGraaff

 

We’ve introduced all 10 of our 2024 Critique Carousel Faculty, as well as the scholarship. Today, we have a list of questions from last year’s participants, the answers of which may be helpful to everyone.

 

Q: Dear Critique Carousel, I never received an email with a link to the critique that was scheduled for this morning at 8 a.m.  What am I to do?

A: The event is completely asynchronous. For some reason the system sends out a time, but there's no meeting. (We are trying to fix that glitch this year! But just in case…) It's solely a written critique and your manuscript will be critiqued with written comments only (unless you choose a Chad Beckerman critique) – no appointments, only deadlines!

~

Q: I submitted a manuscript last year to Agent M and have significantly revised that manuscript. Should I submit the same manuscript this year to Agent M? Or should I choose a different agent/professional?

A: I asked a couple seasoned SCBWI members and professionals this question and here are their answers:

★     If the writer is fine with receiving fewer notes on a revised manuscript, then send it to the same agent/editor. But keep in mind, people often do remember your story, so it does make it more difficult to give comprehensive feedback, especially if the writer has addressed the concerns in the first critique.

★     Remember that if you’ve already used the open submission period following the first critique, you may be limiting the amount of input this agent has on your piece.

★     Getting another professional’s opinion on the same piece you submitted to someone else last year could be a very good idea, and help you see the ways industry professionals vary. So, I’d recommend choosing a different agent/editor. Or sending a different manuscript to the same agent/editor.

~

Q: Do we get to query the agent after the carousel is completed? Is that part of the carousel deal? And, if so, is the agent obligated to respond to our query as part of the carousel program?

A: Yes, all of the agents and editors are open to a special query session for six months after the Carousel to the person they critiqued.

While many of the agents and editors will respond kindly due to the mention of Critique Carousel participation, and most do, some agents have a policy of not responding if they aren't offering representation due to time constraints and the sheer volume of queries they receive. Likewise, some of the editors don’t always respond due to sheer volume of submissions.

Unless an agent or editor has requested additional materials (another picture book, a full novel manuscript, additional portfolio items), we don’t advise following up on a conference/event submission. Take any personal response you do receive as encouragement and use that momentum to seek more opportunities.

~

Q: I just wanted to follow up as I submitted to Editor X two months ago and have not yet received a response.

A: Agents and editors may take up to six months to respond, so give it a little more time. Summer, ALA, and other conferences all can cause delays. I know it's tough to wait, but try submitting elsewhere, and then start on another project. 

~

Q: When I registered for the event, I was sure Agent P wanted fiction picture books, but now I see it’s not listed on Agent P’s query manager. What should I do?

A: Agents open and close to specific types of work, based on what they acquire for their list. Sometimes something they were interested in at the time of planning for the event changes. You may still submit your manuscript/art to Agent P with the special link and mentioning the SCBWI-MI Critique Carousel, however, if you have polished, query-ready work that more closely matches their wishes, you may opt to do that.

~

Q: The agent who critiqued my work loved it! But now I see she/he doesn’t represent the genre I submitted. What should I do? Do I query anyways?

A: You can always draft a nice letter thanking the agent for their great critique and asking if they’d consider representing your work. Be aware, however, that often if an agent is very interested in representing your work, they will ask you to submit when you are ready right there in their critique notes. The good news is if one professional loves your work, it’s likely there are others that will, as well. Submit widely! (After revising, of course).

~

Q: My agent gave me a lovely critique, and I followed all of their suggestions in my revision. I submitted my materials to them during the six-month window but haven’t heard back from them. How do I follow up?

 

A: Don’t! Don’t follow up, that is. Unless you’ve had a request for more materials or the agent has specific guidelines on their website saying otherwise, it’s best to wait patiently and send your work to a few other agents at the same time.

~

Q: I revised and submitted my manuscript to the agent who critiqued my work. Her special query manager link stated, "Please note ALL submissions receive a response. Please do not consider no response a pass."  I am wondering what that actually means?  Will she respond in about 6 months from when my manuscript was returned to me?

A: Many agents say if they don't respond, it's a pass. Please don't inquire. However, the agent you queried responds to every query received. So, she'll respond.

I don't know how soon she will respond, but three months is not uncommon. Nor is four months, five months, or longer. The six-month window the Critique Carousel gave is for you to submit is regarding your work–you have six months after critiques are returned to revise and submit during the special window the agent/editor agreed to stay open to participants. Many agents and editors close to submissions, so this is very special to have them stay open to Critique Carousel participants.

There is not a window in which the agent will respond unless they explicitly state that window. My best advice is to send your work elsewhere (simultaneous submission) and start working on a new work-in-progress.

~

And that’s always my advice: Keep working on something new. Focus on the work and make it the best it can be.

I’ll see you all virtually at the Critique Carousel on September 17! Check out all the previous Mitten posts for more details and watch your inbox. Thank you, The Mitten, for hosting these Critique Carousel posts.

 

Wendy BooydeGraaff is the Critique Carousel Coordinator for 2024. She is the author of a  picture book, Salad Pie (Ripple Grove Press/Chicago Review Press), and the Michigan story contributor in the SCBWI-edited Haunted States of America anthology, out NOW! (Godwin Books/Henry Holt, available here or wherever you buy books). She also writes poetry, short fiction, and creative nonfiction for adults. Read more at wendybooydegraaff.com 

 

Hugs and Hurrahs

I hope everyone is enjoying these last weeks of summer. This quarter's Hugs and Hurrahs is short and—just like all the peaches and corn at the markets here in West Michigan—extra sweet!

Two of the farm critter tale manuscripts Kathleen Clark submitted to the American Christian Fiction Writers (ACFW) Kingdom KitLit Contest won Honorable Mention in the Unpublished BoardBook/Picture Books category.  She is truly thankful for this encouragement on her writer’s journey. 

Congratulations, Kathleen!

Lynn Baldwin is happy to announce she is now represented by by Jen Newens of Martin Literary for her picture book writing. 

Way to go, Lynn!

Lisa Healy has been chosen by author Erin Dealey, to be her 2024 PBRisingStars Mentee! PB Rising Stars had over 2,400 applicants, Erin was wowed by Lisa’s lyrical language.

We're so happy for you, Lisa!

Congratulations, Kathleen, Lynn, and Lisa!  We are proud of, and inspired by, you!

 

Look for the next request for Hugs and Hurrahs in your email, but please feel free to submit all your KidLit publishing news to Alison Hodgson at aewhodgson@gmail.com in the meantime. 

Our Final Critique Carousel Sneak-Peek! by Wendy BooydeGraaff

 

In previous posts, we introduced Sarah Proudman, agent at Galt & Zacker, Jennifer Thompson, Associate Editor at Scholastic, and Laura Gruszka, junior agent at Writers House, Katie Heit, Senior Editor at Scholastic, Chelsea Hensley, associate agent at kt literary, Chad Beckerman, agent at CAT (who will be providing pre-recorded video critiques!), and Leah Moss, associate literary agent at Steven Literary We also announced the scholarship for a picture book creator from a demographic, experience, or community who has been historically mis- or under-represented in publishing. Recap details are at the bottom of this post.

 

Today, we introduce our EIGHTH critique faculty... Drumroll...

Shulokhana Khan!

Shulokhana Khan is on the 0-8 team at Scholastic with a primary focus on picture books and board books. Open to books for all age ranges, she is particularly interested in books with strong voices that are funny, empowering, dark, or touching, with special interest in the variety of BIPOC experiences. She is trying to expand her roster of funny books in the picture book genre, and for upper-grade and YA, has a special interest in speculative fiction, queer fiction, zombies (that function as an allegory for our socio-political climate), pirates (heavily anti-colonial bent is very welcome!), lesser known fairy tales eg. Donkey Skin, King Thrushbeard, and The Six Swans, and settings which are not primarily American or Euro-centric.

For the 2024 Critique Carousel, Shulokhana Khan will be critiquing the following:

• Picture book fiction 
• Picture book nonfiction 
• Picture book dummy

 

You guessed it, there’s more!

 Cue drumroll... we have another editor to introduce... our NINTH faculty member...

 

Michael Green!

While at Philomel Books (Penguin Random House), Michael Green rose to the positions of President and Publisher, overseeing a period of tremendous growth. He edited 30 New York Times best sellers in that span, including The Day the Crayons Quit; Travel Team; Ranger's Apprentice; and Salt to the Sea. After founding his own company, GreenHouse Editorial, Michael was recently lured back to publishing with the opportunity to build a children's book list from scratch for the indie publisher, Marble Press.

Marble Press books can be found here.

For the 2024 Critique Carousel, Michael will be critiquing:

• Picture book fiction
• Picture book nonfiction
• Picture book dummy
• Chapter book
• Middle grade fiction
• Graphic novels fiction or nonfiction
• Novel-in-verse
• Portfolio review

 

Today is a big day! We are revealing the TENTH and final faculty member for our 2024 Critique Carousel event!

 

Eileen Rothschild!

Eileen Rothschild, Executive Editor St. Martin's Publishing Group, VP, Associate Publisher Wednesday Books, says: 

“I started my publishing career at Macmillan in 2007 working on math and chemistry textbooks. Since then, I have held roles in sales and marketing with the ultimate goal of finding an audience for fantastic and unique voices. I fell in love with the excitement of reading a special new voice for the first time and have found my true passion in editorial. As an Executive Editor I use the skills learned in my various roles to help create lasting careers.

“I gravitate toward commercial stories with a fabulous hook and a captivating voice. I am always on the lookout for the type of read that stays with you long after you finish the last page. The one that makes you fall in love, cry and jump for joy. Maybe even all at once! My list includes New York Times bestsellers Fable by Adrienne Young, The Gilded Wolves Series by Roshani Chokshi, What the River Knows by Isabel Ibanez, Divine Rivals by Rebecca Ross and You’ve Reached Sam by Dustin Thao.”

Eileen will be donating the proceeds from her critiques to the SCBWI-Michigan BIPOC Scholarship fund.  Thank you, Eileen!

For the 2024 Critique Carousel, Eileen will be critiquing:

• YA fiction
• YA nonfiction
• Novel-in-verse

 ******

 For those that need a recap:

 The Critique Carousel is a virtual SCBWI-MI event for members to receive a written* critique from an acquiring agent or editor.

 *except for those who receive a video critique from Chad Beckerman J

Registration will open September 17, 2024, and will close October 1, 2024. Manuscripts and portfolios will be due at midnight on October 1, 2024.

 

Scholarship information:

 

Katie Heit, Senior Editor at Scholastic, has generously donated one critique to be offered to a picture book creator from a demographic, experience, or community who has been historically mis- or under-represented in publishing.*

 

This scholarship is open now, via this form!

 

The rules:

•       You must be a picture book creator with a work-in-progress, either a manuscript of fiction, nonfiction, or a picture book dummy
•        You must be a SCBWI-MI member. If you aren’t, now is a good time to join.
•        You can enter only once.
•        Entry ends on Thursday, September 12 at 7PM EDT. 

Wendy BooydeGraaff is the Critique Carousel Coordinator for 2024. She is the author of a  picture book, Salad Pie (Ripple Grove Press/Chicago Review Press), and the Michigan story contributor in the SCBWI-edited Haunted States of America anthology, out NOW! (Godwin Books/Henry Holt, available here or wherever you buy books). She also writes poetry, short fiction, and creative nonfiction for adults. Read more at wendybooydegraaff.com 

 

 

Writer Spotlight: Jean Alicia Elster

Former attorney, Joe Joe, family history, "Cool Papa " Bell, and Ida B. Wells-Barnett: author Jean Alicia Elster

Charlie Barshaw coordinates our regular Writer Spotlight feature and interviews writers of SCBWI-MI. In this piece, meet Jean Elster, a Detroit writer of a children's book series, as well as historical novels for middle grade and young adult readers.

 

You graduated from the University of Detroit School of Law. What did you plan to do with a law degree? Why have you listed yourself as a “former” attorney?

My goal from a young age was to be a writer, an author. In fact, I started writing at the age of six, jotting down very short stories in a notebook. Keeping that goal in mind, I attended the University of Michigan (Ann Arbor), graduating with a Bachelor of Arts in English, with distinction. 

However, as I neared the end of my undergraduate studies, my goal shifted a bit to include selecting a graduate program in a field that would allow me to earn a living and continue to write. Of the options that appealed to me, the only course of study that my father was willing to pay for was law school, so law school it was. I planned to practice law as a career while pursuing my goals as a writer.

As to why I refer to myself as a “former” attorney, I practiced law for several years. But when I got married and had a couple of kids, I wanted to work from home. That’s when I fell back on my English degree and became a professional writer (my business name is Write Word LLC). And while I still pay my dues to the State Bar of Michigan and maintain my license to practice law in the state, I am no longer a practicing attorney.

You’ve edited the books, THE DEATH PENALTY and THE OUTBREAK OF THE CIVIL WAR for Greenhaven Press, and two books with intimidatingly long titles for Judson Press. How did you become an editor? What do you see as your editorial job when tackling a manuscript?

My work for Greenhaven Press and Judson Press represents two entirely different tracks in my career as an editor. I connected with Greenhaven Press via a group tour of the facilities of the parent company Thomson Gale. That tour was arranged by an organization of professional writers, then known as Detroit Women Writers, of which I am a long-standing member. 

Thomson Gale was interested in expanding their pool of writers and Detroit Working Writers was doing its part to help its members secure writing gigs and publishing connections. After the tour, I submitted my resume and got a callback. I really believe my law degree and past life as an attorney helped seal the deal.

As an editor for the “Opposing Viewpoints” series at Greenhaven Press, the topics I was assigned required that I use my extensive research skills honed as an attorney to become an “instant expert” in almost every aspect of those topics. 

I not only had to compile an exhaustive and chronological compendium of scholarly articles, historic speeches and legal opinions but I had to write a preface for each one as well as for each chapter and then a forward and introduction for each book. This was not work for the faint of heart!

Regarding my work for Judson Press, let me first clarify that I actually edited a total of six books for them. And the credit (or blame) for those two long titles rests with the Judson Press titling committee! 

Now, my initial connection with Judson Press was a bit more circuitous. One of the early client referrals to Write Word LLC was a Detroit-based pastor who was well-respected nationally. He organized a conference focusing on the African American family. 

The conference was a huge success and Judson Press—which is the publishing arm of that pastor’s church denomination—asked him to prepare a manuscript based upon the conference presentations. He, in turn, asked me to take on that responsibility. The editors at Judson Press loved the manuscript I submitted and over the course of time offered me five other editing opportunities.

My work as an editor for Judson Press required the use of an entirely different set of the skills that I utilized as an attorney. The books I edited for Judson Press were written by church pastors. And while these authors were all outstanding, nationally recognized preachers, their homiletic gifts did not necessarily transfer to the written word. 

So again drawing upon my legal skills, my job as editor was to become their advocate: I had to make the adjustments necessary so that the reader would still hear the distinct and well-known voice of the author but in a way that was more appropriate for a written format.  

You are best known for your novels, but in the early 2000’s you wrote and published a series of JOE JOE books for young readers. You wrote JUST CALL ME JOE JOE in 2001, and said the book was inspired by Negro Leagues baseball star Cool Papa Bell. Please explain.

Photo of Cool Papa Bell  through Baseball Hall of Fame

As background, my “Joe Joe in the City” series was also published by Judson Press, and JUST CALL ME JOE JOE was the first book in a four-volume series. Actually, the ten-year-old protagonist Joe Joe is inspired after reading about the legendary baseball star “Cool Papa” Bell in a library book about the Negro Baseball Leagues.

In each of the four volumes, Joe Joe learns life lessons when he reads about heroes from African American history. I selected historical figures that were outside of the realm of the more widely-known heroes such as Martin Luther King, Jr. and Rosa Parks. 

So in addition to the Negro Baseball Leagues and earlier black baseball barrier breakers in volume one, in volumes two through four I featured educator and presidential advisor Mary McLeod Bethune, the Tuskegee Airmen of World War II and Ralph Bunche who, in 1950, became the first African American to be awarded the Nobel Peace Prize.

The books remain in print, and I am still invited to speak at schools and literacy events about the series.                 

WHO’S JIM HINES? was your first published novel. In the middle of the text there are archival photos from your family. Tell us how the photos and the story are intertwined.

The photos are included to represent and support the “historical” portion of the historical fiction narrative. 

In the book’s prologue, I state that WHO’S JIM HINES? is based on a true story. The photos serve as a reminder of that fact, particularly the two photos of my grandfather standing next to his company trucks and of my grandmother and oldest aunt standing next to a towering pile of wood in the wood yard. 

A photo of my grandfather Douglas Ford, Sr.
standing next to one of the trucks he owned in his business,
the Douglas Ford Wood Company.

I also wanted a visual confirmation that the story was indeed true: that my grandfather came up to Detroit as part of the Great Migration of African Americans from the South, yet did not work in one of the auto factories. Instead, he was an entrepreneur and the owner of the Douglas Ford Wood Company. 

I wanted to quiet any naysayers who might dare to question the veracity of my family’s history and of my grandparents’ contribution to the vitality of the city.

In THE COLORED CAR, the protagonist is Jean, also your mother’s name, and yours as well. You’ve presented a program on creating “compelling oral histories.” You’ve said that your books are “historically correct, but the events were fictionalized.” Where does the family history leave off and the fiction begin?

Let me begin by noting that the protagonist in THE COLORED CAR is actually Patsy. Jean can be called a secondary protagonist. 

Now to your question! I take great pains—by conducting library and archival research, by chronicling oral histories, as well as by traveling to family homestead sites—to establish the veracity and timeline of my family’s history. Geographical details that affected the family, such as the 1937 flooding from the Cumberland River in Clarksville, Tennessee, are true as well. 

Yet, I strive to embed the actual family history within the fiction narrative in such a way that the reader is not aware where one ends and the other begins. The fiction embellishes and supports the history. The fiction broadens the reach of the historical context so that the narrative becomes more than my family story but, rather, expands to become a family story. 

When we first met, many years ago, you’d just completed THE COLORED CAR and were attempting to write the book that eventually became HOW IT HAPPENS. Even then you had considered the books a trilogy. What is the connective tissue among the three titles?

Yes, that was, indeed, a few years ago! There are several connecting threads between the three books. 

First, my grandparents’ business, the Douglas Ford Wood Company, provides a consistent and realistic economic backdrop throughout the three narratives. Of course, the Ford children—the son and four daughters—are a central component, to varying degrees, within each book, with Doug Jr., Patsy and Jean becoming protagonists in their own right. 

Another prominent tie throughout the books is May Ford, whose presence increases within each book until she becomes a dominant protagonist in book three. May Ford’s very light—bright as she would call it—complexion is mentioned in the first two books, but the source of that skin tone is the crux of the narrative in the first half of HOW IT HAPPENS.

Tell us about Ida B. Wells-Barnett and how she has influenced you.

As I embarked upon my career as a professional writer, Ida B. Wells-Barnett was my role model. She was an anti-lynching crusader during the late nineteenth century and early twentieth century. 

But what drew me to her life story was the fact that she was an African American female writer who published a newspaper in Memphis, Tennessee in the 1880s and early 1890s. One of her editorials questioned one of the most common reasons given by whites for the lynchings of black men—the rape of white women—and suggested that if there had actually been a sexual liaison that the encounter was consensual or at the initiation of the white woman. 

Photo of Ida B. Wells-Barnett through Britannica

After publishing that issue, she went to New York City to visit friends and while she was there, in reaction to that editorial, a white mob destroyed her office and printing press. Friends from Memphis told her of the destruction and advised her not to return home. She moved to Chicago where she continued to write and lecture throughout the U.S. and abroad.

What influenced me most about her life was the fact that she used her skills as a writer not only to earn a living in that profession but to also address issues that were pertinent to her personally as well as to American society as a whole. I have drawn encouragement from her example and strive to do the same with all of my writing projects.

Does your family history have more stories to tell? What’s next for Jean Alicia Elster?

There are many more untold stories within my family history! However, while the trilogy is based upon my maternal family history, my current project is a middle grade manuscript that is based upon my paternal grandfather who was a jazz musician and composer during the 1920s and 1930s in Detroit. 

A couple of summers ago, my husband and I visited many homestead sites of both my grandmother and grandfather in Kentucky, Tennesee and Georgia as well as the genealogical library in Paducah, Kentucky. We also visited the campus of Spelman College where my grandmother was a student in 1921-1922. 

Jean practicing for her grandfather

Because my grandfather played the alto saxophone, I began taking lessons on the alto sax just over a year ago. As anyone who has read my books can surmise, authenticity is crucial to my approach to writing historical fiction. 

The oral histories that I have collected over the years (particularly some goodies my father shared in the last years of his life), the travel and the music lessons all serve as the backbone of what I am crafting now.

Please share any of your social media platforms.

Instagram: @jeanaliciaelster

X: @j_a_elster

Facebook: Jean Alicia ElsterBooks

Pinterest: @jelsterwrites

Book Birthday Blog with Jacqueline Leigh

 

Welcome to SCBWI-MI's Book Birthday Blog!

Where we celebrate new books from Michigan's authors, illustrators and translators.

 

Congratulations to Jacqueline Leigh on the release of The Heritage Keeper

 

How did you come up with the idea for your book?

For decades now, along with living in Michigan I have lived in Sierra Leone, and wherever I am I treasure time alone to wonder. One day a family history question came up in our house about Sierra Leone which sent me foraging online. In the process, I came across a digitized archive of correspondence relating to the mid-19th century colonial period. I spent many hours reading and became familiar with the characters, events and policies in these letters. 

It was exciting but hard. Not the best way for our young ones to learn about our family. They would need a different way to access the information, so I started working on a middle grade nonfiction book.

Then one day as if she had leaped out to hug me, a girl named Fima took shape from a notice I was reading. It provided not only her name but the name colonizers assigned her (it’s rare to have that link), as well as her guy and his vocation! Why him? When did they cross paths? The facts were few, so I began drafting a fiction book to see what more we could learn about Fima. 

What is something you hope your readers will take away from your book?

Diversity is interesting. Neither Sierra Leone nor the Transatlantic Slave Trade is just one story. What we learn about them here may be new to them, but it also is true. I would be happy to correspond with students or classes who have questions or comments after reading the book.

They, too, can write historical fiction, using the elderly as part of their resources. I hope some would increasingly appreciate the fun and value of research. As one who has taught writing to English language learners for many years, I like to see kids experiment with new genres. There will always be more examples to pursue in their school libraries by authors like Linda Sue Park, Elvira Woodruff and Patricia Reilly Giff.

What inspires you to write?

Some stages of writing are inspiration-based. Meeting Fima was like that. I also often jot down comparisons that suddenly occur to me and later work them into poems.

Once I’m into a book, though, writing is a routine. Sometimes I have to force myself to keep to it, but I enjoy resolving ideas into just the right words. Maybe it’s that sense of accomplishment that inspires me to keep writing.

What are your marketing plans for the book and where can we find it?

Please look for The Heritage Keeper, ISBN 979-8-9903397-1-2 on Amazon and Ingram in both paperback and e-book!

I find marketing a self-published book very challenging but SCBWI provides excellent support in its publications, especially The Self-Publishing Guide.

I have sent reading copies of The Heritage Keeper to many libraries and indie bookstores in Michigan, and am advertising it on X and Instagram. I have asked people to review it. It will also be on display at three large conferences or book fairs this year. 

I like talking to groups of children who have read the book; maybe offering to do that is a way of marketing? They always want to know more about the history and how I felt while writing the book. I encourage students to tell me how they would have written certain parts if they had been the author.

What's next for you?

I am a good way through that MG nonfiction book I mentioned, Landing for Good, about the same area and people, covering this period. It could serve as a student or teaching resource where The Heritage Keeper is used in school.

I am also half-way through a second MG historical novel, set in the 1850s in Sierra Leone, also based on the true experience of a teenaged girl.

More about the book . . .

It is the 1830s and Fima has her eyes on the future. While she helps her mother run a wholesale rice shop in the Sherbro Island estuary of West Africa, her mind is on the shape her own business will take one day. Her boyfriend Kai, however, has different ideas for her. One evening, an urgent message comes from their farm upcounty, and her mother must leave. Alone in the estuary for the first time, Fima finds herself not only in charge of their rice but also of a treasured family heirloom. No question: she wants this responsibility and is ready to take it on.
 

Publisher: Self

ISBN 979-8-9903397-1-2

More about the author . . .

Jackie and her family have divided their time between Sierra Leone and her hometown, Midland, MI, since 1970. She is an ESL teacher and author, and trains facilitators for afterschool process writing clubs. She also serves on an editing team for children’s book development projects with Sierra Leonean authors and illustrators.

https://linktr.ee/leighjj 

Instagram: @jacquelinejleigh 

X: @Alienflower

 

 

Introducing the Critique Carousel Agents and Editors: Chelsea Hensley, Chad Beckerman, Leah Moss

The Critique Carousel will be back this fall for another spin! To prepare our SCBWI-MI members for this fun, asynchronous, virtual event, we are giving a sneak-peek into the faculty for the event. These ten professionals will be profiled here on The Mitten for you to research, learn, and find out as much as possible before registration.

  

In previous posts, we introduced Sarah Proudman, agent at Galt & Zacker, Jennifer Thompson, Associate Editor at Scholastic, and Laura Gruszka, junior agent at Writers House, and Katie Heit, Senior Editor at Scholastic. We also announced the scholarship for a picture book creator from a demographic, experience, or community who has been historically mis- or under-represented in publishing. Recap details are at the bottom of this post.

Today, we introduce our FIFTH critique faculty member. . . Drumroll. . .

Chelsea Hensley!

Chelsea Hensley is an associate agent at kt literary where she represents a varied list of clients writing across ages and genres and a few who are also illustrating. She began her agenting career in 2020 at kt literary and continues to build a list that reflects her own diverse tastes, from the lushest of fantasies to the tensest thrillers, steamy, hilarious rom-coms to smart sci-fi, lyrical picture books to plucky middle grade, and imaginative, innovative horror to intelligent, deeply researched nonfiction. In all areas, Chelsea enjoys bold work from ambitious creators who share her unrelenting drive to succeed in a challenging industry. Chelsea is a Capricorn from St. Louis, where she lives with a pair of very cute, though very chaotic, dogs. She enjoys D&D, Golden Girls, women’s soccer, chocolate chip cookies, and Airtable. She is a member of the AALA and serves on the board of the 501©3 nonprofit, Literary Agents of Change, which is committed to the diversification of the publishing industry in general and the agenting profession in particular. She also serves as co-director of Communications and Fundraising Committees.

Chelsea’s client list can be found here and her Manuscript Wish List can be found here.

For the 2024 Critique Carousel, Chelsea will be critiquing: 

 

·        Picture book fiction

·        Picture book nonfiction

·        Middle grade fiction

·        Middle grade nonfiction

·        YA fiction

·        YA nonfiction

 

But wait! There’s more!

Cue drumroll. . . we have another agent to introduce. . . our SIXTH faculty member...

 

Chad Beckerman!

Chad Beckerman (he/him), Agent, brings over 20 years of illustration and design experience to the CAT Agency. After studying illustration as an undergrad at RISD, Chad went on to be a Designer at Scholastic, a Senior Designer at Greenwillow Books, and then became the Creative Director at ABRAMS Kids and Comic Arts, where he spent 13 years overseeing the design of 250 books a year – from picture books, to novels, to graphic novels, and art and entertainment books. Chad is behind the aesthetic for over forty New York Times bestselling and award-winning books including the blockbuster Diary of a Wimpy Kid series by Jeff Kinney, the Caldecott honor and Coretta Scott King Award winning Trombone Story, illustrated by Brian Collier, and the Newbery Medal honor books El Deafo, and Heart of the Samurai. He brings this unique view of children's books to his growing roster of illustrators.

For the 2024 Critique Carousel, Chad Beckerman will be critiquing:

• Picture book dummy 
• Graphic novels fiction or nonfiction 
• Portfolio review

And a special note, Chad will be giving recorded video critiques. Yes, you read that correctly! Chad will be responding not with a written critique, but with a zoom recording of his review of the materials. Again, this is in place of the  written reviews. This way, Chad can also look at your website and socials to see how you are communicating to art directors, editors, and agents with your work selections. 

 

And Surprise! We have a SEVENTH faculty member to introduce. Trumpet intro. . . (or no, harp music. . . )

 

Leah Moss!

Leah Nova Moss is an associate literary agent at Steven Literary who strives to bring beautiful and unique stories to market. When she isn't being a professional bookworm, Leah can probably be found playing her harp or tending to her Stardew Valley farm. She lives in the Chicagoland area of Illinois. 

Leah’s Manuscript Wish List can be found here.

 For the 2024 Critique Carousel, Leah will be critiquing:

·        Middle grade fiction 

·        YA fiction

·        Graphic novels fiction or nonfiction 

·        Novels-in-verse

  

There you are, lovely hard-working SCBWI-Michigan members: three agents ready to receive your work at the 2024 Critique Carousel. Stay tuned for the remaining three faculty members to be introduced in August!

 

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For those that need a recap: