Voices on Writing: Children's Lit Agent: Jamie Weiss Chilton

by Barbara DeMarco-Barrett

Jamie Weiss Chilton represents teen novels, middle grade fiction, graphic novels, picture books, and narrative nonfiction. Her specific interests include contemporary literary fiction with intense emotional content (character-driven, not issue-driven plots); smart thrillers and mysteries; reality-based science fiction; surreal stories and magical realism.

Jamie's career in children's books began in 1998, with an editorial internship at Henry Holt Books for Young Readers, followed by positions as an Editorial Assistant and Assistant Editor at Bantam Delacorte Dell and Knopf and Crown Books for Young Readers, divisions of Random House Children's Books. After returning to her hometown of Los Angeles, Jamie pursued her love of children's books in a new arena, as conference manager and Golden Kite Award Director at the Society of Children's Book Writers and Illustrators (SCBWI) before joining the Andrea Brown Agency in 2008.

Her recent sales include Struck, a debut novel by Jennifer Bosworth (FSG); Orchards, a YA novel in verse by Holly Thompson (Delacorte); The Beginning of After, a debut novel by Jennifer Castle (HarperCollins); Bad for You, a graphic novel by co-creators Kevin C. Pyle and Scott Cunningham (Holt); and Jammy Dance, a picture book by Rebecca Janni, to be illustrated by Tracy Dockray (FSG).

Barbara DeMarco-Barrett: Talk about finding your way to agenting of children's and YA books.

Jamie Weiss Chilton: I was a sophomore in college when I read a posting for an internship at Henry Holt Books for Young Readers. That was the first time I realized I could have a career in children's books, and I've been working in children's books in one way or another ever since.

BDB: What's the best thing about your job?

JWC: That it's different every day. There's a palpable sense of excitement and discovery all the time, both in terms of developing projects and also that the industry is changing so rapidly right now.

BDB: What's the worst?

JWC: Feeling like there's never enough time to read published books. I'm sure writers feel the same way!

BDB: What's changed from when you started being an agent to now?

JWC: So much has changed in the past few years, especially the way we are thinking about ebooks. Contracts are changing very quickly, as publishers, agents, and authors and illustrators try to define and maintain control of electronic rights.

BDB: What were your favorite books as a kid and have they influenced you regarding what you look for today?

JWC: As a kid I read a little bit of everything and especially loved fun, contemporary stories with thoughtful layers. My taste is similar now—I read widely and represent clients in almost every children's book genre. I typically do not gravitate toward high fantasy or extremely complex science fiction; I like those genres with more of a contemporary base and just a light touch of fantasy or sci-fi elements.

BDB: Speaking of which, what delights you when it comes in the door (or in your email inbox)?

JWC: I love to see completely unique twists on tried and true themes, and just unique twists in general. I also look for intensity in every genre. If you're writing a YA thriller, I expect truly high-stakes action; if you're writing contemporary story with emotional themes, you'd better make me cry; if you're writing a mystery, I need to be absolutely shocked when we get to the big reveal. In picture books, show me a brand new take on, for example, a first-day-at-school story and I'll be hooked.

Right now, I'm especially interested in finding a YA writer who is breaking new ground, doing something absolutely fresh. Like Francesca Lia Block did in the early 1990s with her Weetzie Bat series.

BDB: Do you find that the ability to write for children or young adults is an ability that you either have or don't have, or can it be learned?

JWC: Well, I don't have it! I think talent can be nurtured and all writers grow and improve with practice. Whatever your talent/skill level starting out, you can improve tremendously when you practice your craft.

BDB: What mistakes do new writers of the genre make?

JWC: Sometimes new writers aren't aware of what's out there, both newly published and the classics. I don't mean that writers have to read all the books on the shelves, just have a general overview. I recommend the all writers browse their local bookstores (independents, if possible, where the staff tends to be incredibly knowledgeable) to get a sense of what already exists in the genre they are writing for. Also, if you can't identify which section your manuscript would be shelved in, you'll likely have a problem selling it.

BDB: How important is "platform" to writers of children's and YA books?

JWC: Existing platform is not important in fiction (but, of course, an existing platform can help you). What is really important is a willingness to begin publicizing your book once it is under contract, and especially just prior to and after publication. This means creating a website, getting active on Facebook or other social networking sites, booking school visits and signings, and generally doing as much as you can to get the word out about your book.

BDB: What about nonfiction for kids—is it desirable, or not so much?

JWC: I'm looking for nonfiction that reads like fiction. In other words, a story so captivating that the fact it is actually true is just the icing on the cake.

BDB: How do you think ebooks will affect publishing for kids?

JWC: Such a good question—all agents and publishers are thinking hard about this right now. I expect there will remain a core readership who continue to buy traditional books, and there will be readers who prefer ebooks. This is such an exciting time in the industry, because we really don't know how the reading experience will evolve. And it's just that: an evolution.

BDB: If someone is writing a picture book, does being an artist as well help, or make no difference? Or if you're not an artist but have a partner who is, can that be a plus for a picture book author?

JWC: I represent several talented author/illustrators. If you have a degree in fine art and are interested in writing and illustrating your own book, try writing and illustrating a picture book! Otherwise, I suggest that writers not try to illustrate, or commission illustrations for, their picture book texts.

BDB: Any advice for writers hoping to sell a book?

JWC: I suggest attending a few conferences, working with a critique group, and polishing your manuscript until you, your critique group, and your new conference friends are sure it's the best it can be. Then, jump in by sending to a few agents (and be sure to follow their submission guidelines as every agency has different requirements; you can find ours at www. andreabrownlit.com). Good luck!