Animation Guild | We are 839 Digital Magazine
Issue link: https://digital.copcomm.com/i/1500204
D E PA R T M E N T 35 KEYFRAME SURVIVING PRE-PUBLICATION Beyond making the strongest deal possible, an agent should help guide a creator through the full publishing process, Lazar says: "Though I defer creatively to the publisher's editor and designer when the book is acquired, I remain part of the ongo- ing conversation around titles, covers, marketing, publicity, and how a single title may evolve into an ongoing series." It's worth noting that most often things move slowly in the world of traditional publishing. Timelines for publication vary, and in many cases it can take a full two years after signing your book deal before the final product hits the shelves. Miller's debut book, for example, sold during the summer of 2021 and will come out during the summer of 2023. In that time, she worked on revisions with her editor, then did a copyedit pass, and then a pass on the PDF proof pages. During a four-year process, Singer says, "I have been going through the book from manuscript to roughs/pencils to inks to final color. If you are used to the fast-paced nature and turn- around of animation it may startle or concern you at first … The pace is much slower. Every point of contact is a bit slower. Feedback is a bit slower, etc. [but] that doesn't mean it's not happening! Patience is truly key in how you collaborate and work with publishers." One thing you can do is use the slower pace to prepare for your book's debut. "The book is usually finished a year before publica- tion, and then that year is devoted to marketing and printing," says Magruder, while Hoang adds, do what you can but don't stress out. "With kids, my day job being staffed on a series, and other projects, I am already stretched thin, so I only allow myself to do promotional things that I am excited about," he says. Also use the pace to enjoy the ride. For picture book writer and illustrator Brian Kesinger, all that anticipation is worth the wait. "I can tell you there is no greater feeling than when your first book comes back from the printer," he says. "Nothing beats that new book smell." Illustrators who don't write can submit illustrations directly to agents. For pic- ture books they should show children's book-friendly illustrations they've done, or if they're aiming for an older market, the illustrations should communicate what their specialty is. Altemose says her agency seeks illustrators who could be a good fit for an existing author on their list, or illustrators who feel totally different from any other illustrators on their list. They like to create author/illustrator "teams" for picture books, pairing an author and illustrator who are similar in style or tone. Joey Chou, who has illustrated doz- ens of children's books—both original content by other authors and IP— explains that sometimes he pitches visual ideas to his agent who will reach out to publishers. Other times publish- ers reach out to his agent with projects they think fit his art style. His agent will send him the manuscript to see if he's interested in illustrating the project. If he is, then fees, deadlines, and copy- rights are negotiated before the work begins. If that project is IP, he says the process is similar to doing freelance design for animation, and the projects are mostly work-for-hire or flat fee. On these projects, he explains, publishers usually have a pretty good visual idea of how they want their IP to look, so the notes tend to be more direct. You Just Wanna Draw below: Cover of Joey Chou's It's a Small World. SUMMER 2023 35 Wayward: Fractured Shadows property of Henry Holt. It's a Small World property of Disney Press.