(Find more Killer Writers conversations here.)

In this conversation, I chatted with Paul about the two questions writers ask most: How do you write a graphic novel, and how do you get it published?

“Paul, let’s start with the basics. A lot of people look at a graphic novel and think, ‘Isn’t this just a screenplay with pictures?’ But it’s not, is it?”

“No, it’s not. It may look like a storyboard at a glance, but a graphic novel is its own language. One of the biggest misconceptions is that it’s just a comic book with delusions of grandeur, or that it’s a screenplay in panels. The truth is, comics have their own grammar. It’s a medium, not a genre. That means it can contain fiction, nonfiction, memoir, fantasy, journalism, anything.”

“You’ve said that historically, many of the most compelling comics have come from creators who both write and draw their own work.”

“Exactly. There’s a long and rich tradition of cartoonists being auteurs: handling the script, the drawing, the pacing, the tone. Think of Garry Trudeau, Charles Schulz, or Art Spiegelman. When you do it all yourself, the work has a singular voice. But there’s also a long-standing industry model, especially with superhero comics, where the labor is divided: writer, penciler, inker, colorist, letterer. In that assembly-line model, everyone has a lane. So, if you’re a writer who doesn’t draw, you’re not disqualified, but you do need to understand how the parts work together.”

“Let’s talk mechanics. If I’m writing a script for a graphic novel, what should it actually look like?”

“I recommend that every page of your script corresponds to a finished page in the book. Page one of your script should contain the beats for page one of the final artwork. That helps everyone stay on the same page literally. You also need visual acuity. You’re not just writing dialogue. You’re directing. You should know what the characters look like, how they dress, what era they’re in. You have to describe each panel’s setting and action in vivid detail, even if you’re not the one drawing it. For example: ‘Panel 1: The General enters the saloon, pushing through swinging batwing doors, ten-gallon hat crooked, dust clinging to his coat. His boots echo on the wooden floor.’ That tells the artist what to draw and gives the mood. If you don’t include that, you’ll end up with a generic guy in a blazer walking into a sports bar.”

Check out Paul Karasik’s Paul Auster’s The New York Trilogy here:

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“That’s the opposite of screenwriting, where we’re trained not to direct on the page.”

“Exactly. In screenwriting, you’re not supposed to step on the director’s toes. In comics, you’re the director, unless you’re collaborating. Then you’re co-directing. Either way, your job is to get what’s in your head across clearly. Even if you don’t draw, you need to think like a visual storyteller.”

“So, let’s say I’ve written a script. I don’t draw. How do I find an illustrator?”

“First, you need to read. Lots. We’re living through a golden age of graphic novels. You can walk into any bookstore or library and see dozens of styles. Study the work that resembles your tone or subject matter. Is it cartoonish? Realistic? Fantasy-based? Memoir? Figure out the look you’re after, then find artists working in that lane. Then, go deeper. Who published that book? Who was the editor? Publishers are risk-averse by nature. They like what’s already worked. So, if you approach an editor who published a successful memoir-in-comics and your project is similar in tone or format, you have a stronger shot.”

“Should writers approach artists directly, or go through agents or publishers?”

“There are a few routes. You could try to partner with an artist up front. Many graphic novels are pitched that way, as a team. Or you could query a publisher with a script and a visual style reference and let them help pair you with an illustrator. Either way, you need to know what kind of book you’re making.”

“What should a writer include in a submission packet for an agent or editor?”

“Keep it simple and professional. Cover letter, synopsis, and sample pages. If you’re the artist too, send the first finished chapter and a clear outline of the rest of the book. If you’re just the writer, send a few sample script pages that demonstrate you understand the format, and include links or images of the kind of art you envision. You’re not locking yourself in, but you’re showing you’ve thought it through. Don’t overdo it. Agents and editors can usually tell within a few pages whether a project is viable. Sending them a 100-page proposal won’t help; it might hurt. Be clear, be professional, and don’t misspell anything. Seriously.”

“Is it better to query editors directly or to get an agent first?”

“Get an agent. A good agent is worth every penny. They already know who’s buying what. They can get your work to the right person faster than you can, and they’ll protect your rights. If your book gets foreign interest, film rights, or reprint deals, they’ll handle that too. You don’t want to spend your creative energy chasing contracts and payments. That’s their job.”

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“Any tips on how to find a literary agent who represents graphic novels?”

“Look at the acknowledgments section of graphic novels you admire. Authors often thank their agents. Or check Publishers Marketplace and see who’s repping whom. There are agents who specialize in graphic novels now, especially with the genre’s growth into schools, libraries, and mainstream bookstores.”

“When a writer and an artist collaborate, how is ownership usually split?”

“It varies, but in many cases, it’s a 50-50 partnership. That’s something to discuss up front, ideally with a contract. You’re co-creators. If one person walks, the book doesn’t get made. So respect and clarity matter.”

“And if a writer doesn’t have an artist in mind, should they still include visual references in their pitch?”

“Yes. You want to show the agent or editor that you understand how this story should feel. Include a scan or two from books that capture the tone or look you’re after. ‘This is the vibe I see for the visuals’ is often enough.”

“You’ve mentioned that your own books tend to find you.”

“That’s true. I don’t sit around trying to guess what the market wants. I do projects I’m compelled to do. Some are deeply personal, like The Ride Together, about growing up with my autistic brother. Others are conceptual, like How to Read Nancy, which is kind of a textbook in disguise. I follow the project, not the paycheck. It’s not a great business strategy. But I’ve never published a book I didn’t believe in.”

“Sounds like the auteur approach.”

“That’s one way to put it. Sometimes people get confused when I talk about my work, because it’s all over the map. But then I say, ‘I’ve been in The New Yorker,’ and suddenly it’s, ‘Oh! You must be legit.’ That name opens a lot of doors, but it doesn’t mean it’s easy.”

“Any final advice for someone who wants to enter the world of graphic novels?”

“Yeah. Don’t do it unless you can’t not do it. This isn’t a get-rich field. It’s hard. You will face constant rejection. Every week, I send 10 to 12 cartoon submissions to The New Yorker. If I’m lucky, I’ll sell three or four a year. That’s it. Why do I keep sending them? Because I have to. It’s a compulsion. It’s who I am. So, if you’re doing this because you think it’s trendy or easy, don’t. But if you’re doing it because you have a story you have to tell, and this is the only way you can tell it, welcome to the club. We’re all figuring it out together.”

____________________________

Two-time Eisner Award winner, Paul Karasik, began his career as the Associate Editor of Art Spiegelman and Françoise Mouly’s RAW magazine. His work has appeared in The New York Times, The Washington Post, and The New Yorker. https://www.paulkarasikcomics.com/

The post A Conversation With Paul Karasik on The Graphic Truth: Writing, Pitching, and Publishing Graphic Novels (Killer Writers) appeared first on Writer's Digest.

Draper is seeking young adult fiction and middle-grade fiction, graphic novels for all ages, body positive or feminist memoirs and collections of feminist essays. She is particularly interested in books with queer protagonists that are not necessarily issue-driven books.

How did you become a literary agent?

I’ve wanted to be a part of books for years, so my intention with going to college was to eventually be a part of publishing. I interned at InkWell Management while studying Diversity in Children’s Literature at NYU and ended up loving InkWell so much that when it was time to join publishing long term, I came back to the place that had taught me so much. I signed my first client a little over a year later from a #PitMad entry, and officially became an agent.

Are you open for submissions? If so help writers understand what kind of fiction and nonfiction projects you take queries for.

For YA and MG fiction, I love action and adventure and far-off places with challenges that make the protagonist grow as person for you to love and admire. I also love contemporary fiction for young readers where the main character has average, everyday challenges and the reader sees how they overcome them. I love a book with heart that causes an outpouring of emotions, especially when a book makes me feel so much I want to throw it across the room in protest (think Aristotle and Dante Discover the Secrets of the Universe or We Are Okay). I am especially interested in neurodiverse protagonists. Don’t send books with suicide ideation, particularly when it’s a queer protagonist.

For graphic novels, I like a diverse cast of characters placed in nearly any genre or location, but would like to see something that hasn’t been done over and over again. I prefer art that is challenging the classic “comic book” style. I’m open to queries for all ages, fiction and nonfiction, for graphic novels. Don’t send books with gratuitous violence.

For body positive and/or feminist memoirs and collections of essays, I want this for audiences of all ages and from persons with multiple intersections of identity. I’m particularly interested in memoirs from disabled people, neurodiverse people and/or people with mental illness. I love books with humor or a narrator with a bone to pick.

Besides “good writing,” what are you looking for right now and not getting?

I always have more interest when it’s a good opening. Tell me you’ve done your research by opening with how you found me and why I stuck out to you as someone worth querying. And ultimately, I am looking for more queer stories and more mental health stories. Those to me are a big part of my life, and I really want to read more manuscripts with characters that have these as a part of their story.

What are you tired of seeing?

I am not quite a fan of stories where the diversity is all in the background or existing in secondary characters. Of course, it needs to be in those places, but I really want to see it in the main character and their story line.

What makes a manuscript stand out on a first read?

Tugging on my heart strings always stands out to me over anything else. If it’s not making me sob or want to throw the book, it’s not pulling at my emotions enough.

What do many emerging novelists often get wrong and how can they correct it?

Revising. As has been said before by many greater than myself, writing is mostly revising. You’re going to have to do a lot of revising in the editorial process both with your agent and your editor, so get comfortable doing it on your own first. The draft you send out to agents should be your best foot forward. Much like writing an essay for a teacher, reading, rereading and writing multiple drafts is incredibly important to creating your best work.

Do you have any tips for querying authors?

Do your research. There’s nothing more flattering than someone who took the time to find out that their writing and my taste really align. And proofread! If your query letter isn’t beautifully written, I can’t be sure that your manuscript will be either.

What things should writers avoid when sending you submissions?

In the same way you wouldn’t want a form rejection, don’t send a form query. Some of the details can be the same (bio, summary of the manuscript) but catering your letter to each agent will go a long way towards getting your query read. You’ve spent a lot of time on your manuscript; spend a lot of time on your query letter, as it is a representation of you and your work.

What genres or types of novels are selling the most?

Contemporary stories dealing with activism in some way and dark fantasy with strong female protagonists are doing really well in terms of what people are reading.

What markets do you believe are oversaturated or are not selling as well?

I think we’re stepping away from the dystopian stories, just because it’s already been done so well.

What misconceptions do you think people have about agents?

I think people tend not to realize how important an agent is to your writing career. Agents want you to succeed and are going to their best to get you there. Once the book is sold to an editor, there’s still tons of work to be done, even long after the book is published.

What questions should an author ask an agent when they call to offer representation?

How do they envision pitching your book? What imprints do they have in mind for submitting your book? What revisions do they want you to make to your book before it goes to editors? They should have a vision for your book and your career if they’re serious about taking you on as a client.

Do you have a dream client?

My dream client is one whose work accomplishes more than just creating entertainment for the reader, but also changes the world, if even just a little bit.

New Literary Agent Alert: Kieryn Ziegler of Dystel, Goderich & Bourret

Is there something personal about you writers would be surprised to know?

I’m pretty much an open book, but most people are interested to hear that I love crafting in my free time. If there’s a how-to article on Pinterest, I’ve already read it and made it.

And finally, any last piece of advice for writers seeking an agent?

I can’t say this enough, but doing your research and proofreading are the big ones. But also try to get your work published in magazines or other small publications. Agents want to know that your work has been read and received well by other people. If another publication liked your work, it bodes well for trying to get an editor to love your work as much as they do. Try getting short stories published elsewhere in the process of trying to find an agent would be my last bit of advice.

How to Submit: clairequeries@thebentagency.com

If you’d like to query Claire, send an email with your query letter and sample. Include the title of your project in the subject line of your email. Then paste the first 10 pages of your book in the body of your email (not as an attachment, please). If you’re submitting a picture book, please include the complete text; for illustrations, please also include a link to your website if available, or two or three PDFs or JPEGs of your work. For graphic novels, please paste the first 10 pages of your script in the body of your email, as well as the first five pages of your dummy. The dummy doesn’t need to be entirely finished, but if it’s not, please include up to three samples of your finished work, or a link to your online portfolio.

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 Check out Constance Lombardo’s Mr. Puffball: Stunt Cat Across America today. 

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No agent, no problem.
I first started writing for kids (in 2003,) everybody said you didn’t really need an agent. It was true—many of the big publishing houses accepted unagented submissions.

With that advice in hand, I did everything else an aspiring children’s book author should do: I joined the Society of Children’s Book Writers and Illustrators (SCBWI – a fantastic resource!) I started a critique group with other kidlit writers (“Secret Gardeners”—which has been immeasurably helpful and supportive.) I attended many conferences and workshops to improve my skills and to network. Every year I bought the Children’s Writer’s and Illustrator’s Market.

Over time, the publishing industry shifted dramatically so that having an agent became essential. At that point I had written manuscripts for one young adult novel, numerous picture books, and one middle grade novel. I began researching agents (on blogs such as this one!) I compiled my list of agents, submitted with careful attention to their submission guidelines, and received tons of almost—maybes.

Can a MG graphic novel succeed?
One agent who expressed interest was the fabulous Lori Nowicki of Painted Words. She liked some of my picture books and invited me to submit more.

At the same time, I had been working on a completely new kind of project: a graphic novel for middle grade readers about an irrepressible cat named Mr. Puffball who dreamed of becoming a Hollywood movie star.

That venture totally suited my personal skills and preferences: drawing in black & white and writing with an emphasis on dialogue. Best of all, writing humor for a middle grade audience played to my strength of being uninhibitedly silly.

Fortunately, when I asked Lori if she’d be interested in reading my graphic novel manuscript, she quickly invited me to send it on.

What followed was several weeks of animated phone conversations about Mr. Puffball, whom Lori loved! We discussed ways to develop Mr. Puffball and worked to hone my manuscript. I still remember the moment during these talks when I asked, “Does this mean we’re signing?”

“Yes, it does!” she said without hesitation. (Still calls up happy tears!)

Happily Ever After
Within a few months of signing with Lori, she connected me with my amazing editor, Jill Davis at HarperCollins. After years of diligently submitting on my own without success, Lori had finally made my dream come true. Jill Davis also loved Mr. Puffball. Her only request was that I shift it from a graphic novel to an illustrated middle grade format (more text, fewer panels, spot illustrations, etc.)

After all those years of rejections, and in light of the fact that I loved my editor and totally admired her publishing smarts, I chose to embrace that major change. In return for this rewrite, she offered me a three-book deal!

My dream to publish was finally realized when the first novel in this series, MR. PUFFBALL: STUNT CAT TO THE STARS (Katherine Tegen Books/HarperCollins,) released in September 2015. I’m happy to say that the second book, MR. PUFFBALL: STUNT CAT ACROSS AMERICA, hits the shelves this September.

A last word: On a visit to NYC, I met with my agent Lori, and she shared a synchronicity in our process. Turns out my asking her if she wanted to look at my Mr. Puffball manuscript came just days after a conversation with her assistant where she expressed her wish to represent a graphic novelist. So luck did play a part in my success (as did years of persistence and hard work!)

Click to continue.

The post How I Got My Literary Agent: Constance Lombardo appeared first on Writer's Digest.