Sarah Payne, Editorial Assistant, Margaret K. McElderry Books/S&S

(Sarah, I'd like to write a brief bio/introduction here. Could you please share with me some details on your education and any other pertinent information about your editorial/publishing life? Thanks! Dianne)

I attended the University of Richmond, where I earned a B.A. in English. Upon graduation, I came to New York City to attend NYU's six-week Summer Publishing Institute, where I fell in love with book publishing. My job as an editorial assistant at McElderry Books came just a few months later, and I've been here ever since!

Q: How long have you been working in the publishing industry, and why did you

decide to become an editor specializing in children's/YA books?

I've been working in the publishing industry for about a year-and-a-half. I've always loved books and have wanted to have a career in which I could work with them, but I really became interested in children's books when I enrolled in a children's literature course during my senior year of college. I was fascinated to re-read books I'd read as a child and to see them in an entirely new light. I love all kinds of books, but children's books have a certain imaginative quality to them that you don't find as often in adult literature.

Q: Each imprint within a publishing house has its own personality. What do you believe makes McElderry Books different from all others in the marketplace?

One of the things that makes McElderry Books different is its commitment to tradition. Margaret McElderry was passionate about books imported from around the world, and while our list is not dominated by imports, we do have a rich tradition of publishing multi-cultural books. McElderry Books also has a history of publishing more literary works, and I think what makes us unique is the balance on our lists between these types of traditional works and more innovative titles as well.

Q: Could you briefly describe a 'typical day' in the work life of a busy NYC editor?

In other words, what other tasks must you sandwich between reading submissions?

Believe it or not, most editors I know do not normally read submissions in the office—this is done in the evenings and on weekends. It is a rare moment when I can sit down and do some reading while I'm actually at my desk! Much of the day is spent answering emails and phone calls, corresponding with authors, illustrators, and agents. Editors also spend a good deal of time looking over book jackets and interiors while in the office, and weekly meetings and paperwork take up their time as well.

Q: Speaking of submissions, approximately how many does McElderry Books receive in one week, one month or one year? In other words, just how big is that slush pile?

The rumors are true—that slush pile is enormous! McElderry Books receives about 5,000 submissions a year.

Q: How long do you give a manuscript before you decide if it's a 'yes', 'no' or 'maybe'? Do you generally read one paragraph, one page, or more?

I try to give every manuscript at least a few pages, but I have to say that my gut instinct after reading the first page is usually right. If I feel like it's a 'no' after the first page, the next few pages usually don't change my mind, and same goes with a 'yes.' If it's a 'maybe' and I'm really on the fence, I'll read the first chapter or two to make up my mind.

Q: What qualities does a manuscript need to make you want to read on?

When I feel a connection with the characters in a manuscript, I always want to read on. I want to know what happens to them on the next page, in the next chapter, at the end of the book. I'd say that solid, relatable, original characters, whether lovable or despicable, are what make me most want to turn the page. Also important, of course, is the rhythm of the manuscript—smooth transitions and a quick pace allow me to get caught up in reading.

Q: When you've found a manuscript that excites you, what happens next?

What is the acquisitions process at McElderry Books?

When I've found a manuscript that piques my interest, I usually ask someone to give it a second read, whether that's my boss or another colleague. If they agree that the manuscript looks promising, we bring it to an acquisition meeting. This is a meeting in which Editorial receives feedback from Design, Marketing, Publicity, and Sales regarding the manuscript, and we discuss whether or not we think it will work for the McElderry list. If the feedback from the meeting is positive, we then begin to put together an offer!

Q: Are there any common mistakes that you see being made in the submissions you receive each day? What should authors wanting to put their 'best foot forward' do before putting their manuscripts in the mail?

This sounds so simple and minor, but if the name of our imprint is spelled incorrectly, I am immediately turned off. Also, I often find that cover letters are longer than necessary. It should take only a paragraph or two, at most, to grab my attention and make me interested in your manuscript. The longer the letter, the less likely I am to read the entire thing. In my opinion, the best thing an author can do is show that they've done their research and that they are genuinely interested in having their work published not just anywhere, but at McElderry Books. It's impressive when an author mentions a McElderry title in his or her query—it shows that they are familiar with our list.

Q: What are some of your biggest job challenges---and rewards---as an editor?

I think one of the biggest challenges is juggling everything that is going on at once. Editors must keep in mind their past titles, currents titles, and future titles all at the same time. While editing their upcoming titles, editors are also dealing with their titles that have just been published or are about to be published, and they are also reading submissions and thinking about acquiring for future lists. It can be a lot to think about at once, but it's also part of the fun—there's always something going on! As for the biggest rewards, I can't think of anything better than holding a finished book in your hand, knowing that your hard work played a part in making it what it is. Interacting with authors and illustrators is also very rewarding for me. I love being able to congratulate an author on a positive review or a reprint of their book!

Q: Who are some of the authors and illustrators you've worked with?

I've had the privilege of getting to know many talented authors and illustrators, including Holly Black, Betsy Franco, Cassandra Clare, D. Anne Love, Joan Rankin, Louise Borden, and Thelma Hatch Wyss.

Q: Besides the manuscripts on your desk, what are you reading now?

I'm actually reading some of the competition right now! I belong to a group called the Young to Publishing Group, and through them I was sent a galley of THE MYSTERIOUS BENEDICT SOCIETY by Trenton Lee Stewart. I'm in the middle of it right now, and I have to admit, I'm really enjoying it! It's the type of book I would have read as a kid—suspenseful and funny with strong, eccentric characters. In terms of "adult" books, I recently finished THE TENDER BAR by J.R. Moehringer—it's completely heart-wrenching, and one of the best books I've read in a while.

Q: What do you think is the 'next big thing' in children's publishing…and why? What do you think is the 'next big thing' in children's publishing…and why?

This is so hard to predict! I think we're going to continue to see a lot of very short picture books, and I also think we'll continue to see a lot of fantasy for a while. I think, too, that graphic and illustrated novels will start to become more widely published and read. Stay tuned!

Q: Here's the big question: are you open to submissions or queries at this time? If so, what type of manuscripts are you interested in?

Yes, I am open to queries. I'm interested in young, humorous picture books—manuscripts that will make me smile as I read them. I'm also interested in solid, original middle-grade fiction, especially mysteries and historical fiction. I like to be surprised, so I love coming across an especially unique voice or character.

Submission guidelines:

Please send a query letter and synopsis of your manuscript, as well as a self-addressed stamped #10 envelope. For novels, please send the first three chapters as well. You may also include a brief resume of your previous publishing credits.