Agent Lillian Mazeika Tells It Like It Is!

By Zainab Khan

KidLit Works author Zainab Khan chats with Lillian Mazeika, an agent at the Tugeau 2 Art and Literary Agency about industry trends and other burning kidlit questions.

Zainab: Thanks for joining us today, Lillian. Can you start by talking about current market trends?

Lillian: In terms of trends, we are seeing more books that encourage kindness and community. Those are themes that have always been present in children’s publishing but have become more present since the Pandemic.

The push for diversity in publishing is still strong. I’ve noticed that there has been a shift in perspective that’s been incredibly important. I’m seeing more books for diverse readers that are centered on odes and experience rather than books that are trying to reach every reader. This allows for stronger stories that resonate with a specific reader instead of stories that may lack depth to accommodate readers who may not connect as strongly to the text.

I’m also seeing more horror books pop up in Middle Grade and Young Adult. And younger books that uplift activism and environmentalism.

Zainab: How long are editors taking to get back to agents? Is there a reason why?

Lillian: It really depends. Contracts and deal memos have been a bit slower. But everyday communication about existing projects hasn’t changed too much.

There are a few reasons for delays. We are seeing imprints merge into larger Books For Young Readers (BFYR) divisions, which can change an editor’s responsibilities. As always, there are delays because of the communication chain. Between marketing, editors, publishers, contract team, and design team, there are a lot of people who are signing off and chiming in. That can take time.

It can be frustrating to wait for these things when a client is eager to get started on a project. But it’s important to understand that everyone is human and trying their best. We’ve been seeing more open discussion on burnout in the industry, beyond just creators. So while we are pacing the floor waiting for a final contract, we also need to remember to give each other and ourselves grace.

Zainab: What does it mean to have an agent? The pros?

Lillian: I’m biased but to me having an agent means having someone in your corner. Whether that be negotiating for better contracts and projects with publishers, advocating for existing work, or being another set of eyes on the publishing project. Further than that, you have someone looking at your work and pushing you to keep improving. At T2, we work very closely with our illustrators on their portfolios by providing notes and resources. We give critiques and feedback constantly, not because we don’t believe in the artist but because we do! With authors, we do the same thing of staying close and critical of the work. I always remind creators that we aren’t giving suggestions on growth due to lack of ability, it’s important creatives push themselves and find space to grow.

I can understand why not every creator wants an agent. Some incredible writers and illustrators stand tall in the industry without representation. It’s not unthinkable! I will say that agents do offer an “in” with publishers that do not take unsolicited/un-agented submissions. Agents can get more eyes on your work.

I don’t believe it’s fair to say that everyone should or should not have an agent, so much of publishing relies on what works best on a personal level. If you are someone curious about being agented or wondering if having representation would benefit you, I highly recommend doing research and talking with fellow creators. Think about what your goals, strengths, and weaknesses are, and ask yourself if an agent would be useful.

Zainab: What makes an author stand out?

Lillian: For Young Adult, I find when an author can balance a strong, accessible character AND a well-paced plot, it’s like striking gold! Commonly, authors may focus on one extreme or another. When you get too into the weeds with interiority or a character’s perspective, it’s easy to create a claustrophobic story that lacks momentum. But if you get too action or scene-based, you risk creating too much of a barrier between the characters and the reader.

In Middle Grade, I’m always impressed when an author can make a point or highlight an issue without being too preachy. MG can be so tricky because it’s a turbulent and important time in a kid’s life. Between puberty, greater complexity in friendships, and finding independence, it’s a lot. But middle schoolers are brilliant and observant and can smell out when they are being talked down to. Being able to meet your audience where they are and still guide them is an incredible skill.

And in picture books, authors must know the format. That’s still true for the above but picture books are where we see those gaps the most. I see a lot of emerging picture book writers who have an interesting concept but are fighting against the rules of a picture book rather than letting the format guide them. The word count, the need for conflict, use of patterns, these are important to know and respect. I also appreciate when writers read books recently published. I always ask potential authors what picture books they’ve been reading and am turned off a bit when it’s only classics. Listen, I also adore Harold and the Purple Crayon but if you are looking to break into today’s market you have to read today’s picture books.

Zainab: What makes an illustrator shine for you?

Lillian: My personal taste for illustration is all over the place. I like art that’s traditional, digital, super graphic, or super textured. If you have a handle on your style and it strikes a chord with me, I’m in.

What really makes an illustrator shine is specificity and understanding of their genre. If you are a picture book illustrator, you should have young kids in your portfolio. If you are a comic illustrator, I have to see panels. Middle Grade artists need grayscale work. It shows that you can go beyond just having nice work and that you have a handle on where the work fits in the market. Across the board, juvenile illustration has to be narrative. It can’t be all portraits or spots. We need to see characters interacting with each other and their environments.

Zainab:  What would make an agent pass on an author’s submission?

Lillian: There are a few things that may lead to a pass. If the agent represents a similar project, they may not feel like the best fit. Or if the genre of the work is one the agent is not comfortable in or the most familiar with, they may not feel they could be the best advocate of the work. Further than that, there have been manuscript and illustrator submissions that were strong and well-done but ultimately were a pass because I didn’t feel I was enough of a fan to push the work forward. You want your agent to be a cheerleader for the work!

In terms of a quick pass, if the theme is inappropriate for the audience, if the characters lack depth, or if there are significant spelling/grammatical errors, I’m not going to pursue the work. I also recommend that authors never send a first draft. I find this to be a larger issue with picture book scripts where an author could write the story quickly due to the shorter format and submit it just as fast. Give your work the respect it deserves!

Zainab:  Recently there was buzz about a debut author who review-bombed other authors. What is key for a good agent/author relationship?

Lillian: Oh yes, that was an interesting few days on Twitter (X? I don’t know anymore). While I don’t know the specifics of how that went down between the agent/author, the best advice I have is open communication between you and your agent. It is incredibly normal to feel imposter syndrome or nervous about a debut. So let your agent know. It allows your agent to support you and answer questions. I find that’s the foundation of all agent relationships, you need to trust and communicate with one another.

My biggest takeaway from that entire situation is to remind authors that they should not be competing with each other. Fellow authors are never your enemy or someone you need to beat in terms of sales and marketing. Be each other’s support and be kind. This is an oversimplified perspective with the details of the situation but creatives need to be in each other’s corner. It is a competitive market. But, the things you are competing against as a debut author aren’t other debut authors. It’s usually big list books like celebrity books or classic best sellers. Those will always get more air time so don’t blame or put down other authors who are up against the same roadblocks you are.

This was incredibly insightful. Great advice. Great resource. Lillian, thank you. ~Zainab Khan

Zainab Khan is the author of Noura’s Crescent Moon, illustrated by Nabila Adani, with Candlewick Press_released date April 16, 2024.