If I sold a script only, the publisher would find the illustrator for that OGN. If I had a client with a script only and I felt another client of mine would be the perfect illustrator, I might see if they wanted to collaborate, but it wouldn't be a requirement.

This really depends on the story and on the publisher. Some publishers really like BW and less digital art, but I think the overall trend is leaning towards digital, colorful, eye-catching art. But if BW fits the story, then that's the exception.

It depends on the genre and age range. For younger MG, maybe 96-126. For older, maybe somewhere around 200-220. I'd spend time reading recent MG graphic novels to find what page count yours should be at.

It just depends on the story. If a pitch is really amazing and it's by a writer and an illustrator team, a publisher isn't going to be turned off. It's less complicated to deal with only once person (less paperwork) but that's true of any scenario.

Yes. MG and YA graphic novels only—no adult.

A concise pitch with recent comp titles (within three years).

I don't think so. I think there's a reason that so many movies and prose novels get a graphic novel later on. This is a visual medium, and it lends itself really well to so many different stories. I think the trick is just not to overrun the page with words—be visual.

Not in particular. I just need to be able to tell when we're on a new page and it needs to be clear who's talking in which panel.

I typically like to see 10 fully inked and colored sample pages, a full synopsis of the story, and as much of the script as you have. It's okay if the script isn't finished when you query, but I definitely need to get a sense of the writing.

I think we're definitely seeing an increase in demand, but that doesn't mean it's any easier to sell your graphic novel. The bar is definitely high—and that's a good thing! We're seeing really quality OGNs become mainstream for readers.

If you're the writer only, you would just submit the script. If you're collaborating with an artist, then I'd say both of you would email and pitch together since it's a collaboration. This is different than PBs, where collaborations aren't really common.

Dropbox links are always fine. A lot of people use them because the file is too big to send via email. Page count is pretty important (depending on genre) but it can usually be altered if it's off. Dimensions are decided by the publisher, and I really just have to love the art

I would say talk to your fellow creatives. who are the agents they use? who do they work with or recommend? then go from there.

This is really up to you. A lot of my clients consider an agent when they have so much freelance work that it's hard for them to keep up with the admin AND have time to be creative. The upside of an agent is that an agent does the admin/negotiation/contracts, and you create.

This #AskAgent question about foreign rights turned really long, sorry
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I love it when people ask me interesting questions on the #AskAgent -- this one is, which is more important, the AGENT or the AGENCY? And also, what sets my own agency apart from others? Well, not to brag, but... *brags*

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Somebody asked on the #AskAgent tumblr if it is necessary for an aspiring author to get a fancy pro headshot, and at what point. I answered... and now my inbox is filled with followup questions from people who never want pic of themselves to exist? Well...
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This business isn't a simple yes or no. I passed on a manuscript I absolutely loved. Why? Because I wasn't sure how I would shop it. They got another offer so it was in their best interest I step aside for the clearer vision. #askagent

My tweet about representing graphic novel creators has gotten so much attention. Thank you! I’ve gotten a lot of questions and I’m wondering, if I did a graphic novel only #askagent, would there be interest? #PortofolioDay #graphicnovel

How Agents and Editors View Revisions #askagent bookendsliterary.com/2019/07/09/how…