We’re tackling the promising yet highly unpredictable R&R.

But what exactly is an R&R?

Well, in a nutshell, it’s a request from an agent or editor to revise and resubmit your manuscript. If you’ve been around publishing long enough then you’ve probably heard tales of this frightening creature or survived an encounter with one yourself. If you haven’t, I hope this post proves an insightful, informative, and not-to—overwhelming introduction to the topic.

WHAT MAKES THIS POST DIFFERENT FROM ALL THE OTHERS, JUSTIN?

To be quite honest, I wondered the same thing when I first considered writing this. After all, there no shortage of blogs, interviews, newsletters, podcasts, and webinars, covering this topic. So, here’s the answer I came up with . . .

I’m not just going to share my thoughts and feelings about R&Rs. I’m going to share the thoughts and feelings that go through my head when I receive one.

I’ll also share several “case studies” featuring R&Rs. And by case studies, I mean I’m going to share R&Rs of my own I’ve completed—from the initial editor feedback I received to the final outcome.

Don’t worry, I’m not just going to share a highlight reel of what worked for me. That’d be lame. Instead, I’m going to share the challenges I faced, the things that didn’t work, and the r&rs that ended up in a pass. Because all that stuff’s just as important.

*For the purpose of this post, I’m going to focus on R&Rs from editors. But much of this should be applicable to R&Rs received from agents as well.

DISCLAIMER:

This isn’t a ‘How To’ post. What I’m sharing is my experience and my experience only. Other writers may have vastly different experiences, outlooks, outcomes, etc. The same will be especially true for agents and editors who may very well have a different attitude and approach to R&Rs as a result of their particular position, insight, and experience in the industry. So, please take all of this with a grain of salt. None of it is prescriptive or a ‘one size fits all’ sort of thing.

WHEN AN EDITOR MIGHT REQUEST AN R&R:

Okay, you’ve polished your manuscript and submitted it to editors, either directly or through your agent. If your agent request confirmation of receipt, there’s a good chance most editors will confirm receipt the same day or in the days to come. Some don’t. Some won’t respond to your submission at all. Don’t sweat it; it happens to most of us.

You try to keep busy. But, you can’t shake it from your brain. Will today be the day an editor responds? Then, one day you get the email in your inbox. An editor has requested an R&R.

It’s possible the editor read your manuscript and wants you to make some changes to the manuscript before they share it with their fellow editors at the editorial meeting they hold each week.

It’s also possible the editor already took the manuscript to their editorial meeting and their team suggested changes before it proceeds to an acquisitions meetings.

Sometimes the editor will tell you in advance they’re taking the manuscript to an editorial meeting, sometimes they won’t. It’s my understanding, though, that you will almost always know if the story is proceeding to an acquisitions meeting. (though, now that I think of it, I didn’t know that for my book, The Quacken—it was a pleasant surprise).

Anway, congratulations on your R&R! This is a milestone and a feather in your cap. It may not feel this way, but its definitely something to celebrate.

QUESTIONS I ASK MYSELF WHEN CONSIDERING AN R&R:

*A select list

• Does the editor’s feedback resonate with me? If so, which feedback resonates, and why? Which feedback doesn’t resonate, and why?

• Do I feel their feedback elevates the story? (I like to imagine it would help the story evolve)

• Does their vision align with and/or elevate mine?

• How badly do I want to work with this particular editor/publisher?

• Does this editor feel like a fit for me and my story?

• How long do I think this R&R will take me to complete?

• What would I have to sacrifice and/or adjust to complete this R&R?

• Am I comfortable sacrificing that and taking this gamble, knowing it may result in a lot of work and no sale?

• Would I be better off investing my time in a newer work that might have a stronger chance on submission?

• Should I complete this R&R now or put it my back pocket and return to it in the future? (especially if I’m early in the submission process)

• Does the R&R feel stronger than the original manuscript?

• Would I be proud to have my name attached to this revised manuscript and want to promote it heavily if it were to publish?

I ALWAYS REQUEST THIS ONE THING FROM EDITORS:

Let’s say you’ve written a humorous picture book and an editor says, “make your story funnier!”. That note might leave you scratching your head. What exactly do they want to be funnier? What type of humor are they looking for? Where exactly does the story need to be funnier? You need something more to work with.

Now, let’s say that same editor says the story’s humor would benefit from more incongruities, greater escalation and exxageration, and stronger page turns. Perhaps they even identify specific examples of where in the story they feel that needs to happen. Well, now you’ve really got something to work with.

What we’re seeking is specific, actional feedback. This increases the probably of your revision matching [or exceeding] what the editor is seeking because it gives you a clear direction—a blueprint of sorts to work with.

Usually, I don’t need to request this specific, actional feedback. Usually the editor provides it naturally. But if they don’t, I request it. If I’m unclear about something, Ibrainstorm and wrie in the wrong direction on the page in the hope I find the right direction. Afterward, I’ll run it by family, critique partners, beta readers, and agent. But sometimes I’m overloaded with options or just really stumped, and then I request clarity by asking questions via email (usually via my agent), or having a phone call or Zoom chat with the editor if possible.

I personally have greater enjoyment during the process and a higher success rate when I have more clarity regarding the editor’s feedback.

REMEMBER, EVEN EDITOR FEEDBACK IS SUBJECTIVE (AKA FEEBACK MAY VARY)

Even if you have two incredible editors, they could each have a very different reaction to your manuscript. And even if they both love your manuscript; they could each have very different feedback about what and how to revise. Each could even have a different, equally incredible direction and vision for your story.

There is a scene in my debut picture book, THE QUACKEN, where the giant duck disguises itself as a park ranger to trick the protagonist. An Editorial Director at a Big 5 requested an R&R of the manuscript wand wanted me to cut the scene. She felt it it was too absurd and required readers to suspend too much disbelief. A few months later, my acquiring editor, an Editorial Director at a different Big 5, requested a Zoom call. During our chat she referenced her favorite scene in the book and insisted it stay in the published book. Can you guess which scene it was? To this day, that scene is a hit with the kiddos.

All that to say, even editor feedback is subjective. If several hone in on something working or not working, then I have reason to believe they are correct. It’s when anyone starts telling you exactly how you need to “fix” your story that you should be weary.

Luckily, most editors are wise and will toss thoughts and ideas at you while giving you creative freedom to explore their feedback and play with how you do (or don’t) implement it. At the end of the day, you want to do what serves the story. The idea is to remain open-minded and malleable throughout the process while honoring your evolving vision and creative self.

R&R TIMELINE:

Usually, the editor will ask if you want to complete the R&R before providing notes/feedback, which I’ve received anywhere from a few days later to just shy of a month later.

On one hand, I like receiving the notes right away. That way, instead of agonizing over what their notes might bem I can immediately nstead invest my energy into the revision process. On the flip side, it can be good to have time away from the manuscript so you’re not too attached to it and therefore won’t be as precious during the revision process, allowing you to cut, add, combine, condense, and re-construct where needed.

I’ve also heard from agents and editors that you shouldn’t complete the R&R too quickly. In other words, you don’t want to turn around a revision instantly. It might show that you didn’t sit with the editor’s feedback long enough, consider it deeply, and/or fully explore the revision process and all possible options.

I see that point. But I also don’t wholeheartedly agree with it. Some revisions are easier to tackle than others. Sometimes an editor’s feedback clicks and you know exactly how to implement it. Sometimes their feedback is very specific and actionable., making the revision process even more effective. Or, like me, you might work on the revision morning ‘til night until you conquer it. I used to tell my former agent, I’m not a super fast reviser like she claimed. Instead, I’m a relentless reviser who doesn’t put the story away until I’ve cracked it, which can have its pitfalls.

I’ve sent an R&R back the very next day and had it result in an offer (case study below). I’ve sent an R&R back EIGHT months later and received an offer (though that was with an existing editor—case study also below).

I’ve also had R&Rs I didn’t love or simply struggled with, so I didn’t follow through with them and my agent has professionally notified the editor that I was putting it to rest but would update them if anything changed. Sometimes R&Rs fight back, and it’s okay not to follow through with each one. Sometimes it’s okay to let go and move onto something else (and, you could always revisit the R&R in the future). When my former agent requested a specific manuscript from me before signing me, I didn’t submit it for eight months until I felt confident it was ready. Is that extreme? Definitely. But, it worked (she requested more manuscripts following that submission, and the book sold almost immediately on submission).

CASE STUDIES:

MANUSCRIPT: The Quacken

• Date of Submission to Editors: March 23, 2021

• First Editor: Editorial Director at Big 5

• Date Editor Requested R&R: April 6, 2021

• Date Editor Sent over R&R Notes: April 7, 2021

• Date My Agent Sent R&R to Editor: June 21, 2021

• Date Editor Responded to R&R: June 24, 2024 with a pass

• Date Agent Requested Additional R&R: June 24, 2024

• Date Agent Submitted My 2nd R&R to Editor: August 9, 2024

• Date Editor Passed on 2nd R&R: August 12, 2024

• NOTES: This first editor loved the manuscript and told use he would be sharing the manuscript with his team. After taking it to an editorial meeting and receiving colleagues’ feedback, he requested an r&r. He sent the feedback to my agent once I agreed to the r&r. They wanted stronger character development and said, “In some ways, it’s about taking what’s a really clever, funny idea and pushing it from being just a clever concept to being a story that’s got that read it again and again potential. I don’t want to do anything to undercut the humor, but I think that if Justin can…” Unfortunately, I then I tinkered with the story too much, and the editor no longer loved it. So, we requested a second chance and the editor agreed, but then he passed on that, too, with the desire to see more of my work in the future.

• 2nd R&R Request: May 6, 2021

  • Editor: Editorial Director at Another Big 5

    • Date Editor Requested R&R: May 6, 2021

    • Date Agent Submitted R&R to Editor: June 21, 2021

    • Date Second R&R Requested from Editor: August 5, 2021

    • Date Agent Submitted 2nd R&R to Editor: August 9, 2021

    • Date Editor Requested Call to Discuss Additional Revisions: August 19, 2024

    • Date Editor Stepped Aside (after we received an offer elsewhere): September 7, 2021

    • NOTES: This was a case where visions didn’t align. The editor, who I have great respect for and still communicate with but don’t have a book with, felt the story was “not funny” and referenced other creators whose work should inspire mine. However, when the book received its first offer, she stepped aside because it wasn’t where she wanted it to be to acquire it.

• MANUSCRIPT: Impossible Possums

  

  • Date Manuscript Went On Submission: April 7, 2022

  • Editor: Editorial Director at large (non-Big 5) publisher

  • Date Editor Responded Taking Manuscript to Acquisitions: April 12, 2022

  • Date Editor’s Team Requested R&R: April 27, 2022

  • NOTES: I don’t have the remaining dates for this submission. But the Editorial Director took the manuscript to acquisitions. Her team wanted the title changed to feel less middle grade and more like a picture book (the original title was terrible). They wanted the animal changed from a lesser-known animal to something more mainstream. So, I changed it from a pangolin to a possum. And they wanted me to axe the concept/language of cloning in the book. I made the changes overnight and we sent the R&R off the following day and it received a near-immediate offer.

• MANUSCRIPT: The Zombees

  

  • Manuscript: [Redacted Title. It was a humorous picture book]

  • Editors Who Requested R&RS: One, Associate Editor at a Big 5

  • R&RS Rounds Completed: two over an eight-month period

  • Status: Sold, partially as a result of R&R

  • NOTES: This is the most intense r&r process I went through. The timeline overall journey of this one are wild. You can read about in in detail by checking out this Substack post.

• MANUSCRIPT: Title Redacted

  • Date put on submission: May 22, 2024

  • Editor: Associate Editor at mid-size publisher

  • Date R&R Offer Was Received: August 28, 2024

  • Date R&R Notes Were Received: August 29, 2024

  • Date R&R Was Completed & Submitted: September 5, 2024

  • Date Editor Requested Additional Revisions to R&R: September 24,2024

  • Date I Submitted Requested Revisions: September 25, 2024

  • Date of Editor Response: October 21, 2024

  • STATUS: The Acquisitions team passed on the manuscript and no reason was provided to me for the pass. This was the final editor the story was with, so it died on submission.

• MANUSCRIPT: Title Redacted

• Date of Submission: May 27, 2026

• First R&R Editor: Executive Editor at Big 5 I’ve worked with before

• Date of R&R Request: July 28, 2026

• NOTE: Editor passed on original manuscript. We submitted a new take on the manuscript following her pass. She really liked it and requested I reduce the opening setup to make the pacing snappier, amp up the humor, and adjust some scenes. I completed the r&r, but my agent didn’t love it, so I’ve put it away for the time being.

• 2nd R&R Editor: Editorial Director/VP at Big 5 I’ve worked with before

• Date of R&R Request: June 2, 2026

• Date R&R Notes Were Received: June 29, 2026

• NOTES: Editor didn’t feel she could knock the socks off her team with the manuscript. But she loved the premise and some elements of the story. I submitted an alternate version of the manuscript, not in line with her notes. It was the same revision the previous editor loved. Unfortunately, this editor didn’t love the new take and wanted one more in line with the notes she provided. I haven’t completed it because it’s stumped me.
  

• MANUSCRIPT: [Title Redacted, to be revealed in autumn]

  • Editors Who Requested R&R: 1

  • Status: Sold as a result of R&R

  • NOTE: This is a unique situation I can’t share too much about because I haven’t signed the contract yet. There will be an entire post dedicated to this one in the fall. What I can say is the editor passed on the initial manuscript. Months later, I repitched the story to her and my new agent said up a call. I asked the editor lots of questions to gain as much insight as I could about what worked for her in the previous manuscript, what didn’t, and what she was seeking (and not seeking). After that Zoom call, I spent a few weeks perfecting the manuscript with my agent, and we sold the overhaul of the initial manuscript.

It’s my hope, though, that if enough of us share our experiences, regardless of what stage we’re at in our careers, we can empower, inspire, and motivate each other as we navigate our creative and publishing journeys. Maybe it will show just how common this sort of thing is and how these experiences don’t occur within a bubble. Perhaps it will make us feel less flawed or somehow at fault.

So, here we are. I’m going to share my own experience parting ways with an agent (or in my case, being dropped by one), now that I’ve had enough time to process it and see the positive that came out of what felt like a crushing blow to my ego, creative self, and authorial career.

THE HONEYMOON:

It was March of 2021 and I had just signed with my “dream agent” at the agency ranked #1 by Publishers Marketplace in the ‘Children’s’ category. Founded in 1981, It’s an incredible powerhouse agency that, to this day, I am honored to have been a part of. The agents there are incredibly experienced, insightful, and savvy. And the creators they represent are equally talented and skilled.

During the first three of our five years together, she and I would go on to sell five books: the first four in consecutive two-book deals and the fifth in a competitive auction.

THE GROWING TENSION:

After an auction, it’s easy to feel like the rollercoaster will continue ascending. You imagine the demand for your work will increase and you’ll sell manuscripts so fast your critique partners won’t have enough time to read them before they’ve already sold (okay, that might be a vast exaggeration). Still, you’re buzzing with unbridled adrenaline and validation, even if a publishing auction doesn’t actually involve an auctioneer with a gavel and fast-paced bidding.

We had a growing fanbase of editors, many who are editorial directors at Big 5 publishers, who repeatedly wanted to see my work and responded quickly. Some manuscripts advanced to editorial meetings. Some even went to acquisitions meetings. And though it felt like I was producing some of my best work yet, none of it sold. It was part of what would become a 2.5-year dry spell.

Naturally, like any creator might be, I was frustrated. But I also understood that publishing can be a fickle business and I had to keep putting in the work. Plus, I had been experimenting with my craft and career, trying my hand at tender, lyrical tales; general nonfiction; nonfiction biographies, and more. I was taking creative risks and pushing myself. And, to be fair, my agent let me know it was a gamble. But I assured her I’m a gambling man (no, really. I could never do a school visit near Las Vegas, because I love the casino and just might gamble my earnings away). Also, I’ve heard from many children’s book authors that they are experiencing similar dry spells.

During this time, I felt growing tension between my agent and I during our phone conversations.

A SURPRISE LEADS TO SILENCE:

In mid November of 2025, my agent surprised her clients with an announcement that she was launching a boutique literary agency of her own with two colleagues. The announcement would go live via Publishers Weekly the first week of December. I didn’t know at the time that staying with my old agency was even an option. So, I requested a call with my agent to ensure she truly wanted to continue representing me given the growing tension. She assured me I was a “rockstar” on her list and that she wanted to represent me for my career.

I had been with my agent as she rose through the ranks from associate agent to agent to senior agent at her previous agency. And now I would be among the first to join her on this exciting new venture (and unknowingly would probably be the first to be dropped there). The new agency is co-run by other agents I’ve had positive interactions with and who I still hold in high regard, despite what’s transpired since. And, of course, I have great respect for their clients as well.

Fast forward three months later. The publisher of my book that sold at auction passed on the companion title I had written to it. My agent and I were not in agreement on the next steps to take. She asked for a few days to get back to me with her thoughts regarding a plan of action. I never heard back. One week later, I gave her what we in the publishing industry call a “gentle nudge.” No response.

HELLO AND FAREWELL:

That same week, I flew from New York to Orlando, Florida. Excitement buzzed within me. The sun was shining. The air was warm. And I was getting paid to do a week of school visits with somewhere around 2,000+ awesome kiddos and educators for my debut picture book, The Quacken, which was nominated for a Sunshine State Young Reader’s, Jr. Award (an award it would go on to win months later).

As I pulled up to the swanky hotel in my rental car, my phone dinged. Or is it pinged? Anway, I pulled it from my pocket, half-expecting an update from a librarian or maybe even Expedia asking me to rate my travel experience. Instead, it was my agent who I hadn’t heard from. The subject line read ‘A difficult decision’. My excitement turned to unease. I already knew what awaited me inside.

I clicked open her email, which elaborated upon an “increasing disconnect.” It mentioned how my agent and I no longer meshed editorially. My goals differed. Our strategies didn’t align. We were no longer in sync as a dynamic duo. The magic fizzled and I was no longer a part of the “murmuration” referenced on their agency’s website. I had been cut loose from their flock. I was dropped.

Imagine my disappointment. A career-altering decision had been made by email, and with no opportunity beforehand for discussion. I called her, the way she often called me. It was after hours where I was, but it was still mid-afternoon in California. Still, I was immediately clicked to voicemail. My phone call would never be returned.

What happened to that promise of representing me for my career? Why ask me to leave a top agency and join you at a new one only to immediately drop me?

REJECTION, REDIRECTION, & RELIEF:

I felt abandoned. I felt stranded. I felt . . . relieved?

It can be hard to take a leap of faith when there’s still ground beneath you, even if it’s trembling. But when the ground suddenly begins to crumble, you’d be surprised how high far and how high you can jump.

I had been unwillingly catapulted into the next phase of my journey. But now instead of seeing obstacles, I saw opportunities awaiting me once again.

What felt like rejection was indeed redirection.

FIND YOUR SUPPORT NETWORK:

So, what did I do from there? I called and dm’d past critique partners, writing buddies, and family. We chatted from my rental car in the parking lot. We chatted from the hotel lobby. We chatted from my hotel room. I vented. They listened. It felt nice to have their support and commiseration. I also had a week of school visits ahead, so connecting with young readers, librarians, teachers, and parents kept my spirits high and reminded me why I write in the first place.

As a children’s author, I value keeping a clean image and being as professional and kid-friendly as possible. But that doesn’t mean everything is sunny in the children’s world, that this landscape can’t have its turbulent waters, or that we are somehow less adult because of the work we create. At the end of the day, it’s a business like any other.

REFLECT, RE-EVALUATE, RISE:

Take as much time you need to process things before making your next moves. This is an opportunity for you to reflect and re-evaluate who you are as a creator of children’s literature, what your goals are, what are your dreams are, what your vision is for your career, and what smart [specific, measurable, assignable, realistic, and time-related] steps you can take to get there. Then, when you’re ready, mobilize.

For me, I got to work strategizing within a few hours. As I said in my freshman speech during my unsuccessful bid to be class president in college, “I am not one to let grass grow under my feet.” Looking back, I think I may have been a bit too formal delivering that line before a group of college kids who I’m sure had already been drinking and were more focused on the wild Friday night that awaited them ahead.

As a professional actor, I’m used to this process of re-strategizing after letdown. I wouldn’t say it necessarily gets easier. But you quickly learn that talent and skill only get you so far. Persistence is a key ingredient.

RESEARCH AGENTS:

Back in my hotel, overlooking a beautiful outdoor pool in the middle of a Florida winter, I put my Publisher’s Marketplace subscription to use. I researched which ‘Dealmakers’ were ranking highest for ‘picture books’, ‘middle grade’, and ‘Children’s’, all categories I write within or plan to. Of course, this intel has to be considered carefully. Just because one agent ranks higher than another doesn’t necessarily mean they are “better.” They could simply be reporting more of their sales. Or they may secure more sales, but to smaller presses (which isn’t necessarily a bad thing). Or maybe they don’t secure sizeable advances or desirable contract terms for their clients. The list goes on.

I assembled my list of Avenger agents I would love to work with and who I thought I might be a fit for me. Some were agents who previously requested my work when I was first seeking representation. Some were agents I had established relationships with through PBChat, the free picture book community and mentorship program I founded and ran years earlier. And some were simply agents who I had great respect for but had no personal connection to.

REFERRALS:

Whenever you can, leverage referrals. A true referrer will put a word in with their agent in advance, rather than simply saying you can name drop them when querying.

I didn’t ask for referrals because I wanted to see what I could accomplish on my own first. Still, a few authors kindly reached out with genuine offers to connect me with their agents (thank you to those people). I took one author up on a referral they offered, though their agent would later pass.

In the meantime, I emailed an editor of mine who I had a great relationship with. She took a Zoom call with me a little over a week later. While our conversation didn’t result in a referral like I hoped it would, at least we chatted through everything and caught up in the meantime.

LEVERAGE:

It was time to begin querying. The subject line of my emails read, 'Seeking New Rep’. The opening line of my query led with, “I am a previously agented author seeking new representation.” I didn’t elaborate further. From there, I established my personal connection to the agent if I had one.

But here’s the thing, I didn’t have much new work to query. Most of my work had published, already gone on a wide submission round via my previous agent, was under contract, or wasn’t a strong piece to lead with when seeking new representation. It was a tricky predicament. So, I broke the rules and did something unconventional.

Instead, I led with my qualifications and what might appeal to an agent on a business-level:

• All my books sold in multi-book deals and at auction.

• I earned six figures in advances from those early contracts.

• My debut picture book earned out its advance in a mere 14 months.

• That same book was nominated for nine different states lists and has won four of the five awards announced so far.

• My third book received a starred review.

• A select list of well-known book festivals and events I participated in.

I shared anything I could leverage to convey how the agent would benefit from having me as a client on their roster. And of course, I established what type of work I produce and who I am as a creator.

CALLS:

Some agents didn’t respond. Some agents passed after saying they knew my books but didn’t feel passionate enough to champion my work. Some agents offered to chat on the phone. Remember, it only takes one yes.

During my calls with prospective agents, I shared my goals and vision for my career. I shared my way of working. I asked them questions about their own goals, vision for their careers, editorial style, editor relationships, submission strategies, collaboration style, and more.

It’s a conversation that flows both ways. I was interviewing them just as much as they were interviewing me. If you might end up as business partners, it’s important we ensure we will be a strong fit.

WHERE I LANDED:

It was a hard choice to make. But I’m confident I made the right one.

In March, I signed with a newer, very capable, incredibly hungry agent at a reputable literary agency. I knew her for years before she was an even an agent, and we supported each other since. I never expected she would one day represent me. So, the universe has come full circle in a very fulfilling way on this one.

She is incredibly communicative and lightning fast at responding and providing feedback. She is enthusiastic, authentic, and empathetic. When I speak, she listens. And I’m equally excited to listen. It’s nice to have a creative business partner who is championing me and treats me as an equal.

We’ve already sold a project in what has been my biggest sale yet. And it happened in a pretty unconventional way that never would have happened if I hadn’t been dropped by my previous agent. It was a direct result of that situation, and I look forward to announcing the sale in autumn and sharing the post about how the sale happened.

TO PERSERVERE, YOU MUST PIVOT:

If you’ve ever gone through a similar situation, are going through this situation now, or find yourself going through it in the future, take this as a sign that the universe may be redirecting you to pivot.

INTRO:

Welcome to my guest post for Kidlit Zombie Week, a week-long event filled with informative and inspiring posts to help you bring your “dead manuscripts back to life.” Last year, I shared TEN WAYS TO FIX YOUR ZOMBIE MANUSCRIPT. This year, I’m pulling back the curtain and sharing the process (timeline, editorial notes, challenges, and more) for my forthcoming picture book with , The Zombees.

MEET TEAM ZOMBEE

HOW IT BEGAN

The Zombees was technically under contract before it was born. That’s because my debut picture book, The Quacken, was part of a two-book deal, with the second book to be determined. Simon and Schuster later expressed strong interest in me producing a story in that met the following parameters in the vein of my debut book:

• Creature feature

• Punny portmanteau protagonist

• Epic escape-style structure

• Humor and [light] horror for a young audience

Now you might be wondering, “Justin, why didn’t you just write a sequel to The Quacken and call it a day?” It’s a question I get asked often at schol visits. My answer is, “I did.” In fact, my agent loved it even more than its predecessor, which was the book she signed me on. But S&S passed on it. Multi-book deals are thrilling, but they can be tricky, too.

TIMELINE & PROCESS:

INITIAL OFFER (September 15, 2021): It’s mid to late afternoon on a Friday before a holiday weekend. I’m walking into the gym when my agent calls me and says the editorial director at Simon & Schuster (who will later become VP as well) is interested in a phone call to discuss my manuscript, The Quacken. I squeeze in a quick workout, race home, and immediately hop on a Zoom call. Within an hour I get a phone call from my agent. I’m being offered a two-book deal. I’m going to be a traditionally published children's author! Here’s a screenshot of my contract header:

THE CALL/PITCH (February 21, 2023): My editor and I are discussing sketches for book one, The Quacken, during a Zoom call (it took a while to secure the perfect illustrator). By now the team has already passed on a few manuscripts I submitted as contenders for book two. So, I seize the opportunity at the end of our chat to informally pitch two character concepts that could double as titles for book two. I don’t even have potential plots in mind yet. Luckily, my editor lights up upon hearing the first one, which is “The Zombees”. Almost immediately after she and the editorial assistant vanish from my screen, I get to brainstorming.

And that second concept I pitched? Vampurr—a tender, lyrical tale about a vampire kitten and the mysterious boy she bonds with. Eight months from now it will find itself in a multi-house auction. It’s lovingly hand-painted by Lenny Wen and will be published by FSG/Macmillan in 2026. Here’s a sneak peak at her:

THE FIRST VERSION (February 21, 2023 - March 10, 2023): I draft and polish the original version of The Zombees. It follows Hector, the protagonist from The Quacken, as he attempts to grow a prize-winning pumpkin. Frustrated with the crows that keep eating his seeds, he concocts a special formula to rid them from his farm, only to raise an army of zombie bees instead. Like a true creature feature, the zombees have an insatiable appetite and devour everything in sight, until the crows swoop back in and gobble them up (before turning into zombies themselves on the final spread).

THE RESPONSE (April 13, 2023): My agent shares my editor’s feedback. The team quite likes the story’s villains and don’t want to see them die at the end. ←- a good problem to have, I suppose. Instead, they wonder if the zombees can be redeemed and ultimately become a solution rather than a threat. Then there are their overall notes: The setup is slow, the plot is too complicated, and there are too many characters and other elements in the mix. My editor requests an r&r (revise and resubmit). She says she is still confident this will be my book two. And I’m confident I can make these revisions easy peasy.

Below is a screenshot of the original ending that was too dark:

THE REVISION (April 13 - June 5, 2023): I cut some characters, adjust and distill the plot, strengthen the pacing via snappier scenes and language, and alter the ending so the zombees don’t die, while still keeping them as true villains. I think it’s a compromise that addresses their concerns while honoring both our visions. I submit it to my agent, who forwards it to the editorial assistant (my editor is now on maternity leave).

THE SECOND RESPONSE (July 20, 2023): My agent’s email to me opens with "[the] response is not the one we were hoping we'd receive.” The editorial assistant has shared the manuscript with the acquistions team at S&S. Despite my editor’s initial confidence, the team isn’t sold. They have two primary concerns:

• Showing bees dying in order to become zombees

• The framing of the story - portraying bees as villains when we should be portraying them in a positive light

They say the “consensus was the revision wasn’t quite able to overcome these concerns.” They are valid concerns.

They go on to share several ideas of their own for different directions I can take the story, including one that will become the final twist at the end of the published book (I won’t share any spoilers here). They ask for me to keep the concept of zombees but craft an entirely new story. One that focuses on bee positivity and a takeaway related to the good bees do in the world. Shouldn’t be too much of a challenge for me, right? After all, I’m a beekeeper who catches and relocates wild swarms for residents while educating them all about bees in the process.

THROWING IN THE TOWEL (August 8, 2023): Revision is my favorite part of the creative process. R&r’s are something I usually do with ease. But this one’s stumping me. I’ve brainstormed potential ideas almost daily. But none would fulfill S&S’s requests while honoring my vision and the brand I want to establish as a creator. Finally, I email my agent for the first and only time with the subject line ‘Throwing in the Towel’. My plan is to axe the concept and produce something new in its place.

My agent immediately emails me with a supportive response like this:

why don't you take a break from picture books and either focus on your MG [middle grade novel] or just enjoy a week off. It's August, and rest is warranted. Then we can plan next steps and gear up for fall. Sound good? . . . I'm here for you.

Last week of December (I think): My editor returned from maternity leave a few months ago, surprised by her team's pass on the story she was confident would be our book two. By this time, I've written and submitted even more manuscripts as book two condenders. The total is at 6 different stories. From a humorous book about how to hypnotize your parents to a lyrical, allegorical tale about saving stars in a world that steals them from the sky. Even a nonfiction biography about Eric Carle. But nothing gets the greenlight.

The zombees is but a distant memory in my mind. I have since abandoned it. Placed it in the coffin, given its eulogy, and laid it to rest. Or so I think . . . I am showering one morning when all of a sudden the opening stanza of The Zombees shuffles into my brain. I immediately feel I have something special. Before I know it, the entire story has flowed onto the page and . . . its written in RHYME?!

I’ve never written in rhyme before. But it was fun. And the rhyme seems strong. Even better, the story is somehow fully formed, beginning, middle, and end. It's a whole heck of a lot better than the original. I might even love it, even as a newly written draft (that's rare). Still, rhyme requires skill, and bad rhyme carries with it the stench of a thousand and one decaying zombies. And as I know from my acting training in Shakespeare, meter is a challenge for me. I put out a tweet on X (back when I was there). And many generous writers (none of which are my usual critique partners) offer to help me. Including people I have never spoken to before. The kidlit community is generous like that. To my surprise, the revisions are minor. Together, we polish up the story until its publication-ready.

JANUARY 3 & 4, 2024: A week later I share this rhyming manuscript with my agent, which is a surprise to her. She didn’t know I could write in rhyme (to be fair, neither did I). And she thought I scrapped the project (to be fair again, I did say I threw in the towel). She responds the same day saying she loves it. She sends it to my editor the following day.

JANUARY 16, 2024: An email from my agent hits my inbox. The subject line reads:

The opening of the email begins with, “THE ZOMBEES is a GO!” My editor and her team love the new version and are all on board. The Zombees is officially greenlit as book two. My agent shares a lot of enthusiastic praise for my persistence throughout the process and her love for the story since its inception, before ending her email with this:

“I am CELEBRATING this afternoon. Gosh, I'm so happy, I am going to listen to the Zombies and watch Zombie movies and enjoy lots of honey all week!”

JULY 15, 2025: Publication day!

WHERE’S THE “UNUSUAL” PART OF THE PROCESS YOU PROMISED, JUSTIN?

Because the revision and acquisitions took longer than expected, the book would need to be delayed a year. BUT . . . after thorough discussion, our editor, AD, and other higher ups of Team Zombee graciously agreed to crash the book. Meaning, we would speed up the publication timeline. It's rare and would require strategy and extra effort.

Kaly Quarles was hired in less than a week and illustrated this entire book in only three months. Wild right?

I plan to share more about that part in the future. So be sure to subscribe to my blog.

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ZOMBEE EVOLUTION:

The book has evolved quite a lot from its original iteration. Maybe there weren't 28 drafts. But this blog title was too good to pass up. Cm'on . . . a reference to the horror zombie film 28 Days Later (which has another sequel out this year) AND my post is on the 28th day of June?!

The original version of The Zombees was written in prose, 3rd person point of view, and featured a male protagonist. The soon-to-be published version is written in second person point of view and rhyme. Because no specific narrator/character is described, illustrator Kaly Quarles had creative freedom and made the protagonist a girl dressed as a witch. The entire plot has changed, and it’s gone from being a dark tale to one that is much more playful and sweet (something new for me). There’s still a surprise ending, but there’s no death involved. I’m really pleased with the story and how it will connect with an even younger audience than the one I usually write for. This process pushed me to develop my craft and explore and play even more as a creator. And quite honestly, I’m relieved that original version didn’t get the greenlight.

MY FIRST STARRED REVIEW!

I never planned to write in rhyme even though I enjoy reading it. This was my first rhymer. So, I’m surprised, grateful, and somewhat amused that this is the story to earn me my first starred review [from School Library Journal]. Most of all, I am incredibly honored.

Of course, none of this would have happened if it hadn’t been for the r&r process with my editorial team. Or the writers who generously helped me when I reached out asking if they would lend me their rhyme/meter expertise.

WORDS OF WISDOM:

As my agent says, sometimes you have to write in the wrong direction to figure out what doesn't work so that you can figure out what does.

PRIZES

Below is the prize package I’m offering to one lucky winner. For more information about eligibility and how to enter, please click here.

• A signed/personalized copy of his next picture book, The Zombees, a rhyming, Halloween tale illustrated by Kaly Quarles, published by Simon & Schuster (July 15, 2025). DETAILS: Will ship to US-based addresses only.

• A full picture book manuscript critique. DETAILS: Manuscript must be under 800 words and submitted for critique within one week of Kidlit Zombie Week's prize announcements. Please no rhyme—it is not Justin's editorial strength. He is especially adept with humor and darker, spookier tales but is open to nonfiction and lyrical stories, too. For full guidelines and additional information, please visit www.justincolonbooks.com/editorial-services.

GIFS, GRAPHIC DESIGN , & EDITORIAL SERVICES

Do you like the GIFS and graphic design you saw throughout this post? I can do the same for you. Email me at justin@Justincolonbooks.com to discuss your project.

I also offer manuscript critiques, query letter edits, consultations, classes, and mentorships. Please visit justincolonbooks.com/editorial-services to learn more.

On this spooky day, I’m stoked to share the book jacket of my next picture book, THE ZOMBEES (illustrated by Kaly Quarles). Here’s the pitch and some promotional text:

A swarm of zombie bees invades an unsuspecting town on Halloween night in this delightfully spooky and highly charming picture book from the author of The Quacken—perfect for fans of Creepy Carrots and Los Gatos Black on Halloween.

What’s that creepy buzzing sound coming from the graveyard ground?

ZOMBEES!

When these undead insects invade, they send everyone fleeing in fright.

Are they hunting for a snack?
Do they like the taste of veins?
Have they come to eat your brains?!

Find out in this rhyming Halloween tale with an unexpected twist!

But first, some quick backstory . . .

(let’s change the music before we do. Here’s a throwback: Click Here)

THE CRASH

Like a true zombie tale, The ZomBees died and was re-animated many times. It took nearly a year of revise and resubmits (r&rs) and complete overhauls before the good people at Simon and Schuster BFYR agreed to a version they were excited to publish. Advice: Seeing honeybees die and transform into zombies before rising from their graves THRILLER-style only to later be eaten by some other creature might be too upsetting for a picture book. Luckily, it all clicked one fateful day when I wrote a huge chunk of the story in rhyme from my shower (it was a very long shower). Despite the challenges, I’m grateful it all worked out this way.

To avoid the book’s publication being delayed a year, my agent, editor and I had a group call. Then my editor had some internal discussions with her team. Within a day or two, we got the green light . . . we were going to “CRASH” the book. Sounds EPIC!

This meant we would speed up the production/publication process. And to do that, we needed to attach an illustrator immediately. There was little room for error, experimentation, or extensions. We needed someone skilled, someone available, someone dependable. We needed fellow Halloween aficionado, Kaly Quarles.

KALY QUARLES REPORTS FOR DUTY

Familiar with Kaly’s work (since we’re repped by the same agent), I suggested her to my team. Within a few days of that initial group call, the logistics were sorted out and Kaly signed on to illustrate. Project ZomBee Book Crash was a go (catchier name suggestions are welcome).

Cue the ominous ticking clock. Kaly had 3.5 months to illustrate the entire book (from the day of hire to the day final art was due). No easy feat, but she would be in great hands, as she would be working closely with Lucy Ruth Cumins, who is not only an art director, but an acclaimed author-illustrator, too (her book Stumpkin is an especially great read for today). That’s me and Lucy below (with Jessie Sima, Not Quite Narwhal and Cookie Time) on a panel together at New York Comic Con two weeks ago.

And that’s Kaly smiling below (before she would soon have a horde of zombees heading her way and the fate of a book resting in her illustrator hands).

Photo Courtesy of Kaly Quarles

THE BIG REVEAL

Now, I don’t know about you, but if I saw that cover on a shelf, I’m picking it up first. Not just because I wrote it, either. And let me tell you, what’s inside is just as exciting—it’s a real celebration of the holiday.

I was pumped when Editorial Director Kendra Levin, Executive Art Director Lucy Ruth Cummins, and Illustrator Kaly Quarles presented a book featuring the following elements:

• FIVE-COLOR PRINTING: In other words, the cover, endpapers, and rest of the book will be glowing with neon green (something I imagined as I wrote the book).

• SPOT GLOSS: That title’s going to shine, baby.

• ALL BLACK COVER & FRONT MATTER: The dedication/copyright page and title page

• BOLD, HAND-LETTERED TYPOGRAPHY: I was inspired by classic horror films and their retro vibes while working on different versions of this book, so the title was a big hit for me.

*I was also a big fan of the tombstone version Kaly shared as part of her potential covers. So much so, I suggested it as a different book underneath the jacket above. I don’t know if it happened, but it would certainly be a pleasant surprise.

Kaly also presented several unique hand-lettered fonts for the title that I loved. Hopefully (hint hint) we’ll get to feature them in future promotional graphics, because they’re really cool.

In the end, the team made the right call, and I’m really pleased with this cover, and I’m confidents readers will be, too.

FOLDED AND GATHERED (F&G’S)

And, what are the chances this proof would arrive the day before Halloween and our cover reveal?

PRE-ORDER INFO

I plan to launch a pre-order campaign with free book swag featuring Kaly’s spooky art around spring for all who pre-order. And there’ll be a fun book trailer, activity sheets, educator guides, and more. But for now, it’d mean a lot if you add the book to your Goodreads TBR pile. Just click here to get started.

HAVE A HAPPY HALLOWEEN!

What's the Book About? Cue Book Summary!
 

Life as an aspiring villain is lonely for Carl the possum, so he’s on a mission to create a like-minded conspirator. But when his Possum Populator arrives, it requires assembly (and villains don’t have time for that). So, Carl tosses the instructions, leading to a series of outlandish mishaps and mounting frustration as the contraption pops out all the wrong creations.
 

Who's it For? 

Anyone who enjoys energetic, theatrical picture books with lots of silly humor that makes for a great read aloud and plenty of laughs. It's especially perfect for fans of Despicable Me, Minions, Lilo and Stitch, and Pinky and the Brain.

ALL PARTICIPANTS WILL RECEIVE:

All who enter the giveaway will receive an exclusive document containing my TOP TEN TIPS FOR IMPROVING YOUR PICTURE BOOK MANUSCRIPTS. I'll share tips and techniques I utilize when drafting and revising my own manuscripts, including questions I ask myself throughout the process, as well as common issues I see when critiquing clients' manuscripts through The Kidlit Hive. 

BUT WAIT, THERE'S MORE!

All US-based participants will receive SWAG, which includes: 1 Signed bookplate (by author AND illustrator), 2 bookmarks, and 5 Stickers.

NOW FOR THE PRIZES . . . 

THREE randomly chosen winners will each receive one of the following prizes via The Kidlit Hive:

A Seat in My Highly Reviewed Class' ($275 value):

A seat in the September/October session of 'The Mechanics of HUMOR'. This six-session course includes visual and verbal presentation, dozens of mentor texts, relevant classroom exercises, optional homework, in-class discussion of session’s topic and previous week’s homework, and weekly office hours during which I am happy to chat anything craft and business-related, as well as critique and brainstorm your manuscripts with you. Click Here to hear what past clients are saying about their class experience. 

Full [Non-Rhyming] Picture Book Manuscript Critique ($125 value):

Includes big picture and line-level feedback via margin comments, several-page editorial letter, and professional-grade audio recording of your manuscript.

30-Minute 'Ask Me Anything' Chat ($60+ value): 

We can discuss craft, the publishing industry and market, next steps for your career, agents and editors, your manuscripts, ideas you're brainstorming, and more. 

HOW TO ENTER:

(No Purchase Necessary to enter or win. See Official Rules for Details.)

• Order a copy of Impossible Possums.

• Complete the Google Form, upload your proof of purchase, and submit!

Click Here for Google Form

ELIGIBILITY & OFFICIAL RULES:

• Open to US and international participants.

• Must be 18 years of age or older to enter.

• To enter for a chance to win, participants must purchase a copy of Impossible Possums or complete the alternate method of entry below. 

• Must submit giveaway entry before EOD, Sunday, September 8, 2024.

• One entry per participant.

Alternate Method of Entry: To enter without purchasing a copy of Impossible Possums, share the Impossible Possums animated trailer, linked below, on social media (Twitter, Facebook, Instagram, and/or Blue Sky), tag five people under the post, and upload proof of your post using the Google Form provided above.  

*A purchase will not enhance the chances of winning.
Odds: The odds of winning will depend on the number of eligible entries received, according to the eligibility requirements in the Sweepstakes.

DEADLINE TO ENTER:

Start Date: Wednesday, August 28, 2024
End Date:  Sunday, September 8, 2024 at 11:59 pm ET

CHECK OUT THE ANIMATED TRAILER:

Our trailer just went live a few hours ago. Click the image below to watch via Youtube. 

ADD IT ON GOODREADS:

Click the image below to visit the Goodreads page for Impossible Possums. 

THE LATEST REVIEW:

Click the image below to visit the original Kirkus review for Impossible Possums.

• The Quacken (illustrated by Pablo Pino, Simon & Schuster, July 16, 2024)

• Impossible Possums (illustrated by James Rey Sanchez, Disney Hyperion, Oct. 22, 2024)

• The ZomBees (illustrated by Kaly Quarles, Simon & Schuster, summer 2025)

• Impossible Possum for Mayor (illustrated by James Rey Sanchez, Disney Hyperion, fall 2025)

• Vampurr (illustrated by Lenny Wen, FSG/Macmillan, spring 2026)

What You Can Expect (another list, because I’m a classic INTJ who appreciates organization and structure):

• Giveaways! Who doesn’t like free stuff?

• Behind-the-scenes tidbits related to my writing and books

• Craft and business-related tips, “tricks,” and techniques for making books and navigating the publishing industry

• Updates regarding my publishing journey (bloopers and all)

• Book news & notifications (cover reveals, pre-order campaigns, reviews, awards, etc)

• Upcoming events and appearances

• Recent and not-so-recent children’s books I’ve enjoyed/Book recommendations

• The occasional peek into my beehives and nerdy beekeeping facts

• Other stuff ←- apologies to my AP English teacher who hated the word “stuff”.

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