SCBWI Exclusive with...Danielle Collins, Associate Editor, Beach Lane Books

What was your path to becoming an editor?

I was lucky enough to land a job as an editorial assistant at Beach Lane Books and Paula Wiseman Books back in 2020, and my career in editorial has been completely guided and supported by the editors I’ve had the privilege of working with. As an editorial assistant I had constant opportunities to shadow the editors I assisted, co-edit their books alongside them, and eventually dip my toe into acquiring and editing my own projects. As an assistant editor, I was able to grow my independent list of acquisitions and further develop my editorial skills with their ongoing support. Now, as an associate editor at Beach Lane full-time, I’ve mostly stepped away from my assistant responsibilities and can focus my efforts on my editorial work and growing my list, but I always have that invaluable support from the BLB team to rely on. I really do owe it all to them – there could not be a better group of people to learn from and to have in your corner. Or a better list of books to be a part of!

What are the elements a manuscript needs to have before you acquire it?

Often the most important things can feel like the most intangible things, since first and foremost I’m looking for stories that make me stop in my tracks while reviewing submissions, and stay in my head and my heart long after I’ve read them. To get into specifics, a manuscript needs to have a strong voice, which to me usually means clean, concise writing with a rhythm that makes for a great read aloud experience and an arc that will encourage rereading. Note that rhythm doesn’t necessarily mean rhyme, it means a flow to the writing that will carry a read aloud with the right pacing and intrigue. I’m also looking for unique ideas with an immediate hook. Something that will instantly stand out when I share it internally, and when it’s out on shelves. There are a lot of cases where a manuscript has one of those elements or the other: a strong hook without the developed writing to carry it, or excellent writing without a strong enough hook. From a top-level perspective, I need an emphatic checkmark in both of those boxes before I acquire a manuscript. From there, I’ll of course work with authors and illustrators to further refine the story and shape the hook, but we need that strong foundation to take the first step. 

What's on your manuscript wish list?

The key word for me lately has been joy! I think all of us, especially young readers and their grownups, could use some lightness in our lives these days. I’ve been on the lookout for stories that lead with joy but still have a strong beating heart and a worthwhile takeaway, presented with a light touch. While humor can be tricky to land, I’m often most drawn to humor that’s grounded in plot, and I’m especially eager to see more humorous stories from underrepresented perspectives. Some constants on my wish list are stories that tackle big feelings with curiosity and empathy, lyrical writing, and themes of identity, self-discovery, and self-expression. You can find more details at www.manuscriptwishlist.com/mswl-post/danielle-collins/.

What tips do you have for Authors who query you?

For me, it really all comes down to the story! So I appreciate receiving submissions where the story is front and center. Usually I start with the text and/or dummy, then return to the pitch to find out more about the author/illustrator and how they see the project. The easier the manuscript or dummy is to find, and the cleaner it is to read (not bogged down with funky formatting or excessive art notes, etc.) the better. Also, please note that I am only open to agented submissions or submissions from conference participants, and for the latter I always share specific submission instructions and appreciate when those are followed.