The SCBWI-LA Working Writers Retreat returns on September 29-October 1. There are still some seats left for this popular in-person gathering that puts you in the company of kidlit agents or editors and writing colleagues with a serious commitment to their craft. Our fabulous faculty members are looking forward to it, and they’ve been kind enough to field some mix-and-match interview questions about themselves to help break the ice. Whether you’re attending this year or just curious, there’s plenty to discover in their words.

First up: Lucy Hamilburg, who is a literary agent based in Los Angeles. A former teacher with a goal of motivating young people to love books, she’s now an agent who works to create long-lasting relationships with her clients, editors, and publishers, to amplify diverse voices, and to inspire and sustain life-long readers. Heading the kidlit side of her agency, Lucy represents picture books, middle grade, and young adult fiction. Read on to get acquainted.

Judy Faulkner: Hi, Lucy! What’s your background?

Lucy Hamilburg: Agenting has been in my family for years and years. My dad was a literary agent who worked in an office out of the house, and I helped him as I grew up—especially when he transitioned from a typewriter to email! After college, I taught English in middle school for about ten years. My biggest goal and biggest passion in the classroom was finding ways to connect students—especially reluctant readers, but all students—to books that worked for them.

I’d always wanted to continue the family legacy of The Hamilburg Agency, though, and about a year ago, I decided to take on the work full time. Beyond the legacy aspect of it, I think agenting just suits my personality. I love collaborating and working with people, especially with writers. I love the editorial process, and also connecting people to the right editors and being a bridge and advocate.

JF: What do you look for in a project?

LH: I definitely am not genre specific. I love all genres. But I really gravitate to realistic contemporary fiction. I always look for relationships, not necessarily romantic. I’m very much drawn to friendships. I think that’s because I grew up with such strong female friendships, so I love when that’s portrayed in an authentic way in story. Voice is big. I look for a voice that’s relatable not only to me as an adult reader but also that I know kids would feel a connection to. And if someone can mix in a darker, sarcastic humor, and do that well, it really shines on the page. I always look for what’s at stake, and whether it’s different from anything else that’s on the market. Ultimately, I look for fresh and authentic perspectives, to have new voices heard, and to create spaces for all readers to connect to.

JF: What work have you seen in the past year that’s excited you?

LH: One thing that I have seen really pick up in the past year is an exploration of the horror genre: spooky settings mixed with romance and contemporary comedy, told from multiple perspectives. There’s so much to play with there. Seeing it as an educator, middle-schoolers were always wanting more of that. They were obsessed, and always so mad at me when I didn’t have enough in my classroom library! So, on their behalf, I’m excited about the uptick of this genre.

JF: Who is the most recent client you signed, and why did you sign them?

LH: Back in March, I signed a client who wrote an incredible YA paranormal/light fantasy book that I was immediately drawn to when I first read it. The humor, the darkness, the setting were all palpable. If you ever read Mexican Gothic, the style where the walls feel like they’re moving just with the description, it’s similar to that. We also had very similar views on how to work together. I’m pretty editorial. I love to dive in and be collaborative with my clients, and we shared that approach. I think that’s part of it—to connect with the people, not just the project, and know that you can work well together.  

JF: What special items would you encourage our retreat attendees (and all kidlit creators!) to pack in their literal or metaphoric suitcase?

LH: Because I’m old school pen-to-paper, I’d say have a blank notebook that allows for a clean slate coming into this. It can be very isolating being in your own world, in your own project space. Having a fresh perspective when entering the retreat community frees you to take in as much as you can—from the agents and editors, and also from the other amazing writers who will be there. There are going to be so many creative people whom it’s important to learn from! So, yes, a blank notebook, preferably lined. I love a classic college-ruled composition notebook. That’s the teacher in me.

This interview has been edited for brevity and clarity.

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Photo provided by Lucy Hamilburg