How Janna Morishima and Misako Rocks! turned rejections from editors into an opportunity and an experiment
Publishing is a challenging industry. In order to be successful, you need to be able to take changing trends in stride, turn failures into opportunities, and be brave enough to try new approaches. Publishing strategist Janna Morishima and manga author Misako Rocks! have been able to do just that with Misako’s newest manga project, Bounce Back.
Both Morishima and Misako have had winding paths in publishing, pivoting when their own interests or the market dictated.
Morishima began as an assistant to Scholastic trade publishing’s Creative Director, David Saylor. After reading about graphic novel Blankets by Craig Thompson, she saw an opportunity for children’s books to be graphic novels. She and Saylor created a proposal for a new imprint and began Scholastic’s Graphix for children’s graphic novels. Next, she moved to Diamond Book Distributors, to cut her teeth on the business side of the industry as Director of the Kids Group during the financial crisis in 2008. But, after a few years, she missed working directly with creatives, and ended up walking away from publishing altogether to help her husband run his photography business. Several years ago, Morishima combined her experience in editorial, in corporate publishing, and in the world of freelance art to start Janna Co. Now, she works as a consultant, helping visual storytellers like Misako to build their careers and navigate the publishing industry.
When Misako moved from Japan to the United States, she got a job working at the Madison Children’s Museum. She became a manga artist once she saw how interested kids were in manga and anime. After sending around her portfolio to publishers, she published three middle grade graphic novels in 2007 and 2008. Unfortunately, the financial crash plus disappointing sales meant that she wasn’t able to get a new contract. So she changed her focus. She wrote books for a Japanese audience about learning English and finding an American boyfriend and started to teach manga to students, both in the classroom and in private lessons.
Now, she’s getting back to the world of middle grade manga with Bounce Back with Morishima’s help.
They sent out their first round of proposals, but frustratingly only received rejections or nothing at all. Instead of shelving Bounce Back, they took that failure and used it to re-strategize. The pair enlisted the help of beta readers and found themselves with a stronger story and a community of readers who are invested in the project – in part because they helped shape it!
What is the origin story between you and Misako?
I met Misako for the first time soon after I started working at Scholastic. One of my tasks, as assistant to the Creative Director, was to review artist portfolios. In those days, we had a certain day every month when artists could drop off their portfolios for review. This was in the time before Dropbox and online portfolios!
One day, a young Japanese artist who was living in Wisconsin called me to ask about our portfolio review procedures.
She dropped off her work and I wrote her a detailed editorial letter, explaining how she could improve it. Whenever I thought an artist had potential, I tried to give them some concrete tips on how to keep making progress with their work. The surprising thing is how few artists actually followed up and reached out to me a second time with revised work.
Misako was one of the exceptions. About a year after I met her for the first time, she reappeared on another portfolio day, with brand new sample art. I was impressed with her enthusiasm and persistence. I gave her the names of some other people in the industry she could talk to — and before long, she had a book contract with Henry Holt!
Misako eventually moved to NYC and we became friends. She would ask me for advice about her publishing career, and I always enjoyed helping her out.
When I started my consulting business a couple of years ago, it took me a few months before I asked her if she wanted to work with me formally. In my head, I was thinking, “What is she going to say? I’ve been giving her advice as a friend for so long — is she going to think it’s weird when I suggest that we start a business relationship?”
Once I did finally ask her, though, she didn’t bat an eyelash. “Let’s DO IT!” she said with her usual exuberance.
How did you arrive at your beta reader project for Bounce Back?
The first thing that Misako and I worked on together was a book proposal for Bounce Back. I helped her write a detailed synopsis and develop several pages of sample art. Then I submitted it to a handful of publishers.
Four editors got back to us with rejections. We didn’t hear from the rest of the people I had submitted it to.
In the past, those rejections might have stopped me in my tracks. But being older and wiser, I knew I should listen to my gut instinct. I still had a good feeling about the project. I decided that we should keep moving forward with the intention of self-publishing, maybe doing a Kickstarter campaign. So I said to Misako, “Write the first book in full. I’ll edit it, and we’ll see where it goes.”
Misako went right to work and churned out the first draft in record time. I edited the first draft and she revised it. Once we had a revised second draft, I wanted to get feedback from the target audience before deciding on our next step. I just had a strong intuition that showing the manuscript to outside readers would provide the compass we needed to determine the next step in our path.
That meant that we needed to find beta readers.
Who are your beta readers? How did you find that group and determine the right mix of students, librarians, and educators?
Luckily, both Misako and I had plenty of people we could ask in order to find beta readers.
First of all, Misako teaches manga art to kids all over New York City. She knows their teachers and parents. And I was working as a consultant with the NYC Department of Education School Library System, so I knew school librarians.
Both of us made a list of everyone we could think of who works with or might know kids between the ages of 10 and 13 who like manga and graphic novels. Then we emailed them to describe our project, and included the link to a Google Form where people could apply to be a beta reader. Misako also posted a call for beta readers on her Instagram page.
(We made a sample beta reader application form based on the form we used; you can find it at http://bit.ly/sample-beta-form. Feel free to make a copy of the Google Form and adapt it for any project!)
We didn’t have any “right number” of beta readers in mind. We honestly had no idea how people would respond. We were a bit shocked by the number of people who submitted applications! It ended up being more than 100 people – about half kids and half grown-ups (mainly teachers and librarians).
What have you learned from the beta readers?
When I mentioned to a few industry friends that we were sending the manuscript as a Google Doc to about 100 beta readers, some of them thought we were crazy. “You’re going to have 100 people leaving comments in the same manuscript?!” they said. “It’s going to be a mess!”
They might be right, I thought to myself, but we’ll never know until we try! I was also encouraged by Guy Kawasaki’s description of the beta reader process he used for writing APE: Author, Publisher, Entrepreneur. [Kawasaki used NetGalley when launching APE, and wrote about it as a publicity and marketing tool in the book itself.] He also let a very large number of people read his manuscript and writes in detail about what a significant contribution they made to the development of the book.
After sending the Google Doc link to our full list of beta readers, about 65 of them actually read the manuscript and left comments (more than 700 comments, to be exact!). We were thrilled with that follow-through rate.
The first thing we learned was that following your gut instinct and experimenting is a very good thing! We got so much useful feedback and Misako significantly revised the manuscript based on specific suggestions from beta readers. For instance, she amped up the budding romance between main character Lilico and her love interest Noah — apparently middle graders like a little romance almost as much as young adults!
One point which many people asked about was how we would differentiate between times when Lilico is speaking Japanese (with her parents and when she’s alone with her cat Nicco, for instance), and when she’s speaking English. After that, Misako did a lot of research to find specific fonts to use in the lettering of the graphic novels: one for English, and a different one for Japanese.
We were also surprised by how strongly people reacted to “mean girl” Emma. They thought she was terrible, but at the same time they seemed to be fascinated by her, and couldn’t get enough of her obnoxious behavior. This made us happy… because the sequel to volume 1 is all about Emma.
At its heart, though, the experience with beta readers underscored a basic principle of 21st century marketing: the more you let people behind the scenes and get them involved in the creative process, the more invested they are and the more they want to help you succeed. We were amazed by how carefully our beta readers read the manuscript and by the level of detail in their comments — and even by the back-and-forth discussions that they had with each other!
As one beta reader commented at the end, “Hope all of this feedback will turn this book from an amazing book to an AWESOME book!” The help they gave us was invaluable.
What other benefits have you gotten from your beta reader experiment?
Simply that it gave us confidence in the project! Before showing the manuscript to beta readers, I had a feeling that it would appeal to middle grade readers — but of course, I’m not 11 years old myself anymore, so I couldn’t be sure! Once we got the comments from the beta readers, we knew that they had become thoroughly emotionally involved in the story.
That was a huge relief.
How are you planning on keeping beta readers engaged throughout the publication process?
Misako is launching a brand new website for Bounce Back, and on that website people can sign up to get updates about the process of getting Bounce Back published and other behind-the-scenes details. Our beta readers are the first people to be on that mailing list!
We’ve tried some Instagram Live and Skype “Ask Us Anything” sessions to keep Misako’s fans in the loop. But we haven’t started doing that sort of thing on a regular basis yet — we want to!
What’s next for Bounce Back?
We’re in search of a publishing deal. I just submitted Bounce Back to a new round of editors and we’re waiting to hear back from them. If we can’t find a traditional publisher for the book, we will consider self-publishing. But our first choice would be a traditional publishing deal, because full-color middle grade graphic novels are very expensive to produce.
Misako is also going to be a special guest at several comics and book shows this fall. October 19-20 we attended Baltimore Comic-con, and on November 15-17 we’ll be at Anime NYC. January 25th, 2020, Misako will be at Teen Bookfest by the Bay in Corpus Christi, TX.
Those shows are another chance for us to speak directly with fans and learn what they’re most excited about.
You’ve said that you think that traditional publishing has a lot to learn from self-publishing, and vice versa. Can you give a few examples?
I think they are learning from each other now. The stigma attached to self-publishing is eroding a little bit because of some high profile successes.
I think the biggest thing that traditional publishers can learn from self-publishers is the importance of connecting directly with your audience rather than relying on intermediaries to sell the book. The publishing ecosystem is complex, so there are always going to be intermediaries — reviewers and booksellers and librarians, etc. — but now it’s possible to build strong relationships both with those influencers and your actual readers.
What I think self-publishers can learn from traditional publishing is the importance of having a well-rounded team contribute to the final book. All writers need editors. All books benefit from great design. All books, no matter how good they are, need strong marketing and sales plans in order to get found. If you’re going to publish on your own, it’s important that you find the right people to help you.
It seems like the story of you and Misako and the story of Bounce Back are stories where you were able to turn failures into opportunities. How do you think about the relationship between failure and the creative process?
Yes, I certainly felt a bit like a failure when I initially left publishing. I know Misako was very disappointed when her first graphic novels didn’t sell very well in the early 2000s.
But I think failure is critical to growth for any human being. The key is to be clear-eyed about the reasons for your failure, while at the same time forgiving. Any time you try something and it doesn’t work out the way you wanted or the way you expected, give yourself a high five. Because you tried it! That’s huge! By trying something and failing, you now have useful data. You can review what happened and find the things to improve or do differently next time.
Basically, failure is inextricably involved in the creative process. If you really want to get better and achieve something big, you’ve got to embrace the fact that there will be failure along the way.
Developing the right mindset to be able to use your failure rather than get paralyzed by it is critical. I read tons of self-help books, started practicing meditation, and have given a lot of dedicated thought to this subject! One of my favorite people who writes about failure is Seth Godin. He sums up everything you need to know about failure in 372 words.
Janna Morishima is a publishing strategist and literary agent specializing in graphic novels and visual storytelling for kids. She was one of the co-founders of Scholastic’s Graphix imprint and the director of Diamond Book Distributors’ Kids Group and has worn almost every hat in publishing, from art and editorial to marketing and sales. Find out more at http://jannaco.co.
*Interviews have been edited for clarity and length.
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