Interview with Cecile Goyette, Senior Editor
E-mail Interview by Lisa Lodholm

Cecile Goyette is a former car salesperson and real estate agent who stumbled into children's publishing about 10 years ago. She began with Hyperion Books for Children and Disney Press and then joined Dial Books for Young Readers, a hardcover trade imprint within Penguin USA. Cecile is a generalist, editing books from all genres for kids 2 to 15 years of age. She enjoys working with both new and more seasoned authors. Cecile lives in New York City with "myself and pets."

What made you change from car sales and real estate to children's book publishing 10 years ago?
Going into cars that have been sitting on the lot in summer is fearsomely sweaty and impossible to dress for. As an editor, I rarely surprise unprepared homeowners in their underwear.

How is the industry different than you anticipated? In what ways is it like what you expected?
My expectations were that I would work in children’s books for the shortest time possible and then move sideways to real books. One of the weird benefits of having been so ignorant is that virtually my entire experience in kid’s books has been a revelation, mostly of the delightful, joyous sort. Oh, and it is much harder than working in the Crude Oil trading pit of the New York Mercantile Exchange (and much silent-er).

How are the other houses you've worked for different than Dial Books?
Dial is where I found my footing and future as an editor. One of the elements that aided that was how proactive my bosses were and are in allowing me to forge a job into a career. There’s a receptiveness to good ideas and viewpoints that isn’t predicated on rank.

How has the industry changed since you started?
The level of technology utilized on a daily basis, the influence of the retail chains, and the blossoming of the teen literature market are some of the most obvious areas of dramatic change.

Do you see an advantage for writers and illustrators to live in New York?
Only in the sense that as I love the city deeply I think of it as a great inspirer. But otherwise, not really. Life throbs on everywhere and a plethora of voices and styles are essential to a great publishing program.

How are you able to effectively edit such a range of genres and age groups?
I don’t really know for sure, but I guess I’m able to latch onto the various psyches and emotional terrain of the different age groups in a certain specific way. I’m glad I don’t have to specialize; the variety is one of the best parts of the job.

What's something about you that would surprise people who have met you?
I’m not very mysterious so I can’t really think of anything.

Do you write? If so, what genre? If not, would you like to?
(sidestepping the question) I would love to be able to sing really well—but I can’t.

Are you accepting unsolicited manuscripts?
Yes, within the guidelines our imprint has set. I used to send brief comments back on everything I was sent but my reply time was beginning to traumatize me so I’ve had to suspend that for now.

What's the worst or most memorable "gimmick" you've experienced by an author trying to promote his or her story?
Umm, showing up at my office to read it to me in person?

Of the authors you've asked to re-work their manuscripts and send back to you, how many do you think you end up working with? Is it worthwhile?
Though there’ll never be an exact blueprint for this type of judgment, it takes quite a few years in editorial to develop an intuition for what you should put your time into with the hope of a rewarding return. We still want to fall in love, but not pin our hopes on every prospect whose glimmer is only barely discernible. There are great classes and writers’ groups for that. We’re here to publish. So, how many work out and is it worthwhile? My answer would be “a few” and “sometimes.”

Do you find that you have might react differently to the same manuscript, depending on the day and mood you're in?
Of course, it’s one of the pitfalls of being human. But I try and maintain an awareness of that and put stuff aside for another time those submissions that might be a victim of brain-fog or a pressure-y moment. But for the most part when I look at manuscripts I’m hopeful and eager to find something, so I’ve never cultivated any deep cynicism.

What would you like to change about the publishing process or your job?
I wish new writers and their books would have more time to “become.” It’s very difficult to be really strong right out of the gate and the stores and the industry can be so relentlessly frontlist-oriented that I worry about those talented authors and artists whose initial efforts just hit the midlist level or less. It can be a challenge for a publisher to stick with these authors and yet I think that having a sustained history with a house and an editor helps grow talent in a more effective way. Even very talented people need quite a few books under their belt to eventually get “there.”

How often do you turn down books you like? Why?
Occasionally. Sometimes it’s simply because it’s not the sort of project that’s within our publishing program (such as most non-fiction). Also, though I’ve had some good ones sent my way, I’m not very inclined to take on holiday stories (especially Halloween or Easter) because I feel they’re problematic to publish successfully (and financially) in hardcover. Further, we’re a very opinion-driven venture and sometimes we just don’t see eye-to-eye on the merits of a manuscript and I don’t get the go-ahead to make an offer. From time to time, I’ve gone into my office and fretted and whined about getting turned down and it can be frustrating. But after I get over my funk, I usually grow to understand the sense of the decisions made and my perspective returns. On a few occasions, I’ve been relieved!

What makes you say "wow" to a manuscript?
V.O.I.C.E. I think it’s the one essential and applies to both text and art. If you don’t have it, I can’t give it to you. When I’ve found it, I get a strange feeling in my stomach and the back of my neck.

Is there anything you'd like to add? (shoe size? favorite sandwich? cartoon character you most identify with?)
My shoe size grew and then shrank back by a half size, currently settling in at 7 1/2. I love bacon to an immoderate degree and think it enhances any sandwich, side dish, dessert, etc. I never wanted to be anyone on The Flintstones but I wanted to live in their neighborhood.