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Help Young Readers By Telling Your Personal Story of Difficulty & Triumph

Suppose you've just gone through a divorce and lost custody of your kids. Or a loved one has recently died of cancer. Or you struggled in school as a child because you have dyslexia.

Many writers transform tough periods in their lives into books for children, hoping to help young readers through similar painful experiences. Here are some tips to think about when creating and selling books based on real-life events:

Remember that you're writing a children's book, not a personal essay intended to relieve your soul from a painful memory. Kids want to read about how they feel. Many writers create a child character and tell the story through that character's eyes. Don't write in first person if the "I" is you, the adult author. Instead of explaining how bad you feel that your kids no longer live with you, show how a five-year-old character feels about only getting to see Daddy every other weekend.

Books for younger children (up to age eight) focusing on a personal crisis are generally most effective if the author uses a fictional vehicle for getting the information across. If you want to stick closer to nonfiction, write a book that focuses on the child at the core of the event, and is told in a narrative format with a beginning, middle and end. Older children can deal with more traditional self-help books, with each chapter concentrating on a specific aspect of the problem. However, mixing the advice with personal anecdotes from other children who have gone through the same thing will make the information more appealing and relevant to the readers.

Targeting appropriate children's book publishers with these manuscripts is important. Look in subject index of Children's Writer's & Illustrator's Market under "Self Help" and "Special Needs" for publishers. Peruse the children's nonfiction section of a large bookstore, and read reviews in Publisher's Weekly, School Library Journal and Horn Book (trade magazines found online and in most libraries) to see which publishers do similar types of books. Check out websites for editorial guidelines (if you can't find them, send a self-addressed, stamped envelope to the children's editorial department asking for guidelines before you write and submit your manuscript). Also, look at books written for parents to help their children cope with an illness, loss or divorce, and query the publisher asking if they'd like to publish a children's book on the same topic.

Though many mainstream publishers are interested in books that deal with special issues, some topics may not be broad enough for a large house to market the book successfully. In this case, many authors have elected to self-publish. If you get several personal rejection letters from editors who praise the book but say the audience isn't broad enough, you might consider publishing it yourself. But self-publishing should be approached cautiously; color illustrations are essential for picture books, making them very expensive to produce. And you must be prepared to devote at least a year of your life to selling and distributing your book. Most self-published books are sold primarily online or through direct mail. Can you purchase mailing lists of parents with children who could benefit from your book? Stories on adoption, specific childhood illnesses, or those that might fit in a pediatrician's waiting room or hospital gift shop are examples of books with a very targeted audience.

Laura Backes is the Publisher of Children's Book Insider, the Newsletter for Children's Book Writers. Want to learn how to become a successful children's book author? Come hang with the Fightin' Bookworms at http://cbiclubhouse.com Whether is writing picture books, chapter books, young adult novels, finding children's book publishers -- or anything else -- you'll find all the answers at the CBI Clubhouse!

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Want to Write a Children's Book? Here's How You'll Get Paid

You're working on your craft, mastering how to create a strong novel or intriguing non-fiction book. Great. But as much as you enjoy the writing itself, you'd really like to get earn some money from it. So what can you expect once you land that first book contract or magazine article?

* How Writers Get Paid

Writers are paid in one of two ways: in a percentage of the price of each book sold (called a royalty), or with a onetime lump sum (flat fee). Here's how each one works:

The royalty is specified in your contract and varies by publisher, but a typical royalty rate is 10% for hardcover sales and 6%-8% for paperback. Traditionally, publishers paid the royalty on the actual retail price, but more publishers are moving to paying royalties on the net price, or the amount they actually receive from bookstores (stores buy books from publishers at a 30%-50% discount). Though getting paid on retail versus net price usually isn't negotiable, you can sometimes get a slightly higher royalty if you ask.

Most publishers pay the author an advance against future royalties. The author receives half the advance on signing of the contract, and half when the final manuscript is delivered. If you're earning a 10% royalty on the retail price of a $10 book, and your advance is $3000, then once your book is published it needs to sell 3000 copies before you'll start receiving additional royalty checks. If the book never "earns back" the advance (selling less than 3000 copies), it's the publisher's loss. Of course, the publisher is hoping that your book will earn much more.

The size of the advance is typically determined by estimating how much royalty the author would get on the book's first printing. For a first-time author, the advance may be lower (because the author doesn't have a track record and so the publisher isn't be guaranteed a certain number of sales). Authors with an established following often command a larger advance because they have a built-in audience.

First-time authors always want to know the numbers: Exactly how much of an advance can they expect for a picture book or a middle grade novel? Unfortunately, there's no easy answer. A small publisher may not have the resources to shell out more than a few hundred dollars up front, but might be willing to give a higher royalty. A first-time author is more of a risk for any publisher, and so the advance paid will be lower than for a second or third book. But remember that the advance is really just a payment on future royalties; if your book sells well, you'll get the money in the long run.

You also need to understand that for a picture book, the advance and royalty are split between the author and illustrator. So if you write the text but don't create the pictures, you'll get one-half the royalty (5%) and one-half the advance. For books that feature only a few black-and-white illustrations, the author gets most if not all of the royalty, and the illustrator is paid separately.

A flat fee means you'll receive one lump sum for your book, and you won't earn any royalties. If you're one of several authors writing a book for an established series, if you're creating material for a book packager who does mass market series titles produced under one pseudonym, or if you're hired to write a television tie-in novel or work with licensed characters, you'll probably be paid in a flat fee. The copyright may be in your name or may be in the publisher's. While it's always nice to get royalties, flat fees may provide you with more money in one lump sum, and many authors take these kinds of jobs when they're establishing a name for themselves. Magazines always pay in flat fees.

* If My Books Sells for $16, Why Do I Only Get $1.60?

Believe it or not, the children's book publisher doesn't make $14.40 profit on a $16 book. A small portion of the publisher's overhead is paid by each book sold. A large group of people will work on your book: the editor, copyeditor, proof-reader, managing editor, art director, production manager, marketing department, sales staff and subsidiary rights (not to mention all their assistants), and everyone gets a salary. Your book needs to be printed (probably overseas, especially if it's a picture book) and shipped to stores. Publicity efforts may include sending out review copies (which come out of the publisher's pocket), printing up posters or bookmarks, taking out ads in review journals, creating and online presence and sending the sales staff to book conventions. Your book has to justify all these expenses, and still offer something left over for the publisher.

Laura Backes is the Publisher of Children's Book Insider, the Newsletter for Children's Book Writers. Want to learn how to write children's books? Come hang with the Fightin' Bookworms at http://cbiclubhouse.com Whether is writing picture books, chapter books, young adult novels, finding children's book publishers -- or anything else -- you'll find all the answers at the CBI Clubhouse!

How Children's Book Publishers Pay Writers

You're working on your craft, mastering how to write a strong novel or intriguing non-fiction book. Great. But as much as you enjoy the writing itself, you'd really like to get earn some money from it. So what can you expect once you land that first book contract or magazine article?

* How Writers Get Paid

Writers are paid in one of two ways: in a percentage of the price of each book sold (known as a royalty), or with a onetime lump sum (flat fee). Here's how each one works:

The royalty is specified in your contract and varies from publisher to publisher, but a common royalty rate is 10% for hardcover sales and 6%-8% for paperback. Traditionally, publishers paid the royalty on the actual retail price, but more publishers are moving to paying royalties on the net price, or the amount they actually receive from bookstores (stores buy books from publishers at a 30%-50% discount). Though getting paid on retail versus net price usually isn't negotiable, you may sometimes get a slightly higher royalty if you ask.

Most publishers pay the author an advance against future royalties. The author receives half the advance on signing of the contract, and half when the final manuscript is delivered. If you're getting a 10% royalty on the retail price of a $10 book, and your advance is $3000, then once your book is published you need it to sell 3000 copies before you'll start receiving additional royalty checks. If the book never "earns back" the advance (selling less than 3000 copies), it's the publisher's loss. Of course, the publisher is hoping that your book will earn much more.

The amount of the advance is generally determined by estimating how much royalty the author would get on the book's first printing. For a first-time author, the advance may be lower (because the author doesn't have a track record and so the publisher isn't be guaranteed a certain number of sales). Authors with an established following may command a larger advance because they have a built-in audience.

First-time authors always want to know the numbers: Just how much of an advance can be expected for a picture book or a middle grade novel? Alas, there's no easy answer. A small publisher may not have the resources to lay out more than a few hundred dollars up front, but might be willing to give a higher royalty. A first-time author is more of a risk for any publisher, and so the advance paid will be lower than for a second or third book. But remember that the advance is simply a payment on future royalties; if your book sells well, you'll get the money in the long run.

You also need to understand that for a picture book, the advance and royalty are split between the author and illustrator. So if you write the text but don't supply the pictures, you'll get one-half the royalty (5%) and one-half the advance. For books that feature only a few black-and-white illustrations, the author gets most if not all of the royalty, and the illustrator is paid separately.

A flat fee means you'll be paid one lump sum for your book, and you won't earn any royalties. If you're one of several authors writing a book for an established series, if you're creating content for a book packager who does mass market series titles produced under one pseudonym, or if you're hired to write a television tie-in novel or work with licensed characters, you'll probably be paid in a flat fee. The copyright may be in your name or that of the publisher's. While it's always nice to get royalties, flat fees may offer more money in one lump sum, and many authors take these kinds of jobs when they're establishing a name for themselves. Magazines invariably pay in flat fees.

* If My Books Sells for $16, Why Do I Only Get $1.60?

Believe it or not, the children's book publisher doesn't make $14.40 profit on a $16 book. A small portion of the publisher's overhead is paid by each book sold. A lot of people will work on your book: the editor, copyeditor, proof-reader, managing editor, art director, production manager, marketing department, sales staff and subsidiary rights (not to mention all their assistants), and everyone gets a salary. Your book needs to be printed (probably overseas, especially if it's a picture book) and shipped to stores. Publicity efforts may include sending out review copies (which come out of the publisher's pocket), printing up posters or bookmarks, buying ads in review journals, creating and online presence and sending the sales staff to book conventions. Your book has to justify all these expenses, and still have something left over for the publisher.

Laura Backes publishes Children's Book Insider, the Newsletter for Children's Book Writers. Want to learn how to write children's books? Come join the Fightin' Bookworms at http://cbiclubhouse.com Whether is writing picture books, chapter books, young adult novels, finding children's book publishers -- or anything else -- you'll find all the answers at the CBI Clubhouse!

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Write It...or Rethink It?

You've got a children's book idea and you're eager to write that manuscript.. But is your idea good enough to invest your time & effort? Here's how to tell!

Interested in learning how to write a book and send it to children's book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

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Children's Book Authors: Eliminate Lazy Writing

The market for getting a children's book published is very competitive. In order to make your manuscript rise above the rest, you not only need an enticing story and vivid characters, but your prose must be solid and fresh. Write exactly what you mean, but write it differently from everyone else. Sound impossible? It's not, if you know what to look for.

The following are words which, if used in excess, will cause your work to feel flat. While these words can't be eliminated entirely, often they can be replaced with more creative choices. In children's book writing, every word counts, so let's see how we can make the most of each one we use.

* Quantifiers

Really, very, all, big, little, many, some and "a lot" are overused and rarely add much to a sentence. The trick with descriptions is to find the exact word or phrase that will paint a picture in your reader's mind. "Uncle Bill was very tall" does not give the reader any valuable information. But if you provide a point of reference, the reader can visualize Uncle Bill's height: "Uncle Bill was so tall that when Jessie stood on a chair she could barely see his whiskers." This not only tells the reader exactly how tall Uncle Bill was, but it also brings into play another physical element--his whiskers-- which makes him more interesting.

Sometimes removing the quantifier will make the sentence more powerful. "Sara stood at the bus stop. She was very chilly." The word very is not necessary and delays the reader from getting to the essence of the sentence, which is that Sara is cold.

*Telling Instead of Showing

"Like", "as if" and "seemed" can make writing sound passive instead of active. "Tom picked up the puppy, who seemed as if she was afraid." This is lazy writing, because the author relies on the reader to fill in what "afraid" means. "The puppy was curled up in a corner of the sofa. When Tom picked her up, she let out a soft whimper. He could feel her shaking as he held her close to his chest." By giving concrete details, the author shows the reader exactly how this puppy acts when she is afraid.

One word many authors rely too heavily upon is "felt". How a character feels should be evident from the surrounding text and dialogue. If the author has to tell the reader that Max feels happy, then the rest of the text is not working as hard as it should be. Show how Max is happy (perhaps he's turning cartwheels on his way home from school), and let the reader draw his own conclusions.

Laura Backes is the Publisher of Children's Book Insider, the Newsletter for Children's Book Writers. Want to learn how to become a successful children's book author? Come hang with the Fightin' Bookworms at http://cbiclubhouse.com. Whether is writing picture books, chapter books, young adult novels, finding children's book publishers -- or anything else -- you'll find all the answers at the CBI Clubhouse!

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Excellent Tool for Locating Great Books

Reference librarian Lisa R. Bartle has created a resource of immeasurable usefulness to children’s book writers—and anyone else who cares about literature for kids.

The Database of Award-Winning Children’s Literature offers over 4,000 records from 50 major children’s book awards across five English-speaking
countries. Looking for a young adult novel set in the 17th century that’s won an award? A pre-school book with a female, African-American protagonist that’s
been honored? No problem—the database makes such searches easy.

Here’s how this site can help writers: If you’re planning to write a story, visit the database and find honored books that have similar settings, age-group
targets, characters, etc. Then, go to your library or bookstore and examine these
award-wining books closely. You’ll get instant insight into not only what
makes a book well-received, but what makes your particulartype of book a winner.

Go to http://www.dawcl.com and check it out.

And for more information about children's book writing -- including our exclusive writing course, the CBI Challenge -- visit the CBI Clubhouse at http://cbiclubhouse.com.

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4 Traits Successful Children's Book Writers Have in Common

My son's been taking karate for close to 5 years, and every time he tests for the next rank (he's up to brown now), fewer kids who started with him as white belts test alongside him. It's not that Matt's necessarily a better athlete than they are, but karate is more important to him. He likes learning the forms, and he enjoys surviving a two hour, physically grueling test knowing that most of his friends would have been flattened in the first 20 minutes. When aspiring writers start identifying themselves as authors, just as Matt sees himself as a martial artist, they've taken that first big step toward success.

But there's a difference between wanting to see your name on a book, and wanting a career as a children's book author. Anyone with a few dollars can publish their own story, and many books are perfectly suited to be self-published titles given to family and friends. The career mentality, however, is deeper. Check out some common characteristics right now and see how you measure up:

Humility: When I get messages from people saying, "I'm going to be the next Dr. Seuss," I cringe. Confidence is fine, but don't compare yourself to someone like Dr. Seuss when you're a beginner. In fact, don't compare yourself to anyone. Work on finding your own style and voice. And know that you don't have to become a literary institution to be successful. Learning to write well is a lifelong process, and the writers who get published understand that each ry they write, whether it sells or not, teaches them something. They're unafraid to be critiqued or edited. They've put their heart into a book or article, and then removed their ego. They understand that if their critique group or editor says a plot is too predictable, it's far better to chuck the storyline and start over than to fight to preserve a mediocre manuscript. And they're thankful for the input that saved them from scores of rejection letters.

Will Work for Resumé: Successful writers are aware that their query letters are more impressive if they can list some publishing credits. They're willing to write for little or no money at first, because the experience of meeting a deadline and working with an editor is priceless. They may decide to sell one story to a magazine that buys all rights so their next story can be sold to a larger publication that purchases first rights only. They'll submit to local magazines, regional publishers and small presses as they perfect their manuscripts intended for larger, national children's book publishers. Well-published authors don't overlook any market that might be appropriate for a particular work. And when you're just starting out, seeing your byline in a local parenting magazine is just as satisfying as appearing in Highlights for Children.

'Tensity: Matt's karate teacher works hard to increase Matt's practice intensity, and Matt's dubbed this mindset "'tensity." The prolific writers I know think the same way. Though most have families and jobs, they live, eat and breathe writing. Any spare moment is devoted to working on a manuscript. Free weekends are spent attending conferences and workshops. When they're not writing, they're reading children's books. As soon as they get one manuscript in the mail, they start the next one. In fact, super successful authors work on several manuscripts at the same time. If they're not in the mood to revise a scene from their novel, they'll write a query for an article idea or do research for a picture book biography.

You don't have to maintain this level of activity to become published. Most writers don't. But if you want to make a living as a children's book author, if you want your web site to list 50 or more books in print, then it's the way to go.

Plays the Field: Well-published authors don't stop at one genre. They'll write picture books, novels, short stories for magazines, poetry, nonfiction, and material for adult markets such as parenting magazines or writing newsletters. After one book comes out they aren't waiting for their editor to ask for another manuscript; they create what inspires them and if it's not right for their current editor, they market it someplace else.In fact, it's more difficult to get widely-published if you only write one type of book. A publisher carries a limited number of titles per season, and the editor of your middle grade novel might not appreciate your having another novel for the same age group come out with a different publisher simultaneously. But a magazine article or nonfiction picture book won't compete with a book for older kids, and still gets your name in front of reviewers and book buyers.

Successful authors don't dabble in writing on a whim, they embrace it and do whatever is needed to get published because it's what they want more than anything else. So get in there, work with 'tensity, and send us a quote for our web site when you hit the jackpot.

Laura Backes is the Publisher of Children's Book Insider, the Newsletter for Children's Book Writers. Want to learn how to become a successful children's book author? Come hang with the Fightin' Bookworms at http://cbiclubhouse.com. Whether is writing picture books, chapter books, young adult novels, finding children's book publishers -- or anything else -- you'll find all the answers at the CBI Clubhouse!

Writing Tips - Learn From Great Children's Book Writers & Illustrators

I've got a great job. I get to spend entire days in the children's section of the book store and call it research. I also get to celebrate birthdays of people I've never met. We recently marked Maurice Sendak's 80th birthday, and the 45h birthday of his most famous character, Max from Where the Wild Things Are. So I took the opportunity to reacquaint myself with some of Sendak's impressive body of work, and to meet Brundibar, his recent picture book, written by Tony Kushner and based on a Czech opera of the same name.

Whether he's illustrating his own words or someone else's, Sendak can never be accused of taking the easy route to publication. His books are complicated, deeply emotional stories, with subtexts that often illuminate the darker side of human nature. In an interview appearing in the November/December 2003 issue of The Horn Book Magazine, Sendak says "...we can get away with things in children's books that nobody in the adult world ever can because the assumption is that the audience is too innocent to pick it up. And in truth they're the only audience that does pick it up."

It's comments like this that demonstrate Sendak's deep respect for his audience, as well as the picture book as an art form. In the same interview, Sendak talks about how he chooses subjects he feels passionately about, or those that resonate with him on a basic emotional level. These are not cute bedtime stories, but books that reveal his soul. Some cut too close to the bone--when he was working on Outside Over There he had a breakdown and was forced to stwp away from the project for six months. And though he is revered as one of the most influential artists in the history of children's picture books, Sendak doesn't think of himself as a genius. "I have no brilliant conceptual gift for drawing or any really exceptional gift for writing," he told The Horn Book. "My talent is knowing how to make a picture book. Knowing how to pace it, knowing how to time it. The drawing and the writing are good, but if my whole career counted on that I wouldn't have made it very far."

It inspired me to round up some of my other favorite author/illustrators. I'm no artist, and so I respond to picture books not from a technical aspect but with my gut. Here are three author/illustrators whose work, to me, embodies the pure emotion and wide-eyed wonder of childhood.

* Peggy Rathmann: Rathmann's illustrations consistently say more than her texts. Filled with tiny, delightful details and secondary characters acting out stories all their own, her books captivate even nonreaders. Her latest picture book, The Day the Babies Crawled Away, is amazing. The story is told by a mother recalling the day her young son saved all the babies when they crawled away during a town fair (the parents were busy at the pie-eating contest). The illustrations feature black silhouettes against a technicolor sky. Though we can't see the characters' faces we're always aware who's who: the boy hero wears a fireman's helmet, the babies are distinguished by bows, bonnets and topknots. A butterfly starts the baby parade away from the fair and is soon joined by a caterpillar, a frog, a bat and a bird. The same butterfly lands on Mom's hair at the end of the day as the tired hero falls asleep in her arms. Rathmann makes clever use of each page in the book, starting the story on the endpapers and building through the title page and dedication. Take a close look at the last picture to see how one baby relives her adventure.

* Ezra Jack Keats: Keats' classic, deceptively simple picture books resonate with the everyday experiences that define childhood. In analyzing The Snowy Day, my lack of artistic experience became apparent. At first glance, I thought the illustrations were bold shapes cut from different types of paper glued on top of each other. But closer inspection shows edges of colors bleeding together and lines that aren't quite filled in, as if they were painted with watercolors and a large brush. Faces were drawn with pencil or charcoal; snowflakes appear stenciled over tissue paper. In any case, the effect is childlike, wet and a little messy, just like playing outside after a big snowstorm. My son especially likes the spread of Peter in his red snowsuit making tracks through unmarred snow, first with his toes pointing out, then with his toes pointing in. After studying the book, Matt said, "I can make pictures like that." We bought different types of paper and Matthew proceeded to create artwork modeled after Keats. In my opinion, any book so accessible that a child can make it his own is a winner.

* Chris Van Allsburg: Van Allsburg's books have a magical, otherworldly element that often takes my breath away. He is a supremely skilled artist, incorporating design, balance, color and texture in a way that gives the sense of stepping right into the picture. In one spread from The Polar Express, the reader is positioned above Santa's sleigh as he flies over crowds of elves crowded into the North Pole's city center. I almost get dizzy every time I see it. The Polar Express is a very personal story about a boy going for a ride on a magic train that takes him, along with scores of other kids, to the North Pole to meet Santa. Van Allsburg's somber palette, the straightforward nature of the text, the depiction of the North Pole as a city of tall buildings past a desert of ice, and the poignant first-person narration all help the story to feel true. Put aside those cutesy Santa stories--here's the real thing.

I urge you to spend a day in the book store or library finding those books that make music for you. By studying their rhythms, you'll learn how to make your own stories sing.

The next step? Come hang with me and the Fightin' Bookworms at http://cbiclubhouse.com. Whether it's writing picture books, chapter books, young adult novels, finding children's book publishers -- or anything else -- you'll find all the answers at the CBI Clubhouse!

Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about how to http://cbiclubhouse.com.

Our son Matt won a photo contest in our local paper. Check out his winning shot at http://is.gd/2fM3r Jon, http://cbiclubhouse.com

Here's a link for Ripple - could be very cool: http://www.ripplereader.com Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Authors: this looks interesting: http://is.gd/2fwyi Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Bookstore sales up in June: http://is.gd/2fvAs Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Neil Gaiman wins Hugo Award for best sci-fi novel http://is.gd/2c8US Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Hooray - The 2010 Children's Writers Market is out! All kids' writers need this: http://ow.ly/jK93 Jon, http://cbiclubhouse.com

Jen Robinson's Children's Literacy Round-Up: http://is.gd/2c8G5 Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Notable Children's Books in 2009 http://is.gd/2c93V Jon, http://cbiclubhouse.com, The Essential Children's Writing Resource

interesting stats re # of african-amer kidslit authors: http://is.gd/2c8wh Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Big list 'o Newbery winners: http://is.gd/2c98M Jon, http://cbiclubhouse.com, Come Join the Fightin' Bookworms!

Latest PW Kids book reviews: http://is.gd/2c7Im Jon, http://cbiclubhouse.com, Home of the Fightin' Bookworms!

Profile: Just for Kids Press http://is.gd/2c6gj Jon, http://cbiclubhouse.com, Where Children's Writers Meet

Writing Children's Books - The 3 Commandments of Writing a Picture Book

Many beginners believe writing picture books are a breeze, but it requires a lot of skill to pack a story into a few words. If writing a picture book is your dream, here are some tips to consider before you begin:


1. Keep it simple. You should be able to sum up the plot of your picture book in three sentences. Not every detail, of course, but the broad strokes. Use one sentence for the beginning (naming your main character and the problem or conflict he'll face in the story), one for the middle (describing the gist of the efforts your character makes to solve his problem), and one for the end (how he finally resolves the conflict and reaches his goal). If three sentences doesn't capture the essence of your plot, then it's probably too complex for a picture book.


Note: You're concentrating here on plot (the action of the story), rather than theme (the underlying message). Don't get into describing theme when you're summarizing your plot. The theme shouldn't even be an issue at this point. You want to construct the story so the character's actions, and how he changes because of those actions, implies a lesson to your readers.


2. Think in pictures. The term "picture books" says it all: the illustrations are just as important as the words. The average picture book is 32 pages long, with about four pages of front matter (title page, copyright page, etc.) So you have 28 pages of text and illustration. If you aim for 1000 words to tell your story (the average length of picture book text), that gives you about 36 words per page (some pages will have more words, some less, depending on the pacing of your story).


While you don't want to obsess over precise word counts when you're writing early drafts of your manuscript, do keep in mind that every page of your book needs to inspire a different illustration. So count out 36 words from your manuscript and note how big a block of text that is on the page. That's about how many words you can devote to each illustration. After that, your characters have to do something - move around, change locations - so the illustrator will have a new picture to draw.


One way to think in pictures is to convey the character's problem, and her efforts to solve that problem, in concrete, visual terms. If your character is having trouble memorizing facts for school, that all takes place inside her head. But if she's embarrassed because she can't swim, then her attempts to learn are easily illustrated. Note: Some illustrations will span two facing pages, called a two-page spread. In this case, you'll have about 70 words for that one illustration. But picture books are a mix of single page illustrations and two-page spreads, so keep the action moving at a good pace.


3. Keep a childlike outlook. Picture book characters can be children, adults, animals or fantasy characters. But all main characters must embody the sensibilities of a child between the ages of 4-8. This mean the problem your characters faces needs to be relevant and important to your target audience. The way your character tackles that problem must fit with the way a child would tackle it. Don't create an adult main character just so you can impose some adult wisdom on your readers. Grown-up characters using the emotional, illogical and sometimes messy coping strategies of children can be a very effective, and funny, storytelling technique. Above all, the character must be the one to solve the problem, using methods that are accessible to children. If readers see themselves in your main character, then they'll understand the underlying message of your story.


Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about how to write children's books (and send them to children's book publishers), including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://cbiclubhouse.com

Children's Book Publishers & Young Readers - How to Wow Them With Your Story

Let's face it: some kids just don't like to read. Increasingly, parents, teachers, librarians, and editors are looking for books that will appeal to reluctant readers. When I was researching a book about selecting material for reluctant readers , I read hundreds of children's books, old and new, that I thought would fit the bill. I discovered that there are eight qualities possessed by great books for reluctant readers, and to my surprise some of my childhood favorites didn't pass the test. If you can work at least three of the elements listed below into your book, it will have a good chance of being loved by all kids, even those to whom reading is a chore.

Humor. Making kids laugh is essential to building a pleasant association with reading. But you need to understand what tickles kids' funny bones at different ages. The humor in picture books is broad and very visual. Easy readers (and some picture books for ages 6 and up) begin to introduce verbal humor: wordplay, puns, double meanings. As kids move into the chapter book arena they can handle jokes that need a setup and a payoff that's played out over several scenes. Dialogue, how characters react to each other, or the situation in which a character finds himself may be innately humorous.

Well-Defined Characters. Many kids want to identify strongly with the characters in their books; for reluctant readers, this is essential. It doesn't matter what the character looks like on the outside (be it space alien, a clown or a talking frog), on the inside this character needs to embody the perspective of the reader. This means the character is dealing with issues the reader might face, or seeing the world in a childlike way. Book characters must have multidimensional personalities with strengths and weaknesses in order for the reader to care about them and want to stick with them for the entire story. In nonfiction such as biographies, authors who find an element of their subject's life that is relevant to the target audience have a better chance of reaching reluctant readers.

Fast-Paced Plot. Kids who love to read don't mind a story that takes a few chapters to unfold, but reluctant readers don't have that much patience. The action needs to start in the first paragraph, and by the end of the first chapter the reader should know quite a bit about the main character and have a good idea about the conflict or problem that character will face. Subplots are fine for chapter books and up, but too many will get in the way of the forward movement of story. Keep the pages turning.

Concise chapters. Ideally, each chapter should contain one clear event (or one specific point in nonfiction), and have an arc of its own (a beginning, middle and end). This makes reading even one chapter a satisfying experience. Chapters that end on a high note in the action will make the reader want to see what happens next. Episodic novels (where each chapter stands alone as a short story) are also good bets for reluctant readers. Richard Peck's A Long Way from Chicago and Louis Sachar's Sideways Stories from Wayside School are two middle grade examples.

Kid Relevance. This applies to the themes and ideas that form the basis for plots or how an author approaches a nonfiction topic. These ideas should be relevant, meaningful, and applicable to the reader's life. Instead of conveying a lesson your adult perspective tells you the reader needs to know, try using the reader's frame of reference as a starting point. Write to your audience, not at them. And remember, books can be just for fun.

Suitable Text. Depending on the age and ability of the reader, the text needs to be challenging but not overwhelming. Strive to write your story as clearly as you can, using active sentences and concrete nouns and verbs. When writing for a broad age range of reluctant readers (8-12, for example), make the vocabulary accessible to the younger end, but the interest level appealing to kids on the older end of the spectrum.

Unique Presentation. Reluctant readers often choose nonfiction over fiction because it speaks to their personal interests. Finding a new or unusual slant to your topic helps keep that interest alive. Humor doesn't hurt either. It's Disgusting and We Ate It! True Food Facts from Around the World by James Solheim appeals to middle graders' love of the gross while sneaking in some history on the side.

Visual Appeal. Authors generally don't have much say in a book's design, but author/ illustrators might. Larger typeface, the generous use of white space, and illustrations that elaborate upon the text all help break up the string of words and make the book less intimidating to read.

Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about how to write children's books (and send them to children's book publishers), including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://cbiclubhouse.com

Write for Success: 7 Tips For Children’s Book Writers http://is.gd/2aY0a

attn Fightin' Bookworms: just posted - podcast interview w/Maggie Stiefvater, author of "Shiver"! http://cbiclubhouse.com

attn Fightin' Bookworms: the August issue of Children's Book Insider is now online @ http://cbiclubhouse.com