Aspiring authors often ask me for advice on how to write a picture book and how to get published. Many of these people are experiencing the same misunderstandings and challenges.
Here are some of the most common pitfalls aspiring picture book authors face, and how to overcome them. Number one is a doozy, but it’s probably the most important.
pitfall #1: your STORY isn’t the best it can be… yet
There’s something to love about every picture book manuscript. However, when aspiring picture book authors share a story with me, there are almost always opportunities for it to be improved. Sometimes a manuscript lacks polish or impact. Sometimes it isn’t suitable for the picture book genre. Sometimes it makes sense in the writer’s head, but not on the page.
Your first draft of your first picture book manuscript is unlikely to be ready to submit to trade publishers. And if you want to self-publish, the onus is even more on you to make sure it’s the bee’s knees. Successful writers take time to hone their craft and get feedback from critique groups and expert editors on each new story. Some established authors have agents who give them feedback too. What’s more, these authors might have hundreds of stories in a drawer, and only five stories in stores and libraries.
Trade publishers receive huge numbers of submissions, so your manuscript will have to be very high-quality to get noticed. Commercial appeal is important too. Even with all these factors ticked off, luck and persistence also play a role. Picture books are a very competitive market. So set yourself up for success by making your story the best it can be.
Lastly, just because your family (or other niche group) loves your story, it may not be suitable for trade publication. Bias, nostalgia and in-jokes can give people a rose-tinted view. You could choose to honour a beloved family story by self-publishing, even if you just make one or two lovingly handmade editions. Self-publishing would allow you to create the book exactly as you wish.
Solutions:
Read and write often.
Browse the latest picture books in libraries and stores. Consider how your story fits amid them.
Learn as much as possible through your choice of:
chatting to librarians, booksellers and kids in your network about popular titles
social media channels of your favourite book creators
courses (Australian Writer’s Centre, Writing NSW, my course and manuscript assessments, or offerings from other authors)
memberships (SCBWI (this is an international organisation with many local chapters), Children’s Book Council of Australia)
conferences and events with opportunities to get one-on-one feedback from publishers (CYA Conference, KidLitVic)
newsletters (Buzzwords, Pass It On)
support groups (Creative Kids Tales, Just Write for Kids)
Get feedback from a critique group (SCBWI offers online critique groups for members).
Seek out expert editorial advice.
pitfall #2: You arrange your own illustrations
If a trade publisher acquires your manuscript, they will choose an illustrator that suits your story and the retail market. The publisher will pay for the illustrator’s services. Sending illustrations with your submissions to trade publishers is likely to limit your success. The publisher might like the words and not the images, for example. They might also think you aren’t open to their input in the visual style of the book, which is usually a key part of a publisher’s role.
It’s a different story if you choose to self-publish. In these cases, you will choose, pay and collaborate directly with an illustrator.
Solutions:
Do not send illustrations to trade publishers unless you are an experienced author-illustrator.
Always follow the submission guidelines for each publisher to the letter.
If you choose to self-publish and need to seek out an illustrator directly, be prepared to pay them well for their talent and time. Unless they feel deeply connected to your story purpose, many established illustrators don’t take on projects of this kind. Emerging illustrators may be more open to collaboration.
pitfall #3: You get bamboozled by vanity publishers
Trade publishers do not ask you for any money to publish your book. If you come across a publisher that asks you to contribute money, they are a vanity or partnership publisher. They may have good intentions. Their emails might be flattering.
Vanity and partnership publishing may be a reasonable option if you want to self-publish and don’t want to go it alone. However, packages can be expensive and inclusions like editing and marketing may be of limited quality. And remember that illustration fees are rarely included.
Books produced by vanity and partnership publishers vary in quality because the publisher doesn’t have a commercial imperative, and the author’s limited experience or budget may shine through. And without the enduring distribution and marketing channels trade publishers have, it can be difficult to recoup your costs.
Solution:
Get to know trade publishing houses of all sizes. Follow them on social media. Hear their editors talk at writing events.
Be savvy when submitting your book to publishers. If you suspect you’ve stumbled across a vanity or partnership publisher and want to learn more, ask lots of questions so you know what you’re getting into.
Understand that the top ads that appear when you Google ‘publish my picture book’ are likely to be vanity publishers.
pitfall #4: You submit your stories too little, too widely, or at random
If you submit your story to one publisher and sit back hoping for the best, you’re likely to be disappointed. Publishers might take six months to review your manuscript before deciding it’s a ‘no’. They might never get back to you at all. They are very busy and often under-resourced. Don’t take it personally.
Likewise, submitting a story to 20 randomly chosen publishers at once, copying and pasting the same form letter, also isn’t the best use of time. Publishers each have unique lists, interests and priorities. One might only publish stories with environmental themes. Another might have published three stories about owls in the past year and your story is too similar. So be strategic in your submissions.
Solutions:
Choose the publishers that are most relevant to your particular picture book manuscript.
Tailor and personalise your pitches for each publisher. Demonstrate that you understand their lists, preferences and commercial needs.
Follow each publisher’s submission guidelines to the letter. You can find these on their websites.
Don’t hound editors online or in real life. Maintain a reputation of professionalism.
Submit to more than one publisher at once, unless a publisher’s guidelines asks you not to. If one of the publishers shows interest, it’s good practice to let the others know as soon as possible.
Keep a record of publishers you love and submissions you’ve made.
After you submit a story, keep writing other stories.
pitfall #5: Your story is hard to explain
Develop an engaging elevator pitch or logline. This is a single sentence that describes what happens in your story and makes it sound irresistible. If you can’t describe your story arc or purpose in this way, you might not really know what it’s about. Or it might be too complex.
Many stories new picture book writers send me are more of an account (‘this happened, then this happened, then this happened’) than a story. What’s your character’s arc? Why does your story matter? Remember, even epic films and Netflix shows get boiled down to a teaser.
Solutions:
Ask yourself what your story is really about. Not just what happens, but why.
Write an elevator pitch that blows people’s socks off. Let no word go to waste.
Practice talking about your story in a way that’s humble, but piques people’s interest.
pitfall #6: You expect to make lots of money
If you land a picture book contract with a trade publisher, you will be paid royalties, often with a small advance. For a picture book, it’s common for the author to get a 5% royalty of what the customer pays for the book. The illustrator would also get 5%. Additional funds may be earned for subsidiary rights, translations and so on.
Trade publishers distribute your book to stores and online retailers. The scope of this may vary from publisher to publisher and book to book. Self-publishing may allow you to earn 100% of a book’s sale price in some retail scenarios, but your sales are likely to be much lower than a trade published title.
In summary, this is a wonderful and rewarding industry, but not highly lucrative unless you are very prolific or highly successful.
Solution:
Keep your day job at least until you understand your cash-flow and its timeframe. Picture books can take years to hit the shelves.
Supplement your income with writing-adjacent work. Lots of authors run workshops and talks at schools and events, for example.
Have an expert review your contracts to ensure you receive fair payment. The Australian Society of Authors is one organisation that offers this service. If you live in a different country, contact your local writer’s centre.
pitfall #7: You give up
Children’s writing is very competitive and trying to get published might seem like a losing battle. Through perseverance, building connections and becoming ever-more savvy with your writing and submissions, I believe it’s possible to reach your goal. Over the years, I’ve seen a lot of dedicated writers finally land that elusive contract.
Most importantly, make sure you’re enjoying the journey along the way.
Solutions:
Polish your work until it shines.
Write lots of stories, not just one or two. Learn as you go.
Tailor your submissions to your targeted publisher.
Be present in the industry. Support your peers. It’s a friendly community.
Find rich opportunities to engage with publishers. For example, book a one-on-one manuscript review with an editor from your favourite publisher at a writer’s event. (This is how I got my first picture book contract with a trade publisher.)
Happy writing!
