Stand out from the 'slush pile' by making your rhyming children's book the best it can be. Get to grips with watertight metre and consistent structure. Or break free from the limitations of rhyme and explore other ways to make your book a joy to read aloud.
More than 90% of the stories aspiring children’s book authors send me for picture book manuscript assessments are in rhyme. Trade publishers also receive a huge number of rhyming submissions. Most of the stories have extensive rhyme and metre errors.
Many self-published rhyming picture books are also rushed to market in this unpolished state. I recently saw a Facebook ad from a self-published author claiming to have a best-selling rhyming children's book and offering their services as an author coach. However, a quick look at the book showed extensive rhyme and metre errors.
If this ‘best-selling’ manuscript had been sent to a trade publisher - someone with actual knowledge of the commercial book market - it would’ve been immediately deleted. I go into more detail about why trade publishers aren’t interested in rhyming books later in this blog.
Sadly, poor quality rhyming books are becoming more and more common as people publish low-quality books to platforms like Amazon KDP. It goes to show that rhyme and metre are hard to master, even for people who appear to be savvy entrepreneurs. And especially for people who don’t take the time to hone their craft.
By contrast, picture book authors who understand the basics of rhyme and metre can spot errors more easily, and ultimately deliver better books to readers. Read on to learn more, or follow the jump-links to skip to sections of interest.
industry insights: Why many trade publishers don't consider rhyming picture books
Some trade publishers accept submissions of rhyming picture book texts. But many don’t. Here’s why:
Trade publishers are sent an overwhelming number of rhyming manuscripts, mainly from inexperienced authors.
Trade publishers usually don't have the time or resources for extensive editing. They’re looking for highly polished texts.
Rhyming books are harder to translate, which limits a significant income stream for publishers.
If not written cleverly, rhyming manuscripts can feel old-fashioned. Trade publishers are highly motivated by commercial appeal.
Common errors in rhyming children's books
The most common errors I see in rhyming stories that aspiring authors send me for picture book manuscript assessments are:
inconsistent metre
inconsistent rhyme scheme
forced, convenient, imperfect or repetitive rhyming words
poor story quality due to the focus on rhyme.
Reasons not to write children's books in rhyme
I strongly encourage aspiring authors to try rewriting their stories in non-rhyming styles as a discovery exercise. Or at least to make their next story a non-rhyming story. Here are some reasons why writing a non-rhyming picture book could set you up for greater success:
Non-rhyming picture books can feel more unique and contemporary, which may help you stand out from the 'slush pile' when you submit to trade publishers or self-publish.
Writing in a non-rhyming style frees you from following the strict rules of rhyme and metre, which may allow you to express your story more effectively.
Writers who explore other poetic devices like assonance and alliteration can develop a more expansive ‘toolbox’ of skills, and ultimately deliver more varied stories, which are still a joy to read aloud.
establishing a consistent rhyme scheme
Once you choose a rhyme scheme, this structure it should be applied consistently throughout your manuscript. This helps your story feel easy, satisfying and smooth to read.
Below are are three common examples of rhyming structure. You don’t have to stick to these, there are many more options.
Rhyming couplets
Lines are arranged in groups of two. Lines one and two rhyme. Lines three and four rhyme. Lines five and six rhyme, and so on.ABCB rhyme scheme
Lines are arranged in groups of four. The first and third lines of each stanza do not rhyme. The second and fourth lines rhyme. This scheme is used in I’m a Little Teapot and Jack and Jill.AABBA rhyme scheme
Lines are arranged in groups of five. The first, second and fifth line of each stanza rhymes. The third and fourth lines rhyme. This is the rhyme scheme used in limericks.
Occasionally a writer might temporarily break out of their rhyme scheme during a story. This should be highly intentional and serve a distinct purpose. In this case, it’s your job to clearly establish a rhyme scheme, break it intentionally and purposefully, and then return people to the recognisable rhythm.
establishing a consistent metre
Firstly, what is metre?
Metre is a consistent pattern of stressed and unstressed syllables used in rhyming stories. You might call it the 'beat'. Phrases must be crafted so that the stressed syllables fall where they do in natural speech, and not in insignificant or in-between words.
Unless you're writing in free verse - a no-rules style that is uncommon in picture books - a consistent metre is very important. Alongside a consistent rhyme scheme, a consistent metre also makes your story easy, smooth and satisfying to read.
You might choose a metre intentionally before you start to write, because it suits the ‘feel’ of your story. Or a phrase or two might just ‘pop’ into your head that inspire a new story. Then you have to identify the metre of these phrases and apply it consistently as you write the rest of the manuscript.
Whatever metre you choose, your job is to ensure that it remains consistent.
common types of metre used in picture books
There are many types of metre. But most aspiring authors who send me picture book manuscripts for feedback are using subtypes of triple or duple metre. Read on for example of these different styles.
Triple metre is a repeating three-beat pattern, including one stressed syllable and two unstressed syllables. The stress can fall on the first, second or third beat of each three-beat group, but this must be consistent throughout the story. The following extract from Clement Clarke Moore’s poem A Visit from St. Nicholas is an example of triple metre where one stressed syllable is followed by two unstressed syllables. There are four stressed syllables per line. I’ve bolded and underlined the stressed syllables.
‘Twas the / night be-fore / Christ-mas when / all through the / house
not a / crea-ture was / stirr-ing not / even a / mouse
Notice that the stresses fall as they do in natural speech (Christ-mas not Christ-mas) and not in the insignificant or in-between words.
Notice also the ‘extra’ syllables at the beginning of the lines. You can get away with one or two of these, so long as they are insignificant words. The first stress of each line must fall where it would in natural speech to maintain the beat of the entire line. So don’t give your reader any red herrings.
For example, adding one extra rogue word might make your reader slip up:
I / love nights be / fore Christ-mas / when all through / the house…
See how all the wrong words get stressed? Read it out loud in an exaggerated way. It sounds very odd.
Duple metre is repeating two-beat pattern where stressed and unstressed syllables alternate. The stress can fall on the first or second syllable. Below is an extract from a lullaby based on an early 19th century English poem by Jane Taylor… better known as Twinkle, Twinkle, Little Star. In this example of duple metre, the stress falls on the first syllable of each two-syllable pair.
Twin-kle / twin-kle / lit-tle / star
How I / won-der / what you / are
Did you notice that there is an unstressed syllable ‘missing’ at the end of both the lines? This is a spot to take a pause. It often ‘feels’ stronger to end each line on a stressed syllable, and your reader should be able to follow this.
The above example of duple metre also shows how the stresses must fall the way they do in natural speech, with no extra words thrown in to derail the metre. Here’s what might happen if something went wrong:
Twin-kle / twin-kle / bright lit / tle star…
Note how every syllable matters.
other types of metre
There are many variations of triple and duple metre, and many other types of metre besides.
Most people don’t have detailed knowledge of these subtypes and go by ‘feel’. Metre might feel simple, hectic or sing-songy. Choosing a metre is completely up to you as a creator.
The most important thing is that you implement your chosen metre consistently throughout your story.
If you’re struggling to identify your metre, or needing support with a more complicated metre, please feel free to reach out to me for editorial support.
But for now, let’s recap.
golden rules of rhyme and metre in picture books
Choose a rhyme scheme and use it consistently. If you break out of your rhyme scheme temporarily it must be very intentional and serve a story purpose.
Use your metre (repeating pattern of stressed and unstressed syllables) consistently. Every syllable matters. Make it watertight.
Craft your phrasing so that stresses always fall where they do in natural speech (Christmas not Christmas). And on significant words, not in-between ones (go away not go away).
Highlight stressed and unstressed syllables on your manuscript to more easily identify errors. Be mathematical about it.
Read your story aloud, exaggerating the stressed syllables. Don’t rush over words to compensate for bits that don’t quite work.
Ask someone to read your story aloud to you. It’s best if they have never read the story before. See where they trip up.
Rewrite your story without rhyme. You can still use poetic devices like assonance and alliteration to make your story a joy to read aloud. Ask yourself: Does your story definitely need to be in rhyme? What purpose is it serving?
Seek out professional editorial support if you have any doubts about your metre.
