A couple of years ago, I attended a two-hour writing workshop through SCBWI: Hook, Line, and Sinker: What Catches the Editor’s Eye with Scholastic editor Natalia Remis.
It was not only full ofexcellent information, but the editor also gave the first page of the attendees’ manuscripts a critique!
I try to keep up with the children’s book industry, but online, you get this and that opinion, and the other.
There’s quite a difference in hearing it directly from someone in the trenches.
Okay, let's get to it.
THE BUSINESS END
The BIG publishing houses are in business to sell to the mass market.
When Scholastic contracts a manuscript, they’re thinking of the trade side: book fairs in the school system, book clubs, Target, and so on.
This intent means the manuscripts they sign must appeal to the needs of schools across the nation.
So, what do the publishers want?
They want stories that kids will want to read.
HOW DO PUBLISHERS FIND BOOKS?
1. Editors acquire books from authors they already have under contract.
It takes some of the unknown out of the profit/loss equation.
2. They acquire books from agents they trust. Remis strongly advised that authors be agented.
3. They do some leg work. They actually look at writing blogs.
If Remis likes a blog she will reach out to the blogger.
4. A smaller percentage is from unagented authors.
THE PB MARKET
Picture books are getting harder and harder to publish.
The audience is shrinking.
Usually by second grade, kids are reading chapter books. So, picture books must be written for a younger child.
Writing for younger children isn’t as easy as it sounds. A lot goes into it, including:
- An age-appropriate storyline
- One point-of-view
- Age-appropriate words
- Tight writing to keep it under 800 words
- Grabbing and engaging enough for a child to want to read it over and over and over
- It has to be written with the illustrations in mind
WHAT MAKES A BOOK APPEALING TO AN EDITOR?
The choice to take on a book is personalfor an editor. Remis said a colleague chose a manuscript based on ONE line in the story. Another chose a book because of an illustration in the manuscript.
She likes vintage stories, particularly stories about New York City.
So, how do you grab an editor?
1. Make you and your book visible.
a. Attend conferences and workshops.
Publishing is tough. The more people you know, the better.
Like with this workshop I attended. The editor allowed attendees to send in their manuscripts. This is a HUGE deal! Because of the workshop, she looked at the manuscripts.
b. Research agents and book publishers. Know which ones are a good match for your book.
Remis emphasized this with a story of a cookbook manuscript someone keeps sending her. Even after she told the author that she only handles children’s books, the author keeps sending it to her.
c. Look at recently published books in the library that are similar to your niche. Look at the imprint for the publisher. That house might be a good fit.
d. Write the infamous query letter.
The query letter is where you need to know what the publishing house publishes because you should mention why you think your book will be a good fit for that house or agent.
2. Write a strong story.
a. Keep the length of your manuscript in mind. Picture books aren’t long.
The typical PB is 32 pages, but four to six pages are needed for front and back matter. So, you have around 24-26 pages of actual story and illustrations to work with.
Remis did note that if you just can’t get the story within 26 pages, you can go for a 40-page PB. Those are the TWO options.
b. Write knowing that illustrations will help tell the story.
c. You need a plot with the elements of a good story; a beginning (opens), a middle (explores), and an ending (resolves).
You also need conflict. There must be an emotional journey for the protagonist and the reader.
hat needs to be solved? This is a must. And it must be known at the beginning of the story.
In almost all the manuscript critiques she gave, the conflict, the reason for the story was missing.
Remis suggests using a dummy storyboard or a similar method to see how the story can be laid out.
Another tip she gave is to pick a book from a bookstore, like Barnes and Noble, and type it out word for word.
This strategy is also a copywriting trick. It teaches the brain to write good text.
d. You need a satisfying ending without hitting the reader over the head.
3. Read your story out loud.
As you read it, watch for where you pause or stumble.
4. Read your story to children and watch their reactions.
- Where do you lose your audience?
- Where are they most engaged?
- How long did each page take?
- How did it flow?
Remis said she occasionally reads to groups of schoolchildren to see their reactions to stories she’s working on. She ends up revising the story as she’s reading to the kids. She’ll eliminate words, sentences, and even pages.
Your story must read well out loud.
SOCIAL MEDIA MATTERS
A social media platform can be a big deal. It’s important for young adult authors but also for picture book authors.
If a publisher knows you have a nice-sized following on Facebook, Instagram, or other popular social network, they’ll feel more comfortable that you can help sell your books.
OTHER TIPS
1. Remis recommended “Picture This” by Molly Bang. It shows how a PB works.
2. Don’t add a lot of Art Notes.
3. Don’t tell the editor or illustrator how to lay out the book.
4. Don’t talk down to kids.
5. Don’t tell your story – show it.
6. Don’t overdo the dialogue.
7. If you’re not a skilled illustrator, don’t submit a picture book with illustrations.
This was an eye-opening workshop.
ABOUT THE AUTHOR
Karen Cioffi is an award-winning children’s author, ghostwriter, rewriter, and children’s writing coach with clients worldwide. If you need help with your children’s story, please visit Karen Cioffi Writing for Children.
Karen also offers HOW TO WRITE A CHILDREN’S FICTION BOOK.
A 250+ book that will help you start or finish your children’s book
And for those children’s authors who are self-publishing and need help, Karen provides WRITERS ON THE MOVE SELF-PUBLISHING SERVICE.
