The truth is, writing well for young people is a challenge.  The best authors in the genre are masters of economy and action, which can take a lifetime of study and practice to achieve. But there are a few common traps that even the most fledgling author can learn to steer clear of.

Here, then, are the six mistakes I regularly see being made by aspiring children’s book authors:

1. Wrong protagonist – Children’s books should have heroes (whether human, or anthropomorphic animal/object) of the same age or emotional spirit as their intended audience. Kids have no interest in reading about grown-ups (except for in classic fairy tales), and publishers generally won’t acquire books that make this mistake.

2. Overwriting – Standard picture book length is 32 pages, including title, dedications and acknowledgements, and no more than 1000 words. Here are some ways to strengthen and economize your writing for this market:

• Don’t write what the illustrations will show.  Art and text should complement and inform one another, not mirror.
• Start your story immediately, and with action – don’t take up time with settings or descriptions.
• Avoid excessive use of adjectives. Use juicy verbs, and distill your storytelling into as few words as possible, artfully chosen. 
• Focus on showing through character action and dialogue rather than telling (or describing).

3. Verse issues – Young readers appreciate the music and fun of verse, but many aspiring authors neglect story structure for the sake of rhyme.  If you write in verse, take a critical extra step: craft a prose version as well.  Make sure you’ve addressed all the key issues: character, plot structure, pacing, theme etc., before converting back to verse. Verse should be the frosting on the cake, not the cake itself.   Also, take care that the verse is first-rate, with true rhymes and consistency of meter. Never try to bend the phrasing or emphasis to accommodate a rhyme.

4. Lack of conflict – I am astounded by how many writers don’t understand this basic aspect of plot structure. Your hero must have a conflict, a problem to solve. Without this there is no drama, no reason to turn the page and find out what happens next. A series of events strung together is not a story. It’s just more of the same.

5. Teaming up with an illustrator. Many aspiring children’s book authors assume it is their responsibility to find an illustrator, or think it will enhance their chances of publication to do so.  In fact, publishers pride themselves on identifying the right illustrators for projects – and will often reject submissions that come with an artist attached.  Unless you are an author/illustrator, submit text only, and in standard manuscript format. (See blog post “Marketing Mondays #6, Submissions 101 for details on submission format.)

6. Submitting a manuscript before it’s ready. A large number of my editing clients come to me after they’ve already been rejected by a host of agents and editors. It’s that much harder to go back to an agent or publisher, even with a revised version of a manuscript, if you’ve already been rejected once. An editorial review or a line edit can make all the difference between a submission-worthy manuscript and a reject. Whether you hire an editor, take a class, or join a writer’s group, make sure the manuscript is in the very best shape it can be before you submit it anywhere.

But first – let me ask you a question:

*Have you ever dreamed of writing a children’s book?

*Do you have an idea for a story but don’t know where to start?

*Have you written a book, but don’t know what the next step should be?

*Would you like to join the multi-million dollar children’s book industry, but have no idea how?

Perhaps you know me as the author of many best-selling children’s books written in partnership with my mother, Julie Andrews.

I’m also a writing teacher, Director of the Southampton Children’s Literature Conference, and a freelance editor – as well as being Editorial Director for the Julie Andrews Collection publishing program.

I know first-hand how many aspiring authors dream of breaking in to the children’s book market but are stumped as to how to do so.

I want to help you make your dream of writing children’s books come true!

Introducing…

Just Write for Kids!

A Unique Home-Study Course in Writing Picture Books for Children

Whether you are starting from scratch, have an idea for a book in mind or already have a manuscript in progress, this 8-week course will turn your dream into reality. Each week, you will receive a specific lesson in writing and editing your picture book, with corresponding assignments and worksheets.

In just 8 weeks, you will have a completed manuscript in hand, ready to submit to agents and publishers and all from the comfort of your own home!

Within 8 weeks, you will…

• Learn the fundamental aspects of writing for children, including:
  • How and where to find idea’How to develop characters, map a plot and identify themes
  • How to write engaging narrative, effective dialogue, and successful beginnings, middles and endings
  • How to deal with issues like anthropomorphism, verse vs. prose and word play
  • How to edit your manuscript
• Master the language and understand the standards of today’s children’s book market
• Write a complete, submission-worthy picture-book manuscript,
• Be on your way to submitting your manuscript to agents and and publisher

Learn more at Just Write For Kids.

Joyful reading experiences are among the most important gifts we can give our children – and the children’s book market needs a fresh influx of quality books every year.

Now you can join the rewarding children’s literature business and touch the hearts and minds of the next generation.

Take the first step toward making your dream come true TODAY!

Go to Just Write For Kids!

Question: How can you turn one book into multiple sources of income, and continue to promote the original book at the same time?

Answer: Re-purpose it!

Re-purposing means converting the content from your book(s) into as many other formats as you can. Could your book make an audio book? An E-book? A web game?  Is there a possibility for a sequel? Can you turn it into a series? Can you make a picture book or graphic novel version of your novel? Can you re-purpose the same story for a younger audience, or an older audience? Can you adapt it into a song? Can you turn it into a play, or a musical? Can you create a workshop or build speaking engagements around the subject?  Can you offer teleseminars or webinars? What about a teacher’s guide? Articles for magazines or e-zines?  Is there a toy, a board game or another activity you could create? Can you make it the basis for a blog?

How many ways can you re-purpose one product?  In this way, you get paid anew for material you have already created, you offer your audiences greater value and opportunities to discover your message, and you gain more opportunities to promote the original work  – all at the same time.

Here are just some of the ways in which we have re-purposed our own books (and we’ve only begun to scratch the surface.) I hope this list might spark your own ideas as to how your story could be re-purposed as well:

The Dumpy the Dump Truck Series:

• Currently under consideration for a TV series
• Pajamas packaged with books for “Books to Bed”
• Fire safety and awareness package created for Dumpy and the Firefighters

Simeon’s Gift:

• Webgame based on the story (at www.julieandrewscollection.com)
• Teacher’s Guide
• Adapted into a musical for family audiences
• Further adapted into a symphonic performance

The Great American Mousical

• Webgame (www.julieandrewscollection.com)
• Song (“The Show Must Go On”)
• Teacher’s Guide
• Currently being adapted into a stage musical for family audiences

Raising Bookworms: Getting Kids Reading for Pleasure and Empowerment

• Blog
• Workshops and speaking engagements
• Articles for e-zines and literacy websites
• E-book

By the way, this principle doesn’t just apply to books. Never lead a workshop or give a presentation without recording it – then get the recording transcribed. You’ve now got the material for blogposts, articles, workshops and more. Always be on the lookout for the ways in which you can parlay your existing materials into new sources of income, and new ways to reach your audience with your idea.

The answer to the first question is: Ideally, yes. Agents handle everything from submitting your manuscripts to publishers, to negotiating contracts  and overseeing royalty statements, in exchange for which they take a 10-20% commission from your earnings.   Most publishers do not accept “unsolicited manuscripts,” which essentially means “un-agented manuscripts.”  There are some publishers who will accept unsolicited manuscripts directly from writers, but they are the exception rather than the rule. So your first task should be to try to find an agent to represent your work. Which brings us to the “How.”

You get an agent the same way your book finds a publishing house – by impressing them with the quality of your work. So, when submitting your work to agents for representation you need to show that you can write, that you are dedicated, and that you are capable of writing more than one book , because if they take you on they want to know that you’re going to have an ongoing relationship with them.

Most agents as well as publishers have very specific and strict submission guidelines, which are posted on their websites. Unfortunately it is NOT one size fits all.  Your best resources when it comes to finding an agent or a publisher is either the latest Literary Marketplace (best borrowed from the library as it is so large and expensive) and Children’s Writers and Illustrators Market (worth the annual investment to purchase the latest edition.)  These volumes are updated each year, and include comprehensive information as to names, addresses and submission guidelines for every publisher and agent in the industry. The annual turnover rate in this market is very high – it can be breathtaking how quickly editors move from one house to another. So you want to be sure that you’re looking at the latest version of who is who at which house before you submit.

Whether you’re shopping for an agent or a publisher, you may submit to more than one at the same time – but do make sure they know that you’re doing that.  For instance, if there is an agent you really want to work with, or that you have an inside connection to, you can flatter them by saying “I’m submitting this for your exclusive review. I would appreciate your response.” This lets them know you consider them to be special and you’ll wait to hear from them before you send it to anyone else.  And don’t forget to include your cover letter, SASE, bio, etc. from the Submissions 101 post of two weeks ago!

-  Be brief and respectful of the agent or editor’s time and expertise. Don’t try to be hip, funny or bossy…  a simple “Enclosed please find my manuscript submission for your consideration” is far better than forced cleverness or wit.

-  Define your market. i.e. “The book is intended for young readers between the ages of 5 and 9 / toddlers / teenage boys.”  Better yet, demonstrate your knowledge of the genre by indicating whether it is a picture book, middle grade novel, YA, etc.

-  Do your homework as to what the other books are in your genre, or your particular market (either via Amazon or your local library or bookstore.) Find out who wrote them, what they’re about and how well they sell/sold, so that you can show there is a market for your subject and also articulate how your approach is unique.

-  If you intend to turn your book into a series, indicate as much, and include your ideas for other titles in development within the series.

-  Always include a self-addressed, stamped return envelope. This is known in the industry as an SASE, and is a matter of respect.

Some agents and publishers require a “query letter” first. In other words, you must first ask if they want to see your manuscript before you submit. The query letter contains basic information about you and your manuscript, much like the cover letter, but is sent without the manuscript. Some offices will ask for a few sample pages of the manuscript along with your query, others just want a synopsis (check the website before you submit).  Be prepared – know which pages of your manuscript you would send as a sample if requested.

Finally, do not be surprised to hear quickly in response to your query letter, and then not hear from them again for months once they have asked to see the manuscript. Saying “yes” or “no” to a query is much easier and quicker than considering a manuscript!

Standard white paper – Don’t even think of using colored paper!

Black ink – Don’t even think of using colored ink!

Double-spaced narrative text. No dummies or proposed lay-outs.

Times or Times New Roman, #12 font. Arial and Cambria are okay too, as they’re close enough to the size of Times New Roman, but you’re really safe with Times.

1¼ inch margins (1.25) on either side, justified left and ragged on the right. That means all straight on the left margin, and uneven on the right.

Paragraphs and dialogue indented, with quotation marks around all dialogue. Every time a new person starts to speak, it’s a new indent.

Title page – a separate sheet attached to the front of your manuscript, which includes not only the working title of the manuscript and your name but also your contact information, the date, and the word count. (Yes, you must include the word count. Microsoft Word has a handy word count tool under “Tools.”) Title and byline should be centered, and contact info, date and word count are on the bottom right. (The date is the last time you edited it, not the first time you sat down to write it. And don’t worry about putting “copyright” or a copyright symbol… it can be construed as amateurism.)

Pagination – all pages numbered, either bottom center or bottom right.

Footer including your last name, and the title of the book. The reason for this is so that if your manuscript pages ever get separated in the editor’s office they can be reassembled – and it’s clear who the pages belong to.

One staple, in the top left corner.

No illustrations, and no art directions.  Just the text. This is critical – unless you are an author/illustrator. Your publisher considers it his or her job to pair a writer with the right illustrator, so absolutely DO NOT include illustrations, whether by someone you have hired, your spouse, your best friend, or your kid. The only exception here is for author/illustrators… and if you are unknown, convey your willingness to bring in a third-party illustrator (or author, if art is your forte) if need be.  I can’t tell you how many manuscripts I’ve seen get turned down because they “loved the art, but hated the text” or vice versa.

No comments or directives on the text. Don’t suggest what the art should look like, or how the pages should be broken up. Again, editors/publishers consider this part of their job, and are irritated at best (and insulted at worst) by neophyte authors who include these suggestions with their submissions. Respect the agent’s or publisher’s imagination and intelligence (and show them that you are a pro) by submitting text only, in the format described above.

Next week we’ll talk about cover and query letters – and after that, finding an agent.

Generally speaking, dialogue should make up at least one-third of a picture book, and should convey as much information as the narrative text. Dialogue enables the writer to be both direct and economical – it’s far more effective and efficient for a character to say, “Go away!” than for the narrative say, “He told her to go away.”

The key to dialogue is the way in which it reveals or develops character. What does the way in which our characters speak say about who they are – their age? Level of education? Background? The time period the story is taking place in? For instance, what do you know about a character who says, “I’ll be your best friend!” versus “I’d be forever in your debt…”?

We also want to think about the words themselves conveying emotion, rather than needing to comment on or explain the emotion with adjectives and adverbs. This is often referred to as “show, don’t tell” – otherwise known as the writer’s mantra.  “Show, don’t tell” means “reveal through the action of the story, rather than telling us or describing things to us.” Show us how naive, shy, judgmental, ornery, or practical so-and-so is… how much he loves his blankie, hates bugs, wants to drive the bus. Show us through action, behavior, and dialogue, rather than you, the narrator, telling us with descriptive text.  Keep the focus on verbs rather than adjectives and adverbs, and action rather than description, to move your story forward.

Here again, Mo Willems’ books are worth studying.  The pigeon’s state of mind, his emotional journey, progresses through each book with only dialogue and body language.  The pigeon sits on the ground, with wings crossed and a frown on his face, saying, “No fair!” and we know he is a) a child, b) both angry and disappointed, and c) resigned to his lot.  Mo Willems is a true master of “Show, don’t tell” – and even those of us who use narrative text can learn from his example.

Even better is to have a website for yourself as an author, and one for each of your book projects. The URL (web address) for your own site should ideally be your name with “.com” after it, but if you have a common name and/or that’s taken, go for .net or .biz. (.org is OK too, though that generally suggests a not-for-profit organization). For your book projects, you ideally want “title of yourbook.com” but if that is not available, go for a close facsimile (can you substitute “2″ for “to” or “4″ for “for?) OR something that suggests what the book is about. (I purchased RaisingBookworms.com for my book, but I also got GettingKidsReading.com as an alternative web address to bring people to the site for my book.)

You can hire a website designer to create your site for you, or you can do it yourself. Nowadays there are literally dozens of easy, do-it-yourself website options. I am not especially tech savvy, but I’ve done a bit of both. It’s a question of time. Whether you build it yourself or you hire someone to build it for you, you don’t have to spend a lot of money on it – and it doesn’t have to be very complicated. Nowadays, most people are using “open-source” (meaning FREE) website building programs. Among the most popular of these is WordPress (which I have just switched over to using.) But even Google has a do-it-yourself website option. My 13 year old son often helps me with website maintenance and could build a website very easily. Most kids know more about the web than we do these days, so finding a savvy teen to help can be a very cost-effective way to go.

The basic information you need to have on your author site is this:
• Your bio (and be sure to keep it updated!)
• Detailed information about your book(s), including a photo of the cover, synopsis, 13-digit ISBN number, price, any awards, honors and reviews, and most especially a link to where to buy it (we’ll talk about affiliate programs in another post, where you can make commission off of anything sold by being referred from your site). If you have multiple books, you should also offer a printable list of all the titles/ISBN’s that a reader can easily download and take to a book store.
• A media kit, consisting of a downloadable photograph of yourself and any and all news items related to you, press releases about your books, or articles that relate to you or your book. (Articles written about you or your book show people that you have a platform and are of interest. Articles that relate to your subject matter advocate for you and demonstrate the relevance of your topic or theme.)
• A calendar that lets people know where you’ll be signing or speaking, when your next book will be out, and any other newsworthy information. Google Calendar is great – and it’s free. Once you have it, you can copy and paste the code into numerous websites and/or link to it in multiple places (like Facebook, or any other social networking sites). This way you only ever have to update one calendar, and it automatically updates it everywhere it’s posted.
• Your blog – More on this in a later post, but it is hugely helpful to have a blog… particularly if you have a niche.
• Recommended reading lists of other books in your genre that you admire. This gives you credibility as a writer and a member of the industry.
• Fun stuff, like games or downloads. For example, if you’re a picture book author, can you convert one of your illustrations into a black and white line drawing that kids can download and color in? Can you come up with a quiz related to your story? A printable bookmark? Are there some games you can come up with? For our book, The Great American Mousical, which is about mice putting on their own show in the basement of a Broadway theater, we created coloring pages from the illustrations as well as trivia quizzes and theater etiquette lessons.
• An opt-in invitation, or subscription button, where people can join your mailing list. This is worthy of an entire blog entry (which I will get to!) but for now, you want to be constantly thinking about ways to build your list, and this is a critical piece.
• News about what you’re working on and what’s coming up next.
• A ‘contact’ link, so your readers, booksellers, and members of the media can reach you easily via email.

One final point. Having a website means nothing if people can’t find it. This is where the search engines (like Google) come in. And having a really slick, lots of bells-and-whistles website doesn’t necessarily correlate with more traffic. In fact, the ones that make use of a lot of flash and embedded video technology often score at the lower end of the traffic scale. Once you have a website, you’ll need to familiarize yourself with basic search engine optimization (known as SEO in tech talk). More on that later too.

Act 1: Set-Up – transition/plot twist – Act 2: Conflict/Crisis – transition/plot twist– Act 3: Resolution

Let’s take a closer look:

Act 1 – Set up: This tells us the world we’re in, who the central character is, what s/he wants, and what his/her problem is. At the end of this section there is some kind of transition or plot twist that raises the stakes, and makes it matter all the more that the character achieves his/her goal.

Act 2: The character keeps trying, keeps going for what s/he wants. Obstacles occur – either from external circumstances, or from within the character’s own make-up. Finally, something happens, some major obstacle, and – crisis! This further raises the stakes. There is another transition/plot twist – perhaps s/he is about to give up, or there is some impasse. It seems as though all is lost.

Act 3 – One last ditch effort – and then, resolution! Goal met, objective achieved, prize won – the final obstacle is overcome, yet often when offered the prize, s/he has to decide whether to take it or not… thus satisfying the need created by something in the past (at the beginning).

Most types of dramatic writing – most film scripts, most play scripts, most full length novels – follow this strict 3 act format. It’s basic dramatic structure: beginning, middle and end, or set up, crisis and resolution, and it is just as true, necessary and important in a picture book as it is in any other kind of dramatic literature. It’s also referred to as the “dramatic arc” or “journey,” and can be illustrated visually by a hill, a bell curve, a hat, a pyramid.

Stakes rise… and rise… and peak… then move toward resolution.

Over the years, we have designed and/or made our own bookmarks, postcards, posters, flyers, brochures, bookplates, downloadable activities, games and teachers guides. We’ve even made mp3’s, t-shirts, mugs, note pads, umbrellas and mouse pads. These giveaway items are invaluable at book signings, school presentations, book fairs and any other promotional or marketing opportunity. They help attract people to your table and speak for you long after you have moved on to the next gig. One of the best resources in this regard is Modern Postcard.com. This terrific company makes not just postcards but bookmarks, flyers, brochures and posters of all different shapes and sizes. Their printing is high quality, their costs are reasonable, and you can do it all digitally. The more you print, the less expensive it gets. And once you’ve placed your initial order, reprints/re-orders are a piece of cake.

Of course, with children’s books we want to think primarily about items that have kid appeal. How creative can you get? What can you come up with that relates to your book that you can print on and/or give away inexpensively? Think about balloons, pens, pencils, rulers, bubbles, stickers, craft items, toys, coloring books… the possibilities are endless. For these kinds of items you can use a source such as cafepress.com or zazzle.com. They will print your graphic, logo or message on any number of items that you can either buy at cost and give away at your events, or you can create your own virtual “store” that you can link to from your own website, sell the items and actually make some cash and get promotion at the same time.

Oh, we haven’t talked about creating your own website yet, have we? Stay tuned…