Well, not always, but it’s getting there. I’ve been thinking a lot about picture books since I wrote a new picture book talk for the awesome SCBWI Southern Breeze Springmingle this past weekend. Now I’m delving into my picture book critiques for the Writer’s Digest picture book craft intensive webinar that I taught in January. (Be patient, ye webinar attendees, I’m going to Bologna in March for the children’s rights fair and will be doing a lot of traveling. Per the critique guidelines, I have until April 12th to get them done!)
This post isn’t inspired by any one picture book manuscript from that batch (so don’t worry, students, I’m not talking about one of you in particular)…and that’s the problem. One of my growing pet peeves about picture book writers (and their imaginations) is alliteration. Gosh, I have a lot of pet peeves, I know. But I sit here and read manuscripts all day. That’s what I do. Tens of thousands of them. And so I see a lot of common trends and writer mistakes that I know you don’t because you don’t read nearly as many different potential books as I do. It’s an issue of context.
A lot of people seem to think that the bulk of their characterizing work or word choice craft in picture books comes down to alliterating. And that’s it. Just name him Sammy Skunk and kick up your feet because your work here is done! Right? Not quite. And “Sammy Skunk skips smilingly down the springtime sage-speckled slope” is all you have to do in order to nail that pesky concept of voice! Right? Again…not really.
But more and more, I get picture book manuscripts that lean way too heavily on alliteration in order to “accomplish” (so thinks their author) both character and voice. It’s a lot like rhyme. A lot of writers remember rhyme in picture books, so they think they have to write in rhyme. A lot of writers see alliteration in PBs, so they alliterate. Both cause scribes to contort themselves into a type of sentence pretzel of unnatural language.
In rhyme, writers adopt an almost Victorian syntax in order to make sure they end on the right word. In alliteration, word order also tends to sound unnatural because you’re letting the first letter dictate your word choice. This blog post has a terrible title. “Alliteration always annoys.” Nobody talks like that! It doesn’t sound organic! But I had to in order to shoehorn some alliteration in there, and the writers in my slush perpetrate a lot worse in order to stay consistent at the expense of meaning.
So instead of lending you a coveted voice, alliteration makes you sound contrived in most cases. And if I see another cutesy alliterative character name, I will scream. Aim for more sophistication in your writing, especially for the picture book audience. That will set you way, way, way above and beyond the rest of the slush.