How to Find an Illustrator for Your Children’s Book

If you’re like many people writing pictures books, you might wonder how to find an illustrator for your children’s book project. Does it behoove you to work as an author and illustrator team before submission, or can you submit your text only? I’ll discuss all of these issues here.

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Dissecting the colorful issue of how to find an illustrator for your children’s book.

This post was inspired by reader, Robert. He has already found an illustrator, and is wondering whether this helps his book project’s chances. He recently wrote in to ask the following:

Is it ever possible for an author and illustrator to collaborate and then submit to agents/publishers? I know it’s not the norm and I know having my best friend illustrate my books makes me look amateur. Here’s the thing: we are true collaborators from the beginning of the project to the end. He helps me invent the characters and even comes up with plot elements and I dictate to him exactly how a picture should look at times. I know publishers have their own in-house illustrators and that it is unconventional to say the least. But I couldn’t ever publish without him. Do you have any advice as to how we should proceed?

I get this question a lot at conferences. First, let’s talk about the picture book publishing process. Then we’ll talk about working with an illustrator before submission. Finally, I’ll reveal how to find an illustrator for your children’s book.

How to Write and Publish a Picture Book: The Process

Here’s how the picture book pipeline usually works for authors:

  1. Get representation for a text or an offer from a publisher.
  2. Sell text to publisher.
  3. Have publisher match your text to an illustrator.
  4. See illustrations, have varying levels on input.
  5. Publish.

Here’s how it usually works for illustrators:

  1. Get representation for your illustrations or get interest from a publisher.
  2. Wait until a publishers has the right project for you.
  3. Sign a contract to work on the project and turn in sketches and finishes.
  4. Do revisions.
  5. Publish.

How to Find an Illustrator for Your Children’s Book

When you decide to hire an illustrator for your children’s book, you are, in effect, acting as publisher. That means you will have to find them, give them the specs for your project, and do art direction and offer feedback. Then you will present the entire project as an author and illustrator team.

But how to find an illustrator for your children’s book? There are many venues. The SCBWI (Society of Children’s Book Writers and Illustrators) has thousands of members who are illustrators. They post their portfolios on the SCBWI website, and then you can reach out to them individually. Picture book illustrators also keep individual websites and portfolios, so you can start Googling around to find artists. Ask for referrals at your local art school, if ther is one. Other places to find illustrators are art showcase sites like Deviant Art, or you can post a job on 99Designs, which I’ve personally used for some logo design and loved.

Working with a hired illustrator could be its own blog post, but these resources should at least get you started.

Approaching Publishers With an Author and Illustrator Picture Book Project

Now, Robert wants to know what happens if a publisher is approached with a project that has both text and illustrations already in place, but from two people. (If a project with both text and illustrations came from one person, that person would be called an author-illustrator, and, in my opinion, art and text from a single creator would be a more compelling sale if both the art and text were really strong. Most of my picture book sales have been for author-illustrators.) First, the collaboration should be stated outright in the picture book query letter.

Note one inaccuracy about Robert’s question: major publishing houses (and even small ones) hire out illustrators, they do not have in-house artists. Most have in-house designers and art directors, but designers do not do illustration work. They work on putting together a book’s cover and packaging (unless it’s a picture book, in which case the illustrator usually provides the cover image).

The Risk of Hiring a Picture Book Illustrator

I say you run one big risk with this situation, whether you’re approaching an agent or a publisher: what if one component is better than the other? And since you have a close relationship with your co-creator and love the project as is, you may have trouble seeing that.

If you give somebody a package of text and art, that person will assume that this is how you want the book produced. They’ll see how you’ve executed the project and will have a bit more trouble imagining it any other way. So if you give an agent or an editor a complete picture book dummy with both text and art, and one or the other isn’t working, the agent or editor will think, “Gosh, I really wish the text (or art) was stronger, but I guess this is how the creators envision it, so I think I’ll reject.”

How Literary Agents Work With Author and Illustrator Projects

Of course, both text and art could be perfect, could work harmoniously together, etc., in which case the agent could offer representation to either or both of you and the publisher would issue each of you a publishing contract. And, of course, the project may not work as a whole, but a wonderful agent or editor with lots of vision could see each component part and imagine how it might work independently.

But I find, more often than not, that the situation Robert describes involves two people who may not be well-matched in terms of talent. And that’s the risk. If you’re dead set on publishing this project with your collaborator, that’s fine. But you could be cutting yourself off from the possibility of either selling the art or text separately — if you happened to be flexible. If you don’t happen to be flexible, it could mean not selling at all.

How Literary Agents Represent Picture Books

When I submit, I prefer to submit just text, just art, or an author and illustrator package by an author-illustrator client who has a great grasp of how their two mediums (art and text) play together. I would be reluctant, for the above reasons, to consider an author and illustrator team if the combination wasn’t perfect. I’d also be reluctant — again, unless I had a great match in mind — to pair a text with, say, one of my illustrators, and present both to the publisher.

The publisher has the final say in terms of which illustrator and which writer will compose a picture book. That decision has to do with the publisher’s own relationships, with the prestige of either creator, with how the publisher’s sales and marketing people react to either component, etc.

Keep in Mind When Publishing Picture Books…

In a market where picture books are not doing well and most titles are not getting picked up for distribution by the major chains, publishers often find themselves pairing a debut author with a name illustrator or vice versa to make the project viable. If you’re insisting on a debut text paired with a debut illustrator…you may not have the most compelling case.

My biggest bit of advice is: be flexible. If an agent or editor wants either text or illustrations from you, consider it. How willing you are to entertain other illustrators (or authors) for this project really could mean the difference between published and not.

Hire me as your picture book editor. I can provide art notes, too, if you’re thinking of submitting an illustrated project.

Know Your Category

This post is all about how to identify genre and determine which book genre or publishing category you’re writing in. I’d like to preface this post by emphasizing that I’m not trying to stifle your creative genius. I’m really not. But, as I’ve said before, you should probably learn the rules before you break them. At no time is this more true than when you’re trying to decide what age range you’re writing for in children’s books. I’m going through some submissions right now and the writers seem to be confused about how to identify genre. This happens a lot and it just means one thing: you haven’t done your market research.

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You fit in somewhere. The trick is figuring out where, before you write that 5,000-word picture book.

How to Identify Genre in Children’s Books

Now, one thing to clear up. A lot of writers don’t know the difference between book genre and category when it comes to children’s books especially. Book genre is stuff like fantasy, historical, paranormal, etc. Book category is the age range you’re writing for. With this post, I’m going to talk about the latter, mostly.

For example, and this is from my own imagination, not a recent submission: what do I do with a 5,000 word fiction picture book about world politics? Or a 5,000 word middle grade about a baby puppy who goes on a naptime adventure? Or a 300,000 word YA starring a talking salmon? Maybe a 10,000 word YA about a character’s messy divorce?

If all of those examples weren’t immediately funny to you, you need this post. When I speak at conferences, I tell people all the time that booksellers will not build you your own shelf at their stores just because you want to do something different. Learning how to identify genre also means learning the rules of the publishing market.

Take picture books as a fine example. Most editors are very specific about what they want these days (and, frustrating yet liberating, there are always exceptions to the rules, but don’t aspire to be one of them right out of the gate). They want highly commercial character-driven (but with plot!) picture books that clock in on the short side, usually under 700 words for fiction.

How do I know this? I talk to editors all the time.

But how might you, if you weren’t a) me, b) reading this blog or c) talking to lots of editors, know this, too?

Active Tips for How to Identify Book Genre

Go to the bookstore. It’s a master class on book genre. Head to your local indie or chain store and see what’s on the shelves. Don’t worry about muddying your artistic integrity by looking at other books in the same vein as yours. (I’ll have to post on this, I have lots of thoughts as both a writer and agent and they’re pulling me in separate directions!) You’re just doing market research right now. What do you see? I’m guessing you’ll see a lot of commercial, character-driven (with plot!) picture books that are on the short side.

That’s what publishers are buying from creators and that’s what bookstores are buying from publishers and that’s (ideally) what customers are buying from bookstores. That’s the market.

So if you can tell your story in a highly commercial way (know that this is subjective), base it on a strong character and plot, and in 700 words or fewer, why tell it another way? Why try and write a 5,000-word international political drama and call it a picture book? Why write “YA” about an adult character? Why try a 5,000 word “novella” when the MG books on shelves are between 25,000 and 55,000 words? That’s book genre all out of whack.

The children’s market is unique in that the audience is on a pretty structured developmental scale. Sure, there are 4 year-olds who are reading (or being read) Neil Gaiman, like my friend’s kid (bizarre and perhaps inappropriate but she seems to love it). And there are reluctant readers who are constantly frustrated because the books they can read are all about younger characters. But, at least in theory, kids develop on a scale so their books need to have certain lengths, content requirements and vocabulary levels. Not only is there not much precedent for a sociopolitical 5,000 word picture book on shelves in the bookstore, but there’s no audience for it in terms of the target picture book readership (3-5, 5-7). Same for the 10,000 YA with an adult protagonist or the anthropomorphic epic or the short MG about a baby animal.

In Book Genre, Know Your Audience

When you sit down to write, be super clear about what you’re setting out to do. Check out my post on manuscript length. Make sure your manuscript fits guidelines for the age range that you’re targeting. Make sure your protagonist is someone who people in that age range would care about. Make sure your subject matter is equally interesting. You won’t find practical concerns like these in the adult world, but you will find heaps of them when you’re writing for children, just because children are always in flux.

If you feel a bit clueless about what you’re writing and what category it fits into, spend an afternoon at a bookstore. Seriously. It could be the most valuable three hours you ever spend and it will teach you more about the market than I ever could. There’s just no excuse for me to be seeing some of the submissions that people cook up. And I wouldn’t be seeing them, guaranteed, if some authors didn’t take the time to learn their category, embrace it, and write within it. Why? Because that’s what editors are buying. Because that’s what bookstores are buying. Because that’s what readers are buying. It’s really very simple.

P.S. — Yes, my punk rock teenage self would rail against this recommendation to stay inside the lines, category-wise. But I figure that getting published is hard enough. Why stack the odds against you by turning out that 5,000-word PB or that adult protagonist YA?

Struggling with book genre or publishing category? I’m a manuscript editor with deep experience on the publishing side of things, and I can help you hone your pitch and your project to the market.

Moralizing in Books

Here’s a question from reader Melissa about moralizing in books:

I have heard rumblings that the professional field is tired moralizing in books. Is this accurate? Does this signify a move towards content that is more realistic or edgy? Can you also expound on the much maligned, yet common use of anthropomorphic characters?

moralizing in books, story theme
Moralizing in books: Are you trying to teach a lesson with your story?

Avoid Moralizing in Books

As for your first question, you are definitely correct. Publishers do not want explicit picture book lessons. The best way to deliver a message is to create a vibrant character who goes through something in the plot and emerges on the other side a little bit (or a lot bit) changed, but their realizations should never be blatantly expressed. It must be the reader’s interpretation and understanding that does this work, not the author.

Remember when you were a kid and your parents told you to do something? Or they sat you down for a lecture? Remember how that made you feel? Yeah, today’s agents, editors, and kids don’t like that feeling either, so those books don’t get picked up. It’s your job to tell a story, not to teach or force a story theme on your readers.

Writing Animal Characters

As for writing animal characters, some editors are still looking for these types of stories, definitely. And there are people who can make an animal as realistic and engrossing as a kid character in a picture book. In fact, I love the picture book LITTLE BLUE TRUCK, which features animals and… a little blue truck as the protagonist of the story. But they have human attributes, they go through a big struggle or on a journey, and they come out all the better for it at the end. However, I think a lot of animal stories are written by people who are thinking back to their childhoods and the picture books that were available back then. This isn’t a bad thing, per se, but it does usually result in books that feel old-fashioned and out of touch with today’s market. Of course, there are reasons that animal books are classics. Look at THE VELVETEEN RABBIT, for instance, which still makes me cry, all these years later.

Are Animal Characters Integral to Your Story?

While this isn’t true for every editor, some of the editors and agents I know do groan when an animal hero comes across their desks. They have to have a very good reason for being an animal, I say, and it has to be crucial to the story. Otherwise you just might be undercutting yourself by today’s sensibilities and standards. If you want to write an animal story, try the animal as a child as well, just to experiment, and make sure you stay in either the first person or the close third so that the reader gets their inner experience as well as their outer conflict.

Are you worried that your picture book isn’t hitting the right note? Hire me as your picture book editor and I’ll help you develop a story theme that’s compelling without the moralizing.

How to Approach a Literary Agent and Interpret Submission Guidelines

This answers a question that both Haylee and Siski asked a while ago, about how to approach a literary agent when you’ve got several projects kicking around your desk, and what to make of submission guidelines. Lots and lots of writers have multiple projects that they’ve completed. This is even more true for picture book writers, who may have 20 or more manuscripts. If this is the case for you, read on.

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Wondering how to approach a literary agent and what goes into the envelope? The submission guidelines are a great place to start.

How to Approach a Literary Agent When You Have a Lot of Ideas

The problem is, if they are beginning writers, those 20 manuscripts likely have some of the same issues. If I look at a manuscript that someone has queried me with and it lacks a strong character, for example, or a strong plot, or the voice is wrong, or there’s a lack of active language, or there’s no scene setting, seeing that the author has 19 more, hot off the press and ready to go, isn’t going to be a draw for me. Plus, if a writer is sending me that much, they’re not following submission guidelines. If they were all written around the same time, or even before the one I’m looking at currently, they’re likely suffering from the same issues as the first manuscript. (Querying multiple projects is quite a problematic way of how to approach a literary agent to begin with. Learn why.)

Every time you sit down to write, you are getting better. You’re learning. Sometimes it takes writing an entire novel-length manuscript to teach you a valuable lesson about your own craft. And sometimes, that lesson won’t get published. Sometimes, in fact, it takes five manuscripts, ten manuscripts, twenty, for you to feel your way around the novel form. The same is true for picture books. In fact, it’s even more true. Picture books are deceptively simple and it is awfully hard to make a great one. Lots of people think otherwise, and happily churn out an entire slew of drafts. I think it’s more reasonable to see your early work and your early, prolific output as more of an exercise rather than a finished product. As such, I don’t want to see all of your exercises in my inbox. Per my submission guidelines, I want to see your single stronger project at first any way. Some practice is better left for your eyes only.

Submission Guidelines for Prolific Writers

If you get the itch to query and you’ve got multiple projects, query  with your absolutely strongest one. I read thousands and thousands and thousands of queries and manuscripts. I can tell where an author is from looking at their work. Not every project — especially not the ones you wrote when you were still beginning and figuring things out — will sell. Show me only your strongest work. If I’m considering taking you on, I’ll be asking about your future projects and what else you have in mind, since those will more likely be even better. I will very rarely say, “Hey, do you have any problematic drawer novels I can sell?” unless you are a 12 out of 10 genius. Wondering how to approach a literary agent? With your best work, period.

Agents really dislike it, actually, when people send a stable of their work on first contact. I wish that was featured in more submission guidelines. Pick the best one. If I want to see more, I’ll ask. This is especially pertinent to picture book authors. If I like the project they query with, I always want to make sure they have at least two more that I love before I take them on.

Bonus Tip: If you query an agent and get rejected, wait at least 6 months before querying them — of anyone — with a different project. Some submission guidelines even say that. Per my thinking above, the new thing you send me is most likely going to have the same issues that I noticed when I just rejected your first project. If you send out a project and it garners lots of rejections and little personalized or positive feedback, the cure isn’t jumping back into querying with a different project. The smarter thing to do would be to go back to the drawing board for a while and work on craft.

If you have a lot of projects on your plate, let me help you zero in on the ones with the most potential, especially you picture book writers. I guide writers through bigger picture questions all the time as a book editor.

WooHoo!

I’m a little late posting this but that doesn’t mean I’m any less excited. I’m so thrilled for my author/illustrator client, Lindsay Ward, and her first author/illustrator project, PELLY AND MR. HARRISON VISIT THE MOON. It’s going to be a really fun story… and gorgeous art, of course! You can visit her website here: Lindsay’s Bake Shop. I can’t wait until 2011. My first projects will be coming out then and it’ll be so fantastic to finally hold a client’s book in my hands and see them in stores!

pelly

When You Get an Offer of Representation

This is the situation every querying writer is looking forward to: getting an offer of representation. Awesome. Now what? Well, I want to write several posts on this issue, but here’s the first thing you need to do… let other agents know.

offer of representation, literary agent offer
You got an offer of representation: now what?

Literary Agent Offer: What About the Other Agents You Queried?

Don’t let everyone you queried know that you received another literary agent offer. Let only the agents who have responded with a partial request, a full request, or any other kind of encouraging sign, and have not given you their decision yet. The only exception is with a picture book submission, where you’ve queried with a full manuscript. Since you sent the full manuscript, contact all the agents you queried. Write them the following email and put “OFFER RECEIVED” in the subject line:

Dear Mary,

I know you’re still reading BOOK TITLE but I wanted to let you know that I’ve received an offer of representation. I’d like to see if you’re also interested in the project. Please get back to me by X day and let me know. I look forward to hearing from you!

Author

Offer of Representation: Timetable for Response

Give the agent a week to respond. Within the day, you should hear back from agents. They’ll either say, “Yes, I’m still reading and will get back to you within the week” or, “You know, I should probably step aside at this point.” Then you wait for the agents who still want to consider to either bow out or toss in their own literary agent offer. But yes, let them know immediately. It’s not being pushy. Someone already sees the value in your work, so you can call attention to yourself in this situation.

I hope all of you get to experience what it’s like to receive an offer of representation! Once you’ve crossed that hurdle, follow the link to read my post on questions you should ask your potential literary agent.

My editorial services aren’t just for manuscripts. I also offer confidential and discrete consulting services for authors who have questions about literary agents and career trajectory.

Manuscript Length: How Long Should a Children’s Book Be?

ChristaCarol asked this question of how long should a children’s book be via email. I thought I’d answer it for everyone, since manuscript length really is on writers’ minds. I almost hesitate to get into the children’s book length discussion publicly because it can be controversial. But, well, that’s never stopped me before. 🙂

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That’s a lot of words. How long should a children’s book be? Probably not this long.

Here’s the question:

I have a question about your opinion on word count in YA fantasy. And this may be one of those subjective things that drive us all nuts, but my manuscript length is at 90K, which I’d thought (for a Fantasy) was high, but okay. A wonderful agent who offered to critique the query through a contest mentioned she would pass on the project just because of the high word count. Is this done often? Should I be scared? Should I go back and find a way to chop out 10K? How long should a children’s book be? Another writer mentioned just querying it at 80K even if it’s 90K, but I’m not sure, wouldn’t this dirty up my integrity or something?

This is a great question. I love getting publishing myth/rumors that I can confirm or deny. Now, ChristaCarol is astute when she mentions that this might be one of those subjective things that drives us all nuts, because… this is one of those subjective things that drives us all nuts.

How Long Should a Children’s Book Be?

I can give you two answers. First, the cute and fuzzy one: As long as the manuscript and the story has earned every single one of those vital and carefully chosen words, the word count doesn’t matter. There are those very rare exceptions where I see a word count in a query, have a mini heart attack, but then the author convinces me that each word is necessary and I agree whole-heartedly. If given enough reason, people (and that includes editors and agents) will read long books.

Now for the more practical, everyday truth. Personally — and this sounds extremely crass and judgmental of me, I know — the lower your word count, the more I like you, right off the bat. For example, at any given time, I’ve got about 150 queries and 8 manuscripts in my queue. And that’s from, like, the last couple of days. That’s a lot of words for me to read. When I get a query for anything over 80k words that sounds really cool, I groan a little bit inside.

Word Count Can Be Flexible

It’s not the word count, per se, because, if something sounds cool, I really do get excited to read it. It’s that I have so many other submissions on my plate, so I half-dread loving it a lot and having to read all those 80k words. And if I take it on, I’ll have to read those 80k words over and over again as we revise. It represents a big time commitment. I realize this is arbitrary and perhaps lazy of me but… welcome to the world of a very busy agent. Sometimes, we have these thoughts.

There are times, though, (and these are the rule, not the exception, I find) when an inflated word count isn’t earned, isn’t awesome, isn’t because every word deserves to be there.

When Manuscript Length Is an Issue

I usually find that first-time fantasy, paranormal or sci-fi authors are the worst offenders. They craft a redundant manuscript full of lavish description that moves at a snail’s pace. Then they send it to me and proudly say that there are 155k words and that it’s the first in a trilogy. I read the writing sample and see paragraph after paragraph of dense text with no breaks for dialogue or scene. These are the high word count manuscripts that are problematic.

Because, clearly, the author hasn’t revised enough. And if I tell them what really needs to happen — that they need to lose about 50% of their words — they’ll have an aneurysm.

But, truthfully, if your children’s book length is anything over 100k, it better be higher-than-high YA fantasy. And all those words better be good. Cutting words and scenes and “killing your darlings,” as I like to put it, is one of the most hard-won revision skills any writer can have. And it usually comes after you’ve done lots and lots and lots of revision in your life. Many debut authors haven’t yet learned how to make — and enjoy — this type of word sacrifice. It shows.

The Problem With High Word Count Manuscript Length

Now, there’s also a real reason I usually balk at manuscripts with a high word count, besides my own busy inbox and the fact that most really wordy manuscripts reflect a lack of polish and revision. So, as we’ve already established, a lot of my highest word count submissions come from debut authors. For editors, debut authors are an exciting but fundamental risk. They’re untested in the marketplace, they could potentially lose the publisher a lot of money.

Words equal pages and pages equal money in terms of production costs. Longer books are also heavier and bigger, so the publisher will have to invest more in shipping costs and warehouse space, which all figures into their bottom line before they even acquire the book. (All editors have to guess how much money their house will have to spend to publish this book and how much earning potential the book has. They have to put it together and present it to their team before they can make an offer. It’s called a Profit and Loss Statement or, in my mind, The Spreadsheet of Terror.)

The more words a manuscript has, the more expensive it’ll be to turn into a book. So editors will frown if I try to send them a really long book from a debut author. Their investment in this book will have to be much higher and, these days especially, there’s less chance they’ll take that kind of risk on a debut. So I have to think about that when I think about representing a longer manuscript, too. I’m here to sell your many words, not just enjoy them by myself. 🙂

Ideal Children’s Book Length

As ChristaCarol says, there are different accepted manuscript length word count limits for different genres and age groups. This is the part I hesitate to do, but I will throw my hat in the ring and suggest some ballpark and maximum word counts for different types of projects.

How long should a children’s book be?

  • Board Book — 100 words max
  • Early Picture Book — 400 words max
  • Picture Book — 600 words max (Seriously. Max.)
  • Nonfiction Picture Book — 3,000 words max, but closer to 1,000 to 2,000 words
  • Early Reader — 1,500 words is the max
  • Chapter Book — This varies widely, depending on grade and reader level, usually starting at 4,000 words and 15,000 words max
  • Young Middle Grade or MG — 15,000 to 25,000 words
  • Middle Grade or MG — 45,000 words max for contemporary, mystery, humor
  • Upper Middle Grade — 65,000 words max for fantasy/sci-fi, adventure and historical
  • Young Adult or YA — 85,000 words max for contemporary, humor, mystery, historical, romance, etc. 95,000 words max for fantasy, sci-fi, paranormal, etc.
  • New Adult — 65,000 to 85,000 words

Now, again, these are just estimates I’ve gathered from my experience.  If a manuscript length goes over the maximum that editors usually deal with, there has to be a damn good reason.

The Problem With Early Middle Grade and Tween

Let me also address right now that I’ve been seeing some queries for “Early Middle Grade” in the 7,000 word range. No, no, no. That’s too tiny. The categories below middle grade are chapter book and early reader, and you can read about them in a different article. Middle Grade, even Early Middle Grade, beings at around 15,000 words minimum. But this does bring to light that there are all sorts of gray areas. Upper Middle Grade. Lower YA. The sometimes-mocked label of “tween.” So word count is a tricky wicket. How about this? If you’re worried that your book is too long and you sometimes dread doing yet another revision because there’s so much of it to read… cut!

And know that some agents do automatically reject manuscripts because of their length. I’m not quite there yet but, if I do see something over 80k, it has to work pretty darn hard to convince me that all those words are necessary.

Do you need help bringing your manuscript word count up or down into an acceptable range? I am happy to be your developmental editor and suggest ways to expand or cut your work in a way that preserves your manuscript’s integrity.

Getting a Book Deal and THEN an Agent

Elizabeth asked this great question about getting a book deal and THEN an agent and I wanted to tackle it for everyone:

I am unpublished and unagented, but I have a picture book manuscript under serious consideration at a great publishing house. If I am offered a contract, can I (without annoying the publisher) try to find an agent before accepting the contract? Would this take too much time from the publisher’s point of view? Would agents be likely to take me on at this stage? I have heard that many agents are not interested in picture book authors. Is it better to try to find a literary contract lawyer and pursue an agent after I have a published book under my belt? Such a raft of questions! I am obviously in a stew.

getting a book deal, publishing deal
Congrats on getting a book deal! Now you just have to find an agent…

Getting a Book Deal

Most of the advice I can give Elizabeth will apply to all creators who have received a publishing deal on an unagented submission, so read on. First of all, congratulations! Even though there’s no firm offer yet, you’re in a good place in terms of getting a book deal. I’d advise you to take the time — once you receive a firm offer — to find an agent. IMPORTANT: Tell the editor “Thank you so much for your offer. Before I get back to you, I’m going to try and partner with a literary agent.” They’ll be fine with this, it happens all the time. But make sure you don’t agree to the terms of the offer just yet (I know that can be hard and anxiety-making. Don’t worry, they won’t withdraw it.) When you query, put something like this in your subject line: “Picture book Query — OFFER RECEIVED.” Believe me, you’ll catch a few eyes because it’s good news for both you and the prospective agent.

Finding an Agent

Since you have a publishing deal on the table, the agent search won’t take too long. Agents tend to read things that have offers quickly, and picture books are easy to evaluate fast. I’d say that, if getting an agent is your eventual goal and you’re sure you’ll have one sooner or later, do it now while you can seem more attractive to them and rope them in from the first contract, not after it. There’s really not much reason not to.

Now, the agents I know are still taking picture books on but it’s tougher to attract an agent with a picture book than with a fiction manuscript, that’s true. Make sure you query people who deal in picture books or have in the past. When I’m evaluating a picture book author, I always ask them what else they have. Before I take one on, I like to know that this author has other manuscripts. I’d be less interested to take an author on who only has one or two picture book ideas in them. I want someone who has potential for a long and lucrative career, of course.

Joining Your Publishing Deal and Prospective Agent

As for the publishing deal itself, I do want to tell you that a) if you get an agent before you sign your contract, they will take 15% of the money you’ll earn and b) there will be a very limited number of things they’ll actually be able to do for you with this contract. Especially if you’ve already accepted, verbally or in writing, the offer. They might not be able to get you a better advance, but they probably will be able to negotiate better terms for you, like rights, options, royalties, etc than you would’ve gotten on your own. So you will lose some money in the short term but will most likely fare better in the long run with this particular book when you bring an agent aboard.

All that said, getting a book deal isn’t a magic bullet. The agent will still have to love you and your work enough to be your long-term advocate, for this deal and for those in the future. I wouldn’t take someone on automatically just because they have an offer. Overall, a good situation to be in. I’m obviously in favor of writers getting agents, but I’m also very much in favor of this particular scenario, since this is exactly how I got my first picture book author/illustrator client, who I love!

Did you find this practical advice useful? I am happy to be your manuscript editor and consultant for writing and publishing advice that’s specific to your work.

How to Write Rhyming Picture Books: A Rhyme With Reason

Wondering how to write rhyming picture books? Consider this first: There’s a fairly strong consensus out there that some editors are moving away from rhyming picture books right now. One reason for this, as I see it, is that picture books in general are evolving. They’re being acquired by younger editors, they’re being purchased by cooler parents, they’re becoming modern and… if I dare say… maybe even hip. Not all picture books, of course, because lists and houses have room for the traditional, beautiful picture book reminiscent of the good old days of yore. But there’s definitely been innovation, and that’s crucial to remember when you’re considering writing rhymes for your picture book.

how to write rhyming picture books, writing rhymes
Bubble trouble! It’s a good thing if the rhyme is an integral part of the story.

How to Write Rhyming Picture Books: Should You Even Try?

Rhyming picture books — especially those written in rhyming couplets — take us back to more traditional picture book legacy. That’s not bad, per se, but with all the new styles and ideas hitting the shelves, the more traditional is becoming a more difficult sell. Here are some other reasons to re-think the “how to write rhyming picture books” question:

  1. They’re old hat. See above.
  2. Not everyone is good at writing rhymes. And, in this market, it has to be brilliant, fresh, unique, imaginative, unexpected… No lazy or conventional rhyme will cut it.
  3. There also has to be a reason for the rhyme. Too many times, I feel like a manuscript’s rhyme is forced or dictates the story… that the author is making decisions based on which words would fit into their scheme, not based on which words would make the best possible storytelling sense.

If you’re considering how to write  a rhyming picture book, ask yourself this question: Why does it need to rhyme? If you answer: “Because that’s how a picture book goes” or “Because that reminds me of the books I read as a kid/to my children/to my grandchildren,” then that might not be reason enough.

Two Good Reasons to Write in Rhyme

If you really want to dig into how to write rhyming picture books, though, here are two good reasons to do so. One of the most compelling reasons to rhyme, in my opinion, is if you are an author who relishes playing with the language. It’s also a good thing if the rhyme is an integral part of the story. I read a book a little while ago that blew my mind with its dizzying, sprawling, complicated rhyme. If there was no rhyme in this book, there’d be no book! If you’re up to the challenge of writing rhymes in the current climate, definitely add BUBBLE TROUBLE (Clarion, 2009, by Margaret Mahy and illustrated by Polly Dunbar) to your bookshelf.

Hire me as your picture book editor and we can dig into your rhyming text together. All picture book edits include feedback on other picture book ideas you might have!