Reflections on the use of AI in children's picture book illustrations
Self-publishers may be tempted to rush books to market using AI, but at what cost?
With artificial intelligence at our fingertips, self-published authors may be tempted to rush picture books into the market cheaply using illustrations created by AI.
There are many poor quality books created in this way online through publishing programs like Amazon KDP. Many of these books are obviously AI-generated as they have 'shiny', soulless or even bizarre illustrations. However, there are also AI-created books that are much harder to detect.
AI is a complex and evolving topic, and people will have different responses to picture books created in this way. Some people will be fascinated by the power of technology and impressed at what you've created. Some will be dismayed that children are reading these sorts of books. Others will be outraged that creative jobs are being replaced by machines.
If you’re seeking to make a picture book for a few family members and friends, perhaps as a bit of fun over a weekend without spending any money, experimenting with AI might be a good solution.
If you're more serious about a career in children's books, it's worth considering how using AI to create a book might appear to your readers and to the wider industry longer-term. It could make fellow authors and potential future publishers suspicious of your abilities or ethics. What’s more, you’re not exercising your own creative talents to their full potential.
Remember, using AI is essentially asking a computer to make something based on whatever source material it can find online. That is, words or pictures created by other people. Some people might call this derivative, or even plagiarism.
At a minimum, AI-created books lack some level of human connection, nuance and idiosyncrasy, which are important ingredients for art. The same applies for using AI to write stories. The result can feel a bit ‘hollow’.
Ultimately, it's up to you to see where your values lie, and how you apply this to your journey as a children's book creator.
Get insightful editorial advice on your draft picture book or chapter book. This service welcomes children’s authors of all experience levels seeking to polish their story before they submit to publishers or pursue self-publishing. Pricing is determined by story type and length. If you are seeking editorial support for longer projects, please contact Suzanne. If you're new to children's writing, the How to Write a Picture Book Mini Course is a good place to start. The course also includes a manuscript assessment.
Please note, Suzanne is taking a break between 1 December 2024 to 5 January 2025. You can still submit your story, but you won’t receive your feedback until at least mid-January.
Learn the basics of writing picture books, and get to grips with trade and indie publishing pathways. This virtual, self-paced course includes a comprehensive picture book manuscript assessment, plus bonus modules on self-publishing and marketing strategy.
Guide to rhyme and metre for picture book authors
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.
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. Many are riddled with errors.
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.
Get insightful editorial advice on your draft picture book or chapter book. This service welcomes children’s authors of all experience levels seeking to polish their story before they submit to publishers or pursue self-publishing. Pricing is determined by story type and length. If you are seeking editorial support for longer projects, please contact Suzanne. If you're new to children's writing, the How to Write a Picture Book Mini Course is a good place to start. The course also includes a manuscript assessment.
Please note, Suzanne is taking a break between 1 December 2024 to 5 January 2025. You can still submit your story, but you won’t receive your feedback until at least mid-January.
Learn the basics of writing picture books, and get to grips with trade and indie publishing pathways. This virtual, self-paced course includes a comprehensive picture book manuscript assessment, plus bonus modules on self-publishing and marketing strategy.
Five ways to make your picture book manuscript stand out
I love helping picture book writers strengthen their stories. But over many years of reviewing manuscripts, I’ve noticed that writers often fall into the same traps. Here are my top five editorial tips that make stories shine.
I love providing feedback on draft picture book manuscripts to help aspiring authors achieve their goals. There’s a nugget of gold in every story, but common errors often get in the way of the sparkle.
I looked back on all the manuscripts I’ve reviewed over the years and cherry-picked my top five editorial tips. Understanding these common pitfalls can help your stories stand out to publishers and readers.
Know your “why”
Picture books are short works of art where every word matters. They usually focus on a single central theme, be it brushing teeth, bravery or bereavement. This usually requires keeping the reader’s attention on the journey of one main character. If your story arc dithers or digresses without good reason, your manuscript is likely not cohesive, or not suitable for the picture book genre.Show don’t tell
One of the most joyful things about a picture book is the interaction between words and pictures. Don’t describe anything the illustrations can show - it wastes valuable word count and restricts your illustrator’s creativity. If there’s something really important the prospective publisher or illustrator needs to know (like the glorious device of words contradicting pictures), mark it in an illustration note.Balance heart with commercial appeal
The book industry is competitive and prospective publishers need to see where your story will fit in the market. Marketability and heart both matter. My book My Unicorn Farts Glitter happens to have a trifecta of buzzwords in its title alone, but the underlying tale of sibling love was the clinching factor. Above all, write what you love, write what is meaningful and target publishers that share your values.Simplify dialogue
Picture books rarely have much dialogue. Conversations chew up word count and can be too advanced for the genre. If you do use dialogue, keep it simple and contemporary. And don’t complicate dialogue tags. Tags like “whimpered”, “exclaimed” and “replied” will only bog down your copy. “Said” - sometimes known as an “invisible” word - will usually do just fine.Perfect your payoff
The payoff of your story is so important. Does it end with a clever twist, or a poignant moment? Is it satisfying or surprising? Test out several options. The story ending should relate to your story purpose, without being didactic or soppy. Consider the role illustrations might play here. Pictures might be able to convey “and they all lived happily ever after” (for example) so your words can be less heavy-handed.
Would you like comprehensive, personalised feedback on your picture book manuscript? Whether you’re just starting out, a seasoned professional or anything in between - professional editing can provide valuable insights. To learn more, visit Support for picture book writers.
Get insightful editorial advice on your draft picture book or chapter book. This service welcomes children’s authors of all experience levels seeking to polish their story before they submit to publishers or pursue self-publishing. Pricing is determined by story type and length. If you are seeking editorial support for longer projects, please contact Suzanne. If you're new to children's writing, the How to Write a Picture Book Mini Course is a good place to start. The course also includes a manuscript assessment.
Please note, Suzanne is taking a break between 1 December 2024 to 5 January 2025. You can still submit your story, but you won’t receive your feedback until at least mid-January.
Learn the basics of writing picture books, and get to grips with trade and indie publishing pathways. This virtual, self-paced course includes a comprehensive picture book manuscript assessment, plus bonus modules on self-publishing and marketing strategy.
Seven common pitfalls picture book writers should avoid
Aspiring picture book authors often ask me how to get published. Many of them are experiencing the same misunderstandings and challenges. Here are their most common mistakes and how to overcome them.
Aspiring authors often ask me for advice on how to write a picture book and how to get published. Many of these people are experiencing the same misunderstandings and challenges.
Here are some of the most common pitfalls aspiring picture book authors face, and how to overcome them. Number one is a doozy, but it’s probably the most important.
Pitfall #1: Your story isn’t the best it can be… yet
There’s something to love about every picture book manuscript. However, when aspiring picture book authors share a story with me, there are almost always opportunities for it to be improved. Sometimes a manuscript lacks polish or impact. Sometimes it isn’t suitable for the picture book genre. Sometimes it makes sense in the writer’s head, but not on the page.
Your first draft of your first picture book manuscript is unlikely to be ready to submit to trade publishers. And if you want to self-publish, the onus is even more on you to make sure it’s the bee’s knees. Successful writers take time to hone their craft and get feedback from critique groups and expert editors on each new story. Some established authors have agents who give them feedback too. What’s more, these authors might have hundreds of stories in a drawer, and only five stories in stores and libraries.
Trade publishers receive huge numbers of submissions, so your manuscript will have to be very high-quality to get noticed. Commercial appeal is important too. Even with all these factors ticked off, luck and persistence also play a role. Picture books are a very competitive market. So set yourself up for success by making your story the best it can be.
Lastly, just because your family (or other niche group) loves your story, it may not be suitable for trade publication. Bias, nostalgia and in-jokes can give people a rose-tinted view. You could choose to honour a beloved family story by self-publishing, even if you just make one or two lovingly handmade editions. Self-publishing would allow you to create the book exactly as you wish.
Solutions
Read and write often.
Browse the latest picture books in libraries and stores. Consider how your story fits amid them.
Learn as much as possible through your choice of:
chatting to librarians, booksellers and kids in your network about popular titles
social media channels of your favourite book creators
courses (Australian Writer’s Centre, Writing NSW, my course and manuscript assessments, or offerings from other authors)
memberships (SCBWI (this is an international organisation with many local chapters), Children’s Book Council of Australia)
conferences and events with opportunities to get one-on-one feedback from publishers (CYA Conference, KidLitVic)
newsletters (Buzzwords, Pass It On)
support groups (Creative Kids Tales, Just Write for Kids)
Get feedback from a critique group (SCBWI offers online critique groups for members).
Seek out expert editorial advice.
Pitfall #2: You arrange your own illustrations
If a trade publisher acquires your manuscript, they will choose an illustrator that suits your story and the retail market. The publisher will pay for the illustrator’s services. Sending illustrations with your submissions to trade publishers is likely to limit your success. The publisher might like the words and not the images, for example. They might also think you aren’t open to their input in the visual style of the book, which is usually a key part of a publisher’s role.
It’s a different story if you choose to self-publish. In these cases, you will choose, pay and collaborate directly with an illustrator.
Solutions
Do not send illustrations to trade publishers unless you are an experienced author-illustrator.
Always follow the submission guidelines for each publisher to the letter.
If you choose to self-publish and need to seek out an illustrator directly, be prepared to pay them well for their talent and time. Unless they feel deeply connected to your story purpose, many established illustrators don’t take on projects of this kind. Emerging illustrators may be more open to collaboration.
Pitfall #3: You get bamboozled by vanity publishers
Trade publishers do not ask you for any money to publish your book. If you come across a publisher that asks you to contribute money, they are a vanity or partnership publisher. They may have good intentions. Their emails might be flattering.
Vanity and partnership publishing may be a reasonable option if you want to self-publish and don’t want to go it alone. However, packages can be expensive and inclusions like editing and marketing may be of limited quality. And remember that illustration fees are rarely included.
Books produced by vanity and partnership publishers vary in quality because the publisher doesn’t have a commercial imperative, and the author’s limited experience or budget may shine through. And without the enduring distribution and marketing channels trade publishers have, it can be difficult to recoup your costs.
Solutions
Get to know trade publishing houses of all sizes. Follow them on social media. Hear their editors talk at writing events.
Be savvy when submitting your book to publishers. If you suspect you’ve stumbled across a vanity or partnership publisher and want to learn more, ask lots of questions so you know what you’re getting into.
Understand that the top ads that appear when you Google ‘publish my picture book’ are likely to be vanity publishers.
Pitfall #4: You submit your stories too little, too widely, or at random
If you submit your story to one publisher and sit back hoping for the best, you’re likely to be disappointed. Publishers might take six months to review your manuscript before deciding it’s a ‘no’. They might never get back to you at all. They are very busy and often under-resourced. Don’t take it personally.
Likewise, submitting a story to 20 randomly chosen publishers at once, copying and pasting the same form letter, also isn’t the best use of time. Publishers each have unique lists, interests and priorities. One might only publish stories with environmental themes. Another might have published three stories about owls in the past year and your story is too similar. So be strategic in your submissions.
Solutions
Choose the publishers that are most relevant to your particular picture book manuscript.
Tailor and personalise your pitches for each publisher. Demonstrate that you understand their lists, preferences and commercial needs.
Follow each publisher’s submission guidelines to the letter. You can find these on their websites.
Don’t hound editors online or in real life. Maintain a reputation of professionalism.
Submit to more than one publisher at once, unless a publisher’s guidelines asks you not to. If one of the publishers shows interest, it’s good practice to let the others know as soon as possible.
Keep a record of publishers you love and submissions you’ve made.
After you submit a story, keep writing other stories.
Pitfall #5: Your story is hard to explain
Develop an engaging elevator pitch or logline. This is a single sentence that describes what happens in your story and makes it sound irresistible. If you can’t describe your story arc or purpose in this way, you might not really know what it’s about. Or it might be too complex.
Many stories new picture book writers send me are more of an account (‘this happened, then this happened, then this happened’) than a story. What’s your character’s arc? Why does your story matter? Remember, even epic films and Netflix shows get boiled down to a teaser.
Solutions
Ask yourself what your story is really about. Not just what happens, but why.
Write an elevator pitch that blows people’s socks off. Let no word go to waste.
Practice talking about your story in a way that’s humble, but piques people’s interest.
Pitfall #6: You expect to make lots of money
If you land a picture book contract with a trade publisher, you will be paid royalties, often with a small advance. For a picture book, it’s common for the author to get a 5% royalty of what the customer pays for the book. The illustrator would also get 5%. Additional funds may be earned for subsidiary rights, translations and so on.
Trade publishers distribute your book to stores and online retailers. The scope of this may vary from publisher to publisher and book to book. Self-publishing may allow you to earn 100% of a book’s sale price in some retail scenarios, but your sales are likely to be much lower than a trade published title.
In summary, this is a wonderful and rewarding industry, but not highly lucrative unless you are very prolific or highly successful.
Solutions
Keep your day job at least until you understand your cash-flow and its timeframe. Picture books can take years to hit the shelves.
Supplement your income with writing-adjacent work. Lots of authors run workshops and talks at schools and events, for example.
Have an expert review your contracts to ensure you receive fair payment. The Australian Society of Authors is one organisation that offers this service. If you live in a different country, contact your local writer’s centre.
Pitfall #7: You give up
Children’s writing is very competitive and trying to get published might seem like a losing battle. Through perseverance, building connections and becoming ever-more savvy with your writing and submissions, I believe it’s possible to reach your goal. Over the years, I’ve seen a lot of dedicated writers finally land that elusive contract.
Most importantly, make sure you’re enjoying the journey along the way.
Solutions
Polish your work until it shines.
Write lots of stories, not just one or two. Learn as you go.
Tailor your submissions to your targeted publisher.
Be present in the industry. Support your peers. It’s a friendly community.
Find rich opportunities to engage with publishers. For example, book a one-on-one manuscript review with an editor from your favourite publisher at a writer’s event. (This is how I got my first picture book contract with a trade publisher.)
Get insightful editorial advice on your draft picture book or chapter book. This service welcomes children’s authors of all experience levels seeking to polish their story before they submit to publishers or pursue self-publishing. Pricing is determined by story type and length. If you are seeking editorial support for longer projects, please contact Suzanne. If you're new to children's writing, the How to Write a Picture Book Mini Course is a good place to start. The course also includes a manuscript assessment.
Please note, Suzanne is taking a break between 1 December 2024 to 5 January 2025. You can still submit your story, but you won’t receive your feedback until at least mid-January.
Learn the basics of writing picture books, and get to grips with trade and indie publishing pathways. This virtual, self-paced course includes a comprehensive picture book manuscript assessment, plus bonus modules on self-publishing and marketing strategy.
How to use illustration notes in your picture book manuscript
You might imagine your draft picture book’s artwork vividly. However, being too prescriptive in your illustration notes can be problematic for your pitches to publishers. Here’s how to use them wisely.
Illustrations are one of the most magical parts of a picture book. While you are writing a story, you might imagine the artwork vividly. However, being too prescriptive in your illustration notes can be problematic.
When you submit a picture book manuscript to a trade publisher, your story is likely to be read (among many others) by a time-poor editor or assistant. If your illustration notes are too long-winded, or too specific about how the artwork should look, you run the risk of seeming a little unprofessional, or even unwilling to collaborate.
By contrast, providing too few illustration notes when the meaning of your book is not made clear in the copy could leave the reader confused. Each of these scenarios could lead to your story submission being overlooked.
To help your story shine, it’s important to strike the right balance with your illustration notes. Here are our top tips for how to use illustration notes most effectively in your picture book manuscripts.
Know your concept
The interplay between words and illustrations is one of the most wonderful tools at your disposal when you write a picture book. Keep this in mind as you write to ensure that the illustrator has room to weave their magic. Generally speaking, your text and illustrations should not mirror one another exactly.
Once you’ve written your story, have a good think about which of your illustration notes (if any) are absolutely critical. Wherever possible, leave illustration notes out. However, if the words and the pictures are intentionally telling very different stories (which can be a fantastic device) you will certainly need a few carefully crafted illustration notes to help your reader understand your concept at a glance.
Don’t be too prescriptive
Unless certain details are truly essential to the story, there is no reason to use illustration notes to describe absolutely everything that should appear in the artwork, nor specific details like the eye colour or outfit choice of your character. Does it matter whether your character is a boy or a girl, or that they have a green hat? Wherever possible, let your illustrator (and perhaps your reader’s imagination) fill in the gaps.
Remember, if your manuscript is acquired by a trade publisher they are likely to remove all of your non-essential illustration notes before providing your manuscript to an illustrator. This allows the artist to work freely and at their best. Of course, it is unlikely that the illustration style or execution will turn out exactly as you’d pictured in your mind, but this collaboration between you, your insightful editor and their carefully chosen illustrator is where the magic happens.
Even if you are self-publishing, I encourage you to allow your illustrator room to be creative. If you can establish a positive working relationship with a capable artist, a collaborative approach will create the best results.
Consider a one-liner
Are your words are intentionally telling a different story to the illustrations throughout your manuscript? Or is there is something a prospective publisher needs to know before they start reading that isn’t made clear in the copy?
For example, your words might describe brave adventures in a scary jungle, but you want the illustrations to show a child playing in their own backyard.
In these sorts of cases, it may be worth adding one-sentence description at the top of your manuscript to set the scene and save clogging up your document with too many illustration notes.
Trim, trim, trim
After you have reduced the number of illustration notes to what is absolutely necessary, try to convey each remaining note in as few words as possible. Editors are very busy people, so it’s worth spending some time to make your story concept understandable at a glance before you submit it to a publisher. Make every word count.
Format with flair
Rather than listing all your illustration notes together at the beginning or the end of your manuscript, short, sharp notes against specific lines of text (and again, only where absolutely necessary) can be easier for your reader to follow.
Differentiate the illustration notes from the body text as clearly as you possibly can, such as by using a dedicated colour (make sure it’s still readable and not hard on the eye - dark blue might do) or column.
Find an approach that works for you and your story but, very importantly, if you submit your manuscript to a publisher, always follow their formatting guidelines.
Survey your friends
Once you have finished your illustration notes, ask a trusted friend to spend a few minutes reading your manuscript. Then, ask the person questions to find out whether they have understood everything they need to know about your story. If they are confused about anything, you might need to keep editing.
As a writer, it’s so easy to become ‘too close’ to your story and lose track of how it might come across to another reader. Being open to wise feedback is a very important part of the process. If you’re not sure about someone’s feedback, it can help to ask more than one person to read your story. If you see a trend in their responses, you have a clear indication of what needs work.
Get insightful editorial advice on your draft picture book or chapter book. This service welcomes children’s authors of all experience levels seeking to polish their story before they submit to publishers or pursue self-publishing. Pricing is determined by story type and length. If you are seeking editorial support for longer projects, please contact Suzanne. If you're new to children's writing, the How to Write a Picture Book Mini Course is a good place to start. The course also includes a manuscript assessment.
Please note, Suzanne is taking a break between 1 December 2024 to 5 January 2025. You can still submit your story, but you won’t receive your feedback until at least mid-January.
Learn the basics of writing picture books, and get to grips with trade and indie publishing pathways. This virtual, self-paced course includes a comprehensive picture book manuscript assessment, plus bonus modules on self-publishing and marketing strategy.
Meet six indie-published picture book authors
Meet six self-published picture book authors. Read about the trials and tribulations of their indie-publishing experiences, what inspired them to self-publish a picture book, and what’s next in their creative journeys.
A little while ago I had the pleasure of interviewing six self-published picture book authors about their experiences, what inspired them to take the leap into indie-publishing, and what’s next in their creative journeys.
The group included a scientist, a playwright and a children’s entertainer, and their books touched on all sorts of topics, from recycling to assisted reproduction. Here are their stories.
How to self-publish a picture book
While many aspiring children's authors dream of a contract with a major publisher, a growing number are experimenting with self-publishing. Here are some top tips to make your book the best it can be.
Would you love to see your picture book published and being enjoyed by children and families?
While many aspiring children's authors dream of a contract with a major publisher, a growing number are experimenting with indie-publishing to hone their craft or to publish a story for a niche audience.
Here are six top tips for aspiring authors who are thinking about self-publishing a picture book.
1. Set a goal for your self-published picture book
Have an honest think about your self-publishing goal.
Do you want to create just a few copies of your picture book to share with your family and friends, without spending too much money? Do you mind if the finished product looks a bit homemade, or would you prefer to publish a picture book that is indistinguishable from trade-published titles? Do you want to make a printed book, an ebook, or both? (Keep in mind that ebook sales are generally low for picture books.)
Setting a clear goal for your picture book project will stand you in good stead for your self-publishing journey and help you plan your budget.
2. Edit until your story shines
Even the most brilliant authors have their work edited. Every one of them. And often extensively. Humility and hard work are key to the quality of your finished product, so don’t assume your first draft (or even your third) is good to go.
Ask for feedback from honest, trusted friends or members of your writers’ group. Sometimes feedback can be confusing, but do listen carefully to people’s responses and consider making edits, especially if you start to hear a trend, such as: “I don’t understand the ending”.
Whether you pursue trade publishing, indie publishing or both, critique groups and professional manuscript assessments are great ways to hone your craft and make your stories stand out to potential publishers and readers.
3. Find a balance between DIY and expert help
Know your strengths and your limitations. If you’re trying to make and market a high-quality book, it is very likely that you will need to invest in expert help for some tasks.
Whether you're a primary school teacher or a social media guru, you are bound to have some specialist skills to bring to the table. For other tasks, such as illustration and design, it may well be best to work with a professional to make your picture book the best it can be.
4. Be realistic about your budget
While you explore your self-publishing options, make a list of all the potential costs. Then factor in some contingency funds for any unexpected expenses.
Your biggest costs are likely to be paying an illustrator (unless you are an author-illustrator) and getting the book printed, depending on whether you choose traditional offset printing or print-on-demand.
You may be thinking that your book sales will cover all of your costs. But don’t be so sure. Selling books is hard and it’s very common for creators not to break even.
So be very conservative about how many books you expect to sell and start thinking early about potential sales avenues. Perhaps you know someone who owns a gift shop or, if your book is about a particular theme, perhaps you could try to sell it through a like-minded organisation.
5. Beware of ‘vanity’ publishers
It’s totally understandable to feel a bit overwhelmed by the prospect of self-publishing and wonder if there’s someone out there who can just take care of everything for you.
When you start searching for self-publishing information online you will almost certainly come across companies offering to publish your book for a (sometimes hefty) fee. These companies are known as ‘vanity’ publishers, and their offerings can sound very shiny and appealing.
Many of these companies don’t set out to be deceptive but, in reality, their services may not be good value for money.
In short, when something seems too good to be true, it may very well be. So do lots of research, ask lots of questions, and take time to mull over your options.
6. Collaborate with care
When you self-publish a picture book, you have the privilege of being very close to the production process and making lots of decisions along the way, probably including working directly with an illustrator to bring your story to life.
This is a wonderful process, however you should check yourself when it comes to giving feedback. Yes, you need to ensure that the artwork does justice to your story, but don’t be overly prescriptive, as this will almost certainly impact the quality of your book.
If you choose your illustrator (and any other contributors) carefully and develop a good relationship with them, you should be able to trust their expertise and allow them the freedom to work at their best and add value to the book. Probably in ways you never thought possible. This is where the magic happens.
A final thought…
Above all, self-publishing a picture book should bring you joy. So keep checking in with yourself throughout the journey and make sure you are not overstretching your budget, or your energy.
We live in a very busy world and life can often get in the way of our creative dreams. So, once you decide to self-publish a book, be true to that goal.
Set aside a bit of time each day, or each week, to devote to your passion project and eventually you will be unboxing your creation.
Learn the basics of writing picture books, and get to grips with trade and indie publishing pathways. This virtual, self-paced course includes a comprehensive picture book manuscript assessment, plus bonus modules on self-publishing and marketing strategy.
Get insightful editorial advice on your draft picture book or chapter book. This service welcomes children’s authors of all experience levels seeking to polish their story before they submit to publishers or pursue self-publishing. Pricing is determined by story type and length. If you are seeking editorial support for longer projects, please contact Suzanne. If you're new to children's writing, the How to Write a Picture Book Mini Course is a good place to start. The course also includes a manuscript assessment.
Please note, Suzanne is taking a break between 1 December 2024 to 5 January 2025. You can still submit your story, but you won’t receive your feedback until at least mid-January.
One in Many Millions
A far cry from stories about storks and magical eggs, RJ Miles’ debut picture book One in Many Millions engages children in fascinating facts about assisted reproduction.
A far cry from stories about storks and magical eggs, RJ Miles’ debut picture book One in Many Millions engages children in fascinating facts about assisted reproduction.
RJ was inspired to independently publish the book when she and her wife began researching how they would start their own family and began the IVF process.
‘We realised there were not many titles out there for children born via assisted reproduction that explained in their language, how their life began – particularly for same-sex parented children who may have been a result of donor sperm or assistive reproductive technology,’ RJ said.
RJ found that indie publishing required a lot of stamina and effort, but the best part was making connections with many interesting, like-minded people.
She even got invited to TEDx Brisbane, and also to be a writer for QNews in Brisbane. Her next big creative dream is to get a PhD.
‘One in Many Millions is special to me because it coincides with the start of our child's life and was essentially written for them,’ RJ said.
RJ and her wife welcomed their baby boy in December 2018.
Find out more about RJ’s journey on her website.
Ori the octopus returns
Anne Donnelly is an emerging author, illustrator, dance teacher and former scientist. With such a busy life, it’s no wonder she had to invent an eight-armed helper.
Anne Donnelly is an emerging author, illustrator, dance teacher and former scientist. With such a busy life, it’s no wonder she had to invent an eight-armed helper.
Ori the octopus has now starred in three indie-published picture books. The latest title, Ori’s Clean-Up, aims to inspire children to care for the environment.
One of Anne’s favourite things about her indie publishing journey has been collaborating with editors, a designer, printer and distributor.
‘I have learnt so much along the way. Persistence and hard work!’ Anne said.
‘My big creative dream is to be able to earn a reasonable living from writing so I can continue to do it.’
Anne’s connections with environmentally-minded retailers is helping Ori on his journey into the hands of young readers, despite the distribution challenges faced by indie authors.
‘I have been so lucky that, aside from book shops and libraries, lots of other retailers have picked up Ori’s Clean-Up,’ Anne said.
‘Many zoos, national parks, museums, aquariums and holiday retailers across the country are now stocking it, and I am doing a second print run.
Head to Anne’s website to check out the full Ori series.
Riverboat postie inspires picture book
Joanne Karcz has to cross the beautiful Hawkesbury River by boat to get to or from her house. As a passionate travel writer, she couldn’t have asked for a more perfect abode.
Joanne Karcz has to cross the beautiful Hawkesbury River by boat to get to or from her house. As a passionate travel writer, she couldn’t have asked for a more perfect abode.
The river – and the lifestyle of the lucky folk who reside on its banks – even inspired Joanne to write her latest picture book: The Riverboat Postman.
1. What inspired you to independently publish a picture book?
I live in a unique place on the Hawkesbury River. Children here have a freedom unknown by many Australian children. After writing my first book on Dangar Island, which celebrates that freedom, it was an easy step to introduce readers to The Riverboat Postman, which delivers my mail.
2. Why is your book, The Riverboat Postman, special to you?
I am lucky to live in one of the most beautiful parts of Sydney. The Riverboat Postman captures the essence of the unusual life people who live in water-access properties on the Hawkesbury River lead.
3. What has been the best thing, and what has been the most challenging thing about the process of indie publishing?
The best and most surprising thing was how well my books have been received. I never in a million years expected the response I have received. The most challenging thing was starting from a zero knowledge base and researching absolutely everything about publishing my book. Finding an illustrator was also difficult.
5. What is your big creative dream?
Unrelated to my books, I dream that my writing will one day be published in a travel magazine. I currently write a blog, Travel with Joanne, which mainly focuses on Sydney suburbs, but other travels too.
To buy a copy of The Riverboat Postman head to Vivid Publishing.
The picture book philosopher
Maura Pierlot rediscovered her creativity after more than 25 years in business, and her career as an author and playwright is blossoming.
Maura Pierlot rediscovered her creativity after more than 25 years in business, and her career as an author and playwright is blossoming.
Her indie-published debut picture book The Trouble in Tune Town, has received several awards, and she has plenty more stories up her sleeve.
We sat down with Maura to find out a little more about her creative journey.
Why is The Trouble in Tune Town special to you?
The Trouble in Tune Town was inspired by our children and it touches upon the many challenges kids face when learning. Meg, the main character, represents the struggling student who wants to give up out of sheer frustration, especially when she makes mistakes, just like our kids did for piano and other lessons over the years. They loved playing their instruments but never wanted to practice — a challenge echoed by many other families — mainly because, in their eyes, the learning process often highlighted what they did wrong, rather than how far they had come.
Children have different personality types, learning styles, interests and abilities, and I think learning (in all subjects) needs to engage students so they can develop skills in a fun and enjoyable way. In my view, education focuses far too much on outcomes rather than process yet most of the personal development can be found in the journey, where important traits can be developed like resilience, self-belief, perseverance and belonging — themes explored in Tune Town.
What has been the best thing, and what has been the most challenging thing about the process of indie publishing?
The best thing about indie publishing is the fact that I could help drive the process. I’ve been in small business for more than 25 years (real estate, marketing, property development, finance) and it would be hard for me to take the back seat and simply hope for the best. I had clear ideas for the look and feel of Tune Town (the many double-page spreads, glossary at the back, the tactile cover) and wanted an opportunity to offer input; with indie publishing, I could add my voice to the chorus.
The down side: even with hybrid publishing, the author is reliant on third parties so there are always potential issues with accuracy, quality, deadlines and so forth. Also, like with self-publishing, the hybrid author has to (virtually single-handedly) drive marketing, sales and distribution. The recent demise of Dennis Jones & Associates is very unfortunate and is not helping the plight of indie authors.
Could you tell us a little about your life outside of writing?
I was born and raised in the Bronx but have lived in Australia for nearly 30 years.
For years and years I studied philosophy, specialising in ethics; friends often joked that I should wear a robe and sandals and ‘pontificate’ in the marketplace like in ancient Greece. Despite philosophy not being a ‘practical’ degree, the training in logic, argumentation, analytical thinking and ethics has served me very well in business and in life.
I also have an active interest in health and medicine (I was a medical journalist for years).
I divide my time between Canberra and the coast, where we have a farm that produces walnuts and avocadoes — a great place for relaxation and inspiration, especially when cohabiting with lyrebirds, wombats, echidnas, kangaroos and other native animals.
What is your big creative dream?
My big creative dream is to have the freedom to write what I want for a loyal, growing audience, to write work that resonates with children and young adults, to continue to assume an intelligent audience and write accordingly, not to create work shaped mainly by market forces.
I used to dabble in film and video, and keep getting signs from the universe that should be pitching my YA manuscript for the screen (it would make a great series).
My play Fragments (a youth monologue project on mental health issues) has been performed in Sydney this year, and it will be performed in Canberra next year. I’d like to take this work to the next level, licensing and making it available for use by schools throughout Australia.
And of course, like many creators, I have countless projects on the go and would like to progress my work in a balanced, fun and enjoyable way… just like Meg in The Trouble in Tune Town!
Find out more on The Trouble in Tune Town website.
Bubbles and Puddles a labour of love
Celebrate the simple joys of life through Bubbles and Puddles, a picture book of rhyming stories by author Michelle Wanasundera.
Celebrate the simple joys of life through Bubbles and Puddles, a picture book of rhyming stories by author Michelle Wanasundera.
Michelle first created the tales as bedtime stories for her daughter, Amali. When Amali asked for the stories in a ‘proper book’, Michelle decided to make her a very special gift.
Friends and family also wanted copies, so Michelle decided to share her heart-project with the world, working with artist Thana-one Yazawa and designer Lilly Pilly Publishing.
‘I could have tried the traditional publishing route, but with Amali growing so fast (and traditional publishing being a longer route), I decided to self-publish as soon as I could, before she outgrew the fun of bubbles and puddles,’ Michelle said.
‘The best thing about indie publishing would be of course having full control over the illustrations and design of the book, which was a such a fun and fulfilling experience.
‘I was able to include friends and family in the illustrations as well as have a huge input in the illustration's content, and Thana was just wonderful to work with. Involving Amali and asking her feedback on the illustrations was very special too.’
Of course, indie publishing also presents many challenges.
‘Whilst fun, getting the illustrations and design work just right was challenging at times, the details really need to be perfect, checked, rechecked and rechecked,’ Michelle said.
‘Researching printing options, distribution and marketing is also challenging and time consuming, and it has been frustrating at times as buyers understandably I think tend to choose the more mass-marketed titles.’
Author trivia
Michelle has lived in many places in Australia, as well as Japan. Originally from Melbourne, she met her husband (who is from Sri Lanka) while living on the Gold Coast. They later lived in Sydney city, then made the tree change to the beautiful Blue Mountains.
Michelle continues to lovingly share Bubbles and Puddles far and wide, recently showcasing her work at an Etsy Made Local market, and she shows no signs of slowing down.
‘I have a passion for gorgeous books that touch the heart, and hope that my own stories will also bring smiles, comfort or fun to little ones and their families,’ Michelle said.
Find out more on the Bubbles and Puddles website.
Dreaming of Digby
Embark on a musical adventure between the pages of Digby and the Yodelayhee Who? – the latest picture book by author and performer Renee Price.
Embark on a musical adventure between the pages of Digby and the Yodelayhee Who? – the latest picture book by author and performer Renee Price.
The title is the second book in Renee’s independently-published Digby Fixit series, following Digby’s Moon Mission. Both books are illustrated by Anil Tortop.
‘Digby and the Yodelayhee Who? is a dream creation; combining a fun-filled, energetic story and visuals with equally fun and engaging music. All my loves!’ Renee said.
‘The best thing about indie publishing is the creative control over my project and ensuring my vision for it is realised.
‘The most challenging thing is definitely budget, and also obtaining wide distribution channels.’
Renee’s passion for her craft and success in indie publishing has led her to become a strong supporter of many other emerging authors.
Recently, her dream of a traditional publishing contract also came true. Elsie's Dreams will be published by Little Pink Dog Books in early 2021.
Author trivia
‘I have moderate-severe hearing loss (surprisingly not caused by my work as a muso!) and have worn hearing aids since I was 30.’ - Renee Price
The multi-talented Renee continues to dream big, combining her writerly dreams with her talents as a musician and performer.
‘I would love to continue combining my writing and performance, tour, create and build a wide audience for my work,’ Renee said.
‘The Travelling Story Performer sounds like a good title for the role.’
Find out more about Renee’s creative journey, visit Create It Kids, or watch the below video.