Dangerous Myths and Terrible Truths

I read this article many years ago, and it is still relevant.  Here are a few snippets from the piece.  Check out Aaron Shepard’s article for 10 more myths and truths about picture book writing.

http://www.aaronshep.com/kidwriter/Truths.html Aaron Shepard

MYTH: Children’s books are easier to write than adult books.

TRUTH: Good writing is difficult no matter what the reader’s age—and children deserve the best.

MYTH: Since my kids/neighbors/students like my story, it will make a great book.

TRUTH: Your kids/neighbors/students may like it only because it’s yours, or because they enjoy your reading.

This does not impress editors.

MYTH: To sell my work, I must get an agent.

TRUTH: Though it has become harder to sell children’s books without an agent, you can still do it—and getting an agent may be as hard as getting a publisher. Agents are more useful and available once you’ve sold on your own.

MYTH: My chances are better if I submit to small publishers.

TRUTH: Not unless your book is specialized. Small publishers issue fewer books and must often be cautious in their selections. Large publishers can afford to take an occasional chance.

MYTH: When submitting, I must protect my ideas from theft.

TRUTH: Theft by children’s publishers is rare. Ideas are plentiful, so editors are more interested in finding writers who can handle ideas. In any case, copyright law protects your work—without any official registration or notice.

Spreads

Most picture books are made up of 16 spreads.  A “spread” is both pages of an open book. 

To represent the spreads, draw sixteen rectangles on a piece of paper, using four rectangles per row.  Draw a line down the middle of each rectangle to divide them into 2 squares.  These represent the picture book pages with text and illustration (usually 32 pages). 

Rectangles 1 – 4 represent the beginning.  Introduce characters, the setting, the character’s want, the conflict. 

Rectangles 5 – 11 represent the middle of your picture book.  Introduce other characters (most picture books should have 2 – 3 characters), action, and complications.  Rectangle 12 is the crisis or climax page. 

Rectangles 13 – 16 represent the ending.  Examine the character’s feelings and solve the story problem. Include a physical resolution and an emotional resolution.

You can fill in the squares with sticky notes and move them around, if needed.  This technique will  help you visualize your story.

10 Questions to ask before you write your picture book

1. What is your picture book about?  State the idea of your book in one sentence. 

2. What is your character’s problem?  Use only one problem in a picture book.

3. Is the central theme kid-like?

4. Does it have kid-like resolution? If it’s preachy, reconsider.

5. Who will tell the story?  Consider viewpoint. 

6. Is your character unique?  Quiet your editor and listen for his voice. 

7. Will you use present or past tense? 

8. Does each page have illustrator possibilities?

9. Does your story have movement and take place in various settings?

10. Does each page should have “turn-ability”?  Check for pacing and page breaks.  Now read your story aloud.  The text on each page should read like a mini chapter, ending in a cliffhanger or with exciting action that urges the reader to turn the page.  

As you write your picture book, consider this advice from author Marisa Montes:  “use the best words, in the best order, to write the best story.”

 

Five elements and a Formula

When you begin to write a picture book, keep these five elements in mind. Refer to Eve Bunting’s formula  as well. 

Story:  a character-drive plot by which a character faces a conflict, deals with set-backs and complications, and resolves the conflict by himself, and in doing so, changes or grows.

Setting:  Where the story takes place.

Main Character:  the person who faces a conflict and actively resolves it himself/herself with no help from adults.

Conflict: the problem the main character faces.  Without conflict, there’s no story.  Types of conflict include man vs. man, man vs. society, man vs. nature, and man vs. himself.

Want:  the one thing that the main character desires.  Conflict is propelled by want.

A picture book formula by author Eve Bunting: Will the main character be able to (whatever you want him/her to do), despite (conflict), despite (conflict), and despite (conflict) and in so doing, learn a lesson?   Character + conflict + conflict + conflict = growth.

So you want to write a picture book?

Here are 18 tips before you start writing:


Read books on the craft of writing, especially those on picture book writing.

Read many picture books.

Keep words to less than 1000.

Avoid using adverbs.

Use active verbs.

Combine wordplay and lyricism.

Write with a tight simple style.

Rhyming must be spot on.

Give details (example: use poodle, basenji, etc., not just dog).

Avoid writing a story with a message.

Think in terms of 16 pictures.

Do create a page turner.

Don’t worry about illustrations—the publishing house pairs you with an illustrator.

Holiday stories are hard to sell.

Stories about talking animals or inanimate objects that come to life are hard to sell.

Folktales require a natural storyteller and a storyteller’s voice.

Well-written nonfiction and biographies are always in demand.

Humorous books can be read again and again.

The Birth of Maggie

Maggie and the Third Grade Blues began as a completely different picture book: The Adventures of Pirate Girl. But that piece never took wing. For the life of me, I found myself copying one of my favorite picture books, Ladybug Girl. As I struggled to create a character-driven book, I followed the outline for writing a picture book: the set-up (who and where), things happen, a series of complications, climax, resolution with a twist and character growth. I played with different themes, characters, and plots. For weeks nothing worked, until one day, Maggie whispered in my ear.
Here’s the book description:

On the first day of school Ms. Madison writes on the board: Welcome to the third grade. Maggie is fine until she reads: What I did on my summer vacation. Due: Tomorrow. Ms. Madison adds, “Bring in something to show.” The fact is: Maggie wants to go back to the second grade. She’s thinking, she wished she had traveled to Australia (she’d bring in a koala) or she had paddled the Amazon River (but there’d hardly be enough room to squeeze in an anaconda). Time is running short and the evening gets complicated when her dog, Trooper runs away during a thunderstorm. Later reunited with her pet, Maggie reminisces how she and her family rescued the injured dog over the summer break. She’s thinking, she could talk to the class about adopting and healing a stray. The fact is: Maggie realizes it’s not where you travel in life, but who travels into your life that matters.

Welcome

Those of us who write for children know that publishing has become more difficult. We compete with published authors and celebrities. We read that publishers are producing fewer books. We learn that some publishers will only respond to agent represented writers. It takes on the average three months to hear from a publisher. Many only respond if interested. Not particularly encouraging. But despite the odds I will submit my picture book manuscript to 30 publishers, 15 agents, and 5 contests in one year. To meet my goal, I’ll send out two – three submissions to editors each month. I will query one to two agents a month. Contest submissions will be sent out one month prior to deadline. Why not send one batch to all of the editors and another batch to all of the agents? Quite simply, it’s frowned upon and it’s not my style. Read about the responses and results, plus insights as an editor and inspiration for writers as I pursue The Maggie Project.