by Mira Reisberg

I'm getting ready to teach another fabulous picture book illustrating course  and have been reflecting on why some books sell and others don't. So I came up with five reasons why your picture book might not be selling.

Let's start with the four essentials that every picture book needs to have.

,One. Is your story and language age-appropriate?

Your story needs to be age appropriate with age appropriate interests and language. In other words you need to know about children's developmental stages. For example, if you are writing a book for 3-5 year-olds, you might want to re-think having a super scary Halloween story with an unresolved ending as kids that age can have trouble differentiating between fantasy and reality and can also be fearful of the unknown. At the same time, you could absolutely have a Halloween story for that age but you'd want to make it playful with a reassuring ending so that the child won't be scared to go to sleep at night. Generally with a much younger audience, stories need to be sweeter, or more quirky or goofy, or reassuring than scary. In terms of language, 3 to 5-year-olds are beginning to learn about their world and starting to try and decipher or memorize words to keep up with the read aloud. So the language needs to be more manageable, more playful, and more accessible. If you do introduce  higher level language, you need to contextualize it, or explain what it means in some way either through the images, or in context with what else is going on in the story. The Fancy Nancy books, which are marketed for 4-8 year-olds use elevated language, which is explained in asides by Nancy such as, “My favorite color is fuchsia. That's a fancy way of saying purple.” The word is explained in a fun way while adding to the kid's vocabulary . While Tara Lazar's list of "500+ Things That Kids Like" isn't set up in terms of developmental stages, it is a fun read to get inspired. https://taralazar.com/2007/11/04/199-things-that-kids-like/

Two Do you write in a way that makes the reader want to keep reading?

This begins at the beginning with your hook - in the form of a problem that needs to be solved, a journey that needs to be taken, a great desire that needs to be attained and so on... to provoke the big question or curiosity of... What happens next? Pacing your story  through suspenseful tries and fails and gripping page turns, or laugh out loud language will help you keep your reader hooked. Language comes into play in a big way. If it's a soulful book or more serious nonfiction, use exquisite lyrical language with assonance, consonance, alliteration and beautiful rhythms. If if it's a playful or funny book use onomatopoeia, wordplay, the different types of lyrical language described above and different types of humor (hyperbole, contradiction, malaprops, spoonersims etc.).

Three. Do you make the reader care enough about your characters to stay with them?

No matter what your characters are like, we need to care enough about them to want to stick with them throughout the story and we also need for them to be memorable. Even if they're not that sympathetic you can make them more sympathetic by making them charming, or by revealing where they got their flaws from, or having them do or show something kind-hearted or generous early on in the story. For example, "Grumpy George didn't have any friends, except his Mama and his little brother Gordy, who he loved more than anything else in the world." Well if he loves his Mama and his little baby brother, he can't be all bad and there's room for redemption. One of my all-time favorite sympathetic villains is John Szieska's A. Wolf in The True Story of The 3 Little Pigs by A. Wolf. He's such an incredibly charming unreliable narrator (liar) that we can't help but keep turning the page. Think about giving your characters quirky names or names that go against their essential nature as Jenny Offil does with Sparky! (the sloth). Your characters are the emotional core of your story and their problems and feelings become our problems and feelings as we stay with them on their journey to solve the problem or attain their goal.

Four. Do you leave your reader satisfied at the end?

You need to give your picture book a wonderful ending that ties up all the loose ends, and leaves the reader with a good feeling whether that's a satisfied feeling of well-done, a touching tender feeling of "awwww", or a big smile or laughter with a twist at the end. Reading children's picture books needs to be a satisfying experience no matter what the subject matter, so that kids will want to become readers or become stronger committed readers. It's a big responsibility, one that editors and agents take seriously, no matter how playful the book. So ask yourself:

• Is my story and language age-appropriate?
• Do I write in a way that makes the reader want to keep reading?
• Do I make the reader care enough about my characters to stay with them?
• Do I leave my reader satisfied at the end?

If you can answer yes to all of these, you are 3/4 of the way there.

Now I'm going to insert 4.5 here with some other practical things before launching into the slightly  more random #5

Four.5 Did you present professionally?

Editors and agents are crazy busy. You cannot imagine how stretched they are, which is why you need to research them first and address them as people with names when submitting and why you are specifically submitting to them. Your manuscript needs to be professionally formatted with few typos or errors and the same with your cover letter, which should be as charmingly written as your story. You want to come across as professionally and personable as possible so that they will want to work with you and reassure them by the professionalism of your submission package that you know what you are doing and that you won't be a pain to work with. Why? Re-read Four.5's first sentence.

And now for reason five of why your book might not be selling

Five Did you submit to the wrong place or wrong person at the wrong time, or Are you resisting to persisting in submitting?

The beginning of this one is a bit of a wild card. You might have submitted your work to an editor at a house that has just acquired a book very similar to yours, or there might be another similar book already on their list (this is where research comes in handy because they don't want to compete with themselves) or you might submit your dog story manuscript or query to an editor who dislikes or doesn't connect with dogs. Fortunately with MSWL sites (manuscript wish lists from editors and agents), you can find out what specific editors and agents like or are looking for in advance. The thing to be aware of with this is time sensitivity. By the time you contact them with your alien chocolate loving cat story, you editor or agent might have acquired another chocolate loving cat story from someone else, which is why it's important to not write according to what someone else loves, but to write what is meaningful or important for you. Still, if you go to MSWL and find someone who loves or likes things similar to what you are writing - go for it!

Here are some links for a few MSWL websites that might prove super helpful for you (you might even want to start putting your own custom database together:

• mswishlist.com
• manuscriptwishlist.com/find-agentseditors/editors
• avajae.blogspot.com/2014/09/manuscript-wish-list-mswl-hugely.html

And finally - are you resisting in persisting in submitting your manuscript after receiving some rejections? Children's book creatives are in a weird position in that we need to be sensitive to create kid's books and at the same time we have to have a thick skin to learn from critiques and rejections and not personalize them so that we can keep improving our work and re-submitting. Oy! But the thing is that the people who do all 5 (or 6) of these things well are the ones most likely to succeed. Having a wonderful support network, continuing your education into both the craft and business of creating kid's books, and being persistent really are the keys to success.

by Mira Reisberg

As the curve of our national pandemic rises and falls, so too do our emotions. These are probably the not-so-good emotions--fear, anger, sadness. So, let's take this opportunity to learn and experiment with the power of emotions.
Let's look at the power of emotion in turning your story or art into something that really affects the reader/viewer and makes your work really memorable. Here's a handy Feelings and Emotions List that you might want to consider using to highlight different (not just the crummy) emotions as you write and illustrate.
Generally, children have very strong emotions and part of the process of socializing them is it to teach them to repress and control a lot of their emotions. But as a children’s book illustrator or writer, you want to connect with those emotions as much as you can. You want to make kids laugh, cry, be scared for the characters, worry about them, be curious about them, be angry with them or their antagonist or bullies, be happy for them, identify with them and most of all care about them.
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For Illustrators:
The most effective ways to convey emotion is with your color palette, body language, scale, and facial expressions.
If you don’t have great drawing skills, model the body language and facial expressions in the mirror and then draw it as a stick figure and build that out.

I also want to encourage you to go through your manuscript and then your thumbnails and write down what the key emotions are on those pages or spreads to remind you that emotion is the heart of your visual storytelling and to highlight those specific emotions in your images.
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What does your character feel? What do you want your audience to feel on each page? And that's what you go for.

For Writers:
You've probably heard of "show, don't tell" and here's where you describe your characters emotions through physical actions. Use your words to create vivid and specific details that allow the reader to draw their own conclusions. Use literal lightness and darkness as cues, avoid adverbs and passive voice, use strong action verbs, use active dialog, call the five senses into play, and focus on your character's actions and reactions (not their state of being).
Showing creates a connection, pulling the reader into your story, because they have to interpret what's happening. Telling the reader what emotion your characters are experiencing makes the reader passive because you're telling them what they should understand or feel.
When we're reading, we don't want to read a sentence like, "Stella was sad," which does all the work for us. How about: "Stella wiped tears off her face" instead? We want to interpret and feel the emotion for ourselves, not be told what to feel.
Writers, consider what's going on in your story, how your hero or villain is doing in achieving their goals or being triggered with underlying emotions, and see how you can convey that in your story. 

We hope you found this helpful. Stay safe and wash your hands!

Mira Reisberg’s life is all about children’s books - writing, illustrating, and helping others write, or illustrate, and publish their books through the Children’s Book Academy. Mira has worn just about every hat in the children’s book industry including award-winning illustrator, author, editor, art director, kid lit professor and children’s literary agent. Her students have published over 380 books and won every major North American award. Mira also acquires, edits and art directs for small press Clearfork Publishing/Spork. Connect on Instagram @ChildrensBookAc or at facebook.com/childrensbookacademy.

By Maggie Lauren Brown

Many hilarious picture books feature unexpected combinations. So, instead of trying to craft a perfectly-thought-out story idea, use this exercise to help your ideas fly and work together in unexpected ways.
Start by writing a list of 10 (or more) things that kids love. Bonus points if these are things you like as well. The list can include people/animals/creatures, activities, places, foods, etc. It’s okay if your list is totally random. Actually, it’s better if it is!

Here is my list:
1.       Roller Coasters
2.       Zombies
3.       Peanut Butter and Jelly Sandwiches
4.       Hula Hooping
5.       Sandcastles
6.       Monkeys
7.       Mermaids
8.       Staying Up Late
9.       Snowball Fights
10.   Trampolines

After you’ve written your list, write each thing on a separate scrap of paper. Throw the scraps in a hat. Mix them up, then pull out three.

Next, use these three elements to write a pitch for a story idea. It might take some serious creativity to force the ideas to work together. That’s the point! Don’t think too hard about it—if the story idea seems silly or outrageous or unbelievable…well it just might be a winner.

I drew Zombies/Snowball Fights/Sandcastles. Here is what I came up with:
Zeke the zombie dreams of one thing: winter. But life at the beach with his zombie family means sunshine and sandcastles. Zeke is desperate for a wintry relocation before he sweats what’s left of his face off. His only hope is to prove to his family how awesome winter is—with the help of THE SANDIEST SNOWBALL.

It’s a stretch but it’s definitely fun!
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I hope this exercise brings some fun to your creative process as well. Happy writing!

I hope this exercise brings some fun to your creative process as well. Happy writing!
Connect:
www.MaggieLaurenBrown.com
www.twitter.com/ByMaggieBrown

​As a long-time lover of handmade paper, the cover for this picture book mesmerized me and drew me right in with its swirls of color and bursts of energy. Holmes created the illustrations with hand-marbled paper and collage and assembled it digitally, crafting images to compliment Bauer’s vivid words perfectly. The textural quality of the artwork across each page captures movement in an abstract way that invites the reader to look closer and really take in each moment on every page. ​
Readers of all ages will enjoy reading Bauer’s lyrical telling of the creation of our world, as well as looking deeper into each illustration for the hidden images within.

​Out of Wonder is a great introduction for readers of all ages to the many different poets and their styles through the eyes of the authors of the book. Poems honoring and in the styles of Emily Dickenson, e.e. Cummings, Pablo Neruda, just to name a few, come alive and dance through Holmes’ eclectic style for each poem, illustrations created in collage on paper.