The Dutton Writers' Room

Aspiring authors often ask us, “What common mistakes do you see in submissions?” It seems that few people attempting to write picture book texts really understand how they work. It isn’t as easy as it may appear. We recommend that you read many published picture books aloud before you try writing one. As you turn the pages, take note of how the words and pictures play off of one another. It is crucial that picture book writers use as few words as possible and allow the artwork to do 50% of the storytelling. Too much dialogue or description is deadly. No one wants to read a picture book in which the illustrations show only talking heads.

You don’t need to be an illustrator, nor should you try to find one—that’s the publisher’s job. But it helps to think visually as you are writing. Is there enough varied action to make for interesting illustrations? Think of the picture book as a short animated film.

Once you have gotten your story down on paper, take the time to create a turning dummy for a 32-page picture book, which is the standard format. The story should begin on page 5, a right hand page, and end on page 32, a left hand page. There should be a different scene or action on every spread. Surprises and punch lines should come after the turn of a page. You have about three spreads to introduce your character and set up the situation. The scenes in the middle are for the ups and downs the character experiences. The scenes should build on one another to a climax around spread 24-25 or 26-27, and you have two or three spreads for a satisfying resolution. In many picture books page 32 provides a humorous wink to the reader, or a twist ending, or a postscript of some kind.

Most of the time, if your manuscript does its job well, you will not need to provide any instructions for an illustrator. We want the artist to be able to approach your text with his or her own creative ideas. If the art is supposed to portray the opposite of what the text says, you can make that clear in your cover letter.

Other things to keep in mind:

o Straight prose is preferable to rhyme

o Picture books needn’t teach a lesson

o Stories should be pitched to ages 6 and under

o Keep it short!

We hope you find these general guidelines helpful.

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At many writers’ conferences it has become common practice to hold a “first pages session,” in which a panel of editors is asked to read the opening page of several manuscripts cold and share spontaneous comments with the audience. Such an exercise demonstrates how editors react to submissions--what catches their eyes, what turns them off, and how first impressions affect acquisition decisions. Writers are often amazed at—and perhaps a little disturbed by—the merit of their work being judged on the basis of such a limited sample. Can one page really reveal that much?

Here are some essentials an editor wants to find on a novel’s first page:

1. An opening that grabs the reader’s attention

You’ve heard this before, but it’s absolutely true that your first line is the bait that will snag your reader on the hook. Your opening should be so intriguing that the reader can’t resist plowing on. Don’t waste time by setting the scene with a tired line like, “It was the summer of 1939, and I was staying on my grandparents’ farm.” Why should young readers care about 1939 or “your” grandparents’ farm? Who is “I”? Try to come up with a first line that will reveal your character’s point of view, mood, or circumstance.

2. A voice that is distinct and authentic

Along the same lines, the best novels have a unique “sound” to them, an unforgettable personality telling the story. Readers have to find this narrator engaging and believable. It is crucial that the protagonist speak and act in ways that are true to the age group.

3. A tone that is perfectly pitched to the audience

Writers who are new to children’s books can sometimes be too cutesy or patronizing. Unless it is meant to be tongue-in-cheek, we shy away from flowery or arch writing. A memoir-like tone can be too distancing. Successful writers show respect for young adult readers by striving for immediacy.

4. A strong sense of place

Though we prefer character-revealing details over setting details on the first page, some writers manage to include both, which helps the reader disappear into another time and place.

5. Correct spelling, grammar, and punctuation

Believe it or not, errors like typos, incorrect tenses, too few commas and too many exclamation points can discourage us from continuing past page one. If you don’t care enough to present your work in its best light, why should we care to invest time in it?

Keep these elements in mind when you feel ready to show your manuscript to others. Perhaps it would help to hold a “first pages session” in your writers’ group to see what kind of first impression yours would make. Think of it like a two-minute video for an on-line dating service (or not!).

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Thoughts about Series Publishing

Do you have an idea for a series? When you see the runaway success of such franchises as Harry Potter and Lemony Snickett, it is only natural to conclude that writing a series as opposed to a single book is the way to go. Kids enjoy reading more stories about a character they have grown to like, and publishers like to follow up a hit with another book just like the first.

There is a dark side to series publishing, however. So many new children’s books are published each year that it can be difficult for any title to stand out and attract a following. Some rise to the top, some sell steadily over time, and some die on the vine. What if the first book in your series—heaven forbid—falls into the latter category? Your second book may never see the light of day. Both you and your readers will be left unsatisfied if the story wasn’t concluded in Book One.

Publishers wrestle with the timing of series books. Should titles be released once a year, every quarter, or monthly? Young readers appreciate frequency, but booksellers would prefer to wait and see how the first book sells before bringing in additional titles. The best scenario is when readers love the first book so much that they demand a sequel. But if the author can’t write quickly enough to satisfy the demand, he risks losing his new fan base.

At Dutton we are wary of series, not only for the reasons above, but also because series are often better suited to paperback and we are a hardcover-only imprint. An unpublished author has a much better chance of getting her stand-alone novel read here. If the writer has ideas for other books—including ones about the same character—that’s seen as a positive and should be mentioned. But a query letter announcing your series is most likely going to end up in our “no thanks” pile. Send those to the other guys.

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You wrote a manuscript? Congratulations! Not everyone could accomplish such a feat. And getting published is even more difficult. If you are hoping to see your work in print, here are some questions you should ask yourself . . .

Will at least 15,000 people plunk down $16.99 to buy my book?

This is the bottom line to a publisher. To reach this level of success, you need a well-crafted story that will appeal to a wide audience. While your story may be interesting and satisfying to you personally, you also have to consider strangers shopping for children’s books in a bookstore. What’s in it for them? In what ways is your idea irresistible to consumers?

Who’s got my back?

Many writers tell us: “My kids loved it, and so do the neighbor’s kids,” or “When I read it to a class at school, the kids went bonkers!” It’s gratifying to get immediate and positive feedback from children. Don’t put too much credence into it, though. Young children have a natural tendency to be optimistic and open-minded. Their critical skills aren’t developed yet. In fact, they avoid being negative because they don’t want to hurt your feelings. The best first readers of your work are other children’s book writers—preferably experienced ones. These folks are in the trenches like you; they live and breathe kids’ lit. So join or start a writer’s group. You will not only get advice, but also friends with a common interest.

What makes me so special?

It helps to have some expertise and/or credentials in your chosen topic. If you have background knowledge or experience, share it with the publisher when you submit your manuscript.

Whom do I know?

If you have media contacts—people who work for newspapers, magazines, websites, and radio and television stations—this kind of information will influence the publisher too. We look very favorably on authors who can generate the kind of publicity that sells books.

How can I get some help?

We suggest that you join an organization that supports writers. The Society of Children’s Book Writers and Illustrators (www.scbwi.org) provides education and conferences through their many chapters.

Do I know the market well enough?

When was the last time you browsed through today’s most popular children’s books? Speak to your librarian and local independent bookseller. Go to the nearest chain store to see what kind of titles they are featuring and supporting.

Am I tough enough to survive rejection?

Successful authors have patience and perseverance. Don’t let a rejection discourage you from pursuing your dream. Very often we love your writing but can’t publish your piece because it doesn’t fit into an established format or we think it would have trouble finding a wide audience. If you have a positive attitude, rejection letters can sometimes even be teaching tools.

Am I open to editorial suggestions?

If you get interest from an editor and she asks for a rewrite, consider the editorial comments carefully. Don’t do a cursory job of addressing problems--try to digest the suggestions rather than immediately spitting out a revision. Make the changes your own. This is your chance to show the editor that you are a good collaborator and can respond to criticism thoughtfully and skillfully. Consider William Zinzer’s words from his book On Writing Well: “Rewriting is the essence of writing well: it’s where the game is won or lost. The idea is hard to accept. We all have an emotional equity in our first draft; we can’t believe that it wasn’t born perfect. But the odds are close to 100 percent that it wasn’t.”

We hope these self-examination questions are helpful to you when you have finished your manuscript. There is no sure-fire way to get published, but thinking along these lines will undoubtedly make you a more savvy writer.

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