If You Missed Our Picture Book Event:

From left to right: Laura Toffler-Corrie, Marc Tyler Nobleman, Susanna Reich, Pat Hubbell, Hans Wilhelm, and Jamison Odone

Our event, How to Create and Market Picture Books for Children, was well worth the wait. The authors spoke to a full house about their experiences as a published author/illustrator. A summary of the q&a can be found below:

Q: Where do you find your inspiration?
Marc believes that inspiration is everywhere. He used to carry a voice recorder around. He prefers to write on subjects no one else has written. Sometimes editors feel that subjects are too old for his readers, but he dissagrees.
Susanna has piles of notes. She feels that deciding what to do with the ideas is more important than getting them. The idea she chooses has to be one she plans to live with for a long time. It also has to be something editors and kids will be interested in.
Pat believes that Ideas are all around you. When writing her poetry, Pat writes for herself, and doesn't think about
the audience. For her, it's not a business, it's an art.
Hans picks ideas that will give him the greatest joy. He makes elaborate dummies. If it doesn't get picked up, at least he had fun making it.
Jamison agrees with Hans. He keeps a journal with him and finds inspiration in unusual places.

Q: What do you think about the markets move towards edgier stories?
J: has to stay true to himself.
H: finds his audience isn't looking for edgy. Parents want to read stories that are more traditional.
S: likes picture books that have a lot of child appeal. She doesn't write for the adults reading the book.
P: feels that while there are still many cozy books, she has been told a couple of times that the books were too quiet.
M: audience is 7+. With nonfiction, it's essential to be true to the story--if it doesn't have a happy ending, that's okay. Kids can handle it.

Q: Could you talk a bit about illustrating?
J: A dummy is a sample of the full picture book. Today, most editors don't want a dummy.
H: likes creating the dummy so he can make each page a cliff hanger. You have to make the kid turn the page. Editors now want illustration on PDF files.
P: explains how to make a dummy. Take 8 sheets of paper and fold them into 32 pages. Then start book on page five. She feels this is necessary even if you can't illustrate it yourself. (This is not for the editor but for herself.)

Q: How do you work with illustrators that are picked for you?
M: makes suggestions but his wife reminds him that once he sells it, it's not only his anymore. He has to give up some control. He sees each page as a mini-movie. The words should let the art convey as much information as possible. In his book about Superman he didn't use the word Superman a single time.
S: also makes dummies. She types up the whole text then cuts it up and tapes it down. The publishing company wants control because of marketing. A new writer is often paired with a more experienced illustrator. She did make a suggestion and got the illustrator she wanted, but she was lucky.
P: has only met two of the people who illustated her books and that was years later.

Q: Should you try to illustrate your own book?
J: You don't have to be a trained artist but you have to have experience with art. A lot of people are now working digitly and think they can throw things together.

Q: What is your experience looking for agents or editors?
M: From a practical standpoint, it's better to get an agent. But you can, in the children's world, get in touch with an editor yourself as long as you do it professionally.
S: pays attention to the publishing house and the editors. She studies catalogues and befriended a local children's librarian. She also reads publishers weekly. She uses this research to target people to submit to. She also found editors by going to SCBWI conferences. She does have an agent because she finds the contract negotiations nerve wrecking. Author's guild will help you for free once you get a contract.
P: feels it is harder now. Many houses are closed to work submitted without an agent.
H: had an agent for one year. He sold more then the agent did. When you have an agent there is always someone between you and the editor. He knows many editors personally.
J: got an agent after being published. It made finding an agent easier. He feels he needs an agent to do the organizational work.


Q: What are common mistakes?
M: People who are not professional and haven't done their research. He researches his market constantly and tries to show editors how he is an asset after the book is published.
J: Be careful what you place online. Google alerts tell agents, editors, and publishing houses whenever you write about them.
S: The fact that your child likes it and your child's class likes it is not important. They were already trying to like it before they started reading it. Keep it short. Under 1000 words. Join a critique group.
P: To keep your text short, get a picture book you really like and type out it's text. Don't send pictures unless they are yours.
H: Don't send things until they are ready.
J: Wives are the best editors. It's good to detatch yourself from the story before sending it.
P: After you write, let it sit for a few weeks. Come back to it with fresh eyes.
M: Read it aloud. They say the eye can be fooled but the ear can't.

Sincere thanks to our amazing panel, wonderful audience, and to Laura Toffler-Corrie for putting it all together.