Ever since Max went on a wild rumpus in 1963 in Maurice Sendak’s Where the Wild Things Are, picture books have quietly ventured away from stories of sweet, happy, safe childhoods into more subversive territory. Sure, plenty of gentle, value inspired books still line the shelves (and some of them are quite good), but tucked between the tales of liking yourself just the way you are and comforting bedtime stories young children can journey to imaginative, exciting and sometimes scary places. Places where no grown-ups are allowed.

When I tell people that I teach children’s book writing classes, the response is often, “That’s good, because there are so many bad children’s books out there.” I used to agree, but I’ve come to learn that as long as a book has a big enough audience to justify keeping it in print, it deserves a place on the shelves. That’s because everyone’s definition of “bad” is different. Personally, I hate picture books whose sole purpose is to teach children a lesson or moral. It’s as if kids don’t deserve to be entertained, but simply preached to. The worst are books written by celebrity authors, who think because their names are household words they have the authority to tell kids how to behave. To top it off, the books almost never follow the standards of good writing editors require of their lesser-known authors. But a few publishers and a lot of adults have determined these books are “good” enough to buy. And so they exist.

My favorite books operate outside the box. They offer a new way of looking at the world; they don’t tell a child what to think but show a child how to think. They acknowledge all the emotions of childhood, from anger to pride to fear to silliness. It takes a special dedication to write this kind of book for the youngest children. These are the kids parents most want to protect, and who adults most want to control. Some adults are afraid of books that allow young readers to think like kids as opposed to grown-ups in training. And so I greatly admire the new crop of forward-thinking picture book creators. Here’s a sampling:

Big Momma Makes the World by Phyllis Root, illustrated by Helen Oxenbury (Candlewick, 2002). What if the world was created by a woman? And what if that woman brought forth the light and the dark, the sea and the sky, with a baby on her hip and the laundry piling up in the corner? Root’s Mama is a no-nonsense Earth Mother who makes the planet for her baby to crawl upon and people to swap stories with while she’s sitting on her front porch. When they got out of line, she admonishes “Better straighten up down there,” but most of the time she smiles and says, “That’s good. That’s real good.”

This book is not for every family, especially if it conflicts with religious beliefs. And that’s fine, because no book can be perfect for all children. But I love that’s it’s out there delightfully pushing boundaries for anyone who wants to read it. The Wolves in the Walls by Neil Gaiman, illustrated by David McKean (Harper, 2003). Lucy is sure the sounds she hears in the walls of her old house are wolves. But her family doesn’t believe her: “You know what they say…If the wolves come out of the walls, then it’s all over.” But Lucy’s right, and one night a pack of wolves clamors through the walls, forcing Lucy’s family to flee to the garden. After two nights outside the family’s had enough, and Lucy leads them to the house where they creep into the walls and watch the wolves destroy their home with a wild party. Finally the family bursts through the walls, scaring the wolves away. Life returns to normal after several days of clean-up, but then Lucy hears other sounds one night, “…exactly like an elephant trying not to sneeze.” Should she tell her family? No, they’ll find out soon enough.

This book, with its dark, surreal illustrations, is too scary for many kids. But older picture book readers who like to be spooked will love it. I appreciate that the message is not the pragmatic “Don’t let your imagination run away with you,” but rather “Sometimes, your worst fears will come true. But you’ll be able to handle it.”

Achoo! Bang! Crash! The Noisy Alphabet by Ross MacDonald (Roaring Brook Press, 2003). An alphabet book that begs to be shouted out loud, each letter is expressed through sounds that match humorous illustrations. “M” is depicted by a huge Meow! coming from a small cat, while a frightened cow runs off uttering a smaller Moo! “N” is NO! yelled by a father as his blindfolded son tries to pin the tail of a donkey on dad’s back side instead of the poster. “O” is the boy’s OH! and oops! while watching Dad yell OW… and stagger off in pain, tail firmly in place.

Little triumphs over big in this book, often at the expense of adults. Preschoolers will appreciate the physical humor that sometimes borders on naughty, as in the illustration of an exposed rear end of a lion tamer after the lion removes his clothes with a ROAR! and a RIP! The words, set in 19th Century wood type and printed on a handpress, give the art a nostalgic feel reminiscent of old circus and “Wanted” posters.

The Day the Babies Crawled Away by Peggy Rathmann (Putnam, 2003). A proud mother recalls the day her child (who looks to be four or five years old) saved a group of babies when they crawled away from their parents who were occupied by a pie-eating contest. The babies chased butterflies over a hill, explored a cave filled with bats, and got stuck in a tree while imitating birds. The savior wisely fed the babies a snack of blackberries and dew and let them nap in a pile before returning them to their worried parents. The black silhouette figures against a technicolor sky allow any child to imagine him or herself in the place of the brave young child in a firefighter’s hat.

While this book doesn’t shout “subversive,” when I first read it I could imagine parents gasping at the thought of a story depicting helpless babies wandering around unsupervised, or munching on berries growing in the wild. But rather than scare children, I think this book empowers them. Kids know when they’re entering the world of make-believe, and every preschooler deserves to fancy him or herself a hero once in a while.

Interested in learning how to write a book and send it to children’s book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

Writing picture book fiction is quite possibly the hardest type of writing there is, and yet editors receive more picture book manuscripts than any other genre. To make your work stand out from the crowd, you need to do more than study how to devise a winning plot and create believable, unique characters. You need to polish your prose until it sparkles. Here’s a checklist to help with the editing process:
* Check the pacing. Picture books are generally 32 pages long, which means you’ll have about 28 pages of text and illustration. So break your text into 28 chunks and place each on a separate piece of paper. Staple the pages together to look like a book and read your story as you turn the pages. Notice the pacing and how the action unfolds. Does the story flow evenly, or are there several pages where nothing special happens? Does something occur on the righthand page or each two-page spread–a rise in action, a recurring phrase, a funny moment– that makes the reader want to turn the page and see what happens next?

* Note the illustration potential. Since you’ve made your manuscript into a “book,” think about what the illustrations might look like. Are there enough changing scenes to inspire a different illustration on each page, or at least every two-page spread? Is the story told with a lot of visual elements (actions and events the reader can see)? Are there long scenes of dialogue that go on for more than one book page? (Note: Making your manuscript into a dummy book and thinking about the illustrations are for your benefit only. When you submit the manuscript to a publisher, you’d type it doublespaced without identifying where the page breaks would go. You’d also refrain from discussing any illustration ideas until the editor asks for your thoughts.)

* Cut words. If you use two words to describe a character, try to find one more exact word to do the trick. Eliminate verbal clutter– words like “big,” “little,” “very,” “almost”– that don’t add any real meaning to the sentence, and instead choose strong, active nouns and verbs. Strike any sentences or scenes that don’t directly advance the plot.

* Use concrete images. Be sure to convey the story through concrete visual images the reader can see and the illustrator can draw. Describe abstract concepts such as feelings with sensory details the character (and the reader) can smell, hear, touch, see and taste.

* Craft a satisfying ending. Does your plot have an identifiable yet surprising climax in which all the action comes together and the main character solves his or her problem? Is this climax contained within one book page? After the climax, is the story resolved (wrapped up) quickly? The resolution must feel complete and satisfying for the reader, but shouldn’t be drawn out. Make it a book page or less, and your readers won’t hesitate to revisit your story many times over.

Interested in learning how to write a book and send it to children’s book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

I’ve read several picture book manuscripts recently that don’t have plots. They have terrific ideas, charming scenes, even unique characters. But these particular manuscripts were missing that thread of story that starts on page one and tugs at the reader to continue turning the pages until the end. The events weren’t connected–they may have involved the same characters, but there was no cause-and-effect relationship that made one event logically follow another.

When writing children’s book fiction, it’s sometimes difficult to tell the difference between a plot point and an incident. Incidents stand alone; they may lend themselves to vivid scenes, but they have no connection to what came before in the book, and have no effect on what happens on the next page. A plot point, on the other hand, couldn’t exist without everything that preceded it, and if you remove that plot point from the story, everything that happens afterwards wouldn’t make sense. Each point is a link in a chain. Break one, and the whole thing falls apart.

Incident stories also tend to lack conflict and tension. That’s because these books are more about conveying a mood, a place, or a point in time. They show a day in the life of a particular child, what a bunny sees on his first tour of the backyard, the comforting bedtime routine of a toddler. Many picture books of previous generations were actually incident books, and in fact this type of story is still being published today as books for children up to age three. But for the mainstream, hardcover picture book crowd–those kids ages four to eight–incident books won’t cut it anymore.

You can blame television, publishing conglomerates concerned with making money, or large bookstore chains that only want titles that fly off the shelves, but the bottom line is if you’re a first-time author writing a picture book, it needs to have a plot to sell. And let’s face it, plots are a good thing. They allow children to become emotionally invested in the story, wondering what’s going to happen next. They hold kids’ attention (even before television, young children didn’t have the longest of attention spans). They invite rereading, and retelling, over and over.

If you study newer picture books, you’ll see that some of the plots are very subtle. David Shannon’s Duck on a Bike, for example, seems at first glance like an incident story. Duck finds a bike on the farm and slowly rides past all the animals. As he passes each animal, it comments on the sight of a duck on a bike. This pattern is repeated several times until suddenly a bunch of kids come down the road on their bikes, park them by the farm house, and go inside. The next spread is wordless, showing all the animals staring at the bikes. The following illustration depicts all the farm animals careening around the barnyard on bicycles with silly grins plastered to their faces. As the story ends, the animals return the bikes to the house, And no one knew that on that afternoon, there had been a cow, a sheep, a dog, a cat, a horse, a chicken, a goat, two pigs, a mouse, and a duck on a bike.

The repetition of Duck pedaling past each animal on the bike paved the way for the story’s climax. It couldn’t have happened without all the scenes that came before.

Oh sure, you say, but what about a book like Ian Falconer’s Olivia? That’s a series of incidents in the life of a spunky girl pig. Yes, it is, and this popular book proves that for every rule there’s an exception. And though it doesn’t have a conventional plotline, it does have emotion (What child hasn’t seen him or herself in Olivia, and laughed at her approach to life?) and tension (Will Olivia get in trouble for drawing on her bedroom wall? Will she convince her mother to read her four bedtime stories instead of two?). It also has exquisite illustrations by the author (if you can write and illustrate, and do both well, you’re given a bit more room to stretch the rules). But most of all, it has a strong main character. Olivia is real, multilayered, and charming. The author took the time to develop the character first, so the reader will immediately identify with Olivia and be interested in the incidents that make up her day.

If you’re just starting out as a children’s book writer, or are writing your first picture book, do yourself a favor and create a story with a plot. But before you begin, develop your main character. If you have a real character with emotions, strengths and weaknesses, that character will inevitably want something. How that character goes about getting what he or she wants will lead you to your plot. It’s really that simple.

Now all you have to do is write the book.

Interested in learning how to write a book and send it to children’s book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

Many beginners believe writing picture books are a breeze, but it requires a lot of skill to pack a story into a few words. If writing a picture book is your dream, here are some tips to consider before you begin:

Keep it simple. You should be able to sum up the plot of your picture book in three sentences. Not every detail, of course, but the broad strokes. Use one sentence for the beginning (naming your main character and the problem or conflict he’ll face in the story), one for the middle (describing the gist of the efforts your character makes to solve his problem), and one for the end (how he finally resolves the conflict and reaches his goal). If three sentences doesn’t capture the essence of your plot, then it’s probably too complex for a picture book.

Note: You’re concentrating here on plot (the action of the story), rather than theme (the underlying message). Don’t get into describing theme when you’re summarizing your plot. The theme shouldn’t even be an issue at this point. You want to construct the story so the character’s actions, and how he changes because of those actions, implies a lesson to your readers.

Think in pictures. The term “picture books” says it all: the illustrations are just as important as the words. The average picture book is 32 pages long, with about four pages of front matter (title page, copyright page, etc.) So you have 28 pages of text and illustration. If you aim for 1000 words to tell your story (the average length of picture book text), that gives you about 36 words per page (some pages will have more words, some less, depending on the pacing of your story). While you don’t want to obsess over precise word counts when you’re writing early drafts of your manuscript, do keep in mind that every page of your book needs to inspire a different illustration. So count out 36 words from your manuscript and note how big a block of text that is on the page. That’s about how many words you can devote to each illustration. After that, your characters have to do something— move around, change locations— so the illustrator will have a new picture to draw.

One way to think in pictures is to convey the character’s problem, and her efforts to solve that problem, in concrete, visual terms. If your character is having trouble memorizing facts for school, that all takes place inside her head. But if she’s embarrassed because she can’t swim, then her attempts to learn are easily illustrated.

Note: Some illustrations will span two facing pages, called a two-page spread. In this case, you’ll have about 70 words for that one illustration. But picture books are a mix of single page illustrations and two-page spreads, so keep the action moving at a good pace.

Keep a childlike outlook. Picture book characters can be children, adults, animals or fantasy characters. But all main characters must embody the sensibilities of a child between the ages of 4-8. This mean the problem your characters faces needs to be relevant and important to your target audience. The way your character tackles that problem must fit with the way a child would tackle it. Don’t create an adult main character just so you can impose some adult wisdom on your readers. Grown-up characters using the emotional, illogical and sometimes messy coping strategies of children can be a very effective, and funny, storytelling technique. Above all, the character must be the one to solve the problem, using methods that are accessible to children. If readers see themselves in your main character, then they’ll understand the underlying message of your story.

Interested in learning how to write a book and send it to children’s book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

Sure, it’s aggravating. You work tirelessly on your manuscript, revise, re-write and revise again. You send it off to publishers and get a mailbox full of rejections. Meanwhile, some pop star or ballplayer gets a big money deal to write a children’s book without lifting a finger.

Well, that’s the way the world works. No need to get down about it. Just get to work. Non-celebrities get book deals every day. Here’s how you can do the same.

Step 1: Master the Rules.

If you’re not famous, your manuscript or query letter takes the same route as the rest of the non-celebrities. It gets dropped, as part of a huge pile, on the desk of an overorked, underpaid, editorial assistant (or a freelance reader). Her job is to dig through the pile of dross and find a few nuggets of gold, and then pass them on to an equally overworked and underpaid editor. The editor then reads through the smaller pile, pulls out the submissions that catch her eye, and brings them to an editorial meeting. If the general consensus is “yes, this is a book we want to publish”, you’re on your way to partying it up with Madonna in the special “Children’s Writers’ VIP Lounge” at the Viper Room.

Buried in that timeline is a bit of bad news and a bit of good news. First the bad news: The editorial assistant weeds out up to 95% of the submissions that arrive. In other words, the vast majority of submissions to a publishing house never even make it in front of a person in a position to publish it. Why not? They may, of course, simply be awful submissions, laden with poor grammar, misspellings and hackneyed writing. They may be the obvious work of amateurs, handwritten on lined paper with childish drawings. Or, and this is where there’s some hope, they may simply get turned down because they’re the less obvious work of amateurs.

More subtle things, such as using single spacing rather that double spacing, or a manuscript whose word count is out of whack with the “norm” is sometimes all it takes for an EA to say “Beginner”. Rejection.”

So here’s the good news: simply by picking up the specific, but not wildly arcane, rules of children’s publishing, you can leapfrog over the madding crowd. When an EA or reader reads a manuscript that comes from someone who clearly knows how it’s done, they’re far more likely to give it a fair reading, and far less squeamish about passing it on to the boss.

So how do you learn the rules? Visit http://cbiclubhouse.com and have a look at the resources available there.

Step 2: Write to the Publisher’s Needs.

The problem with most aspiring children’s book writers is that they have a specific idea from which they won’t budge. To be honest, it’s usually a pretty dumb idea and, even if it’s halfway decent, chances are it’s been done many times already. Look, I know your dream is to write that book about the talking dish sponge and his sinkside pals, but put the dream on hold for a bit. The absolute best way to get published is to figure out what publishers want – and give it to them.

Here’s an example: Schools desperately need fiction and nonfiction books that integrate into curricula. Publishers, thus, are desperate to provide said books, as schools are big and dependable customers who are likely to buy directly from the publisher, giving even a better profit margin.

And you’re response to this is..? Hopefully, it’s “Hey, I’m gonna write some books that tie in with school curricula!”

This is just one example – publishers have all sorts of often unglamorous niches they need filled. How to find out? Send for their guidelines and catalog. Often, they’re quite explicit about their needs, other times you need to read between the lines of the catalog to figure it out. But the answer is usually there.

And, seriously, let’s see Brad Pitt try to write an exciting thriller about the passage of the Smoot-Hawley Tariff Act.

Step 3: Learn to Write a Great Query Letter.

Your query letter (used if you’re sending a few sample chapters of a longer manuscript) or cover letter (used to accompany and introduce a complete manuscript) is your chance to really earn the sale. Almost always, it’s a wasted opportunity filled with irrelevance (I’m the mother of four and I’ve always dreamed of writing a children’s book!), pleading (It would mean so much to me to see this book in print!) and ludicrous assertions (Everyone tells me I’m the next J.K. Rowling!).

A good query letter is basically this: a powerful sales letter meant to convince a publisher that it is in its best interests to publish your book. Essentially, you need to tell them that your manuscript fits their needs and will sell to their current market and will expand into new markets. Tell them, specifically, how you will be able to deliver readers (e.g. I have a weekly blog read by more than 20,000 parents and my website attracts 60,000 visitors a month) and how there is a defined need for your book and how you will reach the target customers (e.g. There are over a half million foster children in America. These children, their foster parents and foster siblings need books like mine to help make sense of their situations. I will promote my book directly to them through organizations, conferences, newsletters and websites.)

To succeed in publishing, you must strip away the romantic nonsense you’ve been brought up with and see things as they are. Children’s books aren’t published by magical elves. They’re published by business people (albeit, business people who, thankfully, often genuinely love the books they publish). Display to an editor that your book will be an artistic and financial success and you’re taking a big step in the right direction. For much more on writing a great query letter, go to http://www.write4kids.com/query.html To learn about a collection of actual query letters from children’s authors that you can use for models, go to http://www.write4kids.com/a2e.html.

Step 4: Write to an Underserved Existing Market.

Sometimes the concept of writing to a publisher’s needs can be turned on its head. Perhaps there’s a sizeable, wonderful market that no one is serving and you can convince a publisher that its just the one to serve it. It could be anything – children of interracial marriage, girls who like jazz, boys who play piano, American kids who dig the game of cricket – if there are enough of them out there and are too few books for them to read, you may very well be introducing a publisher to a potentially lucrative market.

Do your research. Talk to trade associations, government experts, owners of websites that serve specific markets or anyone else who can give you some supporting backup on the size of your target group. Search Books in Print for already existing titles that target the group. Speak with librarians and booksellers to get their viewpoint on needs. And include it all in a great query letter.

Step 5: Listen to the Pros.

There’s no need to go it alone. Take the time (and spend a few bucks) to listen to others who have made the journey. Writing conferences, workshops (visit http://wemakewriters.com for an excellent one), books and newsletters (such as Children’s Book Insider — write4kids.com/aboutcbi.html) can dramatically increase your chances of getting published by helping you avoid typical mistakes and pitfalls. An eBook such as I Wish Someone Had Told Me That: 64 Successful Children’s Authors Give You the Advice They Wish Someone Had Given Them (http://write4kids.com/wishbook.html) is a great example of this sort of instruction. Pay heed to the voices of experience!

Laura Backes is the publisher of Children’s Book Insider, the Newsletter for Children’s Writers. For more information about how to write children’s books, including free articles, market tips, insider secrets and much more, visit Children’s Book Insider’s home on the web at http://write4kids.com and the CBI Clubhouse at http://cbiclubhouse.com

A while back, I took up karate. It’s a wonderful workout, but the biggest reason I train is I want to be a formidable senior citizen. If someone tries to grab my purse or deny my senior discount at Denny’s, I’ll be able to answer with a quick roundhouse kick to the solar plexus. By laying the foundation now, I’ll be a badass when I’m 65.

But the neatest thing about taking up karate when you’re a woman in her mid-40′s is that people don’t automatically expect it. If you’re just a casual acquaintance, you won’t know I’m working toward my black belt. And by the time I’m collecting Social Security, the possibility won’t even cross your mind. Unless you try to steal my purse.

In life most people become more complex as we get to know them. This should also be true for characters in children’s books. At a conference I recently attended, Lyron Bennett, editor for Sourcebooks Jabberwocky, called it “the slow reveal”. It means investing your characters with enough varied qualities that some can be withheld until called for in the plot.

The slow reveal is particularly important when writing a series. If J.K. Rowling had allowed Harry Potter to reach his full power as a wizard in Book 1, would fans have waited nine years and six more books to discover if he finally defeated you-know-who? But equally important is planting the seeds early on for who you want your character to become. From the beginning, readers saw Harry’s potential, and Rowling allowed greatness to surface in Harry when it was least expected. Those qualities expanded along with Harry as the series unfolded.

You don’t want to reveal everything at once in stand-alone books either. Picture books and easy readers, with their lower word counts and straightforward plots, do best with characters who have one or two surprises up their sleeve. In Peggy Parish’s classic easy reader Amelia Bedelia, the child sees that Amelia is doing a poor job on her first day as a housekeeper because she can’t understand the list her employer left her. But even before Amelia begins on the list, she whips up a lemon merengue pie. What the reader doesn’t know is that Amelia makes the most delicious pies anywhere, which eventually saves her job at the end of the book.

Doling out your protagonist’s strengths and weaknesses keeps the tension taut in a novel. In Gary Paulsen’s timeless Hatchet (ages 11-14), Brian, a city kid, is stranded in the Canadian wilderness after the his bush plane crashes, killing the pilot. Neither Brian nor the reader know if he’s got what it takes to survive on his own. Can he figure out how to start a fire? Yes, quite by accident. Can he fish? Eventually. Kill and cook a bird? How about live through a moose attack or weather a tornado? Brian evolves from reacting to his predicament and stumbling upon solutions to thoughtfully taking control of his situation. But nothing Brian does is out of character. Though he must teach himself to live in the wild, he draws upon bits of information he learned from watching TV or at school, and reserves of strength that were in him all along.

Even if you’re writing a single title, make your children’s book characters complex enough to carry on for several books, just in case. Fans loved Brian so much that Paulsen was persuaded to reprise the character in several other wilderness adventures. Picture book series (such as Mo Willem’s Pigeon books) or easy reader series like Amelia Bedelia typically grow because the protagonist’s quirks are open-ended and funny enough that readers don’t mind exploring them over and over in different circumstances.

The slow reveal works particularly well in mysteries. In this genre, the readers slowly get to know the victim (perhaps an honor student who is discovered to be running an Internet business selling test answers), and the villain (who may seem like a nice guy at the beginning of the book). Or, how about a first person narrator in any genre who appears normal and likable early on, but becomes less and less reliable as the story unfolds? Read Robert Cormier’s outstanding young adult I Am the Cheese for a superb example of a shifting first person reality. If you prefer a broader perspective, try Avi’s Nothing But the Truth: A Documentary Novel for ages 11-14, which looks at one incident from several viewpoints, gradually separating fact from fiction. So when you first breath life into your characters, don’t stop too soon. Add layers that can be exposed later on. These surprises will keep readers , whether you’re writing about a boy wizard, a demanding pigeon, or a ninja grandma.

Laura Backes is the publisher of Children’s Book Insider, the Newsletter for Children’s Writers. For more information about how to write children’s books, including free articles, market tips, insider secrets and much more, visit Children’s Book Insider’s home on the web at http://write4kids.com and the CBI Clubhouse at http://cbiclubhouse.com

Here are two writing exercises we really like.  They’re both excerpted from our acclaimed guide for beginning children’s writers, Career Starter:

IMPROVE YOUR USE OF POINT OF VIEW & VOICE:

This is a really fun one:  Take a famous story you know well, and rewrite it in first person from the point of view of one of the lesser known characters.  What would the story of Cinderella be like if told through the eyes of an evil stepsister?   Or try re-telling the story of Snow White using each of the Seven Dwarves as the narrator.  Would Dopey and Grumpy see things the same way?  Match the narrator’s sensibility — angry, jealous, scared, joyful, indifferent — with the tone you use.

IMPROVE YOUR CHARACTER DESCRIPTIONS:

Describe a child through the objects in his or her bedroom. You can do this two ways: either by showing the child in the room (and told in first or third person), or by having another character look through the room while the child isn’t there. Try to give a sense of the child’s physical characteristics from his or her possessions.   It’s tempting when creating characters to fall back on stereotypes (the jock, the cheerleader, the brain). To break this trap, try starting with a stereotype, and adding a few objects in the room the reader won’t expect  — perhaps the jock still has his favorite childhood stuffed animals, the cheerleader displays a set of philosophy books and the brain owns a bag full of ice hockey gear.

For more information about the Career Starter beginner’s guide, go to http://write4kids.com/starter.html

For much more great information about writing children’s books, stop by the CBI Clubhouse, our new community for writers that’s packed with audio, video, articles, inside writing tips and much more.  We’re at http://cbiclubhouse.com.

It’s often the little details that make a picture book, chapter book or novel successful.  One of those things — good character names that accurately reflect the time setting of the story.  A girl in 1945 isn’t likely to be named Ariel, and a girl in 2009 probably won’t be named Ida.

That’s why the Baby Name Voyager is so useful.  Choose any common boy’s or girl’s name and the Voyager will show you how popular it has been at any given time.  You can also browse through names and see their rank over the past century, so the site can also help you develop new character names.

It’s free and a lot of fun.  Pay a visit at http://www.babynamewizard.com/namevoyager/

For much more great information about writing children’s books, stop by the CBI Clubhouse, our new community for writers that’s packed with audio, video, articles, inside writing tips and much more.  We’re at http://cbiclubhouse.com.

Whether you write picture books or young adult, the key information you need to locate and target a children’s book publisher for your manuscript is a click away. Here’s where to find it…..

1. The “At Presstime” section of each issue of Children’s Book Insider. If a publisher shows up in our newsletter, it means they’re taking unsolicited submissions. (Or, at least they were when we contacted them. Things do keep changing…..)

2. The Children’s Book Council members page. Gives age range, genre information and titles published for CBC member companies. http://www.cbcbooks.org/about/ourmembers.aspx

3. Bookmarket.com’s Publisher Listing Page. John Kremer’s superb site offers a detailed list of children’s publishers, with contact info, genres published, web links and more. http://www.bookmarket.com. From the homepage, scroll down to “Book Publishers for Authors” to see all the lists available.

4. Jacketflap.com All writers should check out this wonderful free resource. One notable feature: a massive database of children’s publishers with very detailed information. http://www.jacketflap.com

One important note: There’s no guarantee that any particular web listing is fully up to date or 100% accurate. Our advice: Once you’ve identified a publisher that interests you, visit its website to get the latest guidelines. Don’t simply depend on the information included in the listing. Consider these free lists as your starting point.

Happy hunting!

I often talk about the “rules” of writing for kids, citing proper page lengths and story types for different age groups. A better term would probably be “guidelines”; these rules exist only to tell you what, in general, editors like to see in the manuscripts sent to them. And, of course, for every rule there are numerous exceptions. But while we’d all like to think our book is strong enough to override the guidelines, this is usually not the case. Here are some rules that shouldn’t be broken until you really know what you’re doing:

Don’t Write Picture Books in Rhyme

Yes, you’ve seen them in the stores and kids like them. But children also like picture books that aren’t written in rhyme. It takes a great deal of skill and hard work to craft an original story, complete with unique characters, in about 1000 words. It takes another skill entirely to tell that story in rhyme. If you’ve got it, great. But don’t assume that because your story is aimed at young children it has to rhyme. Always try to write it in prose first. Once you’ve got the story on paper, decide if the rhyming format will add to the text. If the answer is yes, make sure it’s strong rhyme: it has a consistent meter, uses no clichés or extra words, and has a rhythm that is easy to read aloud.

Don’t Disregard Designated Word Lengths

No editor is going to turn down a terrific book just because the text length falls outside the average guidelines. If your young adult novel is complete in 100 pages, there’s no sense padding the manuscript simply because most YAs are longer. But length guidelines are there for a reason- -publishers have determined about how much text kids of different ages can read, and so it behooves you to try to stay as close to those guidelines as possible. And if you’ve ever tried to get a group of 4-year-olds to sit still for a 2000-word picture book, you’ll understand why editors are leaning toward shorter texts in the youngest age brackets. When submitting to magazines, it’s absolutely essential that you stick to the requested word limits because articles must fit within a finite amount of space on the page. Too long, or too short, can mean instant rejection.

Don’t Provide Testimonials in Queries

It’s nice to have lots of neighborhood kids read your manuscript and give you positive feedback, but your potential editor doesn’t need to hear about it. Frankly, editors don’t give much credence to testimonials from readers who may be family or friends of the author. Also, don’t clutter up the query letter with ideas for why children need your book or what they’ll learn from it. This is up to the editor to decide. (One exception: You’ve written a nonfiction book and can show that there aren’t any other books in print that cover the same subject). Keep your query letter tight, brief, and to the point. Provide an intriguing plot synopsis or nonfiction outline, relevant information about yourself, and enclose a self-addressed, stamped envelope. Sell your book, not your reasons for writing it.

Don’t Write a Series Before Selling the First Book

I’ve critiqued many manuscripts from authors who say, “I’ve got six more books written with these characters. Should I mention that to the editor when I submit my manuscript?” My answer is always no. Unless an editor is specifically looking for new series proposals, and the books were written from the start to form a series, this is a bad idea. Realize that series are created as a group of books that are bound together by some sort of hook; in fiction, it might be a club the main characters form, a neighborhood they all live in, or a cause they champion. In nonfiction, it’s a topic (natural sciences, biographies) and an age group. Rarely do you see picture book fiction series. What does happen is a character may become very popular with readers and the author is asked to write another book featuring the same cast. These fiction “series” actually grow slowly one book at a time.

So, unless you’ve conceived your books as a traditional series and are able to send a thought-out series proposal to the editor, stick to selling one book. When an editor sees you have numerous manuscripts featuring the same characters and similar plots, she may feel that you’ve spent too much writing new material and not enough time revising what you’ve already got. And remember, each book–series or not–must stand on its own. It needs a strong beginning, well-developed middle, and satisfying end. No fair leaving the ending unfinished with the intention of continuing the story in the next book.

For writing tips and more information about writing for children, visit The CBI Clubhouse – Home of the Fightin’ Bookworms!