Children’s Writing Web Journal

One of my favorite bits of wisdom found in William Least Heat-Moon’s Blue Highways: A Journey into America (including the first line: Beware thoughts that come in the night.) is contained in an exchange Heat-Moon had with a man he met in Tennessee. The man asked him, “Where you headed from here?” Heat-Moon replied, “I don’t know.” Grinning, the man pronounced, “Cain’t get lost then.”

There’s something incredibly liberating about not knowing where you’re going. We rarely have this freedom in our daily lives. We have to plan the next project for work, or whose turn it is to drive the kids to school, or what we need to pick up at the grocery store for dinner. So when we have the opportunity to actually let go and float with the current, we should take it. For writers of children’s fiction, it’s essential to embrace the unplotted course.

I can’t count how many manuscripts I’ve read where it’s very clear that the writers began with the ending. They knew where they wanted to end up; the lesson they wanted to teach, or the message they needed to convey. Then they worked backwards, manipulating their characters and plots to arrive at preconceived destinations. This always — always! — results in stories that are heavy-handed, contrived, and often don’t make sense.

Instead, I suggest to these writers that they start with their protagonist, and brainstorm from there. Ask “What if?” What if this character reacted to the problem differently. What if another character worked against him. What if you flipped some character traits, from confident to shy, from bookish to musically gifted, from being a football player to a skateboarder. Where might you end up?

Some authors can’t let go of their ending. It’s too scary, not knowing where they’re headed. They need assurance that their work will have a purpose before they invest the time and effort to write it. What if they try a new direction and it doesn’t pan out? Then they’ll have to start all over again. Or (and this is really scary for some authors), what if they embrace a new direction, and the whole meaning of their book changes? Instead of teaching kids that everyone should be valued for their special talents, their book might evolve into a story about not taking life too seriously. And that’s not the message they want kids to hear.

Sadly, these writers probably won’t get published. To them, the theme is more important than the plot. The message more important than the story. The destination takes precedence over the journey. What they don’t understand is that when a child opens a book, it’s the journey he’s looking forward to. The ending has to be good, but getting there must be great.

Magical, unforgettable journeys aren’t always planned. Sometimes they happen by accident. If you have the heart and soul of a writer, this shouldn’t scare you. In fact, it’s exciting. If you’re open to working a long time on your protagonist, so you know this character inside and out and he has many facets to his personality, then at some point the protagonist takes over. He’ll show you where the story needs to go. If you’re comfortable with brainstorming and actually putting any idea that pops into your head down on paper without editing, you’ll make subconscious connections between ideas that you didn’t even know you had. And if you’re committed to story, not message, you could end up with a book that’s bigger than anything you ever imagined.

We often talk about the structure of fiction: a character who has a problem to solve, a catalyst that gets the plot moving, an ending that resolves the problem in a believable way. These techniques are still a vital part of writing, but don’t worry about them until you know exactly who your protagonist is and what that character needs. If you try to think of a catalyst before you know what your character wants, you can’t possibly put that character in a situation that drastically effects his life. Wander around and explore your options before you worry about your story’s foundation. Let yourself get lost before you find the perfect place to settle down.

What about nonfiction? Surely you need to know where you’re going when you’re writing factual material, right? In this case, you probably will know where you have to end up; what topic you’re going to explore, or what points you want to make. But how you get there is still up for grabs. Do you want to write about medieval life from a humorous perspective, with short bursts of information interspersed with jokes, trivia and quizzes? How about a day in the life of a 12-year-old peasant? Maybe a collection of recipes for everything from celebratory feasts to common dinners to medicinal concoctions? As you’re researching, keep an open mind. You may stumble across a gem that completely changes the direction of your book for the better. Or, you’ll amass so much material that you’ll have a book and five articles, all with a different focus.

One of the perks of writing for children is that your options are endless. Getting there is half the fun. As long as you’re open to infinite possibilities, you’ll never lose your way.

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 have a very clean house. I vacuum almost daily, regularly dust my silverware drawer for crumbs, and organize my closets at least three times a year. What’s my secret? I’m a writer who works from home.

Like many writers, when deadlines loom I circle my laptop, finding excuses not to get started. But because I do consider myself a writer (and my Mexico vacation depends on it), eventually I plant myself in the chair and get to work. And yet I’m one of the lucky ones. I hear from a lot of people who long to call themselves writers, but have generated all sorts of reasons never to try. So here’s a list of the top five dreamdashers, and why none of them hold any water:

I have no time to write. Every beginning writer is time-challenged, because until you’re getting paid for your writing, you’re probably spending a chunk of each day doing something else. But consider this: author Claudia Mills, who has two sons and works as a college professor, said at a workshop that she writes every morning while her family is still asleep. Many days, she only gets in 5-15 minutes of writing. But those are actual writing minutes; not minutes spent thinking about writing, or worrying about writer’s block, or staring at a blank piece of paper. When she assembles all those little bits of intensive writing over several weeks, she ends up with a book. Check out her results at http://www.claudiamillsauthor.com

I’m too old. Editors won’t know how old you are if you don’t tell them. Your readers won’t know if you don’t put your picture on the book cover. If you write well, your voice will be ageless. I know of a woman who promised herself on her 65th birthday that she’d pursue a lifelong dream of writing a children’s book. She followed the advice to “write what you know,” and at age 69 received her first contract for a middle grade novel based on events from her childhood.

I don’t have a college degree. Guess what? Neither do your readers. Sure, it’s necessary to know the basic rules of grammar and how to express yourself on paper, but hopefully you mastered that by junior high. The best education you can give yourself as a potential children’s book writer is to read children’s books––many children’s books, especially those similar to the kind of books you want to write. And don’t let your lack of knowledge about a nonfiction topic stop you from writing about it. If you’re a skilled writer who enjoys research, you can teach yourself enough about many subjects to write about them, or find experts to help you fill in gaps in your knowledge.

Everything’s been written about. You’re probably right, but next season the shelves will be stocked with brand new books. Why? Because though it feels like we’re approaching the saturation point on new ideas, the way those ideas are presented can constantly change. You have a unique way of looking at the world that no one else can duplicate. So play around with those worn out ideas until you hit on something fresh.

Publishers are afraid of controversial topics/religion/men writing for kids/books that teach a lesson…. The only thing publishers are afraid of is not selling books. Do cutting edge, issue-driven books get attention? Take a look at prestigious awards lists. Does religion sell? Go to any chain bookstore and see that even trade publishers are bringing out fiction and nonfiction with religious themes. Do male writers need to use female pseudonyms? Again, I refer you to prestigious awards lists. Can a children’s book contain a moral these days? If you do it in an entertaining way without preaching, parents will snap up your work.

If you’re tempted to start a sentence with “Publishers are afraid…,” it probably means one of two things: you haven’t walked into a bookstore recently, or it’s easier to blame a pile of rejection letters on timid editors than to figure out why your manuscript isn’t selling. Though editors are under pressure to show a profit (publishing is a business, after all), they’re always looking for the next manuscript that will turn children’s books in a new direction. If you’re going to be that writer, in the end all you really need to do is plant yourself in the chair and get to work.

Laura Backes publishes Children’s Book Insider, the Newsletter for Children’s Writers. For info about writing children’s books, free articles, market tips, insider secrets & more, visit http://Write4kids.com.

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’m not very good with titles. Luckily, I publish an information newsletter, and my subscribers already know that each issue will focus on how to write children’s books. So an article title simply needs to convey at a glance to the reader whether the piece can be put to use right now, or filed away for later. Book titles, on the other hand, must entice a potential customer to pick up the book, open it, read a few lines, and then buy it. When your customers are children with big demands and short attention spans, your title often becomes your main sales tool.

Picture book titles, like the stories themselves, must be active, concrete, and sound appealing when read out loud. A little surprise doesn’t hurt: Diary of a Worm by Doreen Cronin, Don’t Let the Pigeon Drive the Bus! by Mo Williams, and When the Chickens Went on Strike: A Rosh Hashanah Tale by Erica Silverman all promise stories of animals acting in very un-animallike ways. Titles can give a clue to the plot and tone of the book but should draw the reader in without giving away the ending (Hannah Mae O’Hannigan’s Wild West Show by Lisa Campbell Ernst; Sumi’s First Day of School Ever by Soyung Pak). And don’t be afraid to go for a grabber like Walter, the Farting Dog by William Kotzwinkle. You may not like the story, but I dare you to walk by the book in a store without wanting to read a few pages.

Chapter books and middle grade novels must appeal to kids more than their parents, so don’t use the character’s name as the title unless it’s very unusual (Bunnicula by James and Deborah Howe; Maniac Magee by Jerry Spinelli) . Titles that are funny (The Stinky Sneakers Contest by Julie Anne Peters), irreverent (Your Mother was a Neanderthal by Jon Scieszka), or relevant to readers’ lives (Gossip Times Three by Amy Goldman Koss) will give the author immediate credibility. This audience wants to read books about kids just like them, only more so (bigger problems, better clothes, more exciting social lives). Titles that telegraph adolescent angst (Shakespeare Bats Cleanup by Ron Koertge; Rosy Coles’ Worst Ever, Best Yet Tour of New York City by Sheila Greenwald) forge a connection with readers.

Titles of young adult books are often spare, sophisticated, and dramatic. The title may represent an idea from the book rather than the plot, as in Chris Crutcher’s Whale Talk. Coupled with the cover illustration, the title is intended to intrigue the reader by presenting the overall tone of the story. Francine Prose’s After, illustrated by the word spraypainted on a bleak, gray brick school wall; Walter Dean Myers’ The Beast, with the title printed in large orange and yellow letters running bottom to top that almost swallow the black background; and Caroline B. Cooney’s Burning Up title imposed over an illustration of marshmallows being roasted on a beach bonfire, the flames a little too red, the marshmallows a little too burnt, all tell young adults that these are not their younger siblings’ books.

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!

A former workshop student of mine recently thanked me for reminding her that query letters are best when they’re short and to the point. A published writer, she said she’d gotten away from the KISS method of querying (Keep It Simple, Stupid).

The more I thought about her acronym, the more I realized it applied to all aspects of writing children’s book fiction. When dealing with kids one-on-one, we adults often give them information on a need-to-know basis. When asked, “Why do I have to change my underwear every day?” we could go into detail about germs or proper hygiene, but instead answer, “Because you’re starting to stink.” It gets the point across with minimal verbiage. And that age-old parental justification–”Because I said so”–sometimes is the only reason needed.

So why do we get so complicated when writing for children? Why do our picture book plots span several weeks and contain characters with large extended families and numerous friends? Why do our magazine articles attempt to cram a subject’s entire life into 800 words? Kids are masters of cutting through the fog and getting right to the point. Here are some ways we can learn from our audience:

Eliminate adjectives and adverbs. If your nouns and verbs are strong, you won’t need to add extra words to describe them. He trudged up the hill says the same thing as He walked slowly and steadily up the hill, placing his feet heavily with each step, only more succinctly. Instead of describing a house as huge, grand, or enormous, let your character do it with one word: Jason gazed at Grandma’s house. “It’s a castle,” he thought. A single, well-chosen noun draws a picture in your reader’s mind better than several general adjectives.

Write your plot direction in one sentence. In our Children’s Authors’ Bootcamp workshops, Linda Arms White and I teach writing a story line as a tool for plotting (This a story about __________, who wants more than anything to ________, but can’t because ____________.) This story line identifies the main character, his/her greatest goal, and what’s standing in the way of the character achieving that goal. Regardless of the length of your story, the age group, or whether you have subplots and chapters, the story line works to keep the action of your plot on track. The key: Keep it to one sentence (there’s no wiggle room on this one).

What if you’re not writing about your character achieving his greatest goal, or its flip side, your character avoiding facing his greatest fear? A plot about something your character sort of wants isn’t good enough. A conflict involving a minor annoyance isn’t as compelling as a life- changing event. Maybe your character is up against so many obstacles that the reader can’t figure out which one is the most important. As the author, you need to boil your story down to the one aspect of your character’s life that’s going to take center stage for the duration of the book. Remember, you’re not writing about your character’s entire existence, just the period of time encapsulated in your story. One goal shines above the rest. All subplots and secondary characters serve as stepping stones toward that goal. Some lead your character in the right direction, some take detours, but all ultimately end up in the same place.

Give your reader only the information he needs right now. Don’t throw in details about a character unless it’s directly related to the current action of the story. This often happens with secondary characters, who suddenly develop a phobia or acquire an annoying sibling in the middle of a scene. Such dangling attributes feel contrived and only raise distracting questions in the reader’s mind. The same goes for a character’s life before the story began. We generally don’t need to know the past of every person who appears in the book. Reveal as much information as the reader must have to understand what’s happening at each point of the plot, and cut the rest.

Use the “need-to-know” philosophy with query letters. When composing a query letter or cover letter to an editor, include only the information an editor needs to judge whether he or she may be interested in reading your manuscript. Your motivation for writing the story doesn’t matter; your ability to summarize the plot in a few sentences does. Your experience as a parent or grandparent doesn’t guarantee you’ll write a strong article; your adherence to the magazine’s word limit shows you’ve done your research. Editors are busy people who love short letters with lots of white space. Respect the simplicity of presenting your work with minimal buildup and letting your manuscript speak for itself.

Above all, keep your message clear and age-appropriate. A picture book about poverty is too broad and abstract for a six-year-old to understand, but a story about a child who is embarrassed because she gets free lunch at school is more specific. Whatever age you’re writing for, use one well- defined character to represent the bigger issue. Smaller, intimate stories are more relevant to the reader. Nonfiction that shows the reader how the topic relates to his life, or focuses on one aspect of a subject, makes a greater impact. And remember, if you want your manuscript to sell, start with a KISS.

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!

Having problems viewing the video?  Try these links:

http://www.5min.com/Video/Writing-Picture-Books—How-to-Get-Started-188470615

http://www.viddler.com/explore/cbiclubhouse/videos/44/

http://www.blip.tv/file/2660410

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!

Unlike their parents, when kids look for advice they don’t usually turn to Oprah. Most kids get everyday, self- improvement type information from children’s magazines. If you’re brimming with ideas for articles on how to teach kids to help themselves or develop new skills, here are some tips:

* Let the audience and age group guide your topic. Each magazine has a different focus–some are health-related, others might concentrate on the activities of a specific organization. Make sure your advice fits with the magazine’s editorial slant. Also, pay attention to the age of the targeted audience. An article on why spreading gossip is a bad thing is relevant to teen and preteen readers. A piece about being a responsible pet owner could appeal to any age group, depending on how it’s written. So check out potential markets before you sit down to write.

* Don’t preach. You’re giving advice, so it’s tempting to lecture or preach to the reader. Don’t. You’ll lose your audience faster than you can say Dr. Phil. Instead, acknowledge what your readers face in their lives and let them know you’re on their side. “The hard truth is, sharing DNA with your siblings is no guarantee that you’re always going to like each other,” is a better approach to an article about resolving sibling rivalry than, “Brothers and sisters are supposed to love each other. Fighting just drives your parents crazy. Let it go!”

* Don’t try to sound “hip.” Use a normal conversational tone when writing advice for kids, as if you’re speaking to agroup of them in person. Don’t throw in slang or pop references unless they routinely roll off your tongue. On the other hand, opening your article with an anecdote, unusual statement, or humorous question can be an attention- grabber. Just make sure those anecdotes are about other kids, and don’t begin with, “When I was your age….”

* Talk directly to the reader. This is one of those rare situations where the second person point of view works. Address the readers directly (The first time you walk into a new school, you may feel nervous. You might even think everyone’s looking at you. Don’t worry–all new students feel this way.) Put the readers right into the article so they can see how your advice can be useful in their lives.

* When possible, combine the advice with a “how-to” approach. After explaining to the readers how to make an improvement in their lives, show them. Either as part of the article or as a separate sidebar, give how-to, step-by-step instructions that can be seen at a glance. For example, if you’re writing a piece for teens on being financially responsible, you can include a how-to sidebar on finding a summer job, complete with tips for filling out applications and doing interviews.

Use other self-help and advice articles in your targeted magazine markets as templates for how you should write your article. Pay attention to style, length, and whether the information is presented in small bites or large chunks. Then unleash your best advice, and one day you too may be on Oprah!

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!

Mysteries have always been popular with middle grade readers. They are typically fast-paced stories that build self-confidence by permitting the reader to solve the crime. Simple mysteries for this age group follow a clear formula in which the author lays out clues for the reader in a predictable fashion, using escapes, setbacks and coincidence. The Nancy Drew and Hardy Boys books fall into this category.

As readers become skilled at solving mysteries, they reach for books that require careful scrutiny to discern clues. Goody Hall by Natalie Babbitt and Mystery of Drear House by Virginia Hamilton and are good examples. Here are some tips to keep in mind if you choose to write mysteries for children.

* Unlike other types of children’s books, the child protagonist in a mystery does not go through major character development during the story. His or her character must be strong at the start of the book, and have qualities the reader will identify with or admire. However, one of the protagonist’s character traits (a photographic memory, for example) can be used to solve the mystery, as long as the readers know about it.

* Another difference between mysteries and other types of fiction is that in mysteries there is little or no underlying theme to the story (such as loneliness, peer pressure, etc.). The plot drives the story, and the conflict and tension is derived from what happens to the main characters from without, rather than what’s going on inside themselves.

* The child in the story need to be as smart, or smarter, than the grounups. Adults can help in certain situations in order to make the story believable, but the child must uncover the major clues and solve the case.

* The clues to the crime, as well as the crime itself, must be accessible to children in real life in order for the story to be realistic. This also helps the reader solve the mystery. A child would not know, for example, how someone could alter the brakes on a car, but he or she is most likely aware of how this was done to a bicycle.

* The reader needs access to all the clues available to the protagonist. It’s not fair for the author to withhold information.

* It helps if the author rehashes the entire crime and rounds up all the clues at the end of the story. A common method is using the protagonist to summarize the crime to another character just before solving the case. This will remind readers of the clues, and give them a better chance of coming up with the solution on their own.

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

This video explores some cool alternative methods of telling a story. If you’re struggling to add some flair to your writing, check these tips out!

If you can’t view this video properly, you can also find it here: 5min graspr Viddler blip.tv Veoh DailyMotion Sclipo YouTube

Feel free to share this video or embed on your site or blog!

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!

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

Suppose you’ve just experienced a divorce and lost custody of your kids. Or a loved one has recently died of cancer. Or you struggled in school as a child because you have dyslexia.

Many writers transform tough periods in their lives into books for children, hoping to help young readers through similar painful experiences. Here are some tips to think about when creating and selling books based on real-life events:

Remember that you’re crafting a children’s book, not a personal essay intended to relieve your soul from a painful memory. Kids want to read about how they feel. Many writers create a young character and tell the story through that character’s eyes. Don’t write in first person if the “I” is you, the adult author. Instead of describing how bad you feel that your kids no longer live with you, show how a five-year-old character feels about only getting to see Daddy every other weekend.

Books for younger children (up to age eight) centering around a personal crisis are generally most effective if the author uses a fictional vehicle for imparting the information. If you want to stick closer to nonfiction, write a book that focuses on the child in the center of the event, and is told in a narrative format with a beginning, middle and end. Older children can deal with more traditional self-help books, with each chapter concentrating on a specific aspect of the problem. However, interspersing the advice with personal anecdotes from other children who have gone through the same thing will make the information more appealing and relevant to the readers.

Targeting appropriate children’s book publishers with these manuscripts is important. Look in subject index of Children’s Writer’s & Illustrator’s Market under “Self Help” and “Special Needs” for publishers. Peruse the children’s nonfiction section of a large bookstore, and read reviews in Publisher’s Weekly, School Library Journal and Horn Book (trade magazines found online and in most libraries) to see which publishers do similar types of books. Check out websites for editorial guidelines (if you can’t find them, send a self-addressed, stamped envelope to the children’s editorial department requesting guidelines before you write and submit your manuscript). You can also look at books written for parents to help their children cope with an illness, loss or divorce, and query the publisher asking if they’d like to publish a children’s book on the same topic.

Though many mainstream publishers are interested in books that deal with special issues, some topics have too narrow an audience for a large house to market the book successfully. In this case, many authors have elected to self-publish. If you get several personal rejection letters from editors who praise the book but say the audience isn’t wide enough, you may consider publishing it yourself. But self-publishing should be approached cautiously; color illustrations are essential for picture books, making them very expensive to produce. And you must be prepared to devote at least a year of your life to selling and distributing your book. Most self-published books are sold primarily online or through direct mail. Can you purchase mailing lists of parents with children who could benefit from your book? Stories on adoption, specific childhood illnesses, or those that might fit in a pediatrician’s waiting room or hospital gift shop are examples of books with a very clearly defined audience.

Laura Backes is the Publisher of Children’s Book Insider, the Newsletter for Children’s Book Writers. Want to learn how to become a successful children’s book author? Come hang with the Fightin’ Bookworms at http://cbiclubhouse.com Whether is writing picture books, chapter books, young adult novels, finding children’s book publishers — or anything else — you’ll find all the answers at the CBI Clubhouse!