Resources: Tips

Dissecting the Picture Book: An Editor's Point of View

by Randi Rivers, Assistant Editor, Charlesbridge Publishing

It's not the kind of stories, but what an editor looks for in a story that is most important. An editor, reads a manuscript with many people in mind: the child, who will read the story; the parent, who will buy it; the teacher, who will use it in the classroom; the librarian, who will read it at story time; the reviewer; the marketing person; the salesperson; and so on. There are many components that go into writing a story, and a breakdown of any one of these elements can cause an editor to pass on a manuscript.

Fiction

First lines

First lines capture a reader's attention. They tease. They hint. They intrigue. Most importantly a good first line draws the reader into the book.
A first line is also a chance to set up the expectation for the entire book.
Avoid cliches ("It was a dark and stormy night" or "Once upon a time").

Examples of first lines:
The Harmonica, by Tony Johnston (Watertown, MA: Charlesbridge, 2004)
Because of Winn Dixie, by Kate DiCamillo (Boston: Candlewick Press, 2000)

Characters

Beware of overpopulation. A character should be more than a name.
Each character should have his or her own personality and purpose.
If a character isn't growing, causing conflict, helping to resolve a problem, or contributing to the story in some important way, then delete that character.
Show rather than tell.
Characters should have depth to them, even picture book characters.
Draw up a character sketch for each character.
Make sure your characters are NOT stereotypical, flat, or undeveloped.
Good guys can be flawed and bad guys can be likeable.
As long as your character's actions are believable, you can do the unexpected.

Examples of characters and character use:
First Year Letters, by Julie Danneberg (Watertown, MA: Charlesbridge, 2003)
Clarice Bean, That's Me, by Lauren Child (Boston: Candlewick Press, 1999)
Cat in the Hat, by Dr. Seuss (New York: Random House, 1957)

Plot

Something needs to happen to your characters.
The plot should remain simple and not get complicated with subplots.
Stories need action and tension.
The hero or heroine should be the one to solve his or her own problem.
Portray children in situations that are familiar to them. Kids like to read about the world as it applies to their lives.
Don't worry about teaching a lesson; just tell a good story

Examples of picture book plots:
The Witch Who Wanted to Be a Princess, by Lois G. Grambling (Watertown, MA: Charlesbridge, 2002)
Lilly's Purple Plastic Purse, by Kevin Henkes (New York: Greenwillow Books, 1996)

Themes

Use themes that children can relate to or experience in their world.
Consider the audience when choosing a book's theme. Some themes, for example abuse or alcoholism, may be too complex for younger children.
A theme doesn't have to be controversial. But if it is, then the theme should be presented in a thoughtful way that kids can understand.

Examples of theme in a picture book:
Toot and Puddle, by Holly Hobbie (Boston: Little, Brown, 1997)
Candy Shop, by Jan Wahl (Watertown, MA: Charlesbridge, 2004)

Language

New words can build a child's vocabulary. However, a child should be able to discern the meaning of an unfamiliar word from the context of the sentence or even from the illustrations.
Picture books aimed at young children should use simple grammar: short sentences, few or no contractions, and simple punctuation.
The writing should be clear and easy to understand.
Dialog moves a story forward.
Dialog can break up long blocks of text that may seem daunting to beginning readers.

Examples of language:
Peanut's Emergency, by Cristina Salat (Watertown, MA: Charlesbridge, 2001)
Clementine and Mungo, by Sarah Dyer (New York: Bloomsbury, 2004)

Setting

Setting is a way to make a story different from others.
Many stories take place in a modern-day suburban setting. But there are so many other sights to see as well as new places that imagination can take a reader.
Think about the world you grew up in as a child. Imagine places you long to see.
Create worlds that you'd be excited to visit.

Examples of setting:
Knuffle Bunny: A Cautionary Tale, by Mo Willems (New York: Hyperion Books for Children, 2004)
I Dream of Trains, by Angela Johnson (New York: Simon and Schuster Books for Young Children, 2003)
The Year I Didn't Go to School, by Giselle Potter (New York: Atheneum, 2002)
Where the Wild Things Are, by Maurice Sendak (New York: Harper, 1963)
Pictures at an Exhibition, by Anna Harwell Celenza (Watertown, MA: Charlesbridge, 2003)

Leave Room for the Illustrator

Leave room for an illustrator to create his or her own vision of your story.
As much as a story is told in the text, for a picture book the story is also told in the illustrations.

Good examples of art and text melding together:
Officer Buckle and Gloria, by Peggy Rathman (New York: Putnam's, 1995)

Nonfiction

Many people think nonfiction is simply information put together in book form, much like a book report. That is a misperception. True nonfiction opens minds, encourages kids to explore, and leaves readers asking for more. More than just information, nonfiction shows kids a world and makes them want to find out everything about it. Like their fictional counterparts, nonfiction also has its own elements that editors consider when reviewing manuscripts.

Subject Focus

Picture books have limited space, so a manuscript should have a tight focus on its subject.
Back matter can supplement the main text and enrich the subject. It's important, however, that the back matter not outweigh the front matter; the main text should be able to stand on its own as a fully developed story.
Choose one area to concentrate on rather than trying to do it all.

Examples of subject focus:
Bugs for Lunch, by Margery Facklam (Watertown, MA: Charlesbridge, 1999)
Amelia and Eleanor Go for a Ride, by Pam Munoz Ryan (New York: Scholastic Press, 1999)

Organization

Start with an introduction and end with a conclusion.
An introduction eases a reader into the story, explains the subject, and tells why it's important.
A conclusion is a great way to round out the whole story by summing up what the reader has learned. In this way the reader goes from expectation to fulfillment.
Adding a conclusion prevents a story from ending with a "thunk."
There are various options for organizing a manuscript: linear format, general to specific, sidebars, etc.
A well-organized story takes the confusion out of the complex and makes a subject accessible to the reader.

Apples, by Ken Robbins (New York: Antheneum Books for Young Readers, 2002)
Birds: Nature's Magnificent Flying Machines, by Caroline Arnold (Watertown, MA: Charlesbridge, 2003)

Readability

Build a child's vocabulary.
Use simple sentences that are easy to understand.
Define words within the sentence or use a glossary of terms.
Nonfiction should be written so that it's engaging. It should be more than just the facts. The writer needs to make the subject come alive.
Humor can help writers tackle a subject that on its own may seem daunting.

Examples of readability:
The Deep-Sea Floor, by Sneed B. Collard III (Watertown, MA: Charlesbridge, 2003)
The Blood-Hungry Spleen, by Allan Wolf (Boston: Candlewick Press, 2003)

Age Level

Not all subjects will be right for every kid. Some topics that are just too mature or complex for the picture book audience.
Picture books are typically geared at ages three to seven.
Some picture books do push the envelope as far as age level is concerned and reach audiences up to 12 years old.
Find out where a story will fall into a school curriculum.
Try using a dual level text, so that the first level is geared toward very young children and the second level is aimed at older children. The trick is to find a subject that has a wide enough range so that it can crossover different age levels.

Examples of age level:
Beaks! by Sneed B. Collard III (Watertown, MA: Charlesbridge, 2002)

Research

Note credentials in the cover letter.
Include a bibliography.
If you have interviewed an expert, then note that in the cover letter.
Keep a file with all your back-up information. (This includes illustrators, too.)
Bibliographies, notes, and sources are wonderful tools.
An author's note lets readers know where information was obtained and if there are places where creative license was used.

Examples of research:
Action Jackson, by Jan Greenberg and Sandra Jordan (Brookfield, CT: Running Brook Press, 2002)

What an editor truly wants is a well-crafted story that comes from the heart. Don't try to write to the market, it's far too changeable and fickle. Instead write about something that interests you, something you're passionate about, keeping in mind the elements I've mentioned, and you're bound to find a home for your story.