Ask Tania: Coping with publisher critiques at conferences and festivals

WARNING: this post is frank!

Dear Tania, 
I recently travelled to Melbourne for the KidLitVic Conference and had a really great time meeting up with people I've known for a long time, and sucking in all the information I could. To be honest, it was a bit overwhelming, and then I sat through a manuscript critique with an editor who was either having a really crabby day or just wanted to be mean. It left me feeling disillusioned and disappointed that someone who's meant to be a professional couldn't even say something good about my work.
I'm just not sure how to take this and I feel like giving up.
Disappointed

Dear Disappointed,

First and foremost, YOU ARE NOT ALONE!

Everyone receives 'bad' critiques. Everyone. From emerging to published, experienced creators. Everyone's work falls across the desk of someone who doesn't get it, doesn't resonate with it, or just plain doesn't like it.

The subjectivity that comes with this territory is ENORMOUS. I cannot overstate this enough. I've spoken before about a junior fiction/middle grade book I shopped around to four large publishers who each came back with entirely, and I mean ENTIRELY, different feedback. There was not one single parallel on anything each of them said. It was actually quite remarkable how divergent their comments were, to the point where what one publisher loved and thought worked brilliantly, someone else thought woeful.

Ask Tania: How do I make the most out of writing festivals and conferences?

Dear Tania, 
I'm so excited to be going to the KidLit Conference in Melbourne this May, but I'm also nervous. I'm having a manuscript assessment with a publisher, too. How can I make the most out of the conference, and do you have any tips when dealing with the publisher?
Stace

Hi, Stace,

So exciting you're off to KidLit this year; I'll be there, too! It's going to be wonderful, and can I just say what a brilliant decision it was for you to book in for this. Attending conferences and festivals will really fast-track any creator's career, so this is great news.

Festivals and conferences can be overwhelming. Combine stacks of passionate people with creative ideas and passion on tap, bundle it up with a barrel full of nerves, especially when it comes to meeting publishers, and it can all become a little fraught.

Thankfully, kids' book industry folk are warm, inclusive, fabulous people (and if you meet the rare braggart who is not, smile politely and find someone else to talk to!) and you'll have the most gorgeous time chatting with people you've either met online, know of or meet for the first time.

Here are my tips for a really productive and successful time as a festival or conference delegate. I'll follow this up with tips on meeting publishers.

Have a great time, and see you there!

Tx

1. TALK TO PEOPLE. Don’t stick with who you know—stretch yourself and meet new people. You never know where it will lead professionally—and you might just make a new friend or begin an exciting collaboration.

2. CARRY COLLATERAL. Festivals are a priceless opportunity to make contacts. Take everyone’s business card and offer your own (I keep mine in the back of the festival pass which hangs around your neck). Take your books or works with you but only haul them out if appropriate. Show and tell is fun, is it not?

Ask Tania: What's with these book awards that authors can buy? Are they worth it?

Hi Tania,
I'm an emerging author, and I'm in the middle of self-publishing a little chapter book. I was wondering ... what's with these book awards that authors can buy? Are they worth it? I'm not sure how they work.
Caroline

Hi, Caroline,

Oooh--the vanity book award. This is a tough one. About to get frank here!

You may have heard of the term 'vanity publishing', where authors pay to have their work published. Some vanity publishers prefer to call it 'joint venture' publishing, but it's still the same thing.

While this type of publishing may suit those who'd like to publish their memoirs for their family, it's not recommended* for anyone who wants to make a career out of writing books. There is no selection criteria with vanity publishers (even if they insist there is) and the outcome for your work is therefore nowhere near the professional level it would enjoy with a trade publisher (who makes financial, time and emotional investments in your work).

*Footnote: I think self-publishing is wonderful--I've done it and I'm a big supporter of it--but you can absolutely self-publish books well and with credibility, without having to use a vanity publisher (and you'll save yourself a tonne of money, too!). See my post on self-publishing for more.

Fundamentally, you should never have to pay to submit work to publishers, and you should never have to pay to have your work published. The reasons are far too many to go into here (you can google this topic for thousands of references), but suffice to say that 99.99 per cent of the time, using a vanity publisher is not only unprofitable (in fact--it can end up costing you a lot more money than you bargained for), it can be damaging to your career in terms of both the production quality of your book, and your credibility as a creator.

Ask Tania: What makes a great author website?

Dear Tania, 
I am keen to create my author website but want to know--what should I include? What makes a great author website?
Thanks!
Toni

Hi, Toni,

A website is vital for all authors and illustrators. It's a global, easily-accessed, inexpensive platform that takes minimal effort once set up--and serves as your Virtual Headquarters, not to mention your virtual marketing professional and sales rep!

I'm consistently looking at the work of other authors and illustrators, not only for Kids' Book Review, but because I have a strong interest in supporting emerging talent. One thing that consistently surprises me is the lack of strong web presence. In fact, I've lost count of the times I've looked someone up--or the title of their book--and literally found nothing.

And this lack of web presence is so hugely detrimental to any creator. If we can't find you, how can we find your books?

So, first and foremost, you simply must must must have a website. A website is a standalone 'centre'. Think of it as your home. Then, you have several satellite sites that link to your website, such as a blog, a bookstore, a Facebook page, an online gallery or illustration portfolio, book or character websites, etc.

With me, I have my central website then I link to my blog and my social networking sites (Facebook, Twitter, Instagram, Pinterest, Youtube). I also link to Kids' Book Review and the 52-Week Illustration Challenge, because both are directly associated with my work as an author illustrator.

It would be tempting to link to your travel blog or your cooking blog or other interests, but unless you're a travel or food writer, it can become confusing to pack too much into one website.

This brings me to my first website tip.

Ask Tania: Non-Fiction Picture Books--where do I start when submitting to publishers?

Dear Tania, 
My question is about approaching publishers with non-fiction picture books. I'm aware how to submit fiction picture books, but is there a difference with non-fiction? If I was interested in writing a book about a person in history, should I go full throttle, researching meticulously, honing my text and sending off a fully-polished manuscript, knowing that all that research could be of no use if the ms is rejected?
Emma

Hi, Emma,

A girl after my own heart--I adore non-fiction PBs! And I most particularly love books on people from history. I'm busting to know who you want to research; might have to ask you privately (sorry readers!).

But to your question. The very first thing you need to tell yourself when it comes to dedicating the endless hours to researching and penning a non-fiction book is this:

Ask Tania: Picture Book structure--circular, narrative, characters, rhyming--HELP!

Dear Tania,

I've started writing children's stories and am dreaming up some picture books. I've been reading a lot about typical book structures (set-up, incident, events, climax, result, resolution) and I've found reference to other structures sometimes used (circular, concept, cumulative, mirror, parallel and reversal). How strictly should an author keep to these structures? Do you write with this in mind or do you just write? 

On characters, must the main character always have an obstacle to overcome for the story to be successful?

I'm also interested in your thoughts on rhyming books, as I know (particularly emerging) authors are advised against it - and yet, so many picture books still seem to use rhyme and meter.

Paula

Hi Paula,

First thing I have to say is how great it is that you're reading up on book structure and the associated elements that make a story wonderful, particularly picture books. When we were running the Kids' Book Review Unpublished Manuscript Award, so many of the entries suffered from a lack of understanding of story structure, so even when the writing itself was good, the story was little more than an 'account' or a set of descriptions. So understanding story structure is a fine way to embark on your picture book writing journey.

Let's explore your questions--I'll break them down into parts:

Ask Tania: How do I throw an amazing kids' book launch?

Dear Tania,
I'm launching my first children's book soon and wondered if you had any advice to help me? I've never done this before! What's usually expected? And weekday or weekend? How do I throw an amazing book launch?
Thank you!
Katherine

Hi Katherine,

Congratulations on your first kids' book--how wonderful! I would love to help you with some advice for a fabulous launch, and so, below, you will find a full chapter from my Fantastical Flying Creator e-course (more here). I hope you find it helpful ... and I hope you have a wonderful launch!

Tania

The Kids' Book Launch (from The Fantastical Flying Creator)

Your first book launch is a true Life Moment. It's one of the most exciting things you’ll ever do, and will be packed with supporters. The more books you launch, like anything in life, really, the more the shine wears off, but I must admit they’re still a lot of fun and I still do launches for most of my books.

Your publisher is unlikely to throw you a launch unless you’re Jeff Kinney, but don’t worry, it doesn’t have to be complicated or expensive.

You can absolutely have more than one launch, and you can host them locally or interstate. If you have family or friends to stay with, it makes things even cheaper.

To attract guests, you should offer something to your audience—a giveaway, bookmarks, cake, goodie bags, balloons and activities for kids … any of these things will attract people, especially cake. People will come for cake.

Ask Tania: What's the process when someone is commissioned to illustrate a book?

Dear Tania,
What's the process when someone is commissioned to illustrate a book?
Thank you!
Jolanda

Hi Jolanda,

Like most things in publishing, this is a far-reaching question and has many moving parts, but I'll do my best to give you a general overview!

Publishers

Traditionally, publishers (both trade and independent) like to appoint illustrators to books. They use either in-house illustrators whose work resonates with their overall book list, and with whom they have an established relationship, or they commission illustrators they've had their eye on, or whose work might complement the book's text, genre and 'feel'.

Commissioned illustrators may be experienced or emerging--and again, this is dependent on many factors. A lot of the time, publishers like to go with someone who understands the book creation process and how to interpret and add visual value to a manuscript, but this doesn't mean emerging creators can't achieve contracts, especially if they spend time reading and studying picture books (or other types of illustrated books) to familiarise themselves with layout, design, construct and the priceless nuance that imagery can add to text.

Many illustrators submit their work to publishers, and most are willing to receive unsolicited portfolios, as looking over artwork takes just a fraction of the time than reviewing a manuscript. Visit publisher websites and check out their illustration-receipt process. There's absolutely no harm in having your work out there. You can also showcase your work at many children's book festivals and conferences. It's well worth doing this.

If you're unsure how to present your work/create a portfolio, there are countless tips online--just google it. You can also google what publishers particularly esteem in regard to illustration. Being able to effect 'movement', emotion and character consistency are all highly regarded, as is an understanding of attractive colour palettes.

Ask Tania: What's the best way to work towards becoming a full-time author?

Dear Tania,
What's the best way to work towards becoming a full-time author?
Cathy

Hi Cathy,

I could write 1000 paragraphs on this! And even then, it would be part-way subjective and would fail to cover all the intricacies and variations and far-reaching tentacles.

Some of us need to work full-time jobs, some of us work part-time, and some of us have the luxury of all the time in the world. Some of us have small kids, older kids, grownup kids, no kids. Some of us are in marriages, some not, some in supportive relationships, some not. Some of us have self-belief and some of us don't. Each author's life situation and journey is unique, and so very many variables contribute to the acquisition (or not) of a full-time writing career.

I could also regale you with the myriad things you 'should' be doing, but honestly? ... other than the fact that each person has a unique life situation that must be navigated around, authorship is changing. Our online world is changing. The way we read books is changing. The way we write and publish is changing. And it's all changing so fast, I reckon by the time you read this, my 'advice' would be redundant.

So, I'm going to go back to brass tacks. I'm going to hand pluck the 'little things' that I've learned in almost 30 years in the writing industry (first magazines, then adult non-fiction, then children's). I reckon if you can resonate with the following stream of consciousness, you stand a good chance of securing full-time authorship.

Bolded entries are especially important. At the end of these points, I'm going to cover Self-Belief and The Flow--also especially important!

Here we go ...

Ask Tania: I'm media-terrified. How do I promote my work without putting my foot in it?

Dear Tania, 

I'll get straight to the point. I'm media-terrified. Interviews unnerve me, as I never know what question is coming, if my responses will sound dumb, if I'm saying the wrong thing, or--worst of all--if I don't even know what to say. This is also a worry when I need to do presentations. How do I promote my work without putting my foot in it?

J

Hi, J,

You are not alone! Even the most seasoned creators experience angst and nerves before an interview or speaking engagement. I don't think I'll ever get used to it, personally, and there's been times where I've literally not slept the night before, I've been so angst-ridden. 

I think the first thing to remember is that feeling nervous is absolutely normal, and is a human  reaction that almost everyone experiences, no matter how confident or seasoned they are. When we really absorb this knowledge and really embrace it, we feel a lot better about ourselves.

Ask Tania: The work/life balance ... how do I write AND manage a household?

Dear Tania, 

My question is about making time to write amongst a day filled with jobs, family commitments and household tasks that just don't do themselves (sad face). How do I write AND manage a household? How do you do it?

Cate

Hi, Cate,

I would have to say this is one of the questions I'm most often asked! So it's clearly something a lot of people struggle with ... including me.

It's a convoluted topic, so let's break it down:

kids.
They say there's nothing like mother (or dad) guilt. Although I'm not a guilt-tripper by nature, as my writing has grown into full-time work, the seemingly endless hours I need to put into it has seen that sordid guilt trickle in. Ach--it's SUCH a pain.

The way I deal with it? I remind myself that mothers (and dads) need to be people, too. We also need to do what we love--and invest the time in doing it--and, REALLY importantly, to model passion and drive and commitment and hard work for our kids.

Neither of my kids go without food, clean clothes, a warm house, a great education and oodles of love. Sure, I may not spend endless hours playing Monopoly or watching blockbuster superhero movies with them, but they get my full attention when they need it or ask for it.

Admittedly, both are teens now, and pretty much do their own thing/are out a lot of the time. So, I know this is harder for women (or men) with littlies. When mine were little, I would write early in the morning or late at night or when Dad took them to the park--and I would actually write, not stack the dishwasher. I know this, too, can be hard, especially if you're exhausted. But, as I'll discuss shortly... it really comes down to How Much You Want It.

house.
When my kids were smaller, my house was perennially prepped for a Vogue photo shoot. Now, anyone I know is forbidden from doing the pop-in, lest they catch the six inches of dust under my dining table, the opaque glow of a long-unwashed window, and me looking like an old bag lady with limp hair, ugg boots and a stain on my top.

Ask Tania: Who pays for what if we get a publishing deal?

Dear Tania, 

A friend and I are writing a book that includes lots of styling and photography. Who pays for photography and props, if we get a publishing deal? Do we pay or does the publisher cover those costs?

Mark

Hi, Mark,

Your question depends on a few factors.

With the type of book you're planning, you have a lot of work ahead in terms of time and money investment. It's kind of scary to work on a book with no guarantee of publication--this is what creators the world over face, and no matter how much financial investment you need to outlay (if any), you still have to put in the time, heart and effort, with no guarantee of publication, let alone financial success.

So, I guess the first thing to say is this: welcome to the world of publishing! It's a place where relying on income doesn't really exist--at least, not at the beginning. With recent reports saying most authors earn as little as $13,000 p.a. from their writing (and that's often active, full- or near-full- time writers!), it can be rather discouraging. But the good news is, income does increase over time, and with dedication.

But back to your question.

Ask Tania: How much do I present to a publisher in order to be taken seriously?

Dear Tania, 

How much do I present to a publisher in order to be taken seriously? Do I need to have the whole book written to go to a publisher, or just a few pages or the concept?

Lisa

Hi, Lisa,

Every book, every creator, every publisher, every 'route' to publication is different, and oftentimes as uniquely individual as each and every book.

Some people submit to a slush pile and are picked up (rare!). Some people submit after entering a competition. Some submit through an agent. Some submit an idea to a publisher they may have met at a conference (HIGHLY recommend attending conferences!) and that idea is interesting to the publisher, so they ask them to flesh it out and submit. Some might win the chance to submit directly.

Some might receive a manuscript critique and be picked up that way. Some are already published or know publishers well and can submit directly, or hash the idea out with their publisher first. Some are also commissioned to write something the publisher is looking for, and some are just famous and so will be published straight-up, whether or not they can actually write.

Ask Tania: Being a writer is physically tough--how can I keep fit??

Dear Tania,

Being a writer is physically tough. I'm spending so much time sitting, sitting, sitting, especially when I get passionate about what I'm working on (which is often!). Not only am I putting on a little weight, I can feel my bones rusting. How can I keep fit?? How do you keep active? Do you have a routine? Any tips appreciated!

Mallory

Hi, Mallory,

Oh, I love this question, and it's very timely for me right now, having come off 10 months of illustrating for my first self-illustrated book. Let's just say I'm feeling a bit rusted and pudgy! I find longer projects (like Australia Illustrated) and deadlines are the worst times of all--and not only is this period of inertia physically challenging, it absolutely takes a mental and emotional toll, too.

It took me many years to learn how to create a finer work/health balance. I would easily commit to 12 - 18 hours a day in front of my computer, most days of the week, and I never understood the concept of 'sharpening your axe', until I heard the actual 'sharpening your axe' story--and it finally made sense. That, and back pain and jeans that wouldn't zip up and a brain that had turned to mush.

Here is the story ...

Ask Tania: How much of my in-process book should I reveal to the public?

Dear Tania,
How much should I say about my works in progress? I want to share what I’m working on but I’m unsure as to whether I should actually mention the book title or put some of the concept drawings up on my website. It’s not a question of being worried about someone else hearing my ideas, it’s more a matter of what level of exposure is the right amount. What would you suggest?
Jules

Hi, Jules,

The answer to this question depends on your publishing situation.

If you have a contract for a WIP (work in progress) and are actually in production, the general rule is to share either nothing, or very little until close to publication. You could check with your publisher for their thoughts on this. Some of my publishers allow little peeks at drafts or roughs (not finals or near-finals) and others would prefer nothing be revealed. Some creators post images that are a wee bit blurred or just a tiny slice of an image or character--but again, it's something you would need to check with your publisher.

Generally, however, you would not reveal the title or concept for your book, other than perhaps 'meet Johnny the astronaut' with an image rough. This reveals very little but piques interest.

I'm currently working on a picture book and I'll very occasionally share some peeks at my artwork along the way, but most of my 'reveals' will be about my creation processes rather than revealing too many visuals or concept reveals. You can see from this post just how much I've revealed/the focus of the reveal. The book isn't out till November 2016 and it's a comprehensive book with a high page count--so it's easy to reveal little bits. And I can continue to show little bits of my processes as time goes on.

At this stage in the book production process, I would never reveal title and content/concept. What I regularly do is add my WIPs to my Works in Progress list (you'll find it here, at the bottom of my BOOKS page)--but only when we are relatively close to publication, and again, depending on the publisher's wishes. You'll see on this list that I need to keep some titles quiet, so I've just written 'three more picture books, out 2017) or something like that. Other books, I actually mention the title.

If you are self-publishing or working on something that you will eventually submit (ie: you don't have a publishing contract with a traditional publisher), I think you can reveal a little more of your WIP than if you're contracted. Again, you want to be careful just how much because a little bit of mystery is a good thing. Revealing a lot or being 'everywhere all the time' can make people switch off, so balance things well.

I like how you said you're not worried that someone will steal your idea if you reveal a few things. Even if people could 100% guess what you're up to, the fear that your book will be snatched up and produced in a matter or weeks or months is highly unrealistic. And no one could ever do it as well as you're doing it, anyway!

I do think, in general, that reveals of some kind are a good thing because they build that all-important creator/reader relationship. People absolutely adore sneak peeks, and they can be a great thing if done well. They build anticipation and get people talking and bring people to your site/blog. And that's what we want!

If you have a character concept that you're keen to start marketing before the book is published, you could absolutely set up a Facebook page or website with a simple header image and a short synopsis. Don't give much away and perhaps just post little snippets on how things are progressing rather than showing too much imagery. The closer you get to publication, the more you can reveal.

When your WIP is close to publication, it's fine to begin revealing more. The cover (and this varies by publisher) is revealed to the public around 2 - 3 months before the publication date. A relatively short lead time is wise because people are strongly swayed by visuals and the last thing you'd want is people swooning over the cover, rushing out to buy it--and it's not available yet. Sale lost. If, however, they only have a few weeks to wait, they're more likely to track it down and buy it.

Good luck with the slow reveal!

See all the questions so far ...

Ask Tania: How do I write a book proposal?

Dear Tania,
My manuscript is being taken to an acquisitions meeting! It's very exciting, however, the publisher wants me to write a proposal rather than just the cover letter I sent with the manuscript. What is the best format for the proposal?
Kirsty

Hi, Kirsty,

Congratulations! That's wonderful news and one step closer to holding your precious book in your hands!

Writing a solid book proposal is important. You are effectively selling your book to a team. You want them to want it! Some publishers have a set format they require for book proposals, but if you are just asked to write one without guidance, here are my tips.

The publisher already likes your work, so their interest is a given. But an acquisitions team's main focus is:

a) does the work suit their ethos?
b) is it marketable/sellable?
c) is this author proactive, dynamic and able to help market their work?

Check the publisher's ethos or mission statement. Many have it on their websites and if they don't, you can get a solid understanding of what it might be from their current book list. Or ask the publisher directly.

For marketability and sales potential, you'll need to make your book sound 'needed' on the market. Does it align with current trends or current affairs? Is it unique in some way? Does it fill a market gap? Essentially, you need to ensure the book fits a spot in the market and an audience. Don't expect a publisher to find your audience for you. Think about where this book fits in the current market and who it would sell to. Research this well.

For proactivity, be sure to make it clear that you are active and willing to help market your book. More on this below.

Proposals vary enormously, depending on the book type in question, but in general, a proposal can include the following (if it's a long proposal, it should include a table of contents, but a short one doesn't need that):

• A short overview of your proposal.
• A clear and direct synopsis of your book. Make it relatively detailed but not too long. Like all elements of your proposal, it should be well-edited. Don't waffle and don't include too many personal elements. 'I wrote this book because...' is okay, but one or two sentences is enough--not an essay.
• A idea of your target market--who they are, and why they will relate to or buy this book. Including some kind of stats or facts will help.
• A short competitive analysis on books, websites or products that are similar to yours and compete with yours. Most importantly, state why your book stands out and/or how it is better/will attract more sales. Be factual and don't use hyperbole.
• If you say your book is completely unique and has no competition, you will need to then prove it's not so specialised or whackadoodle that your buying market proves too small.
• Provide an author biography with what you have already achieved and what you're working on. Are you a specialist in your field? What makes you stand out? List any other book titles here. Be sure to list memberships and affiliations (member of CBCA, SCBWI, etc). The more industry-involved you are, the better.
• Show how present you will be if this book goes to print, and suggest ways you can market and promote it. Be sure to state your online presence, website links, social networking capabilities,  and other platforms or achievements, eg: I am a reviewer for BookBlogs, I already have experience with speaking to children, I have set up a blog for my work, I have media contacts, etc, etc. Be confident and firm about what you WILL do, not what you COULD do.
• Provide three sample chapters for fiction and the entire manuscript for a picture book. Yes, provide the work again, even if it's already with the publisher. You may have made some fresh edits between now and then, so provide your best work (though not a complete redraft!).

When you're done preparing your proposal, go over it and ensure you've met the following:

• The reason this book should be on the market and what its unique selling points are.
• Who will buy this book? What will they love about it/get from it?
• Why YOU? In what way would you make a valuable asset to this publisher's stable? Are you consistently writing new material? Are you target market savvy? Do you already have an audience or web-presence? Do you understand the importance of proactivity?
• Can you be easy to work with? Show this by being well-researched, confident, warm, professional, direct and succinct. If you are faffing or asking a billion questions that you can easily find with a Google search, publishers may baulk no matter how much they love your proposal.

Good luck!

See all the questions so far ...

Ask Tania: What is the Most Widely Used and Accepted Illustration Software?

Dear Tania,
What is the most popular, widely used and accepted software used by illustrators for digital illustrations for children's books?
Catherine

Hi, Catherine,

To be honest, it doesn't really matter how you produce your illustrations, so long as you can provide them in a format that suits your publisher--either hand-rendered illustrations that the publisher will have scanned, or as high-resolution digital imagery, most often PDFs.

Some illustrators (like me) create part of their work by hand and part of it digitally. I also use printed material and photographs which I scan into my computer and assemble into pages using Adobe Illustrator (AI). I find AI the most user-friendly when it comes to page assembly and layout, but that's probably because it was the first software I ever used.

The Types of Author You Don't Want to Be

I'm often asked questions on 'what to do' or 'how to be' something, and I love the challenge of answering these questions, but it's often the things we 'shouldn't' do that can have the most impact, and facilitate the most successful author journey. I've learned from many mistakes--both my own and the mistakes of others--and I continue to learn every day.

I hope this rundown on the types of author you don't want to be helps you avoid making common mistakes that may compromise your journey.

ask Tania: How should I lay out my manuscript?

Dear Tania,
My question is related to the layout of the manuscript [when submitting to publishers]. Do I present it with page breaks? Do I need to include a vision for the artwork? It is only 450 words long and anticipate that it will be approx 10 to 12 pages long. The story line is aimed at preschoolers.
Kirsty

Hi, Kristy,

Great question, and I do have some suggestions and guidelines.

The first is to carefully, meticulously research which publishers you wish to approach. It's vital that you do this, so you're not wasting their time--or yours! Publishers can take many, many months to get back to you, so ensuring you're hitting the right place, off the bat, is important.

The way to do this is to assess whether or not that publisher produces books along the same lines as your work. Once you've done this, check their website for their submissions process/requirements. If they are open to submissions, in the genre you've written in, submit it according to their guidelines. This is the best possible way to submit.

Having said that, there are general guidelines that are important for emerging authors.

The first is that you send manuscript ONLY. No images. An exception to this rule is if you have met a publisher at an event and have discussed the work, and they are happy to see both. Otherwise, only send the text.

You could send some kind of note on envisaged artwork but only if it's absolutely central to the story. Publishers generally like to appoint their own illustrators, and most don't like suggestions. If you are planning on illustrating the story yourself, you should absolutely mention this in your cover letter. Don't send any artwork, but simply state that you are an illustrator and are happy to show them your work if they would like to see it. You could also add a link to your work online, but that's it. Remember, succinct is best!

The standard way to send manuscripts is A4 paper (unless you're emailing), wide margins (3cm), double-line space, flowing text with natural paragraphs (no line breaks when not needed), left-hand justified, in a regular, readable font such as Courier, Times New Roman or Century Gothic. If your work is poetic/rhyming, you can send it in poetic stanzas.

Try to resist the urge to send your work in coloured text or exotic fonts, or with embellishments of any kind.

You can absolutely make notes on illustrations in the manuscript text but they should be really succinct, written under the accompanying text in italics or brackets. This should only be provided if the reader would not understand what's happening from the text alone. Too many illustration notes do impede your text. You need to trust the reader and rely on the fact that they will furnish their own interpretation from your words.

You can also do a very short informative intro if the manuscript requires any kind of explanation, but again, only if it's absolutely vital and central to the storyline, and if the reader won't understand it without the intro.

As for page breaks--short answer, no. Again, the reader wants to read a STORY. They don't want to be mucking around with page interruptions, unless, again, they're vital to the story in some way. As an emerging author, I would go with no page breaks, and once you're more established and understand how page breaks work, you could add some kind of division, as I do:

p1 verso: The first line of text in the story.

p2 recto: The second line of text in the story.

etc

(Verso means left hand page. Recto means right hand page. I usually only do this if it's central to the story, though.)

Fundamentally, you want your story to be as easy to read as possible. You don't want the reader to be tripped up by anything much at all, other than the odd illustration note. When you trip up the reader, it does affect flow and enjoyment--and you want that editor to enjoy it!

450 words (or less!) for a picture book is perfect. Ideal, really, and it's actually a decent amount of text for a PB aimed at the very young. Ensure every word counts and earns its place. Be sure it doesn't just repeat what will be shown in illustration. Also ensure it inspires new and varied illustration on each double-page spread.

Book pages run by 8s. So a book can't be 10 pages (pages are counted by face not leaf--so a single leaf of paper is two pages). A book can only be 16 (which is too thin), 24 or 32, etc, the latter being standard. This is something you wouldn't need to worry about at submission stage, anyway.

I hope all this helps. Wishing you the best of luck with your submissions!

See all the questions so far ...

Ask Tania: How do I Prevent Myself From Being Used?

Dear Tania,

I am a fairly established author/illustrator and have a lot going on in my life; sometimes to the point of overwhelming. I love what I do but my issue is that I'm so often asked to do things for free, whether it be school visits or other events, illustration work, book donations, artwork for charity, etc. I do believe in helping out and sharing, but not to the point of being used, especially when people get snarky when I say no. I'm kind of sick of it, actually.

Just wondering your thoughts on this. Thanks, Tania.
 
'Sue'

Dear 'Sue',

Firstly, you are not alone! This happens A LOT to many creatives--and in fact, the creative industries are particularly prone to this issue because so many think what we do is not a serious job. I mean, would you ask a chiropractor or surgeon or financial planner to give you their time for free? No. Why creatives seem to be exempt from this same respect is beyond me.

Secondly, I feel there are two prongs to this situation ...

No. 1

Not everyone might agree with me but when you're first starting out in the creative fields, I do believe it can be beneficial to carefully handpick opportunities that are low paid or free, but high on exposure or other benefits. I have been running Kids' Book Review and the 52-Week Illustration Challenge for 'free' for years, and the benefits of doing both have exponentially outweighed the 'cost'. EXPONENTIALLY. So, if you wanted to put it in monetary value, it would be worth more than I ever could have been paid.

Overall, I think it's about seeing the Bigger Picture. Being aware of where your career is going and where you want to go. Sometimes doing something for 'free' or low revenue can provide priceless opportunity. A good example of this occurred on the 52-Week Illustration Challenge recently, when a large and respected graphic design company offered members the chance to design an image for international distribution on their wares. It was a paid opportunity, but meant release of copyright of the image.

Several Challenge members complained that the payment amount was too low (in fact it was quite good) to release copyright on an image. Why they felt they needed to keep copyright on one small image was beyond me (they could certainly no longer use it elsewhere). More than that, the fact that these people couldn't see the phenomenal benefit of winning such an experience--both in terms of exposure and ongoing work with this company--really worried me.

It was a classic example of playing with 'I must be paid an absolute fortune every single time or I'm just being ripped off!' semantics over the overriding Bigger Picture opportunities.

Having said all this, lower paid opps or 'freebies' should not only be carefully selected, they should naturally wane over time, as you develop your career. Other than charity offerings, you should be, for the most part, insisting on well-paid gigs and opportunities that align with your direction and experience. The more experienced and known you are, the more you will charge. Naturally.

If you are relatively established (and I know you are!), you should be at a place where you can start to cherry pick your opportunities. Remember, there is nothing wrong with saying no. And if people don't like that, too bad!! That's their problem, not yours and you have nothing to feel guilty about.

As an example (and everyone is different, so work out what's right for you), with my own career, I'm now at a place where I weigh up any opportunity against time, effort, desire and the cost/revenue balance. If I am completely impassioned by the opportunity and really want to do it (for whatever reason, as well as the cost/revenue/exposure balance), I will say yes to a smaller 'return'. If I'm not impassioned by the opportunity and would only do it if I'm paid enough or it offered enough return for expenditure, then I set the price I'd like and if they're willing to pay it, I'll do it. If they're not willing to pay, I don't do it*. Simple.

* Of course, there are also times when I say no because I literally can't do it--I'm booked elsewhere or can't spare the time.

This isn't about greed. It's about protecting yourself and ensuring you are paid your worth/receive benefits to your worth. There is absolutely nothing wrong with that.

I also strongly believe creatives should handpick charity events and organisations that resonate with them, and offer their time and/or product gratis, when and if they can. Not only is this important in a philanthropic sense, it's extremely good Karma. What you give, you will receive in turn. It can also bring you fabulous exposure and further opportunity, beyond the feel-good nature of it all.

No. 2

I think this issue is also about the people you deal with. When you deal with leeches or self-servers or ingrates, it's easy to become disillusioned and to feel used. I have three different avenues that people use to contact me ask for things. It means a lot of requests and I'm still, after all this time, shocked at the way some people go about asking for things.

The worst of these are the ones who presume you'll just do it. This, surprisingly, happens a lot. Someone contacted me recently regarding their FULL fiction manuscript (which they attached to the email), telling me they'd like me to read it and get back to them with my thoughts, please. I told them I don't offer that service, but what I really wanted to do was ask them who or what possessed them to ask this of me?? I said no but astonishingly, they came back again and asked more from me.

Interesting to note that when I suggested they buy my Fantastical Flying Creator, which is jam-packed with all the insider info they were requesting (and more!), I never heard from them again. And you'd better believe they never sent a 'thanks, anyway'.

The second worst (in fact, they're probably really the first worst!) are those who ask then either ignore you or respond rudely when you say no.

If they ignore your refusal, the self-absorption and immaturity on show is palpable. It's called 'spitting the dummy' before heading to the next person on their list. Receiving this kind of treatment is an abominable thing. It really is horrid and makes you feel used and crappy (perhaps even angry). But remember this reflects on them and who they are, not on you. Don't be tempted to give them a serve (tempting!). Just move on and let it go. And remember their name.

If someone is rude about your refusal, it can also be tempting to respond. Just don't. You don't need to 'explain' why you said no. Again, it shows immaturity and it boggles me that people would put their reputation and credibility on the line by doing something so stupid. Just move on and let it go. And remember their name.

Another kind of worst are those who fail to thank. If you say no, your asker should thank. If you say yes, your asker should thank. And if you end up providing a service or donating some books or giving your time out of the kindness of your heart and they don't thank you ... do this: don't feel crushed or disillusioned or pissed off that you spent so much of your time and energy on something they couldn't even bring themselves to thank you for. Just remember their name. And do NOT, under any circumstance, give them your time, energy or donation ever again.

I love that old adage: if people show you who they are, believe them. Stick a warning flag in them and back way. And trust me when I say you won't be the only one out there in the community who will peel away from them or refuse to help out in the future.

The self-serving, the leeches and the ingrates are the ones who wear us down and harden us. They're the ones who cause distrust and burnout. And they do not deserve your energy or expertise. This has nothing to do with being prickly--it has everything to do with protecting ourselves and reserving our energy and expertise for those who deserve it most.

Don't worry about offending people by saying no and don't worry about the repercussions of cutting the negative people from your world. We are not an infinite source of giving. Giving is good but when people suck us dry, there's nothing left to give--and the only loser is you. So hold onto your precious time, energy and talent, and allot it carefully. Don't let people harden you or deplete you. Tread carefully, select wisely, and your journey will be so much smoother and happier.

When we're happy, we become inspired and creative, and we produce more fabulous books. And isn't that what it's all about?

Good luck!

Tania

See all the questions so far ...