Three tricks to help you write the perfect children's picture book

Unlock the secrets to crafting the perfect children's picture book with these three dynamic tricks!

Dive into a world of imagination, masterful storytelling, and captivating creativity.

Get ready to elevate your writing game and bring your stories to life!

As I strolled through Ightenhill Park on my way to and from school, whether alone or with a friend or two, my imagination would transport me to a world where a shark could gracefully swim beneath the earth's surface, navigating the grassy sea…

When embarking on the creation of a children’s picture book, my typical approach involves starting with a broad concept, like a shark in a park. From there, I construct a basic roadmap that serves as a foundation for four crucial intersections.

Let's delve into my first trick…

1: Nail the Ending

Securing a captivating ending is paramount, as it serves as the guiding light for the entire narrative. To achieve this, I explore a plethora of scenarios, ranging from the ludicrous to the sublime. For instance, while conceptualizing the conclusion of "The Shark in the Park," ideas spanned from the shark devouring Michael and swimming away (dismissed as rubbish) to the shark becoming Michael's school pet on Bring-Your-Pets day 🤣.

Collaborating with the artist fueled additional creative sparks, leading to wild suggestions like leading the shark into a zoo or the shark devouring a bus.

Ultimately, the winning idea emerged—capturing the shark in a goldfish bowl and placing it on the mantelpiece. Outrageous? Absolutely. But as soon as I envisioned it, I knew it was the perfect ending that would leave readers smiling.

Emphasizing the significance of an ending that evokes personal satisfaction, once you discover one that resonates with you completely, a significant burden is lifted. It provides a clear destination for your characters, allowing the narrative to unfold with purpose and coherence.

2: Take it up, bring it down

A good book should start well, soar in the middle and end brilliantly. A good way to do this is to think not of the characters but of the story. When I wrote The Hairy Fairy I wanted a story template I could carry into the other books. If you think of a children’s book as being 36-40 pages then I split that into blocks where I know that whatever happens I need to be at that point, more or less by the time I reach that page so for The Hairy Fairy I decided to have a few things happening…

• Page 5: The Hairy Fairy accidentally causes some kind of trouble

• Pages 6 - 34: Things get crazier, as much as abosultely possible

• Page 35: A solution is found

• Pages 36-40: Deal with the aftermath, make a funny ending

The character is quite simple, he’s a well-meaning yet bumbling sprite who causes problems but magically fixes them, but this meant I had scope to thrown in as much craziness as possible. I remember being very happy that I had a few pages spare and I was able to add Spaceships blasting everything with lasers to the mix because I knew that whatever I threw at the characters it would be resolved by fixing his wand or saying a magic word, finding a mcguffin.

The possibilities were endless so I was able to have some real fun…

Once I had completely wreaked havoc, a simple wave of The Hairy Fairy's wand reset everything, restoring order.

All was good again, at least until the next misadventure!

3: You Are The Writer! 

In the world of your story, you are the Hollywood film writer, not the director or cinematographer. Apply the same principle when collaborating with an illustrator. Unless you're taking on the roles of both writer and illustrator, focus on your expertise and refrain from micromanaging the illustrator. Choose an illustrator whose work aligns with your vision, share the manuscript, agree on terms, and once that's settled—LET THEM WORK THEIR MAGIC!

If you've made the right choice, your illustrator will excel in composition, color, and design. No need for constant suggestions or requests for changes. Ensure your manuscript is polished, then trust your illustrator to bring it to life. As for payment, I typically provide a deposit for materials upfront (my illustrator prefers acrylic on canvas), with the remainder upon completion.

Considerations when hiring an illustrator and contract essentials:

• Payment and Rights: Clearly state in the contract that you'll pay for work done and assert ownership of the rights. Prevent the illustrations from being used in other projects, reserving them for your branded products and merchandise, be it on Amazon or Redbubble.

• Continuity: Plan for the unexpected. If the illustrator leaves or takes another job, ensure you can continue the project. You own the Original Property, and the show must go on, irrespective of changes in your collaboration.

• Design for Text: Remember, your book will have text. Design areas on the page where text can seamlessly fit, enhancing the overall visual appeal and readability of your masterpiece.

Thank you for reading. Your time and curiosity are truly appreciated. Stay tuned for more exciting content and stories. Until next time!

All the best,Mark

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