Darcy Pattison: Children's Book Author

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Picture Books 101: Pay Attention to Structure

      Short stories and picture books have much in common. Both are short, and both contain a complete story with a beginning, middle and end. But a short story isn't necessarily suited for a picture book. Picture books are short stories which molded to a specific structure that includes illustrations on each page. Before we put flesh on the story you're wanting to write, let's look at the skeleton that must hold it up.

Picture Book Structure

     Picture books are almost always 32 pages. The reasons for this are physical: when you fold paper, eight pages folds smoothly into what's called a signature, while any more results in a group of pages too thick to bind nicely. In addition, the 32 pages can all be printed on a single sheet of paper, making it cost-effective. In extremely rare cases, picture books may be 16, 24, 40 or 48 pages, all multiples of eight (a signature); but 32 pages is industry standard.
     Francoise Bui, publisher of Doubleday Books, an imprint of Random house, says, "We'll do a longer book if the story needs it. The most likely time is if it's a holiday or seasonal book, that we plan to give a bigger marketing push, and it needs those extra pages to tell the story. If I've acquired a story I really like, and if it needs extra pages, I'll do it."
     In my forthcoming book, The Journey of Oliver K. Woodman (Harcourt, 2003), the illustrator, Joe Cepeda, is taking 48 pages to tell the story. The text is letters or postcards, written by someone who gives a lift to Oliver, a wooden man, then writes back to Uncle Ray to report on Oliver's progress across the nation from South Carolina to California. There are fourteen letter for fourteen spreads. Cepeda is adding wordless spreads between each letter to show Oliver actually traveling.
     When talking about the page layout, there are two options. First, you can look at each page separately. Second, you can talk about double-page spreads; when a picture book is opened flat, the two facing pages are often illustrated as one. Thus, in a 32 page book, you would have a single page (the right hand side of the book), fifteen double-page spreads, and a single page (the left hand side of the book). Decorative end papers, which are glued to the boards, often enclose these.
     In those 32 pages, there are usually "front matter" consisting of a title page, a half-title page, and a copyright page. In single pages, this may take 4-5 pages. In double-page spreads, it's the first single page and one or two spreads. The text, then has 27-28 pages or 14 spreads, plus a last single page.
     Concentrating on the skeleton of the picture book may seem boring or unnecessary, but it is one of the two main differences between short stories and picture books. One mistake made by beginners is to have too many or too few pages to fit into this format. Why can't the publisher ignore the standard page limits and just print the size book needed for a particular story? Again, the reasons are physical: the way the paper folds and standard sizes of paper for printing. Tracey Adams, literary agent with McIntosh & Otis, says, "It's definitely easiest to market a picture book meant to be the standard 32 pages."

Picture Book Illustrations

     The second difference between short stories and picture books is the illustrations. Magazine stories, for example, may have one or two illustrations for each story. Picture books have an illustration on each page: you must think visually when writing for this genre.
     Thinking visually doesn't mean adjectives; illustrators can fill in colors, background, clothing, and other details. Instead, concentrate on verbs; telling your story with pictures requires action. Unless a description is crucial to the story, cut it. Include actions that move the story along. Thoughts and dialogue may advance the plot, but they can't be illustrated; talking heads make for boring illustrations. Picture book stories find ways to make thoughts concrete.
     "Visual pacing is needed," Bui says. "You can't repeat the same scene over and over. It's too stagnant. The story needs to move to provide the visual variety." Varying the setting is important. For example, if everything takes place in a bedroom, it's hard to provide fourteen or more interesting actions in that setting. It's also important to vary the actions. If every character leaps about, page after page, the illustrations become too repetitive. Of course, you can return to a scene, but add visual variety each time. For example, we see each of the Three Pigs building a house, but the building materials are different: straw, sticks and brick.
     Visual pacing also depends on whether the illustrations are single or double-spread. To some extent, the text can set this pace. The amount of text can also speed up or slow down a story. For example, if you want the pace to pick up near the climax, then cut the number of words for these later spreads. If you want a sustained pace that slows near the end–a bedtime book–then word counts should be similar on each page until the end. To slow the pace at the end, you can either add extra words, or use words with long vowels and no plosives (p,b,k,g,t,d).
     Think about those page turns, too. Some stories interrupt a sentence with a page turn, which lets the reader anticipate what might be coming next. Rick Walton's book, Once There was a Bull. . . Frog, is an excellent example of this. One page reads, "Once there was a bull. . ." Page turn. "Frog. . . ." Children love this invitation to play with the words of the story.

Structure Plus Story

     With picture book structure and the importance of illustration possibilities firmly in mind, it's time to turn to your story. First, write a story just as you always do. Unless you are a poet, it's best to write in prose. "Writers tend to think that rhyming texts are easy and easy to sell," says Bui. "They are the hardest to write and I reject almost all of them. Beginning writers are better off in prose." Adams agrees: "One of the most common errors is when an author thinks she needs to rhyme and isn't very good at it."
      Remember that the audience for picture books is a child, so the story should be of interest to them. Unless it is a folk or fairy tale, characters are usually children. Rarely do adult characters or inanimate objects as characters make successful picture books. Bui says, "It's preferable to have a young child as protagonist, or an animal. It needs to be someone who the child reader can relate to."
     Picture book vocabulary doesn't have to be limited, because usually an adult is reading the story to a child. Likewise, style isn't limited to short, choppy sentences. In fact, the voice of the story is just as important as in any other writing and playing with language is welcomed. Finally, limit to story to 1000 words or less. "There's a range," Bui says, " from a very simple sparse text, to a longer, more character driven story. Shorter stories are better received by book buyers. Successful manuscripts average about four pages (typed, double-spaced, standard formatting)." From an agent's point of view, Adams emphasizes, "I've had the most luck by far licensing picture book manuscripts that are under 1000 words. Most are actually under 500."
     Just like a short story, you must introduce a character and his/her problem and provide complications before solving the problem in a satisfying manner that leaves a memorable feeling or thought in the reader's mind. Think about the narrative arc of your story.
     Deborah Halverson, Assistant Editor for Harcourt, Inc. points to the narrative arc of Wilma Unlimited: How Wilma Rudolph Became the World's Fastest Woman, written by Kathleen Krull and illustrated by David Diaz. Halverson says, "We see Wilma progress from a small girl crippled by polio (she wore a leg brace and was told she'd never walk again!) to a record-setting Olympic runner. This is a wonderful example of how picture book biographies can be riveting stories for kids rather than dry recountings of chronological facts. I think the key to the power of this book lies in Krull's decision to let Wilma's growing sense of determination steer the story through the key events on her road to Olympic glory. This is a story about inner strength as much as physical accomplishment." (See sidebar for more titles with a strong narrative arc.)
     In other words, the "growing sense of determination" creates the narrative arc that builds suspense and interest from the first conflict through the climax.

The Hard Work Begins

     Once I have a story in hand that I think might make a picture book, the real work begins. Now, I must evaluate how well the story fits the structure of picture books and how illustratable the story is. I usually begin by dividing my story into pages, either 28 sections for single pages or 14 for spreads. (This is strictly for myself to edit the story and when I send it the manuscript, I don't include these pages breaks.) Right away, you may discover that your story has too few or too many pages. Revise until you are at least close to this count. There is some flexibility in layout–the illustrator may include a wordless spread, or may decide to put two of your sections onto one page–but you must be close.
     Once the page count is close, it's time to evaluate how well the story fits into the story book structure. Each page or spread must do the following:

1. Advance the story.
2. Provide an action for the illustrations.
3. Make the reader want to turn the page.

     Overall, the story must move from setting to setting, so the illustrations can be varied. Of course, you can return to a setting, or the rhythm of the story may return to a setting several times. But each repetition must provide a new action or new details for the illustrator.
     Inevitably, there are weak pages that need work. Keep reworking the story until it meets the requirements of picture book structure and the need for illustration possibilities. Authors often use story boards or book dummies to help refine the story. (See sidebar)

Common Problems

     One common problem is stories that are too wordy. Because each double-page spread is a scene, you can often eliminate transitions. The page turn works like a scene-cut in film: the illustrations reorients the reader and the words aren't needed.
     Parents read picture books aloud to kids, often repeating the same book over and over. Read your story out loud. Would you mind reading it fifty times in a row? How can you adjust the language to make repetitions more satisfying? One of the most dreaded comments from an editor is "this manuscript is too slight." Slight can mean one of several things:

1. There aren't enough illustration possibilities.
2. The theme is universal, but this telling isn't special enough. If you choose a classic theme for a story, such as a bedtime story, you must make your story stand out in the crowd. Study your competition and add twists, new conflicts, or word play to make your story unique.
3. There isn't enough story. The conflicts are too minor; the resolution is too easy. Rethink your story.
4. The series of conflicts don't add up to an overall theme. Rethink the conflicts. Consider adding an extended metaphor to connect the conflicts.
5. The story lacks universality. What is this story really about? What's happening on the surface (going to bed) may not be the real issue (sibling jealousy). When you identify the real theme, then go back and strengthen it.

Submission

     Once you are satisfied, type the story in standard manuscript format without any page breaks. Don't worry about finding an illustrator and trying to provide artwork with your submission. Bui says, "Sometimes writers feel that they need to submit illustrations with a story. Instead, the publisher finds the appropriate illustrator and it's our preference to take care of that."
     But what if you love your friend's illustrations? You take a chance if you send in a package submission: what if the editor decides to take only the text? Have you lost a friend? Adams advises, "Even if the authors knows or is related to an artist, never include the illustrations." When you offer a package submission, the editor must love both, so you've cut your chances in half. Instead, wait until your text is accepted, then ask the editor if they will look at sample illustrations and portfolio from your friend.
     The creation of a picture book is a collaborative effort between a writer and illustrator; but once the editor assigns the book to an illustrator, you may have little say about the style or content of the illustrations. Adams says, "Another common error I see is a manuscript in which many of the details are specified which should be left up to the illustrator." You must trust the illustrator to be a professional and to add their unique touch to create the best story possible.
     There's one last checkpoint. To bring a picture book to market, the publisher often invests $15,000-25,000. Ask yourself if this story is worth that kind of investment. Have you revised and polished it until it is perfect?
     Once you've created the best text possible, consult the Children's Writer's and Illustrator's Market for an appropriate publisher, take a deep breath and send it in.

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