Essential Steps for Getting Your Children's Picture Book Published
- David Salariya
- Feb 8, 2024
- 16 min read
Updated: May 13
From Idea to Print: How Children’s Picture Books Really Get Published
Introduction
People who create books for children occupy a strange place in working imagination.
If you write bleak autofiction about emotionally unavailable adults in North London, you are considered serious. If you spend years writing and illustrating a visually sophisticated picture book capable of surviving nightly re-reading by a tyrannical four-year-old armed with jam and existential questions, some still imagine you work is in a permanent state of nursery-time whimsy surrounded by beanbags and hand puppets.
Children’s publishing suffers from the peculiar belief that simplicity must somehow be simple to create.
"If I had a serious brain injury I might well write a children's book, but otherwise the idea of being conscious of who you're directing the story to is anathema to me, because, in my view, fiction is freedom and any restraints on that are intolerable."
Martin Amis 2011
The Modern Picture Book
The modern picture book is one of the most compressed and technically demanding forms in commercial publishing. It requires writing, editing, illustration, typography, pacing, psychology, design, production knowledge and a near-architectural understanding of how a child physically experiences a book, every page turn is structural, every word and illustration must earn it's rent and this all needs to look effortless
The irony, of course, is that many adults who dismiss children’s books would struggle to create one that an actual child willingly reads twice.
What follows is not a fantasy about publishing. It is not a social media thread promising bestseller status by Thursday. This is a practical look at how illustrated children’s books are actually conceived, developed, submitted, designed, manufactured and - with luck, timing and persistence - published.
Written from the perspective of someone who has spent decades inside books.
How Children’s Picture Books Really Get Published
We don’t, I can reveal, have meetings surrounded by teddy bears, and I certainly feel that in many ways writing and illustrating for children presents greater opportunities for creativity because of the very limitations of text and page lengths. Children’s publishing is, in reality, inhabited by some of the most inventive, obsessive and occasionally alarming personalities in the creative industries. Behind many gentle picture books stand individuals capable of volcanic hysterics about typography, page turns, endpapers, paper stock, foreign rights, or whether a hedgehog should look “more emotionally available.”
And yet this intensity exists for a reason.
Children are remarkably discerning readers, the apparent simplicity of a successful picture book often conceals an extraordinary amount of creative and technical discipline.
Know Who You Are Writing Your Picture Book For
We constantly ask: "Who is this book for, is it age appropriate?" Does the cover reflect what’s inside?’ Research what appeals to children of different ages and look at the books which have been able to capture different generations of children, study how these books have been adapted and changed over the years for new readers.
You should have a clear idea of your target audience and never patronise your reader as children can be harsh critics. Also, don’t take your family’s opinion for gospel: they will adore anything you create, so do be realistic - the family drama of the hamster stuck down the back of a sofa in Bognor may not have that global appeal...but then again it just might.
How do you come up with ideas for children's picture books?
Originality and ideas are paramount for children's picture books, the more ideas you have, the more you can discard ideas, as it’s not too good to become too attached to just one idea. A flash of inspiration is not an illustrated book, on the other hand, a simple concept in the hands of a genius author or brilliant illustrator could be the next global bestseller.
Should you think in pictures for a children's picture book?
Yes...as well as in words - this is a picture book after all.
How should you submit your children's book to a publisher?
In submitting your children's picture book or ideas, follow the publisher or agent’s submission guidelines extremely carefully as you don't want to miss out on being published because you haven't followed the instructions for picture book submission.
Example of Submission Guidelines (Do not send submissions to me!) This is an example!
Submission Guidelines as an Example:
Author/Illustrators
We are particularly interested in creators who both write and illustrate their own stories.
Comics/Graphic Novels Comics and graphic novels for ages 4-6, 6-9, 9-12, 13+, and Young Adult. No religious stories. No memoirs, No explicit adult content, no dull books please.
Comics/Graphic Manuscripts Submit at least seven draft spreads with at least three in the final art style. Include a short synopsis of the entire story.
Illustration Only Submissions Illustrators without a text can submit a portfolio PDF or a link to their work online. Many non-fiction books feature illustrators who do not work on the text.
Literary Texts We do not publish literary prose or novels. Our focus is on illustrated picture books for children and the very young only.
Non-fiction Books While most non-fiction titles are internally commissioned, we welcome concepts from experts. Illustrators with an interest in children’s non-fiction are encouraged to send a link to their online work.
Picture Books We seek picture books for children aged 3-5 years. Preferred formats are 32-page books with 12 spreads or 40-page books with 16 spreads. Submissions not following these formats may not be suitable.
Picture Book Manuscripts Authors and illustrators should submit a PDF manuscript showing each spread with text and image together. Include a draft sketch of the entire book with at least three finished spreads to demonstrate the final art style.
How can you learn about Children's Picture Books?
Take advice on the publishing business from many sources, attend literary festivals, bookfairs, book shops, second hand bookshops and charity shops are good places to pick up old out of print copies. Be wary of one day courses and portfolio surgeries promising industry secrets, as they are often expensive and of limited use. You need realistic expectations about what to expect from a publisher, but of course rules can always be broken and contracts negotiated.
How do you sell an idea?
To sell an children's book idea to be published it is important to write a synopsis which is clear and concise.
Do not oversell: It's good to be ambitious, but writing about the multimedia and marketing potential involving a global TV/Movie series when it is not relevant or an idea is half formed is a waste of time for everyone.
Specs (Specifications)
Picture books for print have 16, 24, 32, 40, or 48 (sometimes more) pages. 32 pages is the length that is probably average - that gives a wide enough spine in a paperback to display only spine in a bookshop.
Is rhyming text a good idea?
Rhyming text is good for countries where English is the main language. Rhyming text can decrease the chances of a book being accepted for foreign translations. Picture books are usually printed in full-colour so to make the production costs for full-colour printing work, a publisher depends on selling rights in its books globally. This makes selling rhyming or rhythmic text difficult, although not impossible. Certainly children enjoy rhyming texts, but the story needs to have an extremely strong story to be worth translating, and have a clear and consistent rhyming pattern in English. The text should not rely on the use of language and it's best to read the rhyming text aloud to see if the speech pattern works and try it out in different accents - this is true in the case of all text, not only rhyming text. It has been my experience that foreign publishers have been indifferent to books with rhyming text. Similarly alphabet books are problematic beyond English speaking countries because of the different symbols and numbers of letters in individual countries’ alphabets.
Should you be flexible in the choices you make about working with an illustrator or author?
If you’re a writer working with an illustrator, or vice versa, it’s probably best to not be too attached to your working partner as often a publisher might wish to use only half of the existing work and pair either the writer or illustrator up with someone else to ensure that the venture is more of a commercial success.
Remember...
Publishers pay authors and artists, NOT the other way round, be wary if you are asked for contributions towards the funding of the book being published.
Remember a publisher has a printing schedule and a publicity plan in place before printing begins, so deadlines need to be treated with the complete respect.
Successful Ideas for Children's Picture Books (Aged 0-5)
Creating children's picture books for the 0-5 age group involves understanding children's unique developmental stages, interests, and the universal themes that absorb them. Successful picture books often incorporate a blend of engaging storytelling, original age appropriate illustrations, and themes which encourage emotional and cognitive growth.
Themes, and Considerations
Here is an exploration of the common successful ideas, themes, and considerations for creating compelling picture books for young children, along with an examination of common clichés to avoid. Research and find favourites.
Universal themes in children's picture books
The following themes are among the most enduring and widely used in children’s picture books. Each entry includes the theme description, relevant keywords for publishers and booksellers, and a recommended example book with full publication details.
1. Friendships and Relationships
Stories about making friends, resolving conflicts, and understanding others are timeless. Picture books which explore these themes help children develop social skills and empathy.
Keywords: empathy in picture books, friendship in children’s books, children’s books about relationships.
Example book: Elephant and Piggie series
Author/Illustrator: Written and illustrated by Mo Willems
Publisher: Hyperion Books for Children
Date: 2007–2016 (25 books in the series)
2. Adventure and Exploration
Children are naturally curious, and stories that take them on journeys - whether through their own backyard or to fantastical lands - capture their imagination.
Keywords: adventure books for toddlers, exploration themes in children’s books, imaginative play books.
Example book: Where the Wild Things Are
Author/Illustrator: Written and illustrated by Maurice Sendak
Publisher: Harper & Row (now HarperCollins)
Date: 1963
3. Animals and Nature
Animals are a perennial favourite among young children. Stories featuring animals, whether anthropomorphised or in their natural habitats, are highly engaging.
Keywords: children’s animal stories, nature-themed picture books, children’s books about wildlife.
Example book: The Very Hungry Caterpillar
Author/Illustrator: Written and illustrated by Eric Carle
Publisher: World Publishing Company (1969); now published by Penguin Random House
Date: 1969
4. Family and Home
Themes revolving around family dynamics, routines, and the comfort of home resonate deeply with young children.
Keywords: family-themed children’s books, home life in picture books, books about family for toddlers.
Example book: Guess How Much I Love You
Author/Illustrator: Written by Sam McBratney, illustrated by Anita Jeram
Publisher: Walker Books (UK); Candlewick Press (US)
Date: 1994
5. Emotions and Self-Understanding
Books that help children identify and manage their emotions are essential for emotional development.
Keywords: emotional development in children’s books, books about feelings for children, self-awareness in picture books.
Example book: The Colour Monster
Author/Illustrator: Written and illustrated by Anna Llenas
Publisher: Originally published in Spanish as El Monstruo de Colores by Editorial Flamboyant; first English edition by Templar Publishing
Date: 2012 (Spanish original); 2015 (first English edition)
6. Imagination and Creativity
Encouraging creativity through imaginative play and storytelling helps develop cognitive skills.
Keywords: imaginative play books, creative thinking in children’s books, fantasy picture books.
Example book: Not a Box
Author/Illustrator: Written and illustrated by Antoinette Portis
Publisher: HarperCollins
Date: 2006
Emphasising Diversity
Diversity and inclusivity in picture books ensure that all children see themselves reflected in the stories they read, fostering empathy and broadening their understanding of the world.
1. Cultural Representation
Books should reflect a variety of cultures, traditions, and family structures to foster inclusivity and understanding from a young age.
Keywords: multicultural picture books, diversity in children’s books, culturally diverse children’s books, children’s books on city life.
Example book: Last Stop on Market Street
Author/Illustrator: Written by Matt de la Peña, illustrated by Christian Robinson
Publisher: G.P. Putnam’s Sons Books for Young Readers (Penguin Random House)
Date: 2015
2. Language and Identity
Incorporating different languages and exploring diverse identities can help children appreciate the richness of the world. Bilingual books and stories which celebrate uniqueness are valuable.
Keywords: bilingual picture books, books about identity for kids, language diversity in children’s books, children’s books on self-esteem and self-respect.
Example book: Alma and How She Got Her Name
Author/Illustrator: Written and illustrated by Juana Martinez-Neal
Publisher: Candlewick Press
Date: 2018
3. Disabilities and Different Abilities
Representing children with disabilities and different abilities in a positive light promotes inclusivity and empathy.
Keywords: disabilities for kids, inclusive children’s books, diverse abilities in picture books.
Example book: We’re All Wonders
Author/Illustrator: Written and illustrated by R.J. Palacio
Publisher: Alfred A. Knopf Books for Young Readers (Penguin Random House)
Date: 2017
Creative Approaches
The following approaches to format, structure, and illustration can make reading a more engaging and enriching experience for young children.
4. Interactive Elements
Lift-the-flap, touch-and-feel, and sound books engage children’s senses and make reading a multi-sensory experience.
Keywords: interactive children’s books, sensory books for toddlers, lift-the-flap books for kids.
Example book: Dear Zoo
Author/Illustrator: Written and illustrated by Rod Campbell
Publisher: Originally published by Abelard-Schuman; now published by Campbell Books (Pan Macmillan)
Date: 1982
Note: Dear Zoo is a classic lift-the-flap book. Later editions have added sound elements, but the original uses lift-the-flap only.
5. Repetitive and Predictable Text
Young children thrive on repetition and predictability, which helps with language acquisition and memory.
Keywords: repetitive text in children’s books, predictable storylines for toddlers, early reading books, colour recognition.
Example book: Brown Bear, Brown Bear, What Do You See?
Author/Illustrator: Written by Bill Martin Jr., illustrated by Eric Carle
Publisher: Holt, Rinehart and Winston (now Henry Holt / Macmillan)
Date: 1967
6. Rhyme and Rhythm
Books with rhyming text and rhythmic patterns are not only fun to read but also aid in phonemic awareness.
Keywords: rhyming picture books, rhythmic children’s books, phonemic awareness books, children’s early learning books on sounds.
Example book: The Koala Who Could
Author/Illustrator: Written by Rachel Bright, illustrated by Jim Field
Publisher: Orchard Books (UK); Scholastic Press (US)
Date: 2016 (UK); 2017 (US)
7. Illustrations and Myths and Folklore for Inspiration
Vivid, colourful, and expressive illustrations are crucial in capturing the attention of young readers. The artwork should complement and enhance the story. A notable recent example of folklore-inspired illustration is Luna and the Moon Rabbit by Camille Whitcher, winner of the inaugural Stratford-Salariya Picture Book Prize. Inspired by her Japanese mother’s stories and Asian folklore, the book follows a young girl and a giant rabbit on a night-time adventure through dreamy landscapes. It was published by Scribblers, an imprint of The Salariya Book Company, in 2018.
Keywords: illustrated children’s books, colourful picture books, engaging artwork for kids’ books, literature and fiction for children.
Example book: The Runaway Bunny
Author/Illustrator: Written by Margaret Wise Brown, illustrated by Clement Hurd
Publisher: Harper & Brothers (now HarperCollins)
Date: 1942
Common Clichés to Avoid
Being mindful of the following pitfalls will help authors and illustrators produce work that is fresh, engaging, and commercially viable.
1. Overly Didactic Stories
Books which are too focused on teaching a moral lesson can feel preachy and fail to engage children. Stories should naturally integrate lessons without overshadowing the narrative.
Keywords to avoid: preachy children’s books; instead aim for engaging educational books for kids and natural storytelling in children’s books.
2. Stereotypical Characters
Avoid one-dimensional characters which rely on outdated stereotypes, whether in terms of gender, race, or family roles. Characters should be well-rounded and relatable.
Localised monsters or characters from nursery rhymes or fairy stories may not travel well when selling rights. Ask yourself: “Will the Loch Ness Monster be relevant outside Scotland?” Perhaps the ‘Yeti’ or ‘Bigfoot’ are part of everyday culture and could be used, but it is best to double-check.
3. Predictable Plots
While some predictability is beneficial, stories should also offer surprises and twists to keep children engaged and curious.
Keywords: unique plots in children’s books, engaging storylines for kids, surprising elements in picture books.
4. Oversimplification
Simplifying language and concepts is important, but overly simplistic plots that lack substance or weight can bore young readers. Balance is key.
Keywords: substance in children’s books, balanced storytelling for kids, engaging yet simple kids’ books.
Creating Successful Children’s Picture Books
Creating successful children’s picture books involves a careful blend of universal themes, engaging storytelling, and brilliant original illustrations in style and execution. Emphasising diversity and inclusivity ensures that all children see themselves reflected in the stories they read, fostering empathy and broadening children’s understanding of the world. While it is important to be mindful of common clichés, innovative and interactive approaches can make reading a delightful and enriching experience for young children.
Books which Captivate, Educate and Entertain
By focusing on these elements and incorporating effective writing strategies, authors and illustrators can create picture books that captivate, educate, and inspire the youngest of readers while ensuring that their work reaches a wide and appreciative audience.
Changes in Illustration Design and Publishing for Children
The following observations reflect current and emerging trends rather than firm predictions, publishing is always evolving, and the points below highlight directions that have gathered momentum in recent years.
Cultural Diversity
Cultural diversity in backgrounds, people, and places has become increasingly important over the past ten years as they should. The background and heritage of the author, artist, or book creator needs to be acknowledged and celebrated.
Interactive Elements
Integrating interactive design features has always been important: flaps, textures, and pop-ups engage young readers and make the reading experience more immersive.
Hand-Drawn and Painted Illustrations
There is a move backwards towards hand-drawn and whimsical illustrations, which give a personal and unique quality to the work. As AI can now be voice-instructed to create art, almost everyone may be attempting it - so it is a good time to get the paintbox out. Computer-generated artwork has a tendency to produce identikit illustrations.
Bold Colours and Contrasts
Vibrant and bold colour palettes with high contrasts create striking and memorable artwork - particularly when it looks hand-drawn. Collage reproduces well and can look fresh and new.
Creative Typography
Creative use of typography, including unusual fonts and page layout designed to enhance the visual story, helps capture the attention of young readers. It is important for headings and speech bubbles to use fonts which look ‘non-school book’.
Environment
There is a growing trend towards incorporating themes related to the environment, sustainability, and nature, reflecting current global concerns, however remember there is only a certain amount a five year old can do.
Digital Integration
Experimentation with augmented reality (AR) and other digital elements continues to enhance the storytelling experience, especially in interactive or educational books.
Minimalist Design
There is a growing embrace of simplicity and minimalism in design, illustration, and page layout, allowing for a clean and easily read visual narrative. Ensure text is of a size which can be read easily, and watch out for ‘see-through’ on pages when paper is very thin, as this makes reading difficult, especially for those with reading difficulties.
Personalised Storytelling
Customisable elements and personalisation in books allow children to see themselves in the story, whether through personalised characters or choices in the narrative.
Mixed Media
Combining different artistic media - collaging traditional illustration with photography and digital techniques - creates visually rich and textured designs.
Printing and Production Nearer to Home
The environmental impact of printing and shipping from the other side of the world needs to be carefully considered. Special finishes on books - foiling, gloss lamination, and plastic coatings - all have an environmental impact that should be weighed accordingly.
Printing, Sustainability and the Environmental Cost of Special Finishes
There was a time in publishing when a special finish felt like a small act of theatre, gold and silver foil caught the light under a bookshop lamp; spot UV gloss suggested rain on a dinosaur’s skin or moonlight on a vampire’s cloak; a soft-touch laminate made a cover feel almost velvety in the hand. As publishers, designers and printers, we used these special finishes because books are not only containers for text and illustrations - they are physical objects designed to seduce, delight and survive.
I confess I enjoyed using "special finishes" enormously.
Children’s publishing in particular has always understood the power of tactility, a child does not approach a book like an accountant approaches a spreadsheet. They stroke covers, tilt them towards the light, run fingers over embossed lettering. The object itself becomes part of the reading experience. In an increasingly digital world, special finishes also became one of the ways print justified its existence, the screen could display the words; the printed book had to offer something more.
But there is an uncomfortable truth sitting beneath all this shimmer.
Many of the finishes the industry embraced so enthusiastically - plastic laminates, UV coatings, metallic foils - come with a considerable environmental cost, especially at the end of a book’s life. Paper recycling works by pulping fibres in water, plastic laminates do not dissolve in that system, clinging stubbornly to the board beneath, contaminating recycling streams and often causing otherwise recyclable material to be rejected entirely. Some councils now simply advise residents not to place laminated books
in household recycling at all.
The irony is difficult to ignore: the very coatings designed to protect books from wear and tear can prevent those same books from returning cleanly to the material cycle afterwards.
Then comes the longer problem, plastic-coated covers that end up in landfill may be there for centuries, the paper beneath would naturally break down but the laminate will not. Over time these coatings fragment into microplastics which drift into soil and waterways and eventually into living systems, including our own. Most laminates are petroleum-derived, energy-intensive to manufacture, and some - PVC in particular - release toxic compounds if incinerated.
And yet the issue is not quite as simple as declaring all special finishes wicked and all uncoated books virtuous.
Libraries, schools and educational suppliers have long pointed out a genuine sustainability paradox, laminated covers dramatically extend the working life of books handled by thousands of children, a durable school library book may survive for years longer because of a protective coating, reducing replacement printing, transport, warehousing and paper consumption.
The environmental damage deferred at the recycling stage may, in certain cases, reduce environmental damage at the production stage.
Publishing, like much of modern life, increasingly finds itself trapped between competing forms of harm reduction.
The encouraging development is that printers and manufacturers are now searching for less destructive compromises, water-based aqueous coatings, biodegradable films and plant-derived laminates are improving rapidly. They may not yet reproduce every dazzling effect designers once demanded, but perhaps that too reflects a broader cultural shift. For decades publishing often celebrated excess production values partly because books had to compete visually in crowded retail spaces. The future may require a quieter kind of elegance - one based not sleek glamour, but on longevity, repairability and material honesty.
That does not mean beauty disappears from books, far from it, the history of publishing is full of extraordinary objects made with restraint: unlaminated cloth bindings, textured boards, strong typography, carefully chosen paper stocks, inks that age gracefully rather than aggressively. Some of the most beautiful books ever made relied less on synthetic shine and more on proportion, composition and confidence.
Perhaps the next challenge for publishing is not how to make books louder, shinier and more indestructible, but how to make them desirable while leaving behind a lighter footprint once their reading life is over.
Final Thoughts
The truth is that no article, course, webinar or publishing panel can fully teach someone how to create a successful picture book. At some point you simply have to begin - to sketch badly, rewrite endlessly, cut pages, rethink layouts, print dummies, make mistakes and keep going and get used to rejection.
Picture books are built through practice as much as inspiration. The people who eventually succeed are rarely the people with the single perfect idea; they are usually the people stubborn enough to keep making books.
About David Salariya
David Salariya is a Scottish author, illustrator, designer and publisher with more than forty years’ experience in international children’s publishing. Founder of The Salariya Book Company and it's imprints: Book House, Scribblers and Scribo, he created and developed globally successful illustrated series including You Wouldn’t Want To Be…?, A Very Peculiar History and Spectacular Visual Guides - his work is being republished by the Bonnier Hatch Imprint.
Over his career he has worked across illustration, editorial development, typography, production, packaging and international rights, as well as reviving and republishing classic children’s properties, including Old Bear by Jane Hissey under the Scribblers imprint after the series had fallen out of print despite the success of the BAFTA award-winning television adaptation.
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