Have you written a book for kids but aren't sure what to do next? Or do you want to write a children's book? I'm have some advice for you! (As of today, I'm the author of 15 published books with eight different publishers. I have many more books coming.)

It's fabulous that you want to write for kids! Even if you think your manuscript is ready to submit to publishers or self-publish, whatever you do, don't do it yet!

I have ten big tips for new (or newish) children's writers like you!

My biggest tip for anyone new to writing in a genre is to attend writing workshops and conferences. Even if you are an award-winning journalist with your city's newspaper, writing for children is different. You still have a lot to learn about the craft of writing for children. Take classes. Attend conferences. Read blogs and subscribe to author newsletters. Read books. Study the publishing industry.

Here are a few places you may learn from specifically about writing for children.

SCBWI (You do not need to be a member to register for online or in-person conferences or workshops.)

In addition, author Carolyn Bennett Fraiser keeps an ongoing list of upcoming kidlit workshops and conferences. You'll want to check it out and subscribe. 

I maintain this blog to help writers and teachers, so be sure to explore and consider subscribing. But also take the time to explore what's already been written. Enjoy the rabbit hole! In my monthly newsletter I share about my upcoming events in case you're looking for an online or in-person workshop. My event schedule is also available here. 

Your critique group shouldn't just be a group of writers. Nor should it be your kids' book club--even if they are critical thinkers and able to give you good feedback. Your critique group should be writers who write in your genre. Ideally they would have similar publishing experience as you. I am a better writer because of my critique partners and critique group. And I don't even meet with them in person! Learn more about writers getting feedback.  

It's your story. You don't have to take every suggestion a critique provides, but there may be valuable insight in others' feedback!

**KidLit Nonfiction is its own genre. It has very specific and very different needs than children's fiction or adult nonfiction. KidLit nonfiction writer should have at least one person in their group who understands and writes KidLit nonfiction.** 

4. Get a professional critique.

A professional critique offers insight from an experienced publishing professional who takes a lot of time to help you get your manuscript to the next level. (This is not just an edit.) A professional critique of a manuscript is a service that you pay for. Often faculty at writing conferences provide critique services. In addition, you might ask around in your writing groups who others recommend. (You do belong to Facebook writing groups like NFFest and KidLit411, right?) Before you pay for services, know what you're getting. Some critiques are rather basic, and others are more comprehensive. (Fees don't always reflect this.)

The professional critiques I provide vary by the clients' needs. (A middle grade book proposal critique looks very different than a picture book critique!) However, I include strengths, weaknesses as well as suggestions to consider regarding structure, development, word choice, and more. I write comments in your manuscript and provide a lengthy editorial letter to help you get your proposal or manuscript closer to publication. I spend hours with several pages of a manuscript when providing a critique. 

5. Skip rhyming texts.

Many publishers say they don't want rhyming picture books. What they really mean is few authors are skilled enough to write a rhyming picture book with perfect rhythm and rhyme, and they have already wasted too much time looking at duds. Rhyming picture books are hard to traditionally publish because they must be exceptionally well written. Consider another format, maybe even a lyrical format. 

There are writing workshops to consider if you want to write in rhythm and rhyme. Consider asking for recommendations in your writing groups. I would only recommend submitting a rhyming text to a publisher if you've had the rhythm and rhyme professionally critiqued.

6. Skip hiring an illustrator.

If you plan to traditionally publish, do not hire an illustrator. 

If you plan to traditionally publish, do not create your own illustrations unless you are a trained BOOK illustrator (not just an artist). 

If you plan to self-publish a picture book, you need to hire an illustrator. If you want good, original art, plan to pay a lot of money. It should take an illustrator months to illustrate a book. And an illustrator should be paid accordingly. Please do not offer the illustrator a percentage of sales. It's not fair to the illustrator. 

7. Study publishers and agents.

Before you consider submitting to a publisher or agent, study them. Learn what they want using a current market guide or the manuscript wish list. And follow instructions.

If you've done your homework and have attended conferences, you already know that if you write picture books, you need to have three polished manuscripts ready before submitting to an agent. However, you can submit a single manuscript directly to an editor.

And if you write longform nonfiction (not a picture book) and you've done your homework, you already know that you should not complete the nonfiction book before submitting to an agent or editor. Instead you write a proposal which includes your outline and sample manuscript. (Some publishers also want a proposal for a picture book, but that's not as common.) 

NF Fest has some blog posts about book proposals. Check those out if you can't get to a workshop or conference to really dive into the details. A friend used these book proposal guidelines for her first proposal. Not surprisingly, that agency now represents her. I wrote my first (and successful) book proposal using a book that is now ten years old. (My second book proposal also sold using that same format. For my third book proposal, I used the same format. No news on that yet, but it's just went out on submissions this month.) Here is a more recently published book proposal guide. 

Want an agent? These are some great questions to ask an agent.

8. Considering self-publishing or traditional publishing? Learn more!

I won't consider self-publishing because I don't have the money and energy to manage a larger small business with many employees or contractors. I want to focus on writing. (I also want my books easily available to libraries which is difficult for most self-published authors.) But you might want to self-publish. 

When you hear about self-published authors earning six (or more) dollars for every book they sell, be sure to investigate how much money they have invested in that book. A traditionally published picture book typically has about $50,000 invested by the publisher. 

As a traditionally published author, publishers pay an advance when the contract is signed. Then each book sale earns a small percent of toward that advance. Once the advance has "earned out," the author earns royalties. Note: Most authors' books don't earn royalties. Of my fifteen books published, eight have the potential to earn royalties. Of those eight, I have only earned royalties on two of them though more are (slowly) on their way to earning royalties.

Check out these self-publishing perspectives. 

https://laurasalas.com/writing-for-children/should-i-self-publish-my-childrens-book/ https://indiekids.substack.com/p/competing-with-mo-willems

If you want to be a writer or illustrator, don't tinker with AI to create text, plots, or art. It is unethical. AND publishers don't want it. I have actually signed contracts agreeing that no form of AI was used to create the project. (Tweaking words and editing it does not make it your own.) If you're self-publishing and hiring an illustrator, be certain your contract states if any form of AI-generated images are allowed. 

If I can become a multi-published children's author, so can you. But not without investment.

• money. There's so much to learn! You'll learn a lot by studying recently published books, but you also need to invest in workshops to learn the specific craft of writing. Few succeed without this. There are lots of writers like me who provide free information through social media or a blog, too! 

• time. It takes a ton of time to master the craft! And you don't get paid for learning. 

• relationships. You may write alone sitting at your kitchen table, but the kidlit world is a place to connect.

• spare time. You may work around a full-time job or create in the wee hours of the morning. You may one day move from hobby to full-time writing work.