It's a tough one because I know so many people have awesome ideas for kids' books but just don't know how to make it happen or where to even start. I know how it is; you see books on the shelf at The Biggety-Big Bookseller Corporations and think, "My ideas are better!"

It's surely possible that you have a world-beating idea. Who am I to say? There are likely thousands of stories out there that will never be seen in print. I have several. The publishing industry is a complex beast. There are so many people and decisions that go into deciding what gets published that it's extremely difficult to figure out the formula.

I hear ya. I'm a formula guy. I'm also a dude. I do better with straightforward, logic-based problems, not ethereal, emotion-based problems. Anyway, I'll try and break it down for you in a way that's helped me understand at least a little about how it all works.

In the current world of publishing you have basically three options after writing the story:

1. Find an agent
2. Find a publisher
3. Self-publish

What do you want out of this?

You really have to think about what's most important to you. If the most important thing is getting your story out there for your family and friends to share, then you should consider self-publishing. Don't listen to the "Yeah, but it's only self-published." downer people. Do it. Be happy.

If you seek fame and notoriety and the cool factor of seeing your book on the shelf at The Biggety-Big Bookseller Corporations, then you would want to seek out a publisher or an agent. These people have the industry clout and know-how to get books on the shelves.

I've decided. Now what?

Self Publishing

Self-publishing can be expensive, but it doesn't have to be. Using a service like http://lulu.com is an excellent way to go. I did that with my first book. Print-on-demand is also a very low investment on the publishing end. If you want to sell lots of copies of your self-published book, you have to be prepared for the sales and marketing end. That's a whole other post. However, it's possible to get your self-published work into libraries. Check out these resources:

PMA, the Independent Book Publishers Association

American Library Association

Publishers and Agents

Most publishers just want to see a MS (manuscript). They usually have submission guidelines that, if they aren't followed, turns your submission into confetti. They also like to select their own illustrator, so getting illustrations done beforehand might be a waste of your money and time.

When you go through an agent, it's the same. They'll probably want to read the MS first (no pictures). Unless you have VERY strong professional-quality artwork, don't send them pictures right off the bat. Some agents may want to work with you to create a dummy (mockup of the book) with pictures. Usually they already have an artist they want to do it. So again, you could be right back to wasting money and time if you hire someone before submitting it.

If it's a picture book without words, then of course you can't submit a MS first. You might need a query letter, though.

These aren't hard and fast rules and different publishers and agents have different policies and methods. If you contact some and ask, they'll gladly tell you what they're looking for. It cuts down on their workload (and yours, of course).

The Word on Illustrators

If you want to self-publish, then of course you'll need to find an illustrator! Go for it. Remember that you get what you pay for. 

An experienced, professional illustrator should cost you a lot of money. We're talking several thousands, depending on the size of your book. Don't expect to get Biggety-Big Bookseller Corporation-type of artwork if you're not willing to pay for it. You can find tons of artists who are itching to work for free or at low cost. If you don't have much money, I sympathize. But understand a few things:

• If you ask a professional illustrator to work for peanuts, don't expect them to be excited. They're thinking, "How will I pay my internet bill with this?"
• If you find a student or non-professional to do it for a lick and a promise, don't expect to be dazzled. It might happen, just don't expect it.
• A promise of "Big royalties! More books later!" or "This will will sell a lot of copies!" means nothing. You're asking someone to have blind faith in your book and marketing abilities. It might work out, but don't forget that.
• So you love an illustrator's work. It's gorgeous, just what you want. They draw the most amazing animals ever. Don't ask for proof that they can draw a marmoset. It's annoying. Yes, she can draw a marmoset. Yes, even your very special marmoset.
• Are you an art director? Ever designed anything professionally? If not, consider hiring an outside art director to help you make sense of the process. You'll be happier with the results.

You might find a pretty good illustrator willing to work for nothing simply because they believe in your book project and will accept proceeds from sales, but you still need a strong contract before starting. It protects you both. It's also important to respect the idea that any artist is investing their time and effort in something that may not pay, so  even if they are "up and coming" they still deserve to be viewed as contributing something of great value. Everyone starts somewhere.

Scared?

So I hope I scared you away from children's book publishing.

If you're not scared off, then I guess you really want to do this thing, huh? That's good, because you're going to need to believe in it even when people tell you it's a pipe dream. You have to love your story so much that you'll get it out there no matter what anyone else says.

In case you get the idea from this post that I somehow find all of this easy... well, I don't. The publishing world is sometimes a big mystery to me, too. No one has the definitive answer on how to get a book published. We're shooting at a moving target. Welcome to archery practice.

I'm currently developing a picture book. It's a damn good idea, too (of course it is). I'm going to go through all of these thought processes I just outlined (except the illustrator part because, well... I know someone). I'm not a book publishing psychic, so I'll make it as good as I can and then let it go.

A great resource is SCWBI. For members, there's a great community support, workshops, and conventions geared toward the children's publishing industry. Check it out.

Should I include all my different styles or just one style?

It's an excellent question without a hard and fast rule as an answer. Here's why.

When you're prepping any art portfolio, the first question you need to answer is, "Who is my audience?" The answer to that question is going to narrow down your options of what samples to include.

The business of art is a widely varied marketplace. If you're selling retro Japanese-style killer robot art, then the creative director of Mother Earth is probably not your best bet. If you sketch cuddly critters in pastel fields of love and rainbows, the hiring manager of RazorbackKillerz Graphic Design Studio is going to look at you a little funny. There may be laughing after you leave.

Very simply, you need to structure your portfolio toward the industry and type of work you're trying to get.

I had a great conversation about this with Richard Miller of Calyx Design. We've both been in the position of having to hire artists and we've both been equally frustrated when we saw awesome talent that we couldn't hire.

In the animation world I once had the responsibility of bringing in a new storyboard artist. A week after posting an ad, I sat in the office surrounded by over 100 portfolios and demo reels. Several times I pulled one out of the pile and marveled over the amazing artwork in front of me. Incredible stuff. Sometimes I brought in producers and other directors to gaze in wonder at the mind-blowing talent and beauty that lay before us. I think we even wept. There may have been fainting, it's a blur.

Couldn't hire them. Sorry. No can do. Throw another 'folio on the barbie, mate.

I looked at gorgeous oil paintings that I would have loved to hang in my home, but what I needed was an artist who could quickly sketch an idea in a fast-paced story meeting under pressure of producers, directors,writers, and designers. I needed to see sequential drawings. I ached to see that the artist knew the language of film and how to visualize a script.

Think about that.

Your portfolio may be awe-inspiring but if it's not appropriate for the person or company you sent it to, it's a complete waste of time.

Do not waste your time. Do not waste someone else's time.

So you have lots of different styles and mediums and skills. What to do?

Take a close look at the kind of work the company you're targeting produces. Do your homework. If you think you have something that fits, then show 8-12 examples of your work that's closest to it. Better to show fewer that hit the mark than more that confuse the viewer.

If you feel strongly that your alternate style is just so outstanding that it must be seen, then include it – but put it in the back of your book with a short note explaining that you understand it's different. This shows that you're paying attention and if it's truly good work, you might make an impression.

Can you tell that I hate hard and fast rules? You know, I just don't think they exist. For every artist that's heard, "you shouldn't show two styles," there's another that shows four styles and always gets work.

It's not a science, it's an... well. It's an art. And it's just good marketing.

The only time I would say that you should blanketly include a little of everything you do is when you're applying to a school. The reason is that the whole purpose of an art school (a good one) is to guide you in a direction based on your skill and talent so you can have a successful career. A Career Counselor's job is to review the work you've done and help you decide where to apply your strengths. They want to see that you've been using your skills (so they know you're not there on a whim), but showing something that isn't well-developed isn't seen as a weakness; it's a window to your potential.

It's quite different in a professional setting. It's brutal and no one is there to guide your career. People want to hire artists that can do the appropriate work without any doubt. Period.

Now let me show you something really cool and more fun than that last sentence.

In the world of children's literature, Richard Scarry is very well-known (to understate the case). He's known best for his Busy People books, with silly characters like Huckle Cat and Lowly Worm. Take a look at this.

These are three very distinctly different styles from different periods, all done by Richard Scarry. The thing to take away is not that cramming all your styles into a portfolio is suddenly okay because a famous illustrator did it. Nope-i-tee nope-i-tee no.

Take a look at the work here. Richard Scarry mastered these styles. They are all beautiful and finely illustrated in their own right.

What's important to learn from this is to not limit yourself because you think developing different styles is inherently bad. You're an artist, your job is to create art in the way you see the world. Never bend to the voices that tell you it's wrong. Do it! You have to love your work or there's no point.

But if you're going to show it to get work, make sure you've mastered it first. If you look deep inside yourself with honesty, you'll know when that is. If you're still doubtful, find a group of trusted pros to give you feedback.

If you have questions about what to include in your portfolio, I'm happy to steer you in the right direction. Send an e-mail to sparky [at] sparkyfirepants [dot com] with the subject line, PORTFOLIO HELP. Include a link to your online portfolio if you want and I'll check it out. Write a short note about the industry or field where you're trying to get work. I'll reply as soon as I can, largely depending on how many e-mails I get after this post. It's a first-come, first-served kinda thing.

If you're feeling bold and fearless, you can do the same in the comments here and I'll answer you publicly. I also invite others to join in, but I caution you that nasty, hateful comments will be deleted at my discretion. Please be constructive and say something positive. If you can't think of anything positive, then remember what Mama said and don't say anything at all.

1. Author writes a book.
2. Author mails book to agents and publishers.
3. Author files rejection slips.
4. Author passes out from shock during phone call from interested party.
5. Publisher selects illustrator that fits the manuscript; Author fights for 10-year old niece to do the pictures in crayon and loses.
6. Illustrator gnaws hand off during anxiety attack, wondering if he/she is up to the challenge.
7. Illustrator makes a dummy.

A dum – wha? 

Before the illustrator makes the pretty pictures, he or she makes a preliminary mock-up of the book, called a dummy. Working with the editor, the artist breaks down the manuscript into pages and sketches concepts for possible illustrations. It's much simpler to sum up in a sentence than it is to do. Humongous thoughts go into the process of creating a book dummy. There are considerations of color, overall tone, character development, logical text breakdown, flow and pace... it's a huge task.

In fact, to read more about the process, I highly recommend "How to Write, Illustrate, and Design Children's Books" by Frieda Gates. It's a comprehensive textbook-style guide to the whole business of creating books for children.

When I created "Road Trip with Rabbit and Squash," the whole process from idea to completion was about two years (not counting a huge gap year where the MS sat neglected on my Mac). When I got to the point of creating the dummy, I took a very large breath.

Who's the dummy?

I love creating dummies. When I worked on storyboards for TV, I loved breaking down the script into bite-sized chunks and creating the images to go with them. It's a craft, similar to woodworking or knitting. It's one of the things I do where I don't think I would rather be surfing.

My process is very simple and very pre-school. I re-format the manuscript in the computer to manageable chunks of paragraphs. Once I print it out, I cut those sections up and try not to knock them off the desk. Order is good. Part of the process is deciding how many pages you will have, which pages will spread across the gutter (that middle part), and where that last page will go (by itself? hmm...).

I created a small booklet stapling and folding regular copy paper. I knew what size the book and pages would be, so I marked off the pages to the correct scale. From there, I start arranging the cut-out chunks of text across the pages, developing a flow and nice progression through the book. It's a living process that keeps changing as I work out concepts and adjust the flow. I think about how it will be read both silently and aloud. Does it make sense? Can I put a little cliffhanger in here? Does this page even need text on it or can the picture stand alone? It's a process that only a slightly insane person would enjoy. And yes, I do. Am. Whatever.

It's a complex process of thought and impossible to explain. Hey – sort of like writing.

When I was setting up my new studio/office recently, I came across the first dummy copy I made of "Road Trip." It was buried under a pile of demo reels and chunks of plasticine. I guess I had moved on when I got to the next phase. It was really freaky to see how the first few pages had changed throughout the course of developing the dummy. In the end, I could see why I had made certain choices and I still question others. The photos below give you a tiny glimpse into my secret dummy world:  

Pre-school skills come into play. I knew they would come in handy someday.

Here's page 1 as it's published. How did I get here from there? Lots of coffee.

If you want to see more images from the book, they are posted here. If you ask me how I created those concepts, I might even remember.

Here's an excerpt from Chapter Two that struck a chord with me:

"Because words are essential in building the thought connections in the brain, the more language a child experiences – through books and through conversation with others, not passively from television – the more advantaged socially, educationally, and in every way that child will be for the rest of his or her life. Conversely, the fewer words a child experiences, learns and uses before school, the more stunted that child's brain will be."

She goes on to talk about television being a passive learning experience that has some value, but not the same as the back-and-forth interactivity that enforces a connection with language and ideas.

I agree completely. In both books and TV, the focus should be on getting a child to be an active participant in the story. 

Blue's Clues is the perfect example of the participatory kid's TV experience, a show I had the good fortune to be involved in. Every time we created a new episode, we had a blast thinking up visual gags and new character designs, but at the core of each of those early meetings was the understanding that our ultimate goal was to get the kids actively thinking and responding to what they saw on screen. It wasn't enough to simply entertain. Our job (not an easy one) was to get the viewers to want to help Steve and Joe so much that they just couldn't help shouting at the screen. It was better suited for developing problem-solving than vocabulary skills, but it was incredibly successful in getting kids' minds active.

Books should accomplish the same thing and even more so with vocabulary and language skills.

When I read to my 1-year old, he goes between listening quietly and jabbering and pointing. Personally, It's much more interesting for me to have him be active because we tend to read the same books over and over. After 1,000 reads of "All by Myself" by Mercer Mayer, I'm ready for some conversation from the little dude.

As an early reader, I enjoyed getting lost in books. It was a solo activity for the most part. However, what got me started and most involved was the teachers and librarians who read to the class, then asked us what we thought. It was a like a book club without the coffee and wi-fi hotspot.

Reading for entertainment is a luxury my older kids indulge in quite often. They don't really think about what it's doing for them from an educational standpoint. I would be worried if they did (I mean, they're kids for cryin' out loud). But my wife and I know what's happening. We wonder if they hadn't had that early interactive relationship with books from being read to, would they still be reading now just because they like it? Would their writing skills be as advanced?

Mem Fox's book really hit home when I think about creating illustration for children's books. More than just making pretty pictures, it's got to be about getting all those circuits firing in a kid's brain. A cute picture of a bunny is nice and fluffy and all, but to be successful in supporting a story visually, it's got to prompt a strong enough reaction to make a kid point and speak. It's got to "Change their lives forever."

That's quite a challenge. I better get back to it.

I've followed a few conversations lately on Twitter about spec work and working for free.

I can't tell you how many times I hear artists who are trying to break into freelancing ask, "Should I work for free?" They're understandably confused because they see others doing it and there's no shortage of projects asking for free work – in exchange for massive publicity and future fame and fortune, of course.

Unfortunately, I can't answer the question for someone else. No, it's not some lame-ass dodge. I am of the strong opinion that every artist needs to decide this for themselves.

Personally, I don't work for free. Anymore.

Early on I did my share of contests and free gigs just to get myself in the game. What I realized after a very short time was that I was keeping myself very busy with work that wasn't even paying to keep my laptop running. The rent was coming due, I was getting burned out, and the checking account showed only debits. After having a long talk with myself (that was something), I decided to cancel my membership to the pro-bono club.

Karen J. Lloyd is a Storyboard Artist and teacher with a fascinating blog. She addressed this subject as it relates to storyboard artists, but I think that illustrators will find it chock full of stuff they can use.

If you decide that free is for thee, think very carefully about your reasons. If you think about yourself as a business, you'll find it's easier to make those kinds of calls.

###

The other thing that caught my eye was a comment on my holiday card post from Judy Dunn. She was told by a publisher not to submit illustrations with her children's book manuscript. She's paying attention and it's awesome.

This is another question that I get more often than, "Daddy can I watch Gilligan's Island?" Writers ask me if I will illustrate their book and artists ask me if they should illustrate their friend's book.

Nope and nope.

Okay, I'm nicer than that, but that's the stock answer. Here's why:

Reputable publishing houses find their own illustrators for the manuscripts they buy.

Yes, Judy is absolutely right and she's smart to hold off until the right publisher buys her book. Illustrating a picture book by an established professional can cost anywhere between $6,000 - $10,000, on average. It can be more.

Let's say you have disposable cash and want to illustrate your children's book to make it more easily acquirable by a publisher. Here's what's going to happen:

1. You're going to have some interesting artwork to hang on your wall and explain to guests.
2. The publishers you submit to will become annoyed and may not even review your manuscript. In fact, they may even drive to your house and burn it on your doorstep. If that happens, stay inside.

Artists, have you been approached by someone to illustrate their picture book so they can submit it to a publisher? Congratulations! Make some tea and hug yourself for five minutes. Now explain to them what I just told you and ask them if they still want to spend the money.

When I do this, I usually get one of two reactions. The first is indignant anger and outrage at how much I charge for illustrating "just a simple little 58-page picture book." And how I should be lucky to get the offer. It's happened.

The thing is, I love illustrating books for kids. It's what I do! Passing up an opportunity to do what I love sucks. But I can't take someone's money just because they don't know any better.

The second is thanks for taking the time to explain how it works and not just taking their money (and there are people who will take their money).

I prefer the second reaction. The tea goes down easier.

However, I do get requests to illustrate books for very personal reasons, from people who understand the costs involved and just feel strongly about getting their book out into the world. I love it, great idea, let's do it!

See how this relates back to the earlier topic of working for free? As an independent professional, it's extremely important to respect your work, treat yourself as a business, and always be ethical. Some people won't get it, but that's okay. They don't have to look at you every morning in the mirror.