Seattle is home to a wealth of children’s book writers and illustrators. The combination of our rainy climate keeping creative minds indoors and the inspiring natural beauty of the Northwest appears to be the perfect recipe for success in creating stories for young readers. Plus, notes Wendy Wahman, an author/illustrator who is basking in the glow of having just published her first children’s book: “Doesn’t everybody want to do this?”
Great (and Not-So-Great) Beginnings
The road to publication is rarely direct or quick. Kirby Larson, Newbery Honor author of Hattie Big Sky never imagined being a writer, but after having children, reading bedtime stories to them rekindled her passion for books.
Picture book author/illustrator Nina Laden had wanted to create children’s books since she was a little girl. She tried at 18, with no luck, so worked for years as a graphic artist and freelance illustrator before publishing her first children’s book. She was 31.
Peg Kehret, author of several middle-grade mystery books, calls herself “The Late Bloomer of Late Bloomers.” She didn’t start writing children’s books until her late 40s after a long career in radio commercials, plays and magazines. “It has taken me years to get to where I know what I am doing,” she says. “There aren’t any shortcuts. No secret to success.”
Rejections are part of the business. That’s no surprise considering Theodor Geisel (Dr. Seuss) heard “no”28 times (some reports say twice that) before hearing that first magical “yes.” Children’s poet Eric Ode notes the average manuscript might get turned down five or six times. “You have to find the right house and catch them at just the right time.”
Kevin Emerson had never heard of Stephenie Meyer when he was penning Oliver Nocturne, but when the Twilight frenzy hit, his middle-grade coming-of-age vampire story sitting on an editor’s desk at Scholastic was a perfect fit for younger readers suddenly intrigued by the undead.
Not Child’s Play
Illustrator Wendy Edelson is bemused by people’s perception of her job. “I heard a statistic that children’s book illustrating is considered to be the second-most glamorous occupation after being a pop star.” She loves what she does, but points out that she works seven days a week from early morning to late at night: “You must have a great passion for doing it.”
Middle-grade fantasy writer Joni Sensel adds: “People think writing for children is easier than writing for adults, but the reverse is true. Children’s books have to appeal to kids and parents.” The most ridiculous question Laden says she has been asked (many times) is, “How many books can you write in one day?”
Newbie Mistakes
Some words of wisdom Sensel offers to neophytes: “Thinking it’s easier than it is leads to mistakes.” One major newbie blunder is rushing. Brenda Z. Guiberson, author of several nonfiction picture books, who teaches children’s writing and illustration classes at the University of Washington, notes that Maurice Sendak took two years to write the 338-word Where the Wild Things Are before starting on the illustrations. “Let a story sit to make sure it’s really your best shot to put forward,” Larson advises.
Too many writers, eager to see themselves in print, fall victim to the vanity press world of self-publication. For Emerson, the third time was indeed the charm. His first two novels are still sitting in a drawer where he feels they belong: “If I had self-published that first book, it would have been a mistake.”
“It’s a funny idea that it should be easy and come quickly,” Larson says. “We wouldn’t expect a surgeon to perform surgery right away. Writers need to learn about the craft. It is an apprenticeship.”
Almost every author and illustrator who spoke to Seattle’s Child advises aspiring children’s book writers and illustrators to hone their skills by taking classes. There are several offered in the area to suit any budget and schedule. They also encourage people to join the Society of Children’s Books Writers and Illustrators to learn about the industry.
Another gaffe newcomers make is following fads rather than writing about something they care about. “Trends will have changed by the time your book comes out anyway,” Kehret warns. At the same time, it is important to know what is being published today. Too many people try to imitate their favorite childhood books when many of the classics would never be published in the current children’s market.
A Changing Trade
The Golden Book type of ending is a thing of the past. Children’s stories are no longer about teaching lessons. Guiberson says authors like Seuss and Sendak changed things. She advises writers to “let go of being a parent/teacher. You need to entertain. Take them on a field trip; have fun. They will learn something along the way.”
Funding cuts are also altering what sells. Guiberson notes that librarians who base their purchases from reviews and consider books in relation to their collections don’t have the money to buy books right now. More buyers today are parents in book stores, and they are a harder market to pin down.
Another sign of the times is the closure of many publishing houses. The market is more competitive than ever. “It better be really, really good and presented correctly,” Ode urges.
Inspiring Words from the Inspired
Knowing what will make it to book store shelves is tricky. “Editors really do want fabulous writing,” muses newly published nonfiction writer Richard Farr. “But fabulous writing is a mysterious substance, and nobody (including fabulous writers) knows how it happens.”
Despite the ups and downs, these authors and illustrators love what they do. “It doesn’t happen overnight, but it’s worth it – like having a baby,” Larson says. “You will forget the labor pains. All the struggle will evaporate in your joy.”
