Ask Tania: How do I make the most out of writing festivals and conferences?

Dear Tania, 
I'm so excited to be going to the KidLit Conference in Melbourne this May, but I'm also nervous. I'm having a manuscript assessment with a publisher, too. How can I make the most out of the conference, and do you have any tips when dealing with the publisher?
Stace

Hi, Stace,

So exciting you're off to KidLit this year; I'll be there, too! It's going to be wonderful, and can I just say what a brilliant decision it was for you to book in for this. Attending conferences and festivals will really fast-track any creator's career, so this is great news.

Festivals and conferences can be overwhelming. Combine stacks of passionate people with creative ideas and passion on tap, bundle it up with a barrel full of nerves, especially when it comes to meeting publishers, and it can all become a little fraught.

Thankfully, kids' book industry folk are warm, inclusive, fabulous people (and if you meet the rare braggart who is not, smile politely and find someone else to talk to!) and you'll have the most gorgeous time chatting with people you've either met online, know of or meet for the first time.

Here are my tips for a really productive and successful time as a festival or conference delegate. I'll follow this up with tips on meeting publishers.

Have a great time, and see you there!

Tx

1. TALK TO PEOPLE. Don�t stick with who you know�stretch yourself and meet new people. You never know where it will lead professionally�and you might just make a new friend or begin an exciting collaboration.

2. CARRY COLLATERAL. Festivals are a priceless opportunity to make contacts. Take everyone�s business card and offer your own (I keep mine in the back of the festival pass which hangs around your neck). Take your books or works with you but only haul them out if appropriate. Show and tell is fun, is it not?

3. STALKING + ENGAGING. Don�t stalk or pester people, and be really wary of monopolising their time or making demands, especially when it comes to publishers or other people you feel might provide opportunity for you. Everyone likes to be asked about their role or work, so do that instead. If you form an easy conversation, you may then have the opportunity to talk of your work, or even submit it, but never openly pursue the latter--allow it to unfold. More on this (in regard to publishers) below.

Whatever you do, don�t offer someone a copy of your book or ask them to read your manuscript or assess artwork. This comes with too great an expectation and a conference is not an appropriate platform for this. All it does is make people uncomfortable. Instead, engage people briefly about your work if the opportunity arises, then let go. If they find you or your ideas engaging, they may ask to see something.

4. ASK QUESTIONS. There is no greater bore than someone who makes an entire conversation about themselves and doesn�t ask a single question of others. Ask people about their work and let them speak. You might just learn something interesting or make a new connection.

5. DURING SESSIONS. Take notes. Take photos of screens with great points on them. Think about questions you could ask and don't be afraid to ask them. If you miss out on asking a question, ask the person/publisher during breaks, if the opportunity arises. This could be a great ice-breaker, too.

6. MULTI-SESSIONS. If there is more than one session you�d love to attend at one time, ask others if they�re taking notes (that you can later snaffle a copy of). Or just chat with them about it afterwards, to glean any interesting points.

7. BE INCLUSIVE. A lot of festival delegates are either on their own or know few people. Whether this person is you or not, look out for that �lost soul� who knows no one and chat with them or invite them to join you for breakfast. Step back and give them a place in your circle. Introduce them to others. Ask them about themselves. Be kind, not excluding.

8. SUPPORT OTHERS. If you can, drop into the sessions of friends or colleagues. Not only is it supportive, it�s important to remember that your greatest industry ally is your colleague.

9. TAKE BREAKS. Festivals can be and exhausting, as you're constantly listening, constantly chatting and constantly �on�. Take breaks away from it all when you can. Go back to your hotel or find a quiet corner or go for a walk. If someone is cornering you or taking up too much of your time (to the point where you may miss a session), be forceful. If they�re incapable of reading your cues, politely interrupt and excuse yourself. Don�t miss anything for anyone!

10. RELAX AND HAVE FUN. Try not to �expect� too much at festivals and conferences. They are nonstop busy, and many people are operating way outside their comfort zones. Relax and take it easy, absorb as much as you can, mingle and take notes. Be sure to do a blog post afterwards or post on social media about your experience. It will bring you a lot of hits.

11. SHARE. Share your knowledge, experience and contacts. There is absolutely enough to go around and no one is going to 'steal your idea' if you talk openly and enthusiastically about your work, or pass on resources or tips or opportunities. When we share in this way, it does come back to us, and it makes our community a wonderfully inclusive place to be. Don't operate on 'lack' because it will attract lack. Operate on generosity, because guess what it will attract...

12. GIVE THE CONFERENCE FEEDBACK. They do appreciate it.

Tips for Dealing with Publishers 

1. First and foremost, remember that publishers are people, too. While many creators view them high up in the clouds on a shiny pedestal surrounded by choral angels, their work (and workload) is as earthy as it comes, and ergo, most publishers are down-to-earth, fun, gorgeous, passionate people, who adore the creative process as much as you do. In fact, publishers ARE creators (and indeed, many also write books) so you actually have a lot in common with them!

2. While the book industry is a creative one, publishers are first and foremost a business. They want their authors and books to do well, to sell well, and to take a market slice that allows them to create more books, and keep their company afloat. Yes, they look for great concepts and excellent writing and illustrating, but they also look for what sells, and this is why even brilliant concepts and writing and illustrating may not be contracted. When it comes down to it, books need to sell, they need to have market appeal, and this is yet another reason we can't take rejection personally.

3. At conferences and festivals, publishers are always vastly outnumbered. This means the demand on their time and energy is enormous. Commonly, they're required to present, speak and do assessments, so their time is cut even shorter. This is why it's strongly advised to invest in an assessment session so you can have quality, unbroken time with one. If you miss out on an assessment, you can absolutely approach and chat to publishers if the opportunity arises, but make it brief and social and watch for cues if they need to move on.

4. If you have the opportunity to chat to a publisher socially, relax. Be yourself. Laugh. Ask about them, talk about their books, their list. Try not to use this opportunity for a spiel. You're not a used car salesperson. You're a creator. Talk books. If they ask about you and/or your work, say something light and succinct that you've prepared beforehand, but don't make it formulaic or 'pitchy'. Practice how you would introduce yourself as a creator and then follow it with one or two lines about your latest work (only if appropriate).

5. When rehearsing your mini bio and work-in-progress pitch, be clear and focused. If you say 'I'm a children's author' or 'I write picture books', then join the club of millions. This is not enough to attract anyone's attention, let alone an overworked publisher. You need to stand out and you can do this by focusing. Instead say something like 'I write picture books... about inspiring women from Australian history... featuring multicultural children working and living together inclusively... on STEM topics but with infographic illustrations to make comprehension easier for those struggling at school'. When mentioning your WIP, again, bring clarity and focus, and make sure you speak succinctly. When nervous, many of us chatter away, so just stop yourself short. There's nothing wrong with an awkward silence (why are we so afraid of them??) and your new publisher friend may just fill it with a wonderful question.

6. Like wild animals, publishers can smell desperation a mile away. Don't panic, don't be pushy. Be open, warm and confident in your ability as a fine creator. Because you are. Although it often doesn't seem like it, there is enough space in this industry to go around. It's those who stick with it and endlessly hone their craft who end up earning a spot. Ditto meeting and interacting with publishers--stick with it, go to many conferences and festivals, not just one. If you miss out chatting directly to a publisher this time, try again another time.

7. If you are having an assessment, fabulous! If you're nervous, remember the publisher is the expert here, and they will take the lead. Take lots of lovely deep breaths and respond honestly and openly to questions and feedback. If there is something you are confused by, don't understand or need to clarify, don't hesitate to speak out. Ask lots of questions, too. It's a grand opportunity. You could absolutely prepare those questions, but remember not to take away too much time from the actual work you've presented.

8. What you absolutely CANNOT do when having an assessment is take criticism personally, argue or become defensive. Publishing is a full-on, stressful business, and unless you're mega famous and have a billion dollar book deal, you will need to be easy to work with. Publishers don't want to work with divas or whiners or complicators, and you simply cannot be difficult or demanding. On top of that, you cannot be indignant or offended by feedback. Publishers are subjective, too, and three publishers could well say something completely different about your work. I've had feedback on a middle grade manuscript from four publishers (via email, not at a conference) and each one said something vastly different. Four subjective opinions. So remember this.

Also, feedback is designed to get you thinking, not to tell you what to do, or--God forbid--intimate you are talentless. Remember, all the praise in the world is useless when it comes to improving your work, and this is often why feedback focuses on what's going wrong and how you can improve it, not on what's already working well (though good feedback will mention that, too). We are all sensitive about our work, but you need to step back and look at things objectively, take what works for you, and then let the rest go.

9. Be sure you've covered all you want to during your assessment (which is why prepared notes are good... and take notes during the assessment, too). Taking notes shows you are tenacious and willing to work hard and improve, which publishers love. This business is all about tenacity! At the end, ask if it's okay to be in touch to ask another question or two by email (be sure to get their business card and hand them yours, too) or if it's okay to submit revisions to them down the track.

10. Be courageous. If you feel a social publisher interaction is going really well and she's clearly interested in you or your work, ask if you could submit directly to her at some stage. Just do it. What have you got to lose!?

11. Be patient. You'll come home on a high after a conference and/or assessment, and will be desperate for news or progression of the relationship. I know it's said over and over but it's true--publishers are chronically overworked and swamped. You need to practice the patience of a saint post-event. Hang in there, and give it a decent amount of time before making contact again. If it's been months, you should absolutely send a gentle reminder or query email.

12. BE YOU!!

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Ask Tania: What's with these book awards that authors can buy? Are they worth it?

Hi Tania,
I'm an emerging author, and I'm in the middle of self-publishing a little chapter book. I was wondering ... what's with these book awards that authors can buy? Are they worth it? I'm not sure how they work.
Caroline

Hi, Caroline,

Oooh--the vanity book award. This is a tough one. About to get frank here!

You may have heard of the term 'vanity publishing', where authors pay to have their work published. Some vanity publishers prefer to call it 'joint venture' publishing, but it's still the same thing.

While this type of publishing may suit those who'd like to publish their memoirs for their family, it's not recommended* for anyone who wants to make a career out of writing books. There is no selection criteria with vanity publishers (even if they insist there is) and the outcome for your work is therefore nowhere near the professional level it would enjoy with a trade publisher (who makes financial, time and emotional investments in your work).

*Footnote: I think self-publishing is wonderful--I've done it and I'm a big supporter of it--but you can absolutely self-publish books well and with credibility, without having to use a vanity publisher (and you'll save yourself a tonne of money, too!). See my post on self-publishing for more.

Fundamentally, you should never have to pay to submit work to publishers, and you should never have to pay to have your work published. The reasons are far too many to go into here (you can google this topic for thousands of references), but suffice to say that 99.99 per cent of the time, using a vanity publisher is not only unprofitable (in fact--it can end up costing you a lot more money than you bargained for), it can be damaging to your career in terms of both the production quality of your book, and your credibility as a creator.

I know the pain from those achingly long years of writing, submitting and waiting waiting waiting, endlessly waiting. Nonetheless, it's good to remember that it takes an average of three years to be even noticed in the industry (and this is the kids' industry in Australia--adult and overseas markets would take a lot longer) and as many as ten years to have any book success that could lead to career success. New creators must 'earn their due', just as anyone in any career field must.

These 'overnight success' stories you hear about are rarely that. Many people work so hard, squirreling away behind the scenes, till one day, things finally click, and they experience publication or even publication success. It's virtually never an overnight thing, even if it appears that way to outside observers.

So, we must work hard and bide our time. Things WILL happen if we continue to hone our work and produce great manuscripts. But the bottom line is, we need to put that work in, and can't expect to jump the queue with minimal experience. The more experience we have, the better work we create.

We need to marinate!

It's the same with awards. We shouldn't be jumping the queue. It doesn't look good.

There are many and varied vanity awards that can be purchased (a great deal of them based in the States). Basically, you send in your book details, pay a fee, receive a shortlisting then a win, followed by an 'award' for your book ... for no reason whatsoever. Not for its narrative, not for its illustrations, not for its themes or content. You win because you paid to win. Every single entrant 'wins'. You even pay for the stickers and certificate. Oh--and no one reads these books. They just take your money and assign wins.

The biggest trouble with this type of award is that average or even substandard books can win.

I know this may sound harsh, but it's the truth: average or substandard books should not be winning awards. It's false advertising. It's illegitimate. It's dishonest and deceptive. And not only that, it takes away from the slew of truly deserving books and creators who DO put in the time and effort to create something that actually deserves accolades.

But what about profile-building? Can fake awards help?

In a nutshell, buying book awards does NOT boost your profile. It either has no effect or it actually damages your profile. Here's why ...

There are two groups of people you want to impress when you write books. Firstly, your audience. Secondly, your industry's gatekeepers.

In the children's book industry, your audience is children and the people who buy books for children. Honestly, your audience (most especially the children) doesn't care a whit about awards. Sure, the odd book-savvy/industry-involved librarian or parent might see a gold sticker and be more likely to reach for the book, but they won't be buying said book if it's a) not good, or b) isn't the right fit for their child. So, a sticker is almost worthless with this group.

The gatekeepers are booksellers, teachers, librarians, awards judges, publishers, editors, agents and other literary professionals. If you want to buy book awards to impress this group and perhaps gain contracts or credibility, think again.

Gatekeepers know their stuff. They know which awards are important and which ones absolutely ensure the book is actually good enough to be award-winning. They also know the fake awards--those that have been awarded without merit. And they'll give these books (and their creators) a wide berth because they'll know, almost without question, that a book with a fake accolade is very different to a book that has actually earned one. They'll also know that the creator lacks authenticity.

Books are part of a brand. Authors and illustrators absolutely do become a brand of sorts--a brand that continues to add to its product cache (books, illustrations, articles, short stories, etc) over time. You want that brand to be solid, respectable, reliable and high-end ... and all this takes time to build. So a book with a fake award sticker does reflect on its creators.

These vanity awards are also costly. You pay to enter, you pay for award stickers, you pay for your certificate, you pay for critiques, you pay to be listed in awards publications, and you will not receive any kind of prize (indeed, the prize would be your sticker ... which you pay for). These awards are 100 per cent about making the provider money--essentially, profiteering on aspiring creators--and have little to do with assessing, identifying and awarding great literature.

Do you really want to be associated with that? Would you want to be operated on by a surgeon who purchased their degree online?

Yes, many awards--even the credible, important ones--have entry fees, but this is to cover the cost of a reading and assessment team. Prizes are correspondingly decent, there are only a handful of categories (as opposed to scores with vanity awards) and--here's the biggest difference--only a small handful shortlist and win. This is what makes it prestigious. If everyone wins, how is that a prestigious thing, let alone a 'win'?

No, we're not all winners (alas!), so don't be tempted to market yourself as a faux winner, and so lose credibility with those who matter. Instead, spend time working towards the real deal. Hone those manuscripts and produce great, award-winning work. It will be so worth it in the end.

Happy writing!

Tania

PS: See this great article on Vanity Book Awards. And this one on writing contests that have a hidden agenda.

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Ask Tania: What makes a great author website?

Dear Tania, 
I am keen to create my author website but want to know--what should I include? What makes a great author website?
Thanks!
Toni

Hi, Toni,

A website is vital for all authors and illustrators. It's a global, easily-accessed, inexpensive platform that takes minimal effort once set up--and serves as your Virtual Headquarters, not to mention your virtual marketing professional and sales rep!

I'm consistently looking at the work of other authors and illustrators, not only for Kids' Book Review, but because I have a strong interest in supporting emerging talent. One thing that consistently surprises me is the lack of strong web presence. In fact, I've lost count of the times I've looked someone up--or the title of their book--and literally found nothing.

And this lack of web presence is so hugely detrimental to any creator. If we can't find you, how can we find your books?

So, first and foremost, you simply must must must have a website. A website is a standalone 'centre'. Think of it as your home. Then, you have several satellite sites that link to your website, such as a blog, a bookstore, a Facebook page, an online gallery or illustration portfolio, book or character websites, etc.

With me, I have my central website then I link to my blog, my social networking sites (Facebook, Twitter, Instagram, Pinterest, Youtube). I also link to Kids' Book Review and the 52-Week Illustration Challenge, because both are directly associated with my work as an author illustrator.

It would be tempting to link to your travel blog or your cooking blog or other interests, but unless you're a travel or food writer, it can become confusing to pack too much into one website.

This brings me to my first website tip.

1. Keep it Simple
This is vital. Your website should be clean, uncluttered and easy to navigate. Have the front page relatively clutter-free, with clearly displayed 'chapters' or 'tabs'. Essentially, you want to have a direct, clear link to EVERYTHING on your website, on that very front page.

You can see with my website, below, I have very little on the front page.

I have my header, then a large picture of my latest book. Then either side of that, I have my tabs to sections like ABOUT BOOKS MEDIA NEWS EVENTS. You'll notice these are very clear and concise and only relate to my work as an author/illustrator.

The only other things I have on the opening page is a moving gif showing some internals from my latest book (bottom left), and an Instagram widget and a 'latest post' widget for my blog (bottom right). This lets visitors see, at a glance, what my latest blog post is. They can then click this and go visit my blog.

Normally, I have nothing else on the opening page, but I'm about to launch Australia Illustrated, so I have the launch invitations on the opening page, too, along with an early review quote. These will be removed soon.

Sometimes, people have an opening page that's even more simple--and I LOVE this idea. Anna Walker is a great example of this: www.annawalker.com.au. When you enter the site, you have only a small handful of pop-up options to view more, including WORK PROFILE SHOP PRINTS PROJECTS. This makes the site a joy to navigate and a visual delight.

Another great website font page is Gus Gordon's creation... You simply click on each veggie and will be transported to such pages as ABOUT NEWS BOOKS ILLUSTRATIONS FAQs. Visually beautiful, simple, and covering all bases. Which brings me to my next point.

2. What to Cover
There are several 'musts' to include on an author or illustrator website. As mentioned above, these are best covered on separate pages of your website, not the opening page (though I strongly believe in having your latest book or artwork on the opening page).

ABOUT
Tell your readers about you but keep it succinct. Like a book introduction that's longer than one or two pages, readers will quickly lose interest. Introduce yourself and then if you must, link to 'more' (such as FAQs, literary CV, awards and achievements, etc).

BOOKS
Show your books! If you have none, have a section called WORKS IN PROGRESS. Preferably, show your books on the Opening Page. They are your focus. You want them prominently featured.

For each book, you should be including the following: Title, creator names, publisher, publication date, ISBN, format, price, reader age, a link to buy, blurb, a handful of review quotes, and perhaps links to any teaching notes or reviews. You will make it exponentially easier on reviewers and the media if you all this information with your book, and will also make it easier for viewers to purchase it.

Below is my page featuring Australia Illustrated. You can see that beneath the book, there is the title, pub date, publisher, price, format, ISBN and a link to buy. I then have the price for various countries, the blurb and a mention about teaching notes coming soon. Once review start coming in, I'll add a link to my MEDIA page, where people can scroll through and find reviews on all my titles. I find keeping review links in one spot so much easier to manage.

When you click on BOOKS on my website, you're taken to an opening page with ALL my book covers on it. You can then click on each cover to view more about each book (as per the screenshot, above). I find this a lot easier for readers to navigate, and also--they can see all my books in one hit.

EVENTS
List your upcoming events--either where you will be featured directly (like book launches or festival appearances) or where you will partake in some way (book stalls at markets).

NEWS
I have a section here where I add any exciting news that's come in. You could post achievements or book releases or upcoming bits and bobs.

MEDIA
This is where I link to online and in-print articles and reviews, etc. If you don't have a weblink to an article, you can scan a picture of the article and write a short blog post. Then link that blog post in your MEDIA list. You can also have a link to your online portfolio or resume, and provide a contact email if media want to get in touch with you.

AUTHOR VISITS + OTHER SERVICES
If you are doing school visits or if you are an editor or are looking for illustration work, you can list your services here. I've set up an author visits and speaking page here where people can learn about what I do at a glance. It also links to my popular school presentations so schools can check them out and see if they're a good fit for their needs.

LINK TO BLOG + SOCIAL MEDIA SITES, etc
You can create little widgets (images that link to other sites or pages on your website) that people can click to visit your SM sits and blog, youtube, etc. Here are the little widgets or 'buttons' that I created, and each links to the sites mentioned below them.

{ i n s t a g r a m    t w i t t e r    b l o g
f a c e b o o k   p i n t e r e s t   y o u t u b e }

BUY BOOKS
I have a BUY BOOKS link on my opening page that leads directly to ALL my titles on Booktopia. If you are selling directly, you could link to your online store.

CONTACT
Make this easy to find! Nothing worse than faffing around searching for an email address. Some authors have a form that readers fill in--personally, I don't like this as it's a little alienating. Make your contact details quick and easy to find and be sure to write your email address without the @ symbol so spambots can't find you.

For example, I write my email address booksATtaniamccartneyDOTcom and I just link it to make it live for users. For those who can't click to open a new email, they also have the address written out, so they can type it in manually, if they need to.

OPTIONAL EXTRAS
It's up to you what extras to include, but as an example, I also have:

ILLUSTRATIONS featuring links to my illustration work.

A PIC GALLERY with photos from events and also author photos that people the media are welcome to use.

WRITING
Much of my earlier writing and editing was done for magazines, so here I cover what else I've done in the writing vein.

KIDS
This is Fun for Kids--colouring pages, spot-the-difference, paperdolls to print and cut out, word searches, pictures kids and have sent in, etc. I actually have to update this!

GROWN-UPS
I have lots of resources for adults (mostly on my blog--you are reading one now--'Ask Tania'!) and on this page, I link to my sites such as Kids' Book Review and the 52-Week Illustration Challenge. I also give info on what events, etc, I can host for adults.

You might have other pages you want to create to reflect what you do.

On that note, for ideas and inspiration, simply check out the websites of other creators to see what they've done. Do what works for you. For a collection of over 80 inspirational author/illustrator sites, see my post on Favourite Author Illustrator Websites

3. Imagery

You want to keep your text to a minimum with a website. Onscreen text is hard to read. You may notice on news websites that they tend to keep paragraphs short, as tracking across a screen is a lot harder than on paper, and on top of that, we have become a 'scanning' culture when it comes to reading. You want to keep things succinct to keep reader interest.

Keep text tight and to the point. And use lots of imagery. On my website, you'll see it's mostly images. People are MUCH more like to click an image than a set of words. So use pictures whenever you can.

4. Make it Unique
Whatever you do, try to resist using existing 'templates' for your website when it comes to design. It's actually really easy to change a website header by uploading a banner of your own. You could create it yourself (that's what I did for mine) or have an artist friend create one.

Unless you're creating dark or spooky books that completely define your brand as a creator, steer clear of black as a background colour. White is the way to go. It's easier on the eye and is the most professional-looking background. Colours and patterns look dated and amateur, unless they've been done by a design pro.

When adding imagery and content, look for ways to sit outside the square. Make your site beautiful, interesting, clever and unique. And always, always remember your target audience when creating one. My website has childlike elements because, well, I write for kids. This doesn't mean, however, it can't look polished or even sophisticated.

5. Entertain Enlighten Education
This is probably the most important point when making a great author website. Although your website essentially serves as a central pivot and is relatively static (you can have a lot more material and variety on your blog), you can still make it a lovely place to be for readers.

When I write books for kids, my aim is to first entertain, perhaps enlighten, then educate. The same should apply for your website. Offer something interesting and fun for your visitors. Think of ways you can offer things that tie in with the books you create. I link to my resources for authors and illustrators and this GIVES something to the reader. I also have my Fun for Kids page and other things that offer something more than just a place to view book covers and read a bio.

Think about ways you can do that.

6. Platforms

As for which platform to go with, I still use Blogger. Wordpress and Square Space are popular, as is Weebly and many others. You will need to investigate this for yourself--though I do strongly recommend you spend time learning how to operate a platform yourself. It will be well worth the investment, as using someone else to do it for you can be eye-watering in regard to price, and you have no control over when and how things are done. With my websites, I go in and change things in a flash, whenever I want. I wouldn't have it any other way. And it's free to do that.

Either that, or pay a 15-year old rellie or friend to do it for you!

Unlike a blog, which needs to be updated at least once a week or once a fortnight at a stretch, your website can remain relatively static. Just update it every now and then with news and events, and media exposure. Easy peasy!

Wishing you every success with your shiny new website, Toni!

Tania

PS: for even more, see my Fantastical Flying Creator ebook/workshop ... with over 20 years' worth of insider info and tips on taking your author/illustrator career to new heights. It includes comprehensive how-to website information, among many other things.

 

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Ask Tania: Non-Fiction Picture Books--where do I start when submitting to publishers?

Dear Tania, 
My question is about approaching publishers with non-fiction picture books. I'm aware how to submit fiction picture books, but is there a difference with non-fiction? If I was interested in writing a book about a person in history, should I go full throttle, researching meticulously, honing my text and sending off a fully-polished manuscript, knowing that all that research could be of no use if the ms is rejected?
Emma

Hi, Emma,

A girl after my own heart--I adore non-fiction PBs! And I most particularly love books on people from history. I'm busting to know who you want to research; might have to ask you privately (sorry readers!).

But to your question. The very first thing you need to tell yourself when it comes to dedicating the endless hours to researching and penning a non-fiction book is this:


Not a single minute nor single word will be wasted. 

Even if the book is never published, every moment you put into that work is a precious and vital part of your author journey. It's what will make you qualified to write--and good at writing--this type of book. You have to tell yourself this, Em, otherwise writing in this genre will send you stark raving mad from the perceived grief at 'losing' that time and effort and resulting words.

It's never easy to create something, especially something lengthy (as is often the way with this genre) without guarantee of publication, but it is the reality for most writers. No author wants to write a word that becomes lost, but we don't need to grieve lost words that never make it to print. They really are invaluable feathers to our bow. They're not a sacrifice. They're an addition to our skillset.

And also remember that words don't have a time limit. Many an author (me included) has had older work published years down the track--with a bit of honing and updating. As market needs and trends shift and change, one book idea presented in 2023 may receive a more positive reception than it did in 2016.

As you progress with your career and have first books published, you'll be in a better position to have work commissioned and approved before creation, so things will change.

This happened with This is Captain Cook and the National Library of Australia. We discussed the concept for the book and I received contract before commencing. This is because I'm a house author, so the same thing happened for Australian Kids Through the Years and other books.

Australian Story was the book I first approached the Library with--way back in 2010. I met an author who was published by the NLA, I asked her advice on approaching their children's publications team, I did so, I had a meeting with the children's publisher and the rest is history (literally!).

Two Options

So, there are two ways you could approach the creation of your book.

Number one. You could simply fall into it, begin it and dedicate your heart and passion to it, regardless of outcome, and in the knowledge that whatever happens, you're learning invaluably. Along the way, you could begin researching appropriate publishers and their submissions processes.

Number two. There's nothing stopping you from approaching publishers who publish in this genre, and asking them if your book would be of interest to them. Some publishers are happy to receive a book outline only, particularly when it comes to non-fiction books which can sometimes be more comprehensive and time-consuming than fiction (at least in terms of research and authentication).

If the subject matter is of interest to them, they may be willing to look at the work as you go along and perhaps contract you part-way through. This is entirely dependent on the publisher, for each is very different, and things will change as the publisher goes through their own changes, and works through their annual list. 

Remember, some publishers may respond to this request, some may not. Many have really strict rules (out of sheer necessity) around submissions and submission queries, so don't take it personally if you hear nothing back. Just move on to someone else.

Here's a great article on writing non-fiction query letters.

Look at publishers who have an established series of books in the style you are thinking of. You could always approach them to offer your idea, if it would fit well with the current series.

There's no harm in trying! You never know your luck. Just ask!

The other thing I would do--and I strongly recommend this to all emerging authors--is get industry involved. Network. Make friendships. Go to festivals and conferences and publisher events, and MEET publishers face-to-face. Get to know them. By doing this, you could eventually enjoy marvellous opportunities, like being able to sub directly to a commissioning editor, without having to go through the usual processes. This will up your chances of being contracted prior to commencement of your work.

Also know that you're not alone. As I've recently begun illustrating books, I have several on the go with no contract, and have no way of knowing if they'll ever be contracted. Just because I'm with several publishers doesn't mean they'll take on these books, and some of them don't even publish this type. So I'm in the same boat as you when it comes to finding a home for them--and knowing that I may not ever find that home.

But I simply must create them. If I don't, I'll burst! And I have to reconcile myself to the possibility that all this work may be for nought but skillset enhancement.

You're not alone.

Em, I wish you every success with the creation of your historical Opus. If you love the subject matter and feel passionately about it and do it well, there's every chance it will be snapped up by someone eventually, even if you have to finish it and shop it around. And, as annoying as it sounds, if no one takes it, at least you'll have a priceless addition to your skillset.

Tania

PS: I hope the following writing tips help you on your journey!

Writing Tips for Children's Non-Fiction

• write about something or someone you have a personal passion for; if you have zero interest in a topic, it WILL show, no matter how cleverly you write it; also, you want to enjoy the work!
• define your readership age and adjust text to suit; what interests you as an adult may be of nil interest to kids; keep it age-appropriate
• look for other books on this same topic--is the market too saturated? Who else has done this type of book? How can you make it different/stand out? What is unique about your version?
• STEM topics are particularly sought after in non-fiction, and since history has been added to the junior school curriculum in Australia, it has become even more popular with publishers
• consider contacting and subbing to educational publishers or other organisations like state libraries, museums and universities (who often have their own publishing programmes), and the CSIRO
• don't be tempted to fill a market gap unless the subject matter is of deep interest to you 
• remember that non-fiction can absolutely be as creative as fiction; think outside the square
• never believe non-fiction plays second fiddle to fiction; when it comes to kids' books, non-fiction actually outsells fiction
• keep an eye on world events, current affairs, anniversaries, etc--as your book idea may correlate with an upcoming something-or-other; publishers love that
• read read read everything you can on your topic
• don't underestimate the power of film, books, documentaries and imagery when completing your research
• research tools include books, encyclopedias, newspapers, magazines, photographs, biographies and other books, sites such as Trove, Ancestory, census, radio and television archives, national libraries, museums, universities, national archives and research institutions, as well as talking directly to people, and of course--the internet in general
• when it comes to the internet, you must use government or other official sites, and pay particular attention to authentication; remember, although it can be your greatest ally, the internet is also renowned for spouting rubbish and falsities
• you will want to cross-reference and verify any research (most especially internet research) at least three times ... more if the reference is obscure
• if something sounds fandangled, it probably is
• keep comprehensive notes on ALL of your research sources, including any links!
• know that even the most meticulous research can falter, especially as new light is shed on historical events; for example, in one of my books, I talk of the lamington being made for Lord Lamington, a governor in Queensland--a story that has been touted and authenticated for well over 100 years, but new research shows the cake was more likely made in honour of the Lord's wife, Mary Houghton Hozier (fun fact: Lord Lamington allegedly referred to lamingtons as 'those bloody poofy woolly biscuits'--more evidence they were probably NOT made in his honour!!)
• there will always, always be someone (with nothing better to do) who will try to refute anything you write; don't let this put you off--history records are far from infallible and conflict will always appear (especially as new information arises)
• enjoy every single, incredible moment of discovery--get set to laugh, to cry and stare into the distance in a state of wonder; fact truly IS stranger than fiction

See all the questions so far

Ask Tania: Picture Book structure--circular, narrative, characters, rhyming--HELP!

Dear Tania,

I've started writing children's stories and am dreaming up some picture books. I've been reading a lot about typical book structures (set-up, incident, events, climax, result, resolution) and I've found reference to other structures sometimes used (circular, concept, cumulative, mirror, parallel and reversal). How strictly should an author keep to these structures? Do you write with this in mind or do you just write? 

On characters, must the main character always have an obstacle to overcome for the story to be successful?

I'm also interested in your thoughts on rhyming books, as I know (particularly emerging) authors are advised against it - and yet, so many picture books still seem to use rhyme and meter.

Paula

Hi Paula,

First thing I have to say is how great it is that you're reading up on book structure and the associated elements that make a story wonderful, particularly picture books. When we were running the Kids' Book Review Unpublished Manuscript Award, so many of the entries suffered from a lack of understanding of story structure, so even when the writing itself was good, the story was little more than an 'account' or a set of descriptions. So understanding story structure is a fine way to embark on your picture book writing journey.

Let's explore your questions--I'll break them down into parts:

Story Structures

The many and varied story styles can be learned about online, as you have already done. Understanding these structures will definitely help you write better stories.

The three most commonly used picture book structures would be:

• linear arc (a classic structure, where we have a beginning, middle and ending, with resolve)

• circular (where the story starts and ends in the same place) 

• episodic (where we present a line-up of concepts or happenings or scenes; the 'concept book'--alphabet books, colours, numbers, etc--falls into this category)

Linear arc is probably the most common of all--it involves setting up a place and character and then taking the story to a peak (often via the rollercoastering of conflict and resolution), followed by a solution, intimation of solution, or some kind of 'outcome', which can also be sad, surprising or negative (ie: not always a happy or fully 'resolved' ending).

I tend to use this structure the most because it's so page-turning, and is a pleasure to write. Having your character, or the storyline, experience shifts and turns and plot twists and challenges, is an engaging technique that not only has your reader championing the characters, but makes them WANT to know what happens next. Books like this are 'repeat reads', and are key to book/author success (sales rely on repeat reads and subsequent word-of-mouth recommendation!).

So yes, stories like this do need characters to overcome things, but more on that shortly.

How strictly should authors stick to structures? Well, like anything in life, learn all the rules, then break them! A general understanding of how story structure works is priceless, and everyone should learn it. Once you learn and grasp it, you tend to write intuitively to a certain style, which you'll get better at doing over time.

For me, I tend to just write the story, once I've set what kind of structure I want it to be (after all these years, this is not a conscious thing). But I also stretch things a little as I go, so the story oftentimes doesn't end up classically adhering to that structure. It might employ two or even three structures.

With Smile Cry, for example, the main structure ended up being episodic because a) it's for very young kids, who respond so well to a series of presented ideas, and b) the subject matter intended to show the varying ways we could smile or cry. A series of independent scenes would best showcase these varying ways, and it worked very well. 

If this book had been written as a narrative, the emotion-exploration would have been far too subtle, and would have become lost within the storyline  (for very young kids, anyway). I wanted kids to be able to point at a page and relate to that ONE singular scene, and kids most certainly do that with this book. Then they eagerly anticipate the next scene.

So, the episodic style really worked for Smile Cry, but I didn't stop there. I mixed things up by creating a flip-book concept, where two opposing (mirror) stories meet in the middle. I also created a kind of resolve (resolves are most noted in a classic arc structure) where the two stories meet in the middle. This centre spread brings the two opposing themes together in a way that melds and shows kids there's no black and white.

For Tottie and Dot, the overarching premise was consequence. So the very best way to achieve this was with a linear arc, though in this case, there is little rollercoasting (ie: obstacles don't keep appearing to make the story go up and down, faster and slower) but rather an incremental build that reaches a really dramatic climax, before collapsing on itself. This works for stories that need to reach the climax right at the end (in this case, two pages before the end).

So, as you can see, even the classic structure can be manipulated to suit story content and purpose.

My suggestion for you, as a new writer, would be to write your story. Write it as a stream of consciousness and then let it sit a while. Once you've let it marinate, go back to it and read it over. What kind of structure is it? Does it have a beginning, middle and ending? Is it circular? Episodic? Once you know what kind of structure it sits in, you can then work on honing the story to ensure it achieves an attractive balance that will enchant the reader.

Story vs Account

This is a good way to understand whether or not your story is achieving its intended purpose--entertaining, enlightening, enchanting or educating the reader (or a blend of all). I call these the Four Es.

A story about a bear who gets up in the morning, makes breakfast, goes shopping, meets a friend for lunch, hangs out the washing, feeds the chooks, reads a book, makes dinner and goes to bed is NOT a story. It's an account. Many, many, many stories are just an account.

A story DOES something to the reader. It makes them feel, smile, cry, understand, learn. Even episodic books that DO simply line-up concepts, have to have a hook or an intention that entertains and delights, even if it's just stunning artwork. Clever, well-thought-out books are the books that do well.

It also takes them on a JOURNEY--whether literal or figurative.

Essentially, in your story, something has to HAPPEN. Something has to occur as a result of something else. There has to be a message or meaning or some kind of delight or even horror. Again, the best way to describe this, is that your story should make the reader FEEL something. I'm not going to feel anything reading about that bear. I want something to HAPPEN.

The Ending

Another huge part of a great story's structure is the ending. For me, the ending is EVERYTHING. It's that delectable mint at the end of the meal--that moment of pure satisfaction. No greater let-down to read a fabulous book and find yourself looking for more pages because the ending fell so flat or felt unresolved. Someone going to bed at night and going to sleep is not an ending (unless it's absolutely central to the narrative and resolves the narrative).

An ending needs to in some way resolve the story or at least link to the plot line and theme in a way that is delightful, surprising, unexpected, hilarious, shocking, healing, circular--SOMETHING, other than just nothing. Most emerging author picture books I read have no ending at all, let alone a good one.

Think of a wonderful way to end your stories, hopefully with something that surprises or delights or elicits a realisation of some kind, and you'll write very good stories indeed. Remember--a great ending stands between your book and a repeat read.

A Word on Didactic Books

No one likes a book that hammers them over the head with morals. Kids particularly dislike them, even those too young to know what's really happening. Never talk down to your reader or dumb things down, no matter how young the intended readership. If you simply must teach kids a 'lesson' with your story, do it with intense subtlety, cleverness and humour. The lesson should not be in the least bit obvious. 

Word Count

In general, a picture book should not exceed 500 words ... unless it's for slightly older readers, it's a book designed to specifically impart information, or unless the writer has honed that text down to its purest essence and the result is an absolute and unadulterated pleasure to read, from go to woah. There are some high text picture books (for younger readers) that work beautifully, simply because they are a joy to read, the story gallops along, and there are no superfluous words.

To be safe, especially when starting out, make your text as minimal as possible. They say each word in a picture book must earn its place. A general rule is to not say anything the pictures can show, especially in regard to description. For example, do not describe a character's outfit unless it's a central plot point that you need to make super obvious. And never put anything extraneous in a story (read: Chekov's Gun).

Nutshell: keep things succinct and cut any extraneous text (which is most text, in my opinion!).

Characters Overcoming Things

We don't need to have our main character falling over obstacle after obstacle after obstacle until they are a wrung-out wreck, before miraculously rising at the end. The variety of ways we can 'challenge' our characters can be a lot more subtle, and can appear in multitude ways.

In Peas in a Pod, the girls simply try to overcome their sameness. They want to be different. They don't need to go over mountain and dale over thousands of miles, snow, rain and tornado, to get there--they just make a stand, and assert their individuality.

Try not to get caught up in how much conflict or resolution you need to add to your story. It's a broad brushstroke of a technique that can be achieved in many and varied ways, but yes, you DO need your characters to be championed by your reader. Kids need to *FEEL something for them, relate to them in some way, and want them to succeed against all odds. That's what carries the most entrancing stories--that essence of survival against storms, prejudice, even just an aversion to broccoli. Readers want your character to triumph, so this obstacle thing IS a fine tool in storytelling, but know that it can be done in clever and almost imperceptible ways.

*Of course, there are some characters kids WON'T feel for--the baddie, for example--but what they will do is feel something ABOUT that character. The more conflict and obstacles you give all of your characters (good or bad), the more well-rounded and real they will be--and the greater emotional response you'll elicit from your reader.

The Dreaded Rhyme

One thing that's struck me over the years, especially where emerging writers are concerned, is their insistence on penning text in rhyme. Perhaps it's a hark back to their own childhood when rhyme was so prevalent, or their adoration for the likes of Dr Seuss and Lynley Dodd and other (yet few!) truly brilliant rhyming creators.

The fact is this: very, very few people write rhyme well. A lack of understanding when it comes to 'meter' is often to blame, but also the rearranging of sentences and the cramming of unbalanced words to effect end-of-line rhyme. Another big issue is the misuse of syllable stress--featuring the word apple, for example, but expecting it to be read as AppLE rather than as APPle, where its natural syllable stress lies.

Remember, rhyming text is not about end-word rhyme. It's about so very much more.

Jackie Hosking has a wonderful Rhyming MS Editing Service that new writers can look into. You can also learn a lot about this online, and by--of course--reading your text out loud. You should also have someone else read it out loud. It's easy to read our own words in an effective rhythm because we have penned them, and know where the stressors lie, but when someone else reads the text for the first time, you may be surprised how frequently they stumble over the words and rhythm. You do NOT want your reader stumbling over words and rhythm.

Another option is to let your text marinate for a month. When you go back to it, you'll find a multitude of issues to fix.

As Jen Storer says in one of her fabulous Girl and Duck Q+Q Friday videos, publishers don't hate rhyming texts. They just hate BAD rhyming texts! And so do readers. She also mentions a really great point--that rhyming text is very difficult to extend into overseas markets, where translations can falter. So, publishers may also avoid it for this reason.

So, I strongly suggest writing your first picture book attempts in prose. Picture books are hard to write--why exponentially add to the difficulty by choosing rhyme? Practice in prose first, and then study and hone rhyme for later books. 

I must say, I absolutely adore good rhyming works, but I've been writing professionally for almost 30 years and I've only just recently penned my first rhyming book.

Don't be Boring

Some may disagree, but I find most super traditional stories (in terms of content) a little boring. I love unconventional works--works that sit outside the square--and more and more publishers are loving these, too (they're often the award-winners). Think outside the square. Surprise your reader. Do something different.

In Summary!

Essentially, you want readers to feel something when they read your books. And I don't mean in a schmaltzy way. I think a lot of writers believe they need to write sentimental or schmaltzy themes to make readers feel something, but this isn't true. We feel more than just sadness. Our emotions are vast and varied, and we shouldn't underestimate the power of more subtle emotions, even in kids ... those emotions well beyond happy sad angry surprised. 

Writing books about confusion or isolation or trepidation or boredom or contentment or creative satisfaction or thirst or other nuanced topics, can be some of the most successful stories of all.

Writing picture books for the first time can be absolutely overwhelming. An understanding that they are difficult to write is vital, as is the understanding that you WILL get better over time, and--like anything--the more you write, the better you'll get at both the content and structure.

Wishing you the best on your picture book journey!

Tania

See all the questions so far

Ask Tania: How do I throw an amazing kids' book launch?

Dear Tania,
I'm launching my first children's book soon and wondered if you had any advice to help me? I've never done this before! What's usually expected? And weekday or weekend? How do I throw an amazing book launch?
Thank you!
Katherine

Hi Katherine,

Congratulations on your first kids' book--how wonderful! I would love to help you with some advice for a fabulous launch, and so, below, you will find a full chapter from my Fantastical Flying Creator e-course (more here). I hope you find it helpful ... and I hope you have a wonderful launch!

Tania

The Kids' Book Launch(from The Fantastical Flying Creator)

Your first book launch is a true Life Moment. It's one of the most exciting things you�ll ever do, and will be packed with supporters. The more books you launch, like anything in life, really, the more the shine wears off, but I must admit they�re still a lot of fun and I still do launches for most of my books.

Your publisher is unlikely to throw you a launch unless you�re Jeff Kinney, but don�t worry, it doesn�t have to be complicated or expensive.

You can absolutely have more than one launch, and you can host them locally or interstate. If you have family or friends to stay with, it makes things even cheaper.

To attract guests, you should offer something to your audience�a giveaway, bookmarks, cake, goodie bags, balloons and activities for kids � any of these things will attract people, especially cake. People will come for cake.


The Date + Time

The date is a really important factor to consider, as is the day and time. These things depend on your audience.

For kids, you have Saturday or Sunday to choose from and this can be hit and miss, depending on what else is going on. I�ve found Saturday afternoons or Sunday late mornings best, as these times take sporting and family and sleeping-in commitments into account. 10.30 or 11 in the morning and 2 or 3 in the afternoon tend to be my sweet spots for maximum guests but this could shift, depending on where you are.

You could also host a launch during school holidays but again, this is hit and miss. You�ll either be flocked with families looking for something to do, or you�ll have no one because they�ve all gone on a beach holiday.

Be really thorough when researching your date. I made a massive mistake in booking my Tottie and Dot book launch for the morning of Father�s Day and it crippled my attendance numbers. I can�t believe I didn�t notice this mistake, and my bookstore hosts didn�t either. Live and learn.

The Venue

Bookstores are probably your best bet for venues because they�re generally situated in easy-to-reach places, with parking. If you're supplying your own books, they will take a percentage cut on sales {usually 40�45 per cent, do negotiate, especially if you're self-publishing} but this is worth it because they totally take care of sales. With my launches, I now ask the store to get the books in and take care of all sales, without any direct royalties going to me {though they do filter to me eventually, of course}.

Most stores also help with marketing... advertising in store and sending invitations to their client base. It�s a lovely way to �pay back� our book retailers, too; getting new demographics in store.

You shouldn�t have to pay to host your event in a place that makes money from your books. Sometimes booksellers will charge guests a few dollars to cover wine and nibbles for adult events, and that�s perfectly okay. Most guests are happy to pay. Alternatively, you could provide the wine and cheese, napkins and plastic glasses.

Another option is to ask your local library to host your launch. Some won�t but many love it as it gets new people into their space. Libraries won�t take commission on sales, but you will need to bring along your own books and ask someone to handle the sales for you. The library may offer someone, or a friend or family member could do it.

Some schools also love hosting launches�and they operate pretty much the same as libraries. You might like to donate some of your books to schools and libraries as a thank you.

Clubs, shops, caf�s or restaurants are also options you could explore. Ask them openly about what they would require/expect, and how you can strike a deal on costs.

Community halls and centres can be hired, and parks or other outdoor areas can be used, but you would need to check with the local council about hosting groups of people, and also about their rules for selling items onsite.

Another option is launching at an actual event, like a local market. This would work particularly well with kids� books. When Genevieve from Gnome Knoll at Canberra�s Floriade contacted me about launching Riley and the Jumpy Kangaroo: A journey around Canberra at her Knoll, I jumped at the chance! Image below, and you can see the spectacular day here.

Your last option is to host it at a private venue. Maybe your own home or at the mansion of a generous and wealthy friend! Naturally, this would only work if you knew all the guests well, and it could limit your guest list.

The Guest List + Invitation 

Essentially, you need to invite your target market to your launch because they will buy the book. Yes, invite family and friends and neighbours, but be sure to attract your target market, too.

You can send invitations by hard copy or email. Hard copy are really memorable and rare {do this if you want to stand out!}. Make sure you add any catchwords that might attract guests, like �balloons + goodie bags� for kids and �wine and nibbles� for adults.

Create a blog post featuring your invitation {make it really visual, as above} and use this to spruik the event online�on Twitter, Facebook and within your literary groups.

Create a Facebook event invitation, too. You can selectively invite all the Facebook friends you have within 100km of the venue!

Start blogging about the event well in advance. It will build the excitement, and consider writing an event press release which you can send to your local media (see The Press Release).

Another idea is to send notice to schools, clubs, your local writer�s centre, any associations affiliated with your type of book, subject matter or intended audience.

Don�t forget to have your launch host spread the word, too, especially if they are a bookstore. It�s in their interests to attract as many guests as possible.

Sponsors

While living in Beijing, I launched my first picture book, Riley and the Sleeping Dragon: A journey around Beijing, with a slew of �sponsors�. These people provided food, champagne, prizes and all manner of wonderful things. In return, I featured their logo on all my launch promotion and had their business collateral on display at the launch. I also had the backing of several expat language magazines with huge audiences, so that did help in terms of exposure for the sponsors.

When I came home to Australia, this sponsorship deal didn�t work so well because it seems every man and his dog and cat and budgie are hitting up Dan Murphy�s for event booze.

I did manage to score some sponsorship from small businesses, including some brilliant cakes made by pARTy Cakes in Canberra {left} for my Riley and the Curious Koala: A journey around Sydney launch. Liz made me cry with her stunning cupcakes and cake tier�it was so utterly gorgeous. In return, I plugged her business like crazy.

So, while it is possible to secure sponsorship, it does take a little bit of work and tenacity, and you do need to make the effort to ensure your sponsor is well recompensed.

Other than caterers, local food producers and wine merchants, you could perhaps strike a deal with local photographers or videographers, entertainment for kids, music for adults. You could also look for items for goodie bags and prize giveaways but remember, all of this needs to relate strongly to your book and its themes.

Another thing you can do is to affiliate with organisations or charities you support. For example, for Riley and the Curious Koala, I had The Koala Foundation on board. They provided some sensational stickers and tattoos for my goodie bags and I featured their collateral and a donation tin at the launch.

Lastly, there's nothing like a good old contradeal. I support my colleagues at their launches {say, by taking photos} and they do the same for me in return. This works so well and is a lot less pressure!

Timeframes

For most launches, the event should run for no more than 60 � 90 minutes. An hour all-up is ideal for kids. A reading should go for no more than 20 minutes and leave around 20 minutes for signing {though I�m hoping you�ll need a lot longer}. For my Riley and the Dancing Lion launch {below}, I had extra entertainment provided by a sponsor--Kelly Sports. This was after the reading and signing, in a space outside the bookstore, and it went a little over time. In this case, no one complained!

Schedule

Give an arrival time and an actual launch start time on your invitation, and get started right on time if you can. Kids are not good at waiting around.

Give a short introduction, have your launch person speak, if that's what you're doing, say a few quick thank yous, then outline what will happen, including food and prizes, and the all-important book signing. Remind guests not to forget to collect their goodie bags on the way out, and that there will be some fun activities for the kids while you sign books.

The book reading is next. Make it quick. No need to linger.

Ask if anyone has a question.

Have a prize giveaway if you want to, and make it quick. Try not to give away the book; choose something else. I use raffle tickets for this, which are handed to people as they arrive {kids--your own or some friends--are great at handing out tickets). You could also do a lucky door prize.

Food and activities should now commence while you sign books. Parents will be happy to peruse your books and queue for signing if the kids are happily occupied.

Denote a clear end time on your invitation. Be sure to finish by the end of the hour.

Activities for Kids

You can have these on hand as kids arrive, but ensure there�s going to be enough for them to get stuck into during the book signing, too.

Make it something non-messy. The last thing you want is Clag glue all over the floor and on the venue�s books. I suggest colouring pages, word searches, paper folding and making masks and headbands and hats out of cardboard and staples or sticky tape. Use pencils instead of crayons and textas. Other options are little activity books featuring your characters, singing songs and doing actions, line-em-up games or memory cards.

A great option for kids� launches is to have an illustrator demo or other entertainment. Kieron Pratt (the Riley the Little Aviator books) would often do live drawings and they were SO popular. You could also have someone affiliated with the book come along�perhaps the RSPCA could visit with animals if your book is about lizards or frogs.

Create something that will look great in your launch photos. Face masks are perfect because they look sensational when all kids are wearing them, and you can take photos and not worry about putting their faces online! I�ve printed off really simple koala masks made of grey card, and wombat ear headbands made from brown card. You can find such templates online. All the kids need to do is cut and staple.

You could also ask kids to dress up in theme. I did this for my Australian Story launch {below} and the best-dressed kids won prizes. It was sensational.

Decorations

You can go all out with kids� launches and make them look incredible. For my first few launches, I invested in helium balloons. They may cost a dollar per child but they are all you need decoration-wise and kids ADORE them. Along with food and goodie bags, they�re crowd-pullers, you'd better believe it.

Being a little launch jaded {!}, I don�t do helium any more but I always have balloons�most often on sticks or just in goodie bags. They�re always popular. For balloons on sticks, I stick the stems into upended sieve-like crates. Or you can just poke them through upended cardboard boxes like we did at Floriade, below.

For my An Aussie Year launches in Brisbane and Canberra, illustrator Tina and I made really simple speech bubbles from firm paper and pieces of dowel from Bunnings. Kids used these in photographs and they looked absolutely gorgeous.

Other options are simple paper chains or tissue paper pompoms that you can buy or make yourself. I tie the colours in to my book cover.

Another great idea is to print characters from the book onto paper and cut them into triangles. Sew these together with a sewing machine to make quick and easy {and gorgeous!} bunting.

It�s ideal to use colour-themed items {such a simple concept, but so effective}, including tablecloths, and bring along any affiliated objects like a wombat toy or a tin plane.

Food

You can have a lot of fun with the food at kids� launches but don�t do too much�it won�t get eaten and kids prefer goodie bags, anyway.

Consider the venue�don�t feature food that could damage carpet or stock. Go for items that can be popped straight into the mouth or aren�t �messy�. At most of my launches, I�ve just had a lolly bar, providing paper bags for the kids to snaffle their treats.

At my Riley and the Grumpy Wombat launch, I had the cutest wombat cookies {above left} made from purchased Marie biscuits and fondant which I tinted, rolled and cut out. I glued this to the biscuit with icing then piped on eyes and mouth and a lolly nose. We also had chocolate crackles and {nut-free} rocky road pops stuck into apples. So easy.

One of my favourite things were the poppers with straws {above right}�far less spillage. I simply designed and printed out �labels� onto paper and glued them to the front of regular juice boxes.

ENSURE ALL FOOD ITEMS ARE NUT-FREE at children�s launches. Announce this in your intro. You might also like to include dairy and egg free options. The best are lollies or little jelly cups {make them small and firm!}.

Think thematically and use appropriate colour. For my Riley and the Curious Koala launch {below}, I had a lolly bar which looked expensive and cost barely anything. I added little signs saying Sydney Opera Houses, Gum Leaves, Mini Koalas, Gumnut Berries, Wombats {these were store bought lamingtons with lollies pushed in for legs, noses and ears}.


I recommend offering water for all guests, rather than soft drink or juice, and tea and coffee for adults if you can.

Prizes + Goodie Bags

Prizes are always an attendance drawcard {as are helium balloons}, so think about having something, but make it short and sweet.

Goodie bags are a HUGE hit with kids and don�t have to cost much. For my Tottie and Dot launch {below}, I had a lemon drop tree {I borrowed a decorative tree from a friend and hung little cello bags full of lemon drops on it; a lemon drop tree features in the story}. The kids also had a little paper cup filled with marshmallows and a straw, with a marshmallow tea recipe, also featured in the story.


When you make your goodie bags, think thematically: small toys, pencils, balloons, bookmarks, wrapped lollies, notepads, stickers, tattoos and sponsored items. The $2 Shop is your friend. Most publishers won�t pay for launches, so keep all receipts and claim them as tax deductions {you do need deductions as you earn}.

Photographs

These are so important for documenting your event but also for post-event promotion�and for your blog! Everyone loves to check out a launch.

Have someone take photos and brief them really well on what you want. I suggest asking them to take lots of people shots but also lots of product shots and all the finer details, like my wonderful photographer Nicole Godwin did with the lolly and goodie bag photos, above. If you are asking a non-pro friend to take photos and are pedantic like me, try to take some yourself before the event starts.

Ensure you�re photographed while reading the book, and ensure the cover can be seen. Ask the photographer to take multiple shots when you�re speaking or reading�otherwise every shot will have your eyes closed or your mouth hanging open like a drongo. Literally ask them to take shots non-stop because only one in ten will be useable while you�re speaking.

Have some shots taken with family, friends, kids and other authors.

Get crowd shots but be sure to announce you will be using these photos online and if anyone has any issues with this, please let your photographer know. This is especially important with children. Ensure they know the photos will only be used for personal promotional purposes, nothing else.

Take �social pages� shots to send to magazines and newspapers�these shots are always close up, with people standing in a line, looking at the photographer. Ask them to note down their full names, and check the spelling. The photographer can match the right people to each shot by taking note of the photo�s number sequence in the camera�s display window, or take notes on what people are wearing.

Ensure your camera is on correct setting!! I have had not one but TWO disasters because the camera was on a low light setting. I prefer NO flash be used, as it can be unflattering. Natural light photos can be achieved by using the correct setting and by editing photos afterwards, but only do this if you have a photographer who knows what they're doing. Ask other friends and family to take back-up photos.

General Launch Tips

• Ask for help. Bookstores are great at lending a helping hand, but also have friends, family, kids and colleagues help you out on the day.
• Make sure there�s easy access to a bathroom, especially if kids are involved.
• Ensure there will be a signing table; there�s nothing worse than having to ask someone to lean over so you can use their back.
• Make sure you take the time to sign a personal message in each book; also be wary of chatting too long while people are waiting in line to have a book signed.
• Have lots of book displays; consider having your past books for sale, too.
• If you have sponsors, set up a table to display their business collateral.
• Place your own business cards, bookmarks, any handouts, teachers� notes, business cards or website blurb on your signing table, or consider placing them in goodie bags.
• Have someone rally and rescue you�it�s easy to get caught up chatting at events, which can delay things considerably. Have someone on hand to �rescue� you so things run on time.
• It�s an obvious thing, but I�ve spent entire events without a single sip of anything, let alone a nibble. Make sure someone keeps you hydrated because you won�t have time to source anything yourself. I usually have a bottle of water with me at all times.
• Consider a small gift for your host�this isn�t really necessary if they�re making money from you {bookstores} but it can be nice if you�re building a relationship or if they�ve gone out of their way for you.

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