Today’s guest post is by sangeeta mehta (@sangeeta_editor), a former children’s book editor at little, brown, and simon & Schuster, who runs her own publishing services business.
You are reading: Self publishing companies for children’s books
In 1901, aspiring writer Beatrix Potter became frustrated with rejection letters from publishers, so she “privately published” 250 copies of her first book for distribution to friends and family. Within a year, Frederick Warne, one of the publishers who had originally turned it down, picked up the Peter Rabbit story. it is now one of the best-selling and best-loved children’s books of all time.
In Potter’s day, the desktop publishing phenomenon was rare and expensive, so much so that the first printing of the Peter Rabbit tale did not include color illustrations. Today, writers looking to self-publish have several platforms to choose from; kdp kids, bookbaby, blurb and lulu jr from amazon. in particular, they’re great for picture book writers.
I asked literary agents erin murphy and susan hawk what they thought about self-publishing children’s books and what the future of picture books might look like.
Traditional publishers often select and hire illustrators for the illustrated book manuscripts they hire. So what’s the best way for a desktop publishing author to find an illustrator, through an organization like scbwi or a design school like risd?
In most traditional publishing arrangements, both the writer and illustrator receive royalties and are paid by a third party (the agent or publisher). In a multi-author desktop publishing scenario, should one party be the lead author and the other be willing to accept a flat fee, though writers and illustrators with traditional leanings are cautioned against agreeing to work agreements? by contract?
erin murphy: Those are great ideas for places to find illustrators, and there are plenty more online, too.
Writers can be sure to seek out illustrators who are familiar with picture books in particular, because it is their own format, after all. Picture book illustrators know how to enhance a story in art and think about nuances like varying perspectives, combining direct art with spreads, and the like.
I think it is always important that in any collaboration or partnership situation, there is some kind of agreement in writing so that everyone is clear who is obligated to what, who will be paid what, etc. arrangements exist for worst-case scenarios, so it’s important to figure everything out clearly in advance. if things go wrong, there’s an emotionless document to refer to, to help everyone determine how things should be handled.
susan hawk: both scbwi and risd are good places to start. there are a lot of resources online: you can see illustrators’ work on a storytelling platform like storybird, kathy temean’s writing and illustration blog often features new illustrator’s work, and I’m often amazed at the illustrations I see on sites not directly related to children’s books like etsy and spoonflower.
The problem is not a lack of resources, it is almost the opposite: too many. therefore, set aside plenty of time to search for the person whose work is a good fit for your text. it’s a good idea to order a sample and have an illustrator order the same, if one isn’t available on the writer’s site.
a contract is very important, that’s the best way to make sure the agreement between the author and the illustrator is clear. Whether or not a flat fee is appropriate really depends on the particular situation. For the writer or illustrator making that determination, it’s important to have a clear idea of his or her goals in becoming a self-publisher. if a flat fee works for your goals, then it may be something to consider.
In the trade book market, picture books are typically 32 pages long because printers use 8-page signatures to efficiently print large volumes of books. Given that self-published authors are more likely to choose print-on-demand (pod) than offset printing, and are likely not looking to traditional retailers to sell their work, is there any reason why these authors shouldn’t take liberties with the standard number? number of pages and words (usually 1,000 words or less) in picture books? What are the advantages of adhering to the standard model?
erin murphy: the standard model exists because it is what the market wants right now. it’s less about the number of pages and more about making a story as tight and illustrated as possible. in fact, many of the traditionally published picture books are now 40 pages or even 48 pages long (that’s been going under the radar, hasn’t it?) but, despite that, they generally don’t feel any more text-heavy. /p >
When I receive inquiries or submissions from authors who have self-published or are considering doing so, they usually have texts that are too long to be successful in the traditional market, and generally too didactic as well.
I don’t know if desktop publishing will be successful in finding readers for those books unless the writer is willing to take an honest look at what they’re trying to accomplish and revise to make the books as solid as possible. be: entertaining and moving reads, not reads that exist to teach something.
susan hawk: This is one of the wonderful things about desktop publishing: writers and artists don’t have to play by the “rules” of traditional publishing. it’s exciting to think about the ways self-published writers can push boundaries within picture books.
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That said, some of the rules have evolved from something systemic, like the way books are printed; others come from what happens in the market, and that will affect any book, regardless of how it is published.
For example, schools encourage children to read earlier these days and first graders are tackling chapter books. As children move away from picture books, it means that the longer storybook is not as popular as it once was. that is a reality for all books, regardless of their origin. a smart desktop publisher will watch for those trends, just as a traditional publisher does.
School tours can be very lucrative for picture book writers, sometimes more than royalties from their books. Should school visits be a priority for self-published picture book writers, since their books are unlikely to sell in bookstores and they can make much more money per sale than traditionally published writers? What should self-published picture book writers without a track record expect when approaching a school? although sponsorship from writers and educators for picture books is generally not sought after in the commercial market, do you think they would help in the self-publishing market? Or should these writers focus more on getting reviews from established magazines like publishers weekly, kirkus, or library journal to establish credibility?
erin murphy: the only reason I can reasonably advise a picture book writer or illustrator (as opposed to those working in other formats) to self-publish is if they have a built-in market for the book or books.
if they’re publishing in a niche where they have experience and know of outlets that traditional publishers wouldn’t exploit skillfully, or if they’re doing school visits for traditionally published books and they have a book out of print they see a lot of demand, or if they’re doing school visits in some other role, as storytellers for example, then having a self-published book might make sense.
I think a lot of writers go into desktop publishing without realizing how much work it takes to sell the material they produce. You must have a viable plan to reach your readers, or else you’ll have boxes of expensive books sitting in your garage.
susan hawk: When I was doing school and librarian marketing for penguin books for young readers, my department managed school tours for all penguin authors, so I’m a big believer in its power to build presence of an author, and I would encourage any writer, self-published or not, to seek them out.
Writers and illustrators need to have a website that describes their books as well as the type of programs they run in schools. talk about the writing process? how to create characters do you prefer to speak to large or small groups? certain ages, but not others? Be as detailed as possible, then work to get the word out.
Create a brochure detailing your books and programs (keep it short) and leave it in schools, libraries and bookstores. reach out to anyone you know who is connected to your local schools. let people know you’re local and be prepared to be flexible with your fees, knowing that they will increase over time.
I’d go after both endorsements and reviews, they can’t hurt!
Since digital publishing is a relatively low-risk investment, can you imagine any traditional publishers offering digital-first editions for picture books or easy readers in the future? Is this something self-publishers could test the waters with before investing in the high cost of producing physical picture books, which involves variables like choosing a trim and paper size, and checking color consistency and image resolution? ? Is there a certain number of digital sales (not counting free downloads) or clicks on a certain site that they should reach before planning a run?
erin murphy: It seems that digital is not becoming a strong avenue for picture books. I suspected that, in the early days of electronic books began; has been shown to be true. my feeling is that most digital picture book sales supplement print copies, as if parents want a copy they can easily have with them in doctors’ waiting rooms or in the car, perhaps when they didn’t anticipate the need, to supplement the copy that is on the picture book shelf at home.
susan hawk: In terms of what can happen with digital publishing, I don’t think anything is off the table! As for when or how traditional publishers might offer digital first, I can’t say what that would look like…yet.
I have a feeling that self-publishing an illustrated book in digital format presents as many challenges as there are on paper: it’s just a change in technologies and the details that go along with it.
As with determining whether or not to accept a flat fee, the number of clicks or digital sales that determine a print run will depend on the individual writer or illustrator and their goals.
what are some of the best ways to promote children’s picture books online? through highly visual social media platforms like pinterest and instagram? posting or advertising on parenting blogs? Offering downloadable (and physical) bookmarks, posters, and activity kits on an author’s website? Since it’s usually the illustrations that sell an illustrated book, is creating a book trailer or other type of video based on the illustrations an effective marketing strategy?
erin murphy: all online marketing must be very well targeted. sending general emails or posting selfish comments on established blogs will only turn people against you.
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but also, producing a book trailer is useless unless you have some places to post it. again, I think this is where desktop publishing is at its best, when the author has an established platform and a reputation in a particular niche market.
If you’re an animal expert familiar with interacting with kids and parents about animals, you have reason to share a book trailer or guest post on a blog in your online community. If you’re a craft expert who often attends craft fairs around the country, and have a blog with a large following in the craft community, and have a self-published book on crafts, you have a natural outlet. If you’re an expert on the history of your state and are often asked to speak at events about it, you can probably reach your buyers better than a traditional New York home.
susan hawk: ah, promotion! can be a big challenge for self-published writers; It can also be fun, if you focus on the activities you enjoy the most (and that will be effective, of course).
There are so many tools out there. It is important to create a solid Facebook page and even have a simple website. I haven’t seen much use of pinterest or instagram for picture books, although that’s a good idea (and maybe I didn’t realize people use those sites).
The key to all marketing is to be very focused on your audience. know exactly who you’re trying to reach, then you can start thinking about the most appropriate tool to reach that group. if it’s pinterest, so be it: each tool I mention here will be appropriate for several different populations.
However, I’m not a big fan of videos. there are so many of them out there, and creating one that is really unique and therefore effective is expensive. I think there are other more basic tools that give more for your money.
Despite all evidence to the contrary, the stigma persists that picture books (and children’s books in general) are easier to write than adult books. Do you think the “I can write that!” attitude is encouraging more people to self-publish picture books? many of them have very good intentions: there are established novelists interested in experimenting with a new genre, parents who notice a gap in the market and want to educate their children on a certain subject, entrepreneurs with a built-in distribution channel who are eager to to build your brand. What separates “hobbyist” self-published authors from true “entrepreneurial authors”?
erin murphy: true “entrepreneurial authors” (nice word!) have really educated themselves, rather than having an understanding of how publishing works to fill in the gaps with truth imaginary. . they don’t have an optimistic view of how easy it will be; they’ve really learned how bookstores work, why things are done the way they’re done in traditional publishing (and what parts of it they have to do themselves or pay someone to do), what’s involved in running the business to sell your own books, how many do you have to sell to break even, and realistically how long will it take.
They also know at what grades various topics are covered in the curriculum, what else is out there on that topic, and whether or not a perceived gap in the market is real.
sometimes a “gap” is more about not imposing your personal/political point of view on other people, as if all it takes to get more people to agree with you is a book. for children! sometimes it’s about thinking that kids should know something at a younger age than makes sense to most people. sometimes that gap is filled enough that the writer thinks that browsing the shelves of a local library or bookstore is enough market research.
susan hawk: oh yeah. if it’s short, it should be easy to write! There are certainly more self-published picture books now than there were 10 years ago, but I don’t think there’s been an explosion in this category like there have been in others.
However, what I love about desktop publishing is what you point out here: that it gives writers and illustrators with a specific audience the tools to reach them. the big publishing houses do not adapt to certain regional books, for example. I love that so many books that otherwise wouldn’t have found their readers can now.
According to the world of digital books, digital reading (on e-readers, tablets and phones) is on the rise even for young children, and children are exercising greater autonomy with their online purchases. what are some other digital trends you foresee regarding children’s books? Can you imagine the day when digital illustrated children’s books are as popular as printed books?
erin murphy: no. Call me a traditionalist, but from the time of the early adoption of digital books, I’ve believed that it’s just another medium, and I’ve believed that the best books come from the valuable nurturing and curation process that traditional publishing provides. There will always be exceptions, of course, and there will be changes in technology and the market, and promotionally there will be new things to try, but reaching readers for the most part comes down to producing a great book with the help of knowledgeable people. and find readers who will love it.
susan hawk: What I’d really love to see is a digital picture book that exists better in the digital realm than it does in print, one that’s actually made better by existing on that platform. most of what I’ve seen so far are screen versions of print books, with a few bells and whistles, which my kids tire of easily.
I might have missed something, so let me know in the comments if that’s the case! but there is a loss of warmth to digital, which I have not yet seen overshadowed by an inventiveness within the platform. That said, it will probably come. and I’m looking forward to seeing it!
about the agents
Erin Murphy (@agentemurph) is the founder of Erin Murphy Literary Agency, which focuses on building careers and community. The agency began as a one-person operation in 1999 and now includes three support staff and two additional agents working in different parts of the country. Erin’s client list includes Golden Kite winner Joanne Rocklin, Jane Addams winner Cynthia Levinson, and New York Times bestselling authors Chris Barton, Robin LaFevers, Liz Garton Scanlon, and Deborah Underwood. Erin’s favorite parts of being an agent are working with her clients editorially to develop their projects for submission, looking at the big picture of each client and his or her work to envision a path for a long-term career, and choosing to work with truly nice, dedicated people. Erin lives and works in Flagstaff, Arizona.
Susan Hawk (@susanhawk) is a literary agent at The Bent Agency, representing every kind of book for kids. Projects she represents share powerful, original writing; strong story-telling and a distinctive, sometimes off-kilter voice. Some recently published client work includes The Graham Cracker Plot by Shelley Tougas (Roaring Brook), 17 First Kisses by Rachael Allen (Harper Teen) and The Ninja Librarians (Sourcebooks). Her favorite projects live at the intersection of literary and commercial. Before agenting, she spent fifteen years in children’s book marketing at Penguin, Henry Holt and North-South Books; she also worked in Editorial at Dutton Children’s Books, and as a children’s librarian and bookseller.
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