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Writing for the Children’s Book Market
Everyone wants to write a book for children. Perhaps we all have an urge to give back to children some
of the benefits of our own childhood. We should be careful that we’re not trying to turn children’s
books into the Victorian era’s ‘little lessons’ to change children’s ideas and influence their lives! Moral
statements at the end of books date the writers.
It is important to realise that publishers of children’s books usually focus on either the schools market or
the trade (bookshops) market. Recently the lines of demarcation which used to be so clear have become
more blurred. Educational publishers also produce books for the trade market and trade publishers also
sell to education. The recent trend towards literature-based reading (as opposed to readers) has increased
the demand for high quality fiction and non fiction in schools. Educational publishers‚ textbooks and
curriculum-based materials can be lucrative for writers familiar with curriculum.
Because many children’s books have short texts, many people think they take a short time to write.
One well known picture story book writer claims to have done 17 drafts of 500 words over two years. I
have stored 15 drafts (on different coloured papers to keep myself entertained) of Silly Baby Magpie!, a
‘simple’ story which took a year to write. Some writers have cracked a contract on a first draft, but don’t
count on that scenario. Don’t expect writing for children to be easy, just because the finished books have
achieved the ultimate – simplicity.
One of the major secrets of writing for children lies in narrowing the focus of your target age group. Are
you aiming for 4-5 year-olds or 5-6 year-olds? Is the story to be read aloud to a child, or is it aimed at
an independent reader? Some very successful classics for children seem to be aimed at all children. Make
the target age as narrow as you dare. If it works for that age group, it may well work for everyone. But if
you aim for everyone, you may reach no one.
Markets
There are a number of conventional formats for which you can write.
1. Picture Storybooks
Most aspiring writers for children envisage a children’s book as a major picture storybook, hardback,
fully illustrated in colour.
Picture storybooks usually have 32 pages. They may be published in hardback for library use, but the
current trend is to publish picture storybooks for the first time in paperback. Rising costs have also
influenced length and some picture storybooks are emerging with 24 pages. Full colour production is so
expensive that the story chosen for investment has to be very special indeed. There is a growing market
for picture books for older readers, but the story has to be very unusual and the issues involved have to
be of interest to teenagers for your story to be chosen for this format.
2. Novels and Junior Novels
Because of the expense involved in picture storybooks, this is an easier area of the market for a new
writer.
Novels may have as few as 64 pages or as many as 240 pages or more (numbers divisible by 8); with
illustrations ranging from a number of black and white drawings to no illustrations at all; designed for
specific age groups of readers from six year-olds to young adults. You can estimate the number of words
by studying published books for about the same target reading age level. Junior novels (children call
them ‘chapter books’) are a voracious market for enthusiastic young independent readers who feel they
are too old for picture books. There is another strong market at the other end of the scale: young adult
fiction. These are novels for teenage readers that can often contain adult themes. Achieving publication
of a YAF novel is a fast track to publicity, especially if the topic is controversial eg. drugs, sex or suicide.
3. Non Fiction Information Texts
Non fiction written in a range of genres is a growing market, especially in education. This is usually the
result of commissioning or soliciting by a publisher. Instead of sending a finished manuscript, you could
let a number of publishers know that you have the capability or background to tackle a particular topic.
If they are interested in that topic they may put your details on file and approach you at a later date.
4. Anthologies
These are rare, but they give the aspiring children’s writer the best chance of publication. The ASA has
established a set of anthology rates which most publishers follow. Basically you are sharing royalties with
all the other writers in the book. Some will be well known and their names will help to sell ‘your’ book.
5. Innovative Formats
These are rare. Publishers have to be sure of a market before committing funds to a project with a
format which is unfamiliar to the marketplace and which demands special promotion. A face-to-face
interview with an editor gives you the best chance of selling your idea for an unusual format.
Exploring Your Own Potential
Marketing is very important in children’s books. Your one-off book is of great interest to you and your
family, but someone has to sell it to schools, libraries and bookshops. Most texts are easiest to market
if they are part of a series. Thus much children’s publishing is the result of invitation, solicitation or
commissioning. Your unsolicited manuscript may be rejected – but you may be remembered. Take note
of any encouragement you receive from a particular editor. Writers have missed major opportunities in
the children’s book world by being fixated on getting a certain story published and not listening to good
advice from an editor about writing something else which is needed in the marketplace.
Children’s editors and publishers are often crusaders for good children’s literature. They work in a
commercial field, but their main motive often goes deeper than making money. Your task is to isolate
these crusaders from the money-makers!
Collaborating With an Illustrator
Many writers think they have to find their own illustrator before submitting a text to a publisher. You
are much better advised to send in the manuscript and let the publisher find just the right illustrator for
the work. To reach the children’s book market, a publisher will often team an unknown writer with a
known illustrator, or vice versa.
In rare instances a publisher allows a writer and illustrator to collaborate while maintaining a
supervisory role over the project via an in-house editor and designer. There are several successful writer
/illustrators in Australia but a newcomer taking both roles is difficult to promote. Better to succeed at
one role first.
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ASA: Writing for the Children’s Book Market
If you are determined to interest a publisher in a particular artist, send just a sample of finished art by
the potential illustrator. Before sending anything anywhere, consult the ASA paper on joint authorship.
A letter of agreement to your co-author can avoid later misunderstandings. Rejection of one person and
approval of the other is a quick way of destroying a friendship or family relationship.
Don’t send a publisher the finished book with text and pictures completed. If the idea is valuable and
the art has potential, everyone will have to start again (under the guidance of an editor, designer and
marketer). Don’t ‘publish’ the book on your computer to show its potential. Just send a great story.
Approving the Illustrations
Children’s authors often have set ideas about the potential illustrations for their books. They don’t
want to lose control. It is the mark of a new writer not to trust the opinion of an experienced editor
and designer, and to want to dictate all the details and style of the pictures. The writer’s suggestions are
valuable – but you get much better artwork if you keep out of it and let the artist fly!
Royalty Structure
Children’s book royalties are not different from general literature royalties, but when a book is
illustrated, your royalty is shared with the illustrator. In a picture storybook this is likely to be a 50/50
share. In a junior novel or non fiction text the division will vary according to the extent of the pictures:
perhaps 60/40 or 70/30.
The total royalty may be 10% of Recommended Retail Price‚ or a higher percentage of publisher’s
proceeds. Look for the contract details regarding other rights. What if your story becomes a play or a
TV series following the success of the book? What if the book is remaindered, as many books are these
days, and you want to purchase the remaining copies? (At present most Australian children’s authors
and illustrators earn their living by making appearances at schools, rather than from collecting royalties.
Be sure to ask for proper ASA rates and requirements when you are making an appearance. Otherwise,
you will be denigrating all other children’s authors and artists.)
High Discount Sales
Most publishing contracts have a clause that reduces payments to the author and illustrator where books
are sold at high discount to book clubs, educational distributors, and even to other imprints within the
same publishing company. Look carefully at these clauses, which can offer the author as little as 2% of
net receipts where discounts are 75% or more. You may well consider it not worth signing a contract
that offers such little reward.
Self Publishing
Because of the cost of preparing and printing in colour, self-publishing of a children’s book is not an
option. The only appropriate circumstance for self-publishing is a defined market where distribution is
not an issue – and then only if production is to be in one colour. If you are determined to self-publish,
employ an editor and a designer to achieve professional quality. Children are good critics!
Networking is one of the keys to success in the children’s literature world:
• Join the Children’s Book Council of Australia, which is composed of librarians, booksellers, editors,
teachers, parents, authors, illustrators and publishers
• Join the Society of Book Illustrators (contactable via the ASA) if you are an illustrator
• Join the Writers’ Centre in your state or territory and meet other writers who can help you
• Attend ‘writing for children’ courses, conducted by experienced authors, illustrators etc
• Consult the industry magazines: Reading Time, Magpies & Literature Base
• Study the publishers lists. Study the marketplace. Study your own writing development.
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ASA: Writing for the Children’s Book Market
Don’t be content with just asking: Which publisher should I try next?
Ask yourself:
How can I make my writing better?
What else could I write?
What sorts of books are being published these days?
What sorts of books are children looking for these days?
What topics are children’s librarians looking for these days?
How did these published writers manage such publishable texts? (Analyse their success.)
How can I meet some children and listen to their needs?
What questions can I ask the children in order to receive honest answers?
What organisations can I join in order to mix with children’s librarians and teachers?
What organisations can I join in order to become a more professional writer for children?
This study could take years and lead you into endless new paths. Writing for children is not one
moment of success but a journey. On the way you may decide that writing for children is not for you.
But if you love children – and love writing for them – and you’re willing to learn along the way, then go
for it!
(7th Edition)
Originally published in 1998; updated by Jill Morris 2003.
This edition updated September 2009
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ASA: Writing for the Children’s Book Market
AUSTRALIAN CHILDREN’S BOOK PUBLISHERS
We suggest you use this list as a starting point. Publishers’ submission policies will change from time
to time, therefore it is advisable to contact each publisher to establish submission guidelines (including
changes of address and changes in corporate ownership) before sending unsolicited manuscripts. Please
note that some publishers on this list will only accept manuscripts through recognised agents. Details
were correct at the date of publication. The ASA accepts no responsibility for changes made since.
A&A BOOK PUBLISHING
PO Box 449, Leichhardt NSW 2040
Ph: (02) 9564 6808
Email: admin@aampersanda.com
Web:www.aampersanda.com
ABC BOOKS
GPO Box 9994, Sydney NSW 2001
Ph: (02) 8333 3963
Fax: (02) 8333 3888
BLACK DOG BOOKS
15 Gertrude St, Fitzroy VIC 3065
Ph: (03) 9419 9406
Fax: (03) 9419 1214
Email: dog@bdb.com.au
Web:www.bdb.com.au
BOYER EDUCATIONAL RESOURCES
PO Box 255, Glenbrook NSW 2773
Ph: (02) 4739 1538
Fax: (02) 4739 1538
Email:boyer@eftel.net.au
Web:www.boyereducation.com.au
CENGAGE LEARNING AUSTRALIA
Level 7, 80 Dorcas St, Sth Melbourne VIC 3205
Ph: (03) 9685 4111
Fax: (03) 9685 4199
Email:aust.customerservice@cengage.com
Web:www.cengage.com.au
DISCOVERY PRESS
218 Pakington St, Geelong West VIC 3218
Ph: (03) 5223 1660
Fax: (03) 5223 2313
Email: mfrazer@comconnet.com.au
Web:www.discoverypress.com.au
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ERA PUBLICATIONS
PO Box 231, Brooklyn Park SA 5032
Ph: (08) 8352 4122
Fax: (08) 8234 0023
Email:customerservice@erapublications.com
Web:www.erapublications.com
FORD STREET PUBLISHING
2 Ford St, Clifton Hill VIC 3068
Ph: (03) 9481 1120
Fax: (03) 9481 1123
Email: fordstr@internode.on.net
Web:www.fordstreetpublishing.com
FREMANTLE PRESS
PO Box 158, North Fremantle WA 6159
Ph: (08) 9430 6331
Fax: (08) 9430 5242
Email:admin@fremantlepress.com.au
Web: www.fremantlepress.com.au
FUTURE TRACK AUSTRALIA
PO Box 369, Mount Hawthorn WA 6915
Ph: (08) 9444 5458
Fax: (08) 9444 6698
Email:books@futuretrack.com.au
Web:www.futuretrack.com.au
GREATER GLIDER PRODUCTIONS
8 Rees Lane, Maleny QLD 4552
Ph: (07) 5494 3000
Fax: (07) 5494 3284
Email:jillmorris@greaterglider.com.au
Web:www.greaterglider.com.au
HACHETTE AUSTRALIA
Level 17, 207 Kent St, Sydney NSW 2000
Ph: (02) 8248 0800
Fax: (02) 8248 0810
Web:www.hachette.com.au
ASA: Writing for the Children’s Book Market
HARDIE GRANT EGMONT
Private Bag 1600, South Yarra VIC 3141
Ph: (03) 8520 6444
Fax: (03) 8520 6422
Email:info@hardiegrant.com.au
Web:www.hardiegrant.com.au
HARPERCOLLINS PUBLISHERS AUSTRALIA
PO Box 321, Pymble NSW 2073
Ph: (02) 9952 5000
Fax: (02) 9952 5555
Web:www.harpercollins.com.au
HINKLER BOOKS PTY LTD
45-55 Fairchild St, Heatherton VIC 3202
Ph: (03) 9552 1333
Fax: (03) 9558 2566
Email:enquiries@hinkler.com.au
Web:www.hinklerbooks.com
INTERACTIVE PUBLICATIONS PTY LTD
Treetop Studio, 9 Kuhler Crt, Carindale QLD 4152
Ph: (07) 3324 9319
Fax: (07) 3324 9319
Email: info@iboz.biz
Web: www.ipoz.biz
NEW FRONTIER PUBLISHING
Suite 3, Level 2, 18 Aquatic Drive Frenchs Forest
NSW 2086
Ph: (02) 9453 1525
Fax: (02) 9975 2531
Email:info@newfrontier.com.au
Web:www.newfrontier.com.au
PAN MACMILLAN AUSTRALIA
Level 25, 1 Market St Sydney NSW 2000
Ph: (02) 9285 9100
Fax: (02) 9285 9190
Email:pansyd@macmillan.com.au
Web:www.panmacmillan.com.au
PASCAL PRESS
PO Box 250 Glebe NSW 2037
Ph: (02) 8585 4044
Fax: (02) 8585 4052
Email:contact@pascalpress.com.au
Web:www.pascalpress.com.au
PENGUIN BOOKS AUSTRALIA
PO Box 701, Hawthorn VIC 3122
Ph: (03) 9811 2400
Fax: (03) 9811 2620
Web:www.penguin.com.au
KOALA BOOKS
PO Box 626, Mascot NSW 1460
Ph: (02) 9667 2997
Fax: (02) 9667 2881
Email:admin@koalabooks.com.au
Web:www.koalabooks.com.au
PICK-A-WOO WOO PUBLISHERS
PO Box 178, Nannup WA 6556
Ph: (08) 9756 1818
Email:info@pickawoowoo.com
Web:www.pickawoowoo.com
LITTLE HARE BOOKS
8/21 Mary St, Surry Hills NSW 2010
Ph: (02) 9280 2220
Fax: (02) 9280 2223
Email:enquiries@littleharebooks.com
Web:www.littleharebooks.com
RANDOM HOUSE AUSTRALIA
Level 3, 100 Pacific Highway Nth Sydney NSW 2060
Ph: (02) 9954 9966
Fax: (02) 9954 4562
Email:random@randomhouse.com.au
Web:www.randomhouse.com.au
MAGABALA BOOKS
PO Box 668, Broome WA 6725
Ph: (08) 9192 1991
Fax: (08) 9193 5254
Email: sales@magabala.com
Web: www.magabala.com
SCHOLASTIC AUSTRALIA
PO Box 579, Gosford NSW 2250
Ph: (02) 4328 3555
Fax: (02) 4323 3827
Email:manuscriptenquiries@scholastic.com.au
Web:www.scholastic.com.au
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ASA: Writing for the Children’s Book Market
UNIVERSITY OF QLD PRESS (UQP)
PO Box 6042, St Lucia QLD 4067
Ph: (07) 3365 7244
Fax: (07) 3365 7579
Email:uqp@uqp.uq.edu.au
Web:www.uqp.com.au
MANIA
78 Renwick St, Redfern NSW 2016
Ph: (02) 9699 0333
Fax: (02) 9310 2012
Email:danielf@next.com.au
Web:www.nextmedia.com.au
WALKER BOOKS AUSTRALIA
Locked Bag 22, Newtown NSW 2042
Ph: (02) 9517 9577
Fax: (02) 9517 9997
Email:mail@walkerbooks.com.au
Web:www.walkerbooks.com.au
PEARSON EDUCATION MAGAZINES
3 magazines, for different age groups:
Comet (5-7 year olds)
Explore (8-10 year olds)
Challenge (11-14 year olds)
PO BOX 1024, South Melbourne VIC 3205
Ph: (03) 9811 2800
Fax: (03) 9811 2999
Email: magazines@pearsoned.com.au
Web:http://www.pearson.com.au/Schools/
Magazines/
WORKING TITLE PRESS
33 Balham Ave, Kingswood SA 5062
Ph: (08) 8271 6665
Fax: (08) 8271 0885
Email:workingt@esc.net.au
Web:www.workingtitlepress.com.au
THE SCHOOL MAGAZINE
4 magazines, for different age groups:
Countdown (8-9 year olds)
Blast Off (9-10 year olds)
Orbit (10-11 year olds)
Touchdown (Advanced primary readers)
The School Magazine, Private Bag 3 Ryde NSW 2112
Ph:
(02) 9886 7754
Fax: (02) 9886 7769
Email: school.magazine@det.nsw.edu.au
Web:www.curriculumsupport.education.nsw.gov.
au/services/schoolmagazine/
AUSTRALIAN JOURNALS
FOR CHILDREN
DISNEY ADVENTURES
GPO Box 4088, Sydney NSW 2001
Ph: (02) 9282 8000
Fax: (02) 9267 3625
Web:www.acp.com.au
JUST KIDDING
PO Box 303, Yarra Glen VIC 3775
Ph: (03) 9730 2393
Fax: (03) 9730 2120
Email:colleen@yarramedia.com.au
Web:www.justkidding.com.au
K-ZONE
35-51 Mitchell St, McMahons Point NSW 2060
Ph: (02) 9464 3300
Email: kzone@pacificmags.com.au
Web: www.kzone.com.au
SCIENTRIFFIC
PO Box 225, Dickson ACT 2602
Ph:
(02) 6276 6017
Fax: (02) 6276 6641
Email:Tanya.Patrick@csiro.au
Web:www.csiro.au/helix/scientriffic
Correct as of September 2009
Australian Society of Authors
ABN 26 008 558 790
PO Box 1566, Strawberry Hills NSW 2012
T: 02 9318 0877 | F: 02 9318 0530
asa@asauthors.org | www.asauthors.org
Copyright © 2010 Australian Society of Authors
Detail from ASA Medal design by Darrell Sibosado