Guides • Understanding Publishing
Posted on Apr 16, 2025
How to Publish a Children's Book (and Actually Make Money)
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View profile →This post is written by Karen Inglis, bestselling author of The Secret Lake and Children’s Advisor at the Alliance of Independent Authors.
There's nothing quite like crafting stories that captivate, educate, and inspire children around the globe. But how do you consistently publish children's books successfully — and even make a career out of it?
Over my more than a decade-long career, I've published a range of picture books, chapter books and middle-grade novels through my independent imprint, Well Said Press, each selling in their thousands. My time-travel adventure, The Secret Lake, has sold over 600,000 copies in English and has been translated into 14 languages.
How do I achieve this? By following an 8-step blueprint which I share below. (If you find this useful and want to dive even deeper, I’ve written a nonfiction book on the subject called ‘How to Self-publish and Market a Children’s Book’).
How to publish a children’s book in 8 steps:
1. Understand the children’s book market
One of the most common mistakes to avoid when starting out with your first children’s book is not knowing what age group it is aimed at. Understanding this is crucial because it affects not just what you write, but also how you write it 一 the story’s themes, use of language, plot complexity, story and chapter length, and age of key characters. (Tip: children prefer main characters to be their own age or ideally a bit older!)
However, it’s not just about the story. Over 90% of your children’s book sales will be in print, and your reader’s age will also influence your book’s physical dimensions as well as its interior and exterior formatting choices. These include typeface, font size, line spacing, left or full justification, paper color, and the number and style of any illustrations.
Determine the age group you’re writing for
Here's a breakdown of children's book age groups (for ages 3 and above), along with typical page counts and illustration styles:
|
Age Group |
Book Type |
Word Count |
Page Count |
Illustrations |
|---|---|---|---|---|
|
3-5 years |
Picture Book |
200-1000 words |
24-32 |
Full colour on every page |
|
5-7 years |
Early Reader |
1000-3,500 words |
32-64 |
Colour or b&w, on most pages |
|
7-10 years |
Chapter Book |
5,000-15,000 words |
48-100 |
B&W illustrations (scattered) |
|
8-12 years |
Middle Grade |
25,000-50,000 words |
120-300 |
Few or no illustrations (B&W if present) |
Provided you have a good story, sticking close to these lengths and formats will help set you up for success when marketing your book alongside the competition, both online and in bookshops.
But feel free to take some creative liberties
The above said, there is always room for flexibility! The Secret Lake is 22,400 words and its sequels are 52,000 and 62,000 words respectively! Henry Haynes and the Great Escape runs to 5,000 words and is best for ages 6-7, and The Tell-Me Tree has been used in schools for ages 4-8 owing to its theme of helping children share feelings. Don’t ruin your story by trying to stay rigid to the numbers above, but if you’re going to deviate, be sure that you have a well-written and cracking read, or content that justifies bucking the norm.
Explore a wide range of children’s literature
My biggest tip when starting out is to visit your local children’s library or bookshop and buy or borrow and start reading around. If you’ve just the kernel of an idea for a story, or even a fully mapped out idea in your head, where might it fit in this landscape? What will that look like on paper?
Q: What lessons can first-time authors gain from analyzing popular books in their chosen genre?
Suggested answer
Analysing popular books in your chosen genre will help you in two ways. Firstly, you can learn from the choices and tactics used by those authors. Secondly, you can see how your proposed book fits into the market.
Susanna is available to hire on Reedsy ⏺
Look for the balance between narration and dialogue. Watch how and when authors introduce new characters. Look for how visual and sensory details are woven into the story as it goes along, and how the author doesn't stop for long to weave in these details.
Look for the initial inciting incident and pay attention to where it falls in the book. Watch for how much happens in the first 50 pages, and see if the plotting of your own book moves along at a similar pace.
Look at those all-important first lines and first chapters of a book and see if you can glean knowledge as to why the author chose to open with that sentence or paragraph.
Melody is available to hire on Reedsy ⏺
If you don’t yet have a story idea, worry not 一 reading around will provide plenty of inspiration! As a particular genre draws you in, read more of it to get familiar with the plotlines and themes, characterization, humor and use of language 一 and illustration style if relevant. This should help with your first draft…
2. Write your first draft and gather feedback
To write a successful children's book, you’ll need to follow the same storytelling principles as adult fiction. You’ll need:
- A compelling story premise
- Relatable characters (even if flawed)
- A central goal or challenge (internal or external)
- Setbacks along the way (internal or external)
- Satisfying resolution
- Character growth or change
For example, in The Secret Lake, Stella is bored of the new gardens they have moved to and is missing her best friend back in Hong Kong. But a lost dog leads to a hidden time tunnel and a whole new adventure that takes her into the past with her brother Tom. Here they meet the children living in their past-time home and overcome a series of challenges to rescue and clear the name of a young boy who has been falsely accused of theft. By the end of the story Stella has forged new friends across time, recognized the power of bravery and loyalty in those around her, and grown to see the gardens and her new home in a whole new light.
Next, what matters is that you tell your story in a way that fits the age and stage of your reader.
Tailor your language for your readers
If your language is too simple or too advanced, readers will quickly disengage. That said, it’s fine to introduce unfamiliar vocabulary — children enjoy learning new words — just ensure they can make an educated guess from the context. Also, make sure that children’s dialogue sounds like children! A very early mistake I made when starting out was including turns of phrase that only an adult would use – luckily my first editor pulled me up on that!
With picture books, use repetition and rhythm to help engage young audiences.
The reading from your early research will help you with all of the above.
Paint pictures with words
Use ‘show don’t tell’ to convey characters’ feelings and emotions, or what they see or hear. Don’t tell young readers that a character is scared, shy, or lonely; show us through their physical actions and reactions, their dialogue or their inner thoughts. (Of course, with picture books the illustrations will play a major role here 一 as seen in this extract from The Tell-Me Tree, where they do the heavy lifting.)
Test your story with beta readers
Once you feel your story is as good as it can be, your next step is to test it with young readers (or their parents/teachers for picture books). Approach your local library, children’s playgroup, or a teacher in your local school. Offer a free final copy of your book in return for honest feedback on your manuscript.
Q: What are the most important questions an author should ask beta readers when gathering helpful feedback on their manuscript?
Suggested answer
You're not looking for them to rewrite your book or give you line edits. What you do want is a sense of their reading experience. What landed, what didn’t, and where they felt pulled in or pushed out. So keep your questions focused on how it felt to read the story, not what they’d do differently.
Here are some solid ones to start with:
- Were there any spots where you felt bored, confused, or tempted to skim?
- What scenes or moments stuck with you and why?
- Were there any characters you didn’t connect with, or didn’t believe?
- Did anything feel off, out of place, or inconsistent?
- Did you always know what the main character wanted and what was at stake?
- How did the pacing feel—too fast, too slow, just right?
- Any lines that made you laugh, cry, reread, or roll your eyes?
And this one’s always revealing:
If you had to describe what this book is about in one or two sentences, what would you say?
That’ll tell you a lot about whether your story arc and themes are actually coming through.
You can also tailor your questions depending on what stage you're in. If you’re testing out a romance subplot, a twist, or the clarity of a magic system, ask about those specifically.
Final thing: don't get hung up on every single comment. Look for patterns. If three people say the same scene feels off, that’s worth looking at. If one person doesn’t vibe with your protagonist, but everyone else is in? That might just be taste.
Good luck and happy writing!
Tee is available to hire on Reedsy ⏺
When gathering feedback from beta readers, asking the right questions can help you pinpoint areas for improvement and understand how your story resonates with others. Start by asking about engagement and pacing: Did the story hook them from the beginning, or were there parts they found slow or hard to follow? Plot questions are also essential—find out if any twists surprised them, if they spotted any unresolved plotlines, or if they were left confused by certain events. Character feedback is equally important; ask if the main characters felt relatable or if any lacked depth or motivation. Don’t forget to address world-building (if applicable), checking whether the setting felt immersive or if there were confusing elements. Questions about emotional impact can reveal if your story’s highs and lows hit the mark—did they feel invested in the stakes, or did certain scenes evoke strong emotions? Clarifying questions about scenes that might have been hard to follow, as well as feedback on theme and message, can also guide your revisions. Finally, personal enjoyment questions, like their favorite and least favorite parts or if they’d recommend the book, can give insight into the overall appeal. By targeting these areas, you’ll gain constructive, specific feedback that can elevate your story.
Eilidh is available to hire on Reedsy ⏺
This depends how deep you want your beta readers to go, of course, but in general, ask them to consider: suspension of disbelief; character believability—particularly in dialogue; internal scene consistency; immersive world-building (for fantasy/horror, especially); and overall pace/flow of the story.
Brett is available to hire on Reedsy ⏺
If you are a non-fiction author, your beta readers would be professionals in the field. You would ask these professionals to be sure you are communicating the information clearly to your target audience. Is the tone too academic? Is the authoritative voice strong enough or is there hesitancy in the narrative? Other experts in your own field of expertise will make the strongest beta readers. But beta readers aren't enough. An editor will make sure the book flows smoothly and you have strong transitions from topic to topic.
Melody is available to hire on Reedsy ⏺
When I conduct a beta reading process with my authors, I warn them that my opinion about their book, the message, the writing style does not count. Especially if I am not their target reader. I propose this: I will find twelve to twenty likely readers of this genre. These are people from my inner circle of authors and friends and librarians who self-identify as reading, say, business books. The author and I develop ten questions that cannot be answered by yes or no. An example would be what are the main points you gleaned from this book? Or which of these three titles fit best (or not)?
I then aggregate responses that come back to me (not to the author directly to preserve anonymity of the readers), and I help the author look for patterns in the responses and which feedback to pay attention to in a revision.
Do not dump a manuscript on a friend or your coworkers or your mother-in-law and ask, "What do you think?" You won't get actionable, unbiased responses.
Sandra is available to hire on Reedsy ⏺
If it’s a picture book, don’t commission illustrations yet! Create a simple mock-up with dummy sketches created with free AI tools (more on this later). Four or five readers are enough to get feedback.
Polish and edit your book based on feedback. Professional editors come next, but first… you need to decide your publishing route.
3. Choose a publishing route
Print on demand, coupled with access to increasingly smart and cost-effective formatting tools, and teams of experienced freelance creatives, has accelerated professionalism in the world of self-publishing over the last 10 years. No longer is it viewed simply as ‘vanity publishing’. Thus we are lucky today to have two viable publishing options: traditional and self-publishing.
Whilst traditional publishing offers validation and (in some cases) easier access to high street bookshops — it’s highly competitive, slow-moving, and offers limited creative control. And even if you get a deal after many months or years, print book royalties are typically just 7.5% of the Recommended Retail Price (RRP) 一 or less where books are sold in bulk at a discount.
Self-publishing, by contrast, gives you creative control, the freedom to publish when you want, and higher earnings per sale — typically 25%-75% of the RRP for print books, depending on how you sell them. In 2021 I was offered a two-book traditional deal for The Secret Lake sequels — with reasonable advances. After crunching the numbers and fretting about the loss of control, I turned it down.
Q: What are the most common mistakes authors make when self-publishing?
Suggested answer
From my conversations with self-publishing authors, here are some points came up most frequently:
- Cover design - trying to do it yourself if you don't have an understanding of design principles (or skimping by paying someone peanuts). Whether we like it or not, everyone is judging everything and everyone. First impressions count and good (exceptional) design, attracts attention. I myself have been known to purchase books just because of a gorgeous cover (and hoping the story will be as good!).
- Formatting - poor formatting will absolutely degrade all your efforts. Subconsciously, readers shouldn't be drawn to the layout. An exceptional one doesn't stand out (by way of - "There's something "off" with this layout"), and allows the reader to focus on the book content. Excellent formatting reflects an excellent product.
- Marketing - clearly defining who your target audience is, means you have clarity when it comes to creating your marketing content. It helps you market specifically to those most likely to purchase your book/s and develop a loyal following. Writing your book was one part of it. The marketing is as important to get it out into the world and it requires effort and a good understanding of what your specific book needs, so that it can garner the right attention.
- Audience - ignoring your audience and not engaging with them (or hearing their feedback), can be detrimental. They're your main source of importance when it comes to your reach. Truly understanding who they are (as above in marketing - your target audience), is crucial. They will want to engage with you and will reciprocate with loyalty.
- Procrastination and Perfectionism - this is probably one of the greatest issues we face (across humanity to be honest), and it's also a natural part of being human, that we must overcome. Learning how to optimize your time, carving out when you're most productive and sticking to it daily, and tracking when and how often you show up, creates your lifelong "good" habit. We want to weed out the bad habits that stop us from creating the work. Waiting for "the right time" is a fallacy and something that will blindly rob you of precious days, months and sometimes years. Show up for your future self now and develop the habits (over goals), that will compound over time and create the results needed. It's the actual action-taking that gives you clarity. You just need to start and keep going. Know one gets it right in the beginning. Just don't quit on yourself.
- Editing - after your hard work of bringing your book to life, this is an extremely important part of the writing process. We are so close to the work that we can easily miss what is right in front of us. A professional editor can whip you into shape and saving you time, effort and will elevate the quality exponentially.
The way to success is to never give up. Remember why you are doing it and enjoy the process!
Leoni is available to hire on Reedsy ⏺
One of the most common mistakes I see with self-published authors is setting unrealistic timelines for their publishing journey. Many writers plan their schedule far too tightly and only reach out to professionals—whether editors, designers, or marketers—at the very last minute.
This creates unnecessary stress on both sides: the author feels rushed and overwhelmed, while the professionals either have to decline the project or take it on under less-than-ideal conditions. In the worst case, authors struggle to even find available professionals because their preferred timeline doesn’t allow for the necessary lead time. Many professionals book out months in advance, so it’s wise to plan at least four months ahead—and in many cases, even that may not be enough time.
It’s also important to remember: as self-publishers, you are free to set your own pace. Unlike in traditional publishing, there is usually no external deadline or audience impatiently waiting for the book—especially when it’s a debut. That pressure often comes only from a self-imposed timeline. Instead of rushing, it’s far wiser to take the time to do everything properly, work with professionals without stress, and then launch the book when it’s truly ready.
Publishing a professional-quality book requires space for collaboration, revisions, and creative breathing room. When timelines are compressed, the process becomes about “getting it done” rather than “getting it right,” which can ultimately compromise the quality of the finished book. A thoughtful, realistic schedule not only reduces stress but also ensures that every stage of the process—from editing to design—has the attention it deserves.
Sabrina is available to hire on Reedsy ⏺
One of the biggest traps authors fall into when self-publishing is thinking that the hard part ends once the book is written.
In reality, self-publishing is as much about production as it is about creativity, and overlooking that side can leave even the best manuscript looking unprofessional.
I’ve seen too many writers skip professional editing, try to design their own cover, or leave marketing as an afterthought, and the results are usually disappointing. But just as important, and often less discussed, are the mistakes around the actual printing and publishing process. Authors frequently go with the first printer they find rather than getting at least three quotes, which is a sure way to overpay.
Others don’t ask whether VAT will be added on top of the quoted price, only to discover the true cost later.
Perhaps the most heartbreaking mistake is not asking to see samples of the paper and materials being used; the author waits excitedly for their book to arrive, only to be handed a flimsy volume on cheap stock that feels nothing like the work they poured their heart into.
The truth is, self-publishing is about producing a product as much as sharing a story. Taking the time to ask questions, compare options, and insist on seeing exactly what you’ll be paying for can mean the difference between a book that looks like an amateur project and one you’re genuinely proud to hold in your hands and which reflects the hard work you have put in as well as the hopes, naturally enough, of your client to hold a book in their hands which is a quality item.
Edward is available to hire on Reedsy ⏺
I've read a fair number of self-published books, and one thing I have noticed is that an unprofessional interior book design does impact my reading experience.
Interior book design is about all that invisible work that makes a book visually pleasant to read. If the lines break poorly, if the font is too big or too small, if the line spacing is too tight or too loose, if the font selection is one that's difficult on the eyes, especially after reading for a long time--all of this will subtly make your reader tired while reading, and, perhaps subconsciously, less likely to enjoy reading your book. They might not even know why! And by the end, they may be left with this feeling that they didn't want to pick up the book to read it as much as they have other books, which is not a feeling you want your readers to have, especially for something so easily fixable.
A well typeset book is unnoticeable. That's the point! Your reader doesn't notice the words on the page. Instead, they glide over them, immersed in the story. But a poorly typeset book stands out. Your reader's attention is pulled from the story again and again because the words are too squished together to read easily, or because there was one dangling line all by itself on the last page of a chapter and that looked odd, or because the font for the text messages was inconsistently applied.
Interior book design is an important part of the publishing process that I think a lot of self-publishing authors overlook.
Emily is available to hire on Reedsy ⏺
The most common mistakes authors make when self-publishing are: 1) Not focus-group testing yout title and subtitle, Check with Amazon for duplicate titles, and ask friends/colleagues 2) Not obtaining at least 2 endorsements, for front and back cover. 3) Not creating a publisher name for themselves Amazon. If you publish under your personal Amazon account, the "publisher" will be listed as "independently published," which can erode credibility. Instead, set up your KDP account in the name of a publisher you invent. There are many more, like poorly-designed covers and interiors, but these are of the most overlooked.
Michael is available to hire on Reedsy ⏺
Common mistakes:
Unrealistic or distorted view of public interest (Harsh, I know.)
Family and friends aren't fans--neither are paid reviews. It is important to be as objective as possible when assessing your book's popularity. I say this because many indie and early-stage authors believe they need what NY Times BEst Selling authors need, and that can lead to a lot of wasted time and money.
Acting as your own publishing company
It may seem like creating a separate name as your "publishing company" but the reality is, you don't yet have a company. This can be misleading to actual publishers that may be interested or contribute to the mistake mentioned above. These days, authentically doing everything on your own is more appealing to readers and publishers than the "fake it 'til you make it" strategy.
Starting a blog
If you aren't ready to commit to a regular schedule or writing blogs in batches, you don't need a blog on your website. Focus more on a simple and clear website and point of sale, then drive traffic to it. A blog isn't going to get you traffic unless you treat the blog itself as a business of its own.
Chad is available to hire on Reedsy ⏺
Something I have seen quite a lot lately in the self-publishing world: trying to do everything by yourself. Thinking that you just need Photoshop to make a cover, spell-checking software to edit, a dictionary and a bit of knowledge to translate. Never underestimate the value of a human professional who has spent years studying and then honing their skills. There is more to translation than substituting one word with another, just as there is more to a cover than a bunch of drawings and a title. Find the right professional for you and your project, and work closely with them; you won't regret the expense, I promise. Also, yes, some types of stories and tropes are very popular right now, and those seem like a safe bet, as far as marketing and selling go - but likely there are a lot of similar books out already. In traditional publishing, variety is sorely lacking, because a tried and tested product seems safer; let's avoid repeating that mistake. Write the story that's in your heart and then strategically find your niche audience. You'll find them starved for exactly your flavour of creativity.
Mariafelicia is available to hire on Reedsy ⏺
So should you self-publish your children’s book? Ultimately it’s your choice. Bear in mind that self-publishing is a business in which you take on the upfront cost and responsibility for production and, later on, marketing. This means you will need a budget 一 but it’s not as scary as it sounds! The rest of this post assumes you wish to self-publish.
4. Hire a professional children’s editor
Assuming your manuscript is ready and tested, and you plan to self-publish, your next step is to work with an experienced children’s book editor. A good editor will give you frank, informed feedback on your manuscript and teach you bucketloads about writing for children. What you will learn for your next book will be invaluable — trust me!
Q: What type of editing is essential for self-published authors to ensure the quality and professionalism of their book?
Suggested answer
I like thinking about the different editorial processes in terms of how a house might get built. So a developmental edit is really going into the essentials: getting the foundations right, doing the electrical wiring, laying the bricks, building the house. A copy-edit would be about making the house liveable: installing the kitchen, carpets, blinds, the wallpaper. The proofread would be when everything is in place and you want to do a final deep clean, vacuum, sweep.
I think it really depends on the author and their strengths, but authors work so hard and so long on their books that I think it's almost impossible for them to do the final two stages - copy-edit and proofread - with any kind of objectivity. They've seen those words on the page so many times. A fresh pair of eyes here is invaluable.
Thalia is available to hire on Reedsy ⏺
When you’re self-publishing, developmental editing and line editing are crucial steps to consider if you want to put out a professional, high-quality book.
Developmental editing dives into the structure of your story—checking for plot consistency, pacing, character development, and overall narrative flow. It makes sure your story holds together, that characters make sense, and that everything from start to finish engages readers. Without it, even a great concept can fall flat if there are plot holes or confusing elements.
Line editing goes a level deeper, focusing on how your story is told. It improves the clarity, flow, and style of your writing. A line editor will help tighten up sentences, enhance your voice, remove repetitive wording, and make sure every sentence shines.
For self-publishing authors, at least one (preferably both) of these edits are worth the investment. It’s what transforms a good idea into a book that readers can’t put down. Skipping them risks putting out a story that might be inconsistent, awkward, or just not polished enough to compete.
Even if you can only afford one major editing service, try to follow it up with a proofread to make sure it's as polished as possible.
Eilidh is available to hire on Reedsy ⏺
Where to find children’s book editors:
- Reedsy 一 search children’s book editors by genre and ask for a quote 一 all are vetted, and most have worked in the traditional publishing world. I used an excellent editor for Walter Brown and the Magician’s Hat
- The Society of Children’s Book Writers and Illustrators
- WritersAdvice.co.uk 一 I used them for The Secret Lake in its early days, and for early drafts of several other titles
Also ask fellow children’s authors for recommendations 一 or in social media groups frequented by children’s authors.
Hire an expert
Sarah K.
Available to hire
I'm a British Asian Cambridge-educated editor and author with over 20 years experience in publishing.
Penny S.
Available to hire
Deputy Chief Editor then Director of the Oxford English Dictionary; 23 years at the OUP. Now editing texts for a varied range of authors.
Amy S.
Available to hire
Friendly, thorough, supportive editor/proofreader for your novel. Experience in romance, historical, LGBTQIA+, mystery, YA, sci-fi, fantasy.
Compare quotes and go with your gut and budget. Cost will depend on the experience of the editor, your book’s length and the quality of your manuscript. I’ve personally paid between $650-$1,000 for my middle-grade novels, with pretty clean manuscripts. Picture book editing will of course come in lower owing to the short word count.
5. Collaborate with an illustrator
For picture books, your illustrator is your co-storyteller, so you’ll be looking for someone whose style matches the tone and emotional arc of your text. Hopefully your early research will have helped here. The same is true for chapter book illustration style.
Q: What criteria should authors consider when selecting an illustrator whose style and approach align with their story's tone and themes?
Suggested answer
Take a look at an illustrator's portfolio and compare that first with the typical style of the genre of your story-- for example, you'd probably want to eliminate an artist who does bright, colorful character-based romance cover designs if your book is a serious historical fiction. You want to see the mood of your story already in that cover designer's portfolio, usually.
Caitlin b. is available to hire on Reedsy ⏺
Where to find illustrators:
- Reedsy
- The Society of Children’s Book Writers and Illustrators
- Children’s Illustrator Groups on Linked-In
Or search online. Again, remember to ask fellow authors for their recommendations.
Hire an expert
Kristina K.
Available to hire
Hi, I'm Kristina, a professional illustrator and comic book artist with a trusty sidekick - my black cat who likes to photobomb my work!
Judit T.
Available to hire
Currently cooking for US children's book publishers, mixing it with some storyboarding on the side and topping it with creative writing.
Natalia G.
Available to hire
I am a children's illustrator. I work in digital technique, but I like to imitate natural materials such as pencil, gouache or ink.
In my experience, costs for a book cover typically start at around $600 but could be a bit less or a lot more depending on style used and the illustrator’s experience. Illustrations for a 32-page color picture are likely to start at around $4,000 and go up to around $5,000.
Be intentional in your design brief
Most illustrators will not have time to read your middle-grade novel or chapter book. The clearer your brief the more likely they will capture the essence of your story early on. Here are a few tips to help smooth the process:
- Include examples of books you like in your illustrator brief, along with notes explaining what appeals to you 一 including color palette if that’s something you feel strongly about. Remember to check in thumbnail size!
- If you have an image or scene for your front cover that you’re finding hard to describe, are there any photos you could find online to make your brief clearer?
- Or why not use a free AI tool like ChatGPT or DALL-E via Bing to create a dummy sketch or scene?
- Include a text excerpt from your book if you think this will help the illustrator.
Q: How do you collaborate with authors to ensure your illustrations align with their vision?
Suggested answer
Working with authors means making sure the illustrations match their vision while staying true to my style. Here’s how I make that happen:
They come for my style – My portfolio does the talking. I keep it fresh and up to date, so when an author reaches out, they already know what to expect. This keeps our creative visions aligned from the start.
Visual brainstorming – We dive into the project, discuss ideas, and swap references. Mood boards, sketches, inspirations—whatever helps us get on the same page.
Open process on Miro – I share my progress on a Miro board, where the author can follow along, give input, and be part of the journey. This keeps everything transparent and collaborative without disrupting my workflow.
In the end, I want the final illustrations to feel natural and exciting for both of us.
Evgenia is available to hire on Reedsy ⏺
It's important to remember that every author is different. Even if an author has worked on their book for months, if not years, and has a deep understanding of places, characters and content, it doesn't always mean they know how it should look. Other times the author knows exactly what they want.
Often an author has prepared visual references and described their project in detail in their proposal. But others can be less sure. Either way, I will want to pick their brains and try and get as much information and hopefully relevant picture references from them as possible. This could be other illustrations, art or books they like, but also experiences and situations that have inspired the book that they think are relevant. I may also suggest some references here if I think it can help. If the author is unsure at the start, then this process will help them find a visual idea that we can build upon.
Then the next stage is to find a coherent look and style from this material that can work for the project. To do this I will narrow down the references to find a core idea by making a number of sketches and mockups of characters or scenes with references for colours, lines, light or textures that we can discuss. It's good to give this phase a little extra time to ensure we both understand what I am aiming for in the visuals. It may take a couple of variations but hopefully we can agree on a look that we are both happy with. I want to make illustrations that match their vision but also need to be sure it's a look that I am comfortable making that's not too far from my personal style.
After this, and if its a bigger project with many illustrations, then it can be a good idea to choose a 'typical' scene from the book and make a single, finished illustration for approval that can be a style reference for all the rest.
Even if we both agree on the visuals, it's still important to me that the author can follow the progress throughout the rest of the project to avoid any problems or disappointment at the end. This doesn't mean the author has to give a critique of everything I make, but it's good to confirm my work feels right for them and see if there are details that they want to change.
In short its a process of respect, understanding and guidance from both parties that leads to a successful visual interpretation.
Ben is available to hire on Reedsy ⏺
When an Author sends me their text, my first step is to produce a written visual layout on their text. So for each page I will write in red my idea for the page or spread. This is solely for me to begin researching any reference I need and collect this into a folder to refer to later.
I will then produce a rough layout of each page, very loose, quick sketches to convey the action and composition of the scene, I will do this for the whole book. Then all the text and rough sketches go into a PDF which is sent to the author for notes. This way, we can agree overall composition, make sure it flows well etc, but also, we can make changes easily. So when I move into producing the final artwork, we are both as prepared as can be. There will inevitably be further changes for the final art but this way, they tend to be minimal. It's about setting the ground work early on so the client knows what to expect.
Rich is available to hire on Reedsy ⏺
See below the crude mock-up and briefing text I provided using Canva for the cover for Return to the Secret Lake. (Note that at that time I hadn’t settled on the final title!)
And here’s how I used both text and AI (DALL-E) to generate a crude AI image when briefing my illustrator Andrew Smith for Ferdinand Fox and the Lost Boy. You’ll find the final images underneath. (Note that I changed some of the text to fit the final image with the bin!)
Get clarification about AI usage
Most digital illustrators these days use AI ethically to enhance their own work. But some generate 100% AI content and pass it off as original art. Include a clause in your agreement to prevent this if it matters to you. The costs should be significantly lower if illustrations are generated entirely from AI.
Q: How can authors protect their rights when publishing, especially in the age of AI?
Suggested answer
I don't think anyone can fully protect themselves. If you act in good faith you will find that most other people will do the same. There will always be rogues, but selling books is hard enough if you are the real author, even harder if you have stolen it.
Andrew is available to hire on Reedsy ⏺
Seek to own the illustrations copyright
In traditional publishing, illustrators usually retain copyright and license the images to the publisher. If you're self-publishing, I recommend requesting full copyright ownership once the work is paid for, if possible. This gives you flexibility for marketing, merchandise, and future editions. Not all illustrators will wish to do this; if this is the case respect this and look elsewhere.
Search online for a simple form of words to use to assign copyright (or see my template text in my self-publishing book).
6. Format your book for print
Once your story is edited and proofread, you’ll need to decide on your trim size. You’re then ready to format your book and create print-ready files. Choose a trim size that closely matches books in your genre.
Trim sizes vary slightly between the US and UK, but stick to one size for both markets to avoid needing separate ISBNs. Similarly, if using more than one printer, which many authors do (see Step 7) make sure that the trim size you choose is available from them all. For the most common sizes they will be.
Q: How should the formatting of children's manuscripts differ from that of adult books to meet industry standards?
Suggested answer
Formatting for children's books can be different to adult books, particularly if they are 'picture-led', where illustrations or images are key to the story. However, many writers are hesitant to offer ideas on how to set their words to any accompanying pictures. Perhaps they feel their job is done, or they don't feel it's their area of expertise.
I couldn't agree less!
Think of Jon Klassen's missing hat books, Goodnight Moon or the fabulous 'You Choose' series, where the illustrations reveal fantastic additional layers and a chance for the reader to go back again and again and see something new.
This is where I believe formatting shines, offering instructions for an editor, designer and illustrator on how they can enhance and build on a manuscript. If you are writing for children, I recommend inserting a descriptive sentence or two on the pictures you envision alongside the text for each of your pages or spreads (two pages opposite each other).
These 'instructions' can be crucial to understanding your manuscript's narrative, plot and characters. For example, a monster in the dark outside the window . . . the text is about a 'monster' but the illustration instruction asks for a cat on a branch. The author is now saying – the narrator thinks it is a monster, but we, the reader, can see it is a cat on a branch. Without this note, the illustrator may have simply drawn a monster – and changed the author's story entirely.
Sometimes an author won't have solid illustration ideas yet. And I love helping with this part. Thinking together on the pictures and their narrative possibilities can be a lot of fun. Text mentions a missing teddy? Perhaps teddy can appear - a little leg poking from under the bed - a few pages later. Further on in the book, teddy is found. And how nice for the reader to have seen that first and to be waiting – hoping – teddy is found. But the designer must know about this, so we add a note on the 'little foot poking out' on the correct page.
For older children's books, with fewer pictures, visualizing a book remains important. Here are some tips:
- Use shorter chapters, paragraphs and sentences than for adult books.
- Read your words aloud, slower than you might normally, and the ideal chapter lengths for your age range will become more clear.
- Give the text more room to 'breathe' than an adult book. Break it up with quotes, sketches or even the odd doodle or border.
- Visualize the text itself. If suitable, have words that wiggle, letters of different sizes, paragraphs in bold or a contrasting font, and give clear instructions such as [bold] or [wiggly] or [bigger font here] placed within the actual text.
Finally, after all this, read your manuscript again, keeping your visual formatting instructions in mind as you go. You'll be amazed at how many more ideas you might come up with.
Happy writing (and visualizing)!
Robin is available to hire on Reedsy ⏺
If you are writing a children's picture book, it is important to insert page breaks as a practice to see how the story fits into the standard 32-page format. But, for submission to an agent or editor, you would format the manuscript as you would adult fiction with standard formatting: a recognizable 12-point font like Times New Roman, double spaced, 0.5" indent for new paragraphs.
Jenny is available to hire on Reedsy ⏺
If they are chapter books (in any form, for any age), they can be formatted similarly to adult books. For picture books, which obviously have a completely different architecture, it's important to break the text into spreads (PBs typically have 13 spreads--though this can differ). Doing this does a couple of key things.
First, it forces us to think in scenes. This helps us consider the illustrations--both what they might look and how they help tell the story. But second, this helps us tap into the power of the page flip. In PBs, page flips play a huge role. Page flips set the pace. Page flips foster mood--be it intrigue, humor, or a good calm down. Page flips help build suspense, land that joke, or help draw out that sleepy-time yawn.
While first drafts certainly can be written in straight prose or verse, as you edit, as you sharpen, tighten, revisit, consider the book's architecture (what happens on each spread, what role the page flip plays) every bit as much as you consider the words, the story, and the illustrations.
Caryn is available to hire on Reedsy ⏺
For my chapter books and middle-grade novels, I use 5.25 x 8 inches on cream paper. For my colour picture books I use 8 x 10 on white paper. I’ve seen other authors use 8.5 x 8.5 for picture books.
Once you have the trim size, how do you format the book?
Picture books: For interiors, I recommend outsourcing to a layout artist (search Reedsy or ask your illustrator) unless you have a good eye for design and are prepared to buy and learn new tools, or are going for a very simple design with text on one page and illustration opposite or similar.
For simple DIY layouts you could try Canva 一 you’ll need the paid option for print-ready files. (Search online for tutorials online from children’s authors who have used this with professional illustrations they have commissioned.) In the early days, I outsourced even my simple picture book layouts to a specialist I found online. This was before the days of Reedsy.
Q: What are the most common formatting mistakes authors make when submitting children's manuscripts, and how can they be avoided?
Suggested answer
It depends on the end-goal of the manuscript. One issue I see frequently is that many picture book authors think they need to have an illustrator before reaching out to an agent or publisher. You do NOT need an illustrator for either of those.
The second note I have is that I see too many illustrator notes. If you're hoping to have a picture book published or represented, you need to keep in mind that you'll often have less creative control over the illustration. A few light notes are totally fine, but you'll want to let the illustrator have creative control.
For picture books, you also don't need to space each "page" or "spread" on a fresh page. Usually, the page-breaks and spreads will be decided by the illustrator and editor. It's often better if you send it without page breaks and just as a standard document with double spaced lines and standard font and font size (Times New Roman 12pt).
In terms of MG or YA, you'll want to set up your chapters with heading styles and populate the table of contents using those headings versus going in and typing the actual pages and such.
Val is available to hire on Reedsy ⏺
Including illustrations (Don't! unless you are an author-illustrator)
Funky fonts (You can't go wrong with Times New Roman, double spaced, 12 pt size)
Extensive art notes (It's important to leave room for the illustrator to tell part of the story; keep these to a minimum)
Pagination (Too early in the manuscript stage! Just use paragraph breaks for now)
Rennie is available to hire on Reedsy ⏺
This is for all manuscripts, really.
Standard manuscript format is Times New Roman, 12 pt font, though a font like Calibri works fine too. The manuscript should be double spaced with new paragraphs indented. There should not be an extra line break between paragraphs! Word's default is to add those line breaks, so you'll have to go in and remove them!
Whenever a new character/person is talking, it's a new paragraph.
Each chapter should start on a new page.
Use CTRL/ENTER to start a new page versus hitting the return key until there's a new page.
Page numbers can be at the top or bottom, and in that same header/footer you should include the manuscript's title and your name: GREAT BOOK/Author name.
Kim is available to hire on Reedsy ⏺
If you’re looking for something more adventurous and have budget and an eye for layout, look at Affinity Publisher. I used this to lay out my latest picture book, Ferdinand Fox and the Lost Boy, working closely with my illustrator ahead of time to ensure that the text placement would fit with the images.
Chapter Books and Middle Grade: For illustrated novels, I use Vellum ($249.99, Mac only) to format the interior, as it makes placing images for print really straightforward. Alternatively, Reedsy Studio is a great free tool if your print book doesn’t have illustrations. Font choices and size are limited but check it out for older MG if you’re on a tight budget.
For all covers, I recommend using your illustrator if they are experienced in this area, or a professional cover designer. They will understand all about fonts and handle all of the technicalities.
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7. Print and distribute your book
Here’s what I use for my own distribution and what I’d recommend for most children’s authors.
Get your own ISBN barcodes
I use my own ISBN bought from Nielsen UK. Each country has its own ISBN store and some, such as Canada and New Zealand, offer them for free. Search online to find yours. I don’t recommend accepting free ISBNs offered by distributors as that makes them and not you the ‘publisher of record’.
Distribute with KDP and IngramSpark
I use KDP Print for Amazon sales worldwide and I opt out of Expanded Distribution, as it pays lower royalties than Amazon sales and simply piggybacks on Ingram’s network (more on that below).
For non-Amazon sales worldwide I use IngramSpark with the same ISBN as for KDP (your cover file will differ in size slightly but your illustrator/cover designer will handle that). I get a better return with Ingram by going direct, choosing my wholesale discount and, if necessary, setting the RRP a little higher than for KDP.
Print-on-demand isn't your only option for distribution. Offset printing services (like PufferPrint) require larger minimum orders, but the price per unit is often much lower. They also offer a wide range of paper stocks, finishes, and special features, so if you're planning to to print in larger quantities or want premium quality, offset printing could be more cost-effective.
Print author copies for live events
For my author copies of chapter books and middle-grade novels for events I use either KDP or Ingram Spark, whichever quote is cheaper for the number I need.
For my author copies of picture books to sell at school events or supply to local bookshops I use BookVault. Why not KDP/IngramSpark? Because BookVault offers coated paper finish at a very reasonable unit cost; around £2.13 ($2.70) for a 32-page colour picture book as I write.* This is a game changer for children’s authors as it closely matches the finish on traditionally published picture book interiors. I use the same ISBN and the same interior and cover files as for KDP.
*At the time of writing BookVault’s coated finish is only available from the UK. If you’re elsewhere, check lead time, customs tariffs and postage to see if it’s viable. Otherwise I’d check Lulu who also offers this finish, or see what local printers quote for short runs. Failing this, use KDP or Ingram. Their color picture books are fine but the thinner pages don’t compare with a silk finish.
8. Market your book strategically
Marketing is where many authors stumble — but it’s essential if you want your book to succeed. It was a long slog for me with The Secret Lake, but the hard work has definitely paid off!
Remember, Amazon ads weren’t available for self-published authors when The Secret Lake came out in 2011/12, and we didn’t have access to the plethora of social media sites and tools that exist today. Instead, over the course of the first five years, I sold around 7,000 print copies at local bookshop signings and school events all set up through my own efforts. This entailed many emails and phone calls and book shop visits, petrol and parking costs, and more than a few dead ends! But gradually it began to work, with word of mouth leading to more opportunities.
Q: What marketing strategies are most effective for promoting a self-published children's book to the right audience?
Suggested answer
Know exactly who you are marketing to, and your book will sell so much easier than if you try to market to "every parent." Instead of targeting parents of children aged 5-8, be specific and craft your copy and ads to appeal to a niche of parents, such as "Parents of girls ages 5-8 who love to play in the mud and sing silly songs about frogs." The more specific you can be, the better.
Lisa is available to hire on Reedsy ⏺
Making sure you build in enough time into your publishing timeline for an ideal marketing launch is important. This would be at least two to four months in advance of the book's publication date. Creating buzz before the book lands in stores (or online), such as submitting for advance trade reviews from review journals, will help optimize your book for great sales numbers that first week. And hopefully, those initial sales will then prompt consumer reviews early on.
Another important--and easy--marketing tactic for self-published authors is to never underestimate the power of local marketing. An author's community is generally looking to champion someone who has done well or achieved something exciting within their own backyard. A local story or coverage about an indie author's book can go a long way to generating a larger story outside of their community. And sometimes that can even organically lead to amazing coverage in a major newspaper or television segment.
For children's books, it can be challenging for a self-published author to get into schools and libraries unless you are distributed through a wholesaler. Pounding the pavement has its rewards, going to local schools and libraries, offering a storytime or autographing, leaving behind sell sheets for your book. Educators and librarians are huge influencers and their word of mouth is gold for many families and caregivers of young children.
Tara is available to hire on Reedsy ⏺
Face-to-face events also gave me the chance to ask teachers/parents to help their children leave reviews online which (very) slowly began to build and tickle Amazon’s algorithms. I also provided a review page on The Secret Lake’s own website where parents can help children leave reviews and where I always reply. I had to be careful to follow data protection rules, so it carries lots of warnings, but over time it has developed into its own time-tunnel!
I do have to say that I believe it’s the story that has led to such phenomenal sales of The Secret Lake. This said, my other titles have all sold in their thousands (if not hundreds of thousands) and events have been the driver here, so you certainly don’t need a break-out bestseller in order to do well!
In short, don’t underestimate the power of face-to-face marketing alongside everything else. Human connection is more important than ever today and meeting and engaging directly with young readers is an absolute joy!
Follow these best practices
Here are some of my top tips for marketing your children’s book. Starting local and building out from there is key.
📆 Before launch:
- Have a page in your book asking readers to leave a review
- Set up a simple website (your author name is best) 一 this is your calling card
- Connect with local libraries, schools, and parents’ groups
🚀 At launch:
- Offer free school or library story time visits to gain early exposure, offer signed books for sale
- Contact your local press with a “local author” angle – our local paper did a large spread for The Secret Lake at launch owing to its connection to a stunning pond in Richmond Park
- Visit local bookshops and offer books on a sale-or-return basis
- Use Canva, BookBrush, or ChatGPT to create social media graphics — promote and tag local buying options as well as Amazon.
⭕ Ongoing:
- Be active on Instagram or your preferred platform — post regularly using reels, quotes, or visit photos, local press coverage
- Use relevant hashtags (e.g. #childrensbooks #WorldBookDay #summerreads)
- Create downloadable resources for teachers: quizzes, discussion guides, colouring pages – promote these on your website and in the back of your books
- Offer free resources in exchange for email sign-ups from parents/teachers
- Once you have a few school visits under your belt, start to charge
📢 Ads:
- Once your book has a few reviews, research using Amazon ads. Target books similar to yours and focus on relevant search terms. Test and adjust, and keep to a budget you can afford.
- I don’t recommend Facebook Ads for children’s authors unless you have money to burn on testing, or a book in a niche topic such as children’s mental health which would allow you to laser-target key audiences.
I have barely scratched the surface here! Above all, to make money with your children’s book, write a great story, produce it professionally, and put your heart and soul into marketing it. Again, for a deep dive, check out my book How to Self-publish and Market a Children’s Book. Most advice is evergreen, and a new edition is on its way!
Karen Inglis is an internationally bestselling children’s author of picture books, chapter books and middle grade novels. Her time travel adventure The Secret Lake has sold over 600,000 print copies in English and is in translation in 14 languages. Her other titles have all sold in their thousands. Beyond the Secret Lake, Book 3 in the series, won the 2025 UK Selfies Children’s Book Award for best independently published children’s book in 2024. The award is announced each year at London Book Fair.
Karen has received traditional publishing offers over the years, including in 2021 from a major UK children’s publisher, but has preferred to retain creative control over her work. Her non-fiction title: ‘How to Self-publish and Market a Children’s Book’ is now in its second edition alongside a companion title ‘How to Market a Children’s Book’. A third edition is due out in late 2025/early 2026.
Karen is Children’s Advisor at the Alliance of Independent Authors.
