Children's Book Template: Create a Perfect Layout (+ Download)

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)

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.

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.

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.

Always see the world through the child’s eyes.

When I’m illustrating a children’s book, I try to align myself with that sense of exaggeration that kids feel so naturally. Is the main character feeling happy? Then everything around him is colourful and alive! Is he feeling anxious? Then maybe the people surrounding him are grey and looming. The tree you used to climb when you were little surely felt like it touched the sky… so why not draw it like that?

I also think it’s important to create artwork that invites kids to explore. I love when an illustration has little surprises, like a hidden animal peeking from behind a tree, or a character wearing mismatched socks. Plot-irrelevant details give children a reason to linger on the page and discover something new each time they read the book.

A children’s book should above all spark the imagination: it’s not a mere visual translation of the words, but a parallel world that lives in harmony with the text. Illustrations should spark curiosity, invite questions, and go beyond rules and conventions. They should open windows onto unexplored, fantastic worlds where children can wander and discover.

Fun, expressive & relatable characters. Bringing their personalities to life!

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.

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.

As a standard, my process includes three main stages, each with clear steps and opportunities for feedback and revisions to ensure the final design meets the client’s expectations.

For concepts, I offer three black-and-white thumbnail sketches in the first round. These serve as the foundation for the design, allowing him to select one concept to move forward with. If necessary, he can request revisions during this stage, with up to three revision rounds included. Additional rounds are available for a fee, though most clients are satisfied with the initial sketches.

Once a concept is chosen, we move to the Detailed Sketch Round, where I refine the selected design, adding more clarity and, if relevant, suggesting a color scheme. The client is entitled to two revision rounds at this stage, with extra revisions available for an additional fee. Revisions during this phase should be smaller and align with what was approved in the previous round to avoid production delays.

Finally, during the Final Cover Round, I produce the polished, final version of the design. One last minor revision round is included to ensure all details are perfect.

This structured process allows for clear communication, minimizes unexpected delays, and ensures both the client and I are happy with the final product.

I’m happy to provide unlimited revisions for my clients until we create a design they absolutely love—that’s just how I like to work!

Typically up to three revisions included. However, I want you to REALLY love the end product. Additional revisions are case by case :)

The short answer is two per round.

I have several rounds during a project, and before I start each round, I ask for and read through all the authors' notes about what they are looking for. If I've forgotten something that they specifically asked for in the beginning, I won't count that as part of a revision. If the author has changed their mind about something or updated the manuscript in a way that requires changes to the artwork, that will count as a revision. After two revisions, I will do more, but it will be at an additional cost.

I send my clients a PDF of my work process before we start a project. It outlines all the steps/rounds in the project and the revisions allowed in each. It also goes over the additional fee that will be added to the project budget if the revision amount is exceeded. It's important to always be on the same page from the very beginning about this. If an illustrator doesn't mention revisions, it's something I would bring up before starting a project. It's frustrating as an illustrator to have endless revisions without additional pay for extra time spent on the project. It's also frustrating for an author to suddenly be asked to pay more when they weren't aware that was the expectation.

I supply a minimum of 3 different concepts but I often give a few more if the books subject has inspired me or I've come up with more valid designs than the standard 3.

I carry out 3 rounds of revisions to the client's chosen preferred front cover option. Another 3 rounds for the combined back cover and spine. And if I'm commissioned to design the interior, 3 rounds to revise that too.

I think my method is a little different from most as I offer different rates depending on how much/how often the client wants to potentially make changes/revisions. Sometimes a client is happy for me to describe how I envision each illustration, do very rough sketches (stick-man level!) and then leave me to outlining, painting etc until they get the final image. Other clients want to see the final outlines (second stage); while others may want to be able to make changes even once I've painted (this is usually only clients where the characters in the book are people they know, I've found).

So each rate has a different number of rounds of revisions included. The higher the rate the more rounds of revisions. Most authors go for the mid-rate, which includes revisions at sketch stage, and at final pencil outline stage.

I usually invite the client to give feedback at every stage of the process, thumbnail, sketch and final, ensuring that there's no miscommunication throughout. If there is a situation where the feedback stage becomes drawn out, I limit myself to a maximum of two rounds of revisions before additional fees get added. However, I try to remain flexible when responding to client feedback, with my goal always being to end up with a result the client is happy with. Extra fees are normally only added if the revisions cause serious delays or are outside the scope of what the client is paying for.

I love working closely with authors, making them an integral part of the process at every step. Typically, we begin with the sketch phase, during which I offer two free revisions. After that, we move on to approving the color palette together, and again, the author has the opportunity for two free revisions per page or spread.

This approach allows authors the freedom to provide input without additional costs, ensuring the process remains fluid and collaborative. It’s a system that works wonderfully and often leads to amazing results!

Technically there should be a maximum of three rounds of revisions after I send rough sketches. If there is ever a time where the author asks for a fourth round and it's reasonable and the person is friendly and kind then I'll do a fourth! I've never felt I had to charge more because of too many revisions. It's usually only one or two.

The best way to capture a client’s vision is to start by asking lots of questions. I like to find out not just about the story, but also about any concerns or fears they might have, what they do and don’t like, and how they want the book to feel on the shelf. Sometimes a video chat helps enormously to get a sense of their taste and personality.

If a client has a specific idea, I always do my best to use that and make it look professional. If I think the project could benefit from a different approach, I will suggest alternatives, but always as part of a collaborative discussion.

Stage one of my process is research and idea generation. I play around, try out unusual or even odd concepts, and see what comes from that experimentation. With every idea I present, I include variations in colour, composition, or typography so the client can see the possibilities.

Many authors actually do not know exactly what they want, and that is great too. In those cases, I cast my visual net wider, presenting lots of ideas and styles to see what resonates with the book. Once we have settled on a direction, the refining and to-and-fro can take several stages to resolve. Getting every detail right on the spine and back cover is equally important. From there, we work together to shape a cover that is both creatively exciting and commercially strong.

Communication is key. Asking questions and asking for examples of favorite covers is a start.

After that I like to send a few different concepts. I like to make it clear that the first round is still like a shot in the dark and work in progress. Specially when the client is not sure what they want. The best way to understand what a client expectation is, for design and style, is to send a few different options first and start working from there.